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The best-known literary achievement of Anglo-Saxon England,Beowulfis a poem concerned with monsters and heroes, treasure and transience, feuds and fidelity. Composed sometime between 500 and 1000 C.E. and surviving in a single manuscript, it is at once immediately accessible and forever mysterious. And in Craig Williamson's splendid new version, this often translated work may well have found its most compelling modern English interpreter. Williamson'sBeowulfappears alongside his translations of many of the major works written by Anglo-Saxon poets, including the elegies \"The Wanderer\" and \"The Seafarer,\" the heroic \"Battle of Maldon,\" the visionary \"Dream of the Rood,\" the mysterious and heart-breaking \"Wulf and Eadwacer,\" and a generous sampling of the Exeter Book riddles. Accompanied by a foreword by noted medievalist Tom Shippey on Anglo-Saxon history, culture, and archaeology, and Williamson's introductions to the individual poems as well as his essay on translating Old English, the texts transport us back to the medieval scriptorium or ancient mead hall to share an exile's lament or herdsman's recounting of the story of the world's creation. From the riddling song of a bawdy onion that moves between kitchen and bedroom, to the thrilling account of Beowulf's battle with a treasure-hoarding dragon, the world becomes a place of rare wonder in Williamson's lines. Were his idiom not so modern, we might almost think the Anglo-Saxon poets had taken up the lyre again and begun to sing after a silence of a thousand years.

تدور هذه الدراسة حول فلسفة الحكمة في شعر مسكين الدرامي، الشاعر الأموي الزاهد، المقدم في قومه لشرفه وشجاعته، الذي توافر في حكمه شيء من خصوبة التجارب وتنوعها؛ فهي مستوحاة من واقع حياته وحياة الآخرين، ومن ثقافته الفكرية التي دعا من خلالها إلى مكارم الأخلاق بأسلوب وعظي تعليمي، وهي ثقافة مستمد معظمها من ثقافة عصر ما قبل الإسلام، وقليل منها إسلامي، وهذا يعني أنه لم يواكب التطور الديني والحضاري في عصره إلا بقدر. كما تدور هذه الدراسة حول فلسفة الفخر عنده، إذ افتخر بنفسه، وحسبه، ونسبه، ولم يفتخر بدينه وتقواه، أي أنه لم يفتخر بالديانة، وإنما يفتخر بالقبيلة، وهو بذلك يجاري الأقدمين، وكذلك فعل عندما افتخر بكرمه وعفته، ولكنه أجاد وأبدع في فخره بعفته، إذ واكب التطور الذي طرأ على هذه القيمة الخلقية، فزادها عمقاً، وأكسبها النموذجية الإسلامية.

Two Anglo‐Saxon literary habits seem peculiar from the point of view of post‐Romantic aesthetics. One is the compilation of lists. The other peculiar Anglo‐Saxon habit is a persistent predilection for sententious expression that, because it is universalizing, offends against the modern aversion to didacticism in a genre perceived to be devoted to personal expression. The aphoristic mode pervades Old English literature, and so there is hardly a work that does not in some degree belong to the category “wisdom literature”. But there is a fairly discrete body of works devoted particularly to gnomic expression, most of it in verse. Old English wisdom literature amounts simply to collections of maxims or proverbs and the most salient example of this type in prose is the Distichs. Another poetic variety of wisdom literature ‐ one more directly comparable to lyrics like The Seafarer ‐ is the proverbial or gnomic type.