References to weaving and binding are ubiquitous in Anglo-Saxon literature. Several hundred insta... more References to weaving and binding are ubiquitous in Anglo-Saxon literature. Several hundred instances of such imagery occur in the poetic corpus, invoked in connection with objects, people, elemental forces, and complex abstract concepts.
'Weaving Words and Binding Bodies' presents the first comprehensive study of weaving and binding imagery through intertextual analysis and close readings of Beowulf, riddles, the poetry of Cynewulf, and other key texts. Megan Cavell highlights the prominent use of weaving and binding in previously unrecognized formulas, collocations, and type-scenes, shedding light on important tropes such as the lord-retainer “bond” and the gendered role of “peace-weaving” in Anglo-Saxon society. Through the analysis of metrical, rhetorical, and linguistic features and canonical and neglected texts in a wide range of genres, 'Weaving Words and Binding Bodies' makes an important contribution to the ongoing study of Anglo-Saxon poetics.
This article discusses Exeter Book Riddle 48 in light of its proposed solutions. While commonly s... more This article discusses Exeter Book Riddle 48 in light of its proposed solutions. While commonly solved as either “chalice” or “paten,” I argue that the riddle points toward the latter solution (OE husel-disc). This riddle is usually read in relation to its counterpart, Riddle 59, which scholarly consensus solves as “chalice” (OE calic or husel-fæt). However, Riddle 48 should be analysed in its own right, especially given evidence from the medical tradition that prescribes writing on patens and performing psalms and other prayers over them in order to cure sickness. It is to this practice and to the psalms that Riddle 48 gestures in its use of the term galdorcwide (incantation), as well as the direct quotation that appeals to God to heal the speaker.
This paper discusses two sacred textiles in the Old English Christ III and Exodus, arguing that b... more This paper discusses two sacred textiles in the Old English Christ III and Exodus, arguing that both objects are adapted for a distinctly Anglo-Saxon audience and brought into line with Old English poetic idioms and ideals.
This paper discusses the Old English term 'friþuwebba/e' (peace-weaver), arguing that its formula... more This paper discusses the Old English term 'friþuwebba/e' (peace-weaver), arguing that its formulaic context indicates the weaving metaphor is more strongly associated with status than gender.
Scholarly approaches to the Old English Andreas have tended to emphasise the poem’s formulaic deb... more Scholarly approaches to the Old English Andreas have tended to emphasise the poem’s formulaic debt to Beowulf and the works of Cynewulf, but as of yet unexplored is its strikingly similar use of the binding motif also present in the Old Saxon alliterative gospel, the Hêliand. These two poems, likely produced in a similar period, share not only a depiction of bound religious heroes that far outstrips their sources, but also specific formulaic and linguistic parallels. The suggestion that the Hêliand’s preoccupation with the binding of Christ stems directly from the experience of those Saxons subjugated by the Franks is, therefore, problematised when we take into account the formulaic nature of binding terminology in the closely related language of Old English. Similarly, a desire to read the binding of the saints in Andreas as a unique innovation does not take into account the possibility that the poet may have been familiar with a tradition in which Christ’s Passion includes binding. In discussing these two texts together, this paper emphasises a cross-cultural interest in bondage, as well as the importance of exploring formulaic connections between the Old English and Old Saxon corpora.
The monstrosity of Grendel and his mother have long held the interest of Beowulf-scholars. Examin... more The monstrosity of Grendel and his mother have long held the interest of Beowulf-scholars. Examining the bodily attributes of both figures in order to detect inter-textual patterns of diction, this article focuses on depictions of the monsters’ skin, hands and blood. In analyzing these attributes, it becomes clear that the Beowulf-poet’s chosen descriptors align the monstrous body with manmade objects in general and with weapons and armour in particular. This blurring of body and human artifact creates an environment for monstrous existence that is between and outside of both human culture and nature.
Scholarship has not yet reached a consensus regarding the definition of the Old English compound,... more Scholarship has not yet reached a consensus regarding the definition of the Old English compound, ‘wundenlocc’. Some take it to mean curly locks, while others prefer to read it as braided hair, with many compelling arguments for understanding the term in either context. Surveying each of the compound’s four occurrences in the Riddle 25 and Judith, as well as the instances of related compounds, this note questions past scholarship’s fascination with what some have argued are its sexually-charged connotations. Certainly the term appears to be concerned with a finer physical appearance, but its relation to an entire cultural group rules out a strictly erotic definition. This caveat is upheld when the term is read in the context of another Old English riddle, which employs both elements of the compound twice in collocation. Here, in a description of the beauty of the personified earth, further light is cast upon the meaning of the term. Because this riddle translates an Anglo-Latin text with distinct references to curls and curling irons, the collocations – which have not yet been discussed in relation to the compound – provide solid evidence for understanding ‘wunden’ and ‘locc’ together as indicating curly hair.
References to weaving and binding are ubiquitous in Anglo-Saxon literature. Several hundred insta... more References to weaving and binding are ubiquitous in Anglo-Saxon literature. Several hundred instances of such imagery occur in the poetic corpus, invoked in connection with objects, people, elemental forces, and complex abstract concepts.
'Weaving Words and Binding Bodies' presents the first comprehensive study of weaving and binding imagery through intertextual analysis and close readings of Beowulf, riddles, the poetry of Cynewulf, and other key texts. Megan Cavell highlights the prominent use of weaving and binding in previously unrecognized formulas, collocations, and type-scenes, shedding light on important tropes such as the lord-retainer “bond” and the gendered role of “peace-weaving” in Anglo-Saxon society. Through the analysis of metrical, rhetorical, and linguistic features and canonical and neglected texts in a wide range of genres, 'Weaving Words and Binding Bodies' makes an important contribution to the ongoing study of Anglo-Saxon poetics.
This article discusses Exeter Book Riddle 48 in light of its proposed solutions. While commonly s... more This article discusses Exeter Book Riddle 48 in light of its proposed solutions. While commonly solved as either “chalice” or “paten,” I argue that the riddle points toward the latter solution (OE husel-disc). This riddle is usually read in relation to its counterpart, Riddle 59, which scholarly consensus solves as “chalice” (OE calic or husel-fæt). However, Riddle 48 should be analysed in its own right, especially given evidence from the medical tradition that prescribes writing on patens and performing psalms and other prayers over them in order to cure sickness. It is to this practice and to the psalms that Riddle 48 gestures in its use of the term galdorcwide (incantation), as well as the direct quotation that appeals to God to heal the speaker.
This paper discusses two sacred textiles in the Old English Christ III and Exodus, arguing that b... more This paper discusses two sacred textiles in the Old English Christ III and Exodus, arguing that both objects are adapted for a distinctly Anglo-Saxon audience and brought into line with Old English poetic idioms and ideals.
This paper discusses the Old English term 'friþuwebba/e' (peace-weaver), arguing that its formula... more This paper discusses the Old English term 'friþuwebba/e' (peace-weaver), arguing that its formulaic context indicates the weaving metaphor is more strongly associated with status than gender.
Scholarly approaches to the Old English Andreas have tended to emphasise the poem’s formulaic deb... more Scholarly approaches to the Old English Andreas have tended to emphasise the poem’s formulaic debt to Beowulf and the works of Cynewulf, but as of yet unexplored is its strikingly similar use of the binding motif also present in the Old Saxon alliterative gospel, the Hêliand. These two poems, likely produced in a similar period, share not only a depiction of bound religious heroes that far outstrips their sources, but also specific formulaic and linguistic parallels. The suggestion that the Hêliand’s preoccupation with the binding of Christ stems directly from the experience of those Saxons subjugated by the Franks is, therefore, problematised when we take into account the formulaic nature of binding terminology in the closely related language of Old English. Similarly, a desire to read the binding of the saints in Andreas as a unique innovation does not take into account the possibility that the poet may have been familiar with a tradition in which Christ’s Passion includes binding. In discussing these two texts together, this paper emphasises a cross-cultural interest in bondage, as well as the importance of exploring formulaic connections between the Old English and Old Saxon corpora.
The monstrosity of Grendel and his mother have long held the interest of Beowulf-scholars. Examin... more The monstrosity of Grendel and his mother have long held the interest of Beowulf-scholars. Examining the bodily attributes of both figures in order to detect inter-textual patterns of diction, this article focuses on depictions of the monsters’ skin, hands and blood. In analyzing these attributes, it becomes clear that the Beowulf-poet’s chosen descriptors align the monstrous body with manmade objects in general and with weapons and armour in particular. This blurring of body and human artifact creates an environment for monstrous existence that is between and outside of both human culture and nature.
Scholarship has not yet reached a consensus regarding the definition of the Old English compound,... more Scholarship has not yet reached a consensus regarding the definition of the Old English compound, ‘wundenlocc’. Some take it to mean curly locks, while others prefer to read it as braided hair, with many compelling arguments for understanding the term in either context. Surveying each of the compound’s four occurrences in the Riddle 25 and Judith, as well as the instances of related compounds, this note questions past scholarship’s fascination with what some have argued are its sexually-charged connotations. Certainly the term appears to be concerned with a finer physical appearance, but its relation to an entire cultural group rules out a strictly erotic definition. This caveat is upheld when the term is read in the context of another Old English riddle, which employs both elements of the compound twice in collocation. Here, in a description of the beauty of the personified earth, further light is cast upon the meaning of the term. Because this riddle translates an Anglo-Latin text with distinct references to curls and curling irons, the collocations – which have not yet been discussed in relation to the compound – provide solid evidence for understanding ‘wunden’ and ‘locc’ together as indicating curly hair.
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Books by Megan Cavell
'Weaving Words and Binding Bodies' presents the first comprehensive study of weaving and binding imagery through intertextual analysis and close readings of Beowulf, riddles, the poetry of Cynewulf, and other key texts. Megan Cavell highlights the prominent use of weaving and binding in previously unrecognized formulas, collocations, and type-scenes, shedding light on important tropes such as the lord-retainer “bond” and the gendered role of “peace-weaving” in Anglo-Saxon society. Through the analysis of metrical, rhetorical, and linguistic features and canonical and neglected texts in a wide range of genres, 'Weaving Words and Binding Bodies' makes an important contribution to the ongoing study of Anglo-Saxon poetics.
Papers by Megan Cavell
'Weaving Words and Binding Bodies' presents the first comprehensive study of weaving and binding imagery through intertextual analysis and close readings of Beowulf, riddles, the poetry of Cynewulf, and other key texts. Megan Cavell highlights the prominent use of weaving and binding in previously unrecognized formulas, collocations, and type-scenes, shedding light on important tropes such as the lord-retainer “bond” and the gendered role of “peace-weaving” in Anglo-Saxon society. Through the analysis of metrical, rhetorical, and linguistic features and canonical and neglected texts in a wide range of genres, 'Weaving Words and Binding Bodies' makes an important contribution to the ongoing study of Anglo-Saxon poetics.