This book provides the first full account of how major 20th-century poets studied, appropriated, and redeployed Old English (or Anglo-Saxon) poetry in their own work. The book concentrates on the stylistic debts that Ezra Pound, W. H. Auden, Edwin Morgan, and Seamus Heaney owe to the language and prosody of Old English poetry — and to the prevailing scholarly attitudes towards Old English, which they encountered at university. Both Edwin Morgan, Scotland's First Makar, and Nobel-laureate Seamus Heaney continue to write under the influence of Old English forms, as their latest books bear witnes ... More

This book provides the first full account of how major 20th-century poets studied, appropriated, and redeployed Old English (or Anglo-Saxon) poetry in their own work. The book concentrates on the stylistic debts that Ezra Pound, W. H. Auden, Edwin Morgan, and Seamus Heaney owe to the language and prosody of Old English poetry — and to the prevailing scholarly attitudes towards Old English, which they encountered at university. Both Edwin Morgan, Scotland's First Makar, and Nobel-laureate Seamus Heaney continue to write under the influence of Old English forms, as their latest books bear witness. This book provides the first full account of how Heaney's translation of Beowulf relates to the rest of his oeuvre, and embeds Morgan's work within a wider tradition of Scots who translate and appropriate Old English. The book pays particular attention to ideas of linguistic primitivism, notions of ‘purity’ of the English language, the politics and ethics of translation, and the construction of ‘Englishness’ across a millennium of literary history. The book argues that for 20th-century poets, Old English simultaneously represents a possible origin for the English poetic tradition, and also a site of estrangement. It is this double nature of the material, of Old English as both ‘native’ and ‘other’, that makes it so attractive to a variety of important poets. The book argues that the 20th-century encounter with Old English constitutes ‘an enormous transfer of poetic energy’, one that has a marked and lasting effect on the evolution of poetry in English.