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. Ғ ҚҚ Қ




ә

Ққ , қ ә

 

ә

әң қ қң ә

5011900 : 볻

 

қң(-ң) ғ(-қ) ғ

 

 

ә ң құ

1. ә қ: The ancient times of Britain

2. ә :

)Geoffrey of Monmouth

) Miscellaneous literature of the Norman period

) Beowulf.

3. ә

During the period from the 6th to the 3d c B.C. people called the Celts spread across Europe from the east to the West. From time to time they were attacked and overcome by other Celtic tribes the Picts, the Scots, and the Britons.The Greeks were the 1st to mention the British Isles. The earliest writer from whom we have learned much about the country and its inhabitants was Julius Caesar- the famous Roman general, statesman, and writer.Like all the ancient peoples the Celts made up many legends about their gods and heroes. The chroniclers and writers translated the Celtic legends into modern English and called them Celtic Sagas. A demigod Chuchulainn was the greatest hero of the Celtic heroic sagas.Feudalism was slowly taking root. The culture of the early Britons changed greatly under the influence of Christianity, which penetrated into the British Isles in the 3d c. The religion was called the Catholic Church. The Latin language became the language of the Church all over Europe. The monasteries became the centers of learning and education in the country. The 1st libraries and schools for the clergy were set up in monasteries. Monks were chroniclers. Psalters, chronicles and other manuscripts written by the medieval monks are very important historical document5s today. The literature of the early middle Ages and the Church taught that man was an evil being and his life on earth was a sinful life.

Anglo-Saxon literature (the 7th-11th cc) Anglo-Saxon made up the bulk of the population in Britain after the conquest of the country. The Early Medieval history is the history of the Anglo-Saxons. Some Germanic tribes called- the Angles, Saxons and Jutes- were among the invaders. They quarreled a great deal with one another for supreme power. They nevertheless became one nation in the course of a few centuries. Anglo-Saxons had letters of their own called runes, but they had no written language yet. These stories, poems and legends were brought by the Anglo-Saxon to Britain. Beowulf- the dawn of the English literature may be called the foundation-stone of all British poetry. It tells us about the times long before the Anglo-Saxons came to Britain. The poem compiled in the 10th c. by an unknown scribe. In 1939 a very important archeological discovery called the Sutton Hoo Burial was made in Britain. Specialists say that the Sutton Hoo treasure was very much like that of King Scylds described in the poem of Beowulf.

Writers of the period: The Venerable Bede (673-735) the greatest writer of the time was the monk. He wrote mostly in Latin. His famous book Ecclesiastical History of the English People was the only book on Anglo-Saxon history. Caedmon lived in the 7th c. he was a shepherd and composed in his native language the Northumbrian dialect of Anglo-Saxon. He composed hymns and a poem Paraphrase Cynewulf was a monk who lived ate the end of the 8th c. Two of his poems. Elene and Juliana are notable because they are the 1at Anglo-Saxon works to introduce women characters. Alfred was a king and a Latin scholar; he is famous not only for having built the 1st navy, but for trying to enlighten his people. He drew up a code of laws, translated the Church history of Bede from Latin into Anglo-Saxon and a portion of Bible as well. His famous Anglo-Saxon chronicle may be called the 1st history of England, the 1st prose in English literature. It was continued for 250 years after the death of Alfred.

Geoffrey of Monmouth (d. 1154). Geoffreys Historia Regum Britanniae is noteworthy, not as literature, but rather as a source book from which many later writers drew their literary materials. Among the native Celtic tribes an immense number of legends, many of them of exquisite beauty, had been preserved through four successive conquests of Britain. Geoffrey, a Welsh monk, collected some of these legends and, aided chiefly by his imagination, wrote a complete history of the Britons. His alleged authority was an ancient manuscript in the native Welsh tongue containing the lives and deeds of all their kings, from Brutus, the alleged founder of Britain, down to the coming of Julius Cesar. From this Geoffrey wrote his history, down to the death of Cadwalader in 689.

The History is a curious medley of pagan and Christian legends, of chronicle, comment, and pure invention, all recorded in minute detail and with a gravity which makes it clear that Geoffrey had no conscience, or else was a great joker. As history the whole thing is rubbish; but it was extraordinarily successful at the time and made all who heard it, whether Normans or Saxons, proud of their own country. It is interesting to us because it gave a new direction to the literature of England by showing the wealth of poetry and romance that lay in its own traditions of Arthur and his knights. Shakespeares King Lear, Malorys Morte dArthur, and Tennysons Idylls of the king were founded on the work of this monk, who had the genius to put unwritten Celtic tradition in the enduring form of Latin prose.

Metrical romances. Love, chivalry, and religion, all pervaded by the spirit of romance, these are the three great literary ideals which find expression in the metical romances. Read these romances now, with their knights and fair ladies, their perilous adventures and tender love-making, their minstrelsy and tournaments and gorgeous cavalcades, as if humanity were on parade, and life itself were one tumultuous holiday in the open air, and you have an epitome of the whole childish, credulous soul of the Middle Ages. The Normans first brought this type of romance into England, and so popular did it become, so thoroughly did it express the romantic spirit of the time, that it speedily overshadowed all other forms of literature.

Though the metrical romances varied much in form and subject-matter, the general type remains the same, a long rambling poem or series of poems treating of love or knightly adventure or both. Its hero is a knight; its characters are fair ladies in distress, warriors in armor, giants, dragons, enchanters, and various enemies of Church and State; and its emphasis is almost invariably on love, religion, and duty as defined by chivalry. In the French originals of these romances the lines wee a definite length, the meter exact, and rimes and assonances were both used to give melody. In England this metrical system came in contact with the uneven lines, the strong accent and alliteration of the native songs; and it is due to the gradual union of the two systems, French and Saxon. That our English became capable of the melody and amazing variety of verse forms which first find expression in Chaucers poetry. In the enormous number of these verse romances we note three main divisions, according to subject, into the romances (or so-called matter) of France, Rome and Britain. The matter of France deals largely with the exploits of Charlemagne and his peers, and the chief of these Carlovingian cycles is the Chanson de Roland, the national epic, which celebrates the heroism of Roland in his last fight against the Saracens at Ronceval. Originally these romances were called Chansons de Geste; and the name is significant as indicating that the poems were originally short songs celebrating the deeds of well known heroes. Later the various songs concerning one hero were gathered together and The Geste became an epic, like the Chanson de Roland or a kind of continued ballad story, hardly deserving the name of epic, like the Geste of Robin Hood





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