An exploration across thirteen essays by critics, translators and creative writers on the modern-day afterlives of Old English, delving into how it has been transplanted and recreated in the twentieth and twenty-first centuries. Old English language and literary style have long been a source of artistic inspiration and fascination, providing modern writers and scholars with the opportunity not only to explore the past but, in doing so, to find new perspectives on the present. This volume brings together thirteen essays on the modern-day afterlives of Old English, exploring how it has been transplanted and recreated in the twentieth and twenty-first centuries by translators, novelists, poets and teachers. These afterlives include the composition of neo-Old English, the evocation in a modern literary context of elements of early medieval English language and style, the fictional depiction of Old English-speaking worlds and world views, and the adaptation and recontextualisation of works of early medieval English literature. The sources covered include W. H. Auden, J. R. R. Tolkien, and Seamus Heaney, alongside more recent writers such as Christopher Patton, Hamish Clayton and Paul Kingsnorth, as well as other media, from museum displays to television. The volume also features the first-hand perspectives of those who are authors and translators themselves in the field of Old English medievalism.

First full-length study of the notion and concept of old age in early medieval England. How did Anglo-Saxons reflect on the experience of growing old? Was it really a golden age for the elderly, as has been suggested? This first full survey of the Anglo-Saxon cultural conceptualisation of old age, as manifested and reflected in the texts and artwork of the inhabitants of early medieval England, presents a more nuanced and complicated picture. The author argues that although senescence was associated with the potential for wisdom and pious living, the Anglo-Saxons also anticipated various social, psychological and physical repercussions of growing old. Their attitude towards elderly men and women - whether they were saints, warriors or kings - was equally ambivalent. Multidisciplinary in approach, this book makes use of a wide variety of sources, ranging from the visual arts to hagiography, homiletic literature and heroic poetry. Individual chapters deal with early medieval definitions ofthe life cycle; the merits and drawbacks of old age as represented in Anglo-Saxon homilies and wisdom poetry; the hagiographic topos of elderly saints; the portrayal of grey-haired warriors in heroic literature; Beowulf asa mirror for elderly kings; and the cultural roles attributed to old women.

First full-length study of the notion and concept of old age in early medieval England. How did Anglo-Saxons reflect on the experience of growing old? Was it really a golden age for the elderly, as has been suggested? This first full survey of the Anglo-Saxon cultural conceptualisation of old age, as manifested and reflected in the texts and artwork of the inhabitants of early medieval England, presents a more nuanced and complicated picture. The author argues that although senescence was associated with the potential for wisdom and pious living, the Anglo-Saxons also anticipated various social, psychological and physical repercussions of growing old. Their attitude towards elderly men and women - whether they were saints, warriors or kings - was equally ambivalent. Multidisciplinary in approach, this book makes use of a wide variety of sources, ranging from the visual arts to hagiography, homiletic literature and heroic poetry. Individual chapters deal with early medieval definitions ofthe life cycle; the merits and drawbacks of old age as represented in Anglo-Saxon homilies and wisdom poetry; the hagiographic topos of elderly saints; the portrayal of grey-haired warriors in heroic literature; Beowulf asa mirror for elderly kings; and the cultural roles attributed to old women. THIJS PORCK is Assistant Professor of Medieval English, Leiden University Centre for the Arts in Society, Leiden University.