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III. Способы восприятия. Нарративные стратегии: художественная литература, искусство

Representing Female Communal Identity

in Anglo-Saxon England: A Philological Approach at

Two Old English Frauenlieder

Н. Bao

The only two female-voiced poems in the Old English Exeter Book, also known as ‘women’s songs’ (‘Frauenlieder’), are notorious for their cryptic nature. Since the context necessary for identifying the exact situation of each narrator has been lost to us, any plot-designing’ not directly based on manuscript and textual evidence seems to be editorial conjecture at the very best. Nevertheless, it would be difficult to analyse their theme and imagery satisfactorily, without also bringing into consideration the roles they play in effecting the narration. Therefore, in this paper I would venture to provide my own interpretation (and translation) of the two poems when examining their ways of representing female identity in Anglo-Saxon England (or the lack of one, without claiming this is the only way to understand them).

The Wife's Lament is full of claustrophobic sceneries, both physical and mental. According to 'Het mec hlaford min herh eard niman’ (line 15) and 'Heht mec mon wunian on wuda bearwe’ (line 27), the woman was commanded to dwell in a grove-sanctuary, which is described in details in three and a half terse, quick-paced, clangorous lines that follow immediately: 'Eald is Les eardsele, eal ic eom oflongad/sindon dena dimme, duna uphea/ bitre burgtunas, brerum beweaxne/ wic wynna leas (lines 29–32)’ (The dales are dark, the hills high/The enclosures biting, overgrown with briars /Habitation without joy)[265].

The choice of the phrase 'bitre burgtunas’(biting enclosures) is usually accounted for by the thorny briars that have overgrown the earthcave, but it could equally be the psychological result of the wife’s confined and perhaps suffocating condition, which allows her the sole relief of walking around the earth-cave under the oak tree 'on uhtan’ (in dawn). In fact, why 'on uhtan’ in particular? The hour of dawn being the moment when the wife particularly needs to breathe fresh air could be the traumatic sequence of her 'uhtceare’ (line 7, literally 'dawn anxiety’) in the past, when she used to worry about 'hwaer min leodfruma londes waere’(line 8, where in the land was my lord’) just before daybreak.