By Katherine O'Brien O'Keeffe
This quantity offers a semi-diplomatic variation of the textual content of MS C (London, British Library Cotton, Tiberius B.i). frequently known as `the Abingdon Chronicle', it used to be considerably copied within the mid-eleventh century and endured to be so sporadically thereafter; the complement to its abrupt finishing by means of a twelfth-century reader means that it was once nonetheless of curiosity within the interval after the Conquest. The C-text is a crucial resource of knowledge for the reign of Edward the Confessor, and it brings a special political viewpoint to the ascendency of Godwine and his sons.The conventional organization of the textual content, manuscript or either with the reformed monastery of Abingdon has been an incredible function of the present figuring out of the interrelationships one of the a number of texts of the Anglo-Saxon Chronicle. the current variation examines a number of the arguments for associating the C-text with Abingdon and the problems inherent in those arguments. It brings to endure proof from the palaeography and codicology of the manuscript in addition to textual content old and linguistic facts. The creation to the textual content considers the several strands composing the C-text, and the shut relationships of this article to MSS B, D, and E, and the amount is finished with indices of individuals, peoples and locations.
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Extra info for Anglo-Saxon Chronicle 5: MS C
Laying the groundwork for the familiar female double binds, she bemoans in Maisie the lack of consciousness of a system of social taboos and regulations she will not even explicate: Maisie has to piece together for herself out of muddied fumbled hints what exactly it is that is ‘wrong’ about Sir Claude’s liaison with her stepmother. She is supposed to intuit the indecency of sex without – God forbid – knowing anything about sex. Mrs Wix insists with almost Alice-in-Wonderland tenacity that the thing – the ‘moral sense’ – is out there, real, where Maisie only sees sea and sky.
They do the only kind of work, today, that I respect; and in spite of their ferocious pessimism and their handling of unclean things, they are at least serious and honest. James treats the scene from within Isabel’s subjectivity not because he cannot imagine or approve of other perspectives, but because he wants and needs to engage in an interrogation of ‘propriety’ from within. ) But the danger with a male enveloping worldliness and how it fictionalises female ‘virtue’ is that the treatment can verge on ‘connoisseurship’, on relishing the ‘piquancy’ of a less evolved consciousness than the narrative’s own.
Like some infant Hercules who wouldn’t be dressed’, ). ) It is impossible for us to imagine reading an Isabel who says yes to Caspar; the whole dynamic of The Portrait runs against it. Yet at that late moment his offer is suddenly almost overwhelmingly tempting. It is not the open-air fresh reasonableness of his arguments that tempts Isabel, but an erotic she has never opened to before; it reaches her now perhaps just because she is broken down and in extremity. Revising the novel in , James is careful to specify that this sex which tempts her is bodily, animal, participatory (‘the very taste of it, as of something potent, acrid, and strange, forced open her set teeth’, ); not the etherised swoonings Yellow Book seducees were prone to.
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