For the folklorists and linguists who are serious students of what has been designated "a minor genre," the riddle is, in fact, a complex linguistic and aesthetic structure that, when subjected to systematic and scientific study, reveals a great deal about the major human systems-such as language, culture, and art-with which it is inextricably bound up. Riddles conform to a model of communication made up of a code and an encoded message that is first transmitted and then decoded. As what Professors Pepicello and Green term "a licensed artful communication," the riddle employs quite ordinary language in conventional ways to satisfy the demands placed upon it as the art form that it is. And as an art form, the riddle is subject to constraints that are semiotic (some primary graphic, aural, or other code), aesthetic (artistic conventions that are also semiotic), and grammatical (linguistic restrictions). The riddle operates, therefore, within a cultural framework that is entirely predetermined, and represents what Pepicello and Green designate "a conventional performance." The signified of riddles is not easily defined; and indeed it is possible-perhaps even necessary-to distinguish several signata. All riddles, the authors point out, whether they are based on grammatical or metaphorical ambiguity or represent one of the transitional types they identify, are solvable within the confines of the culture in which they have been constructed and in which they are posed. But the signified of a riddle is not its answer. Nor is it an object or a situation. Rather it is the code employed by the riddle itself. Riddles are therefore metalinguistic: ways of using language to deal with language-ways of using language to gain mastery over language. W. J. Pepicello is director of humanities and social sciences in the School of Allied Health Professions at Hahnemann University in Philadelphia. Thomas A. Green is associate professor of English at Texas A&M University.

Perhaps the most enigmatic cultural artifacts that survive from the Anglo-Saxon period are the Old English riddle poems that were preserved in the tenth century Exeter Book manuscript. Clever, challenging, and notoriously obscure, the riddles have fascinated readers for centuries and provided crucial insight into the period. In Say What I Am Called, Dieter Bitterli takes a fresh look at the riddles by examining them in the context of earlier Anglo-Latin riddles. Bitterli argues that there is a vigorous common tradition between Anglo-Latin and Old English riddles and details how the contents of the Exeter Book emulate and reassess their Latin predecessors while also expanding their literary and formal conventions. The book also considers the ways in which convention and content relate to writing in a vernacular language. A rich and illuminating work that is as intriguing as the riddles themselves, Say What I Am Called is a rewarding study of some of the most interesting works from the Anglo-Saxon period.

This Book of Riddles is loaded with new and classic mind bending logical conundrums, number puzzles, visual tricks, and more fun for the whole family.

The vibrant and enigmatic Exeter Riddles (ca. 960–980) are among the most compelling texts in the field of medieval studies, in part because they lack textually supplied solutions. Indeed, these ninety-five Old English riddles have become so popular that they have even been featured on posters for the London Underground and have inspired a sculpture in downtown Exeter. Modern scholars have responded enthusiastically to the challenge of solving the Riddles, but have generally examined them individually. Few have considered the collection as a whole or in a broader context. In this book, Patrick Murphy takes an innovative approach, arguing that in order to understand the Riddles more fully, we must step back from the individual puzzles and consider the group in light of the textual and oral traditions from which they emerged. He offers fresh insights into the nature of the Exeter Riddles’ complexity, their intellectual foundations, and their lively use of metaphor.

Originally published in 1990 by Routledge, Dictionary of Riddles is a collection of nearly 1500 of the most cryptic and entertaining riddles from history. Drawn from sources throughout the world, the collection ranges from earthy medieval jokes about fleas, worms and vegetables to the sophisticated puzzles composed by literary figures from Schiller, Swift, Voltaire, Rousseau and Cervantes to Edgar Allan Poe, Lewis Carroll and J.R.R. Tolkien. The book traces the history of riddles from their origins in antiquity through the golden age of the Renaissance, to their decline into the nursery and the first few signs of their modern revival, and draws together all the strands of the riddling art. Dictionary of Riddles received a Special Commendation in Reference Review’s Best Specialist Reference Books of 1990 Awards.

"The art of posing riddles is possibly as old as mankind and spans two apparent extremes which, nevertheless, converge in the riddlic form: that of wisdom and that of play. With this perspective in mind, the author examines the poetic enigmas present in the culture of Anglo-Saxon England, exploring both the Anglo-Latin riddles of Aldhelm and those recorded in the Exeter Book. His study investigates the Old English riddlic texts from a variety of angles, arguing for the possibility of establishing patterns of Anglo-Saxon riddlic composition as such. The author intends to prove that both the Exeter collection and the Aenigmata of Aldhelm are constructed on the grounds of an identifiable structure of interrelations and interdependencies. Additionally, he argues that the riddlic mode of literary representation is also visible in other Anglo-Saxon poetic compositions. The analysis of such an assumption leads to the conclusion that the predilection for the riddle form in Anglo-Latin and Anglo-Saxon poetry results from an Old English vision of the Christian world".--BOOKJACKET.

A collection of riddles on a wide range of topics for jokesters of all ages.