Christ I | |
---|---|
Also known as | Advent Lyrics or Christ A |
Author(s) | Anonymous |
Language | Old English |
Date | Unknown, possibly around 800 |
Series | Old English Christ poems, along with Christ II and Christ III |
Manuscript(s) | Exeter Book, folios 8r-14r |
Genre | Religious poem in 12 subsections |
Subject | The Advent of Christ |
Christ I (also known as Christ A or (The) Advent Lyrics) is a fragmentary collection of Old English poems on the coming of the Lord, preserved in the Exeter Book. In its present state, the poem comprises 439 lines in twelve distinct sections. In the assessment of Edward B. Irving Jr, "two masterpieces stand out of the mass of Anglo-Saxon religious poetry: The Dream of the Rood and the sequence of liturgical lyrics in the Exeter Book ... known as Christ I". [1]
The topic of the poem is Advent, the time period in the annual liturgical cycle leading up to the anniversary of the coming of Christ, a period of great spiritual and symbolic significance within the Church — for some in early medieval Europe a time of fasting, and the subject of a sermon by Gregory the Great (AD 590-604). [2] The Old English lyrics of Christ I, playing off the Latin antiphons, reflect on this period of symbolic preparation.
Christ I is found on folios 8r-14r of the Exeter Book, a collection of Old English poetry today containing 123 folios. The collection also contains a number of other religious and allegorical poems. [3] Some folios have been lost at the start of the poem, meaning that an indeterminate amount of the original composition is missing. [4]
Christ I, concerning the Advent of Jesus, is followed in the Exeter Book by a poem on Jesus's Ascension composed by Cynewulf, generally known in modern scholarship as Christ II , which in turn is followed by Christ III , on the Last Judgment. Together these three poems comprise a total of 1664 lines, and are in turn linked to the poems that follow, Guthlac A and Guthlac B . The sequence of Christ I-III is sometimes known simply as Christ, and has at times been thought to be one poem completed by a single author. Linguistic and stylistic differences indicate, however, that Christ I-III originated as separate compositions (perhaps with Christ II being composed as a bridge between Christ I and Christ III). Nevertheless, Christ I-III stands as an artistically coherent compilation. [5]
The text also contains glosses by Laurence Nowell from the sixteenth century or George Hickes from the seventeenth. [6]
Because Christ II is signed by Cynewulf, earlier scholarship supposed that Christ I might also be his work; [7] but recent research agrees that the authorship is unknown. [8] [5] : 4–5 Claes Schaar suggested that the poem may have been written between the end of the eighth century and the beginning of the ninth. [8]
The following passage describes the Advent of Christ and is a modern English translation of Lyric 5 (lines 104-29 in the numbering of the Anglo-Saxon Poetic Records):
Ēala ēarendel, engla beorhtast, | Hail Earendel, brightest of angels, |
As presented in the Exeter Book, Christ I is divided into five sections, each marked by a large capital, a line-break, and punctuation, as follows: lines 1-70, 71-163, 164-272, 275-377, 378-439. [7] : 15
However, researchers have found it helpful to understand Christ I as comprising twelve sections or 'lyrics'. Each lyric is introduced with a selection from a Latin antiphon (verses from Scripture sung before and after the reading of a psalm chosen to reflect the fundamental ideas presented in the psalm), followed by lines of poetry in Old English which expand on that source. Most of the antiphons used are known as the O Antiphons , which receive their name because they all begin with the Latin interjection O (rendered in the poem with the Old English interjection ēalā). [10] [11] [12] Medieval manuscripts of the O Antiphons vary in order and content, meaning that the precise sources for several of the Christ I lyrics are uncertain. [13] [7]
Several of the Greater Antiphons are not used in Christ I, leading some scholars speculate that, since we know that the beginning of Christ I is missing, the missing antiphons ("O Sapientia", "O Adonai", and "O radix Jesse") were originally used in the poem but have been lost. [14]
The following table summarises the content and sources of each of the twelve lyrics. Unless otherwise stated, information on sources comes from Burgert [7] : 51 and the antiphon text from Bamberg State Library, MS Misc. Patr. 17/B.11.10, folios 133-62, 10c. [13] : 12–14
lyric | lines | folios | topic | OE incipit | sources | greater antiphon? |
---|---|---|---|---|---|---|
1 | 1-17 | 8r | Christ as repairer of a broken house. | lost | O, rex gentium et desideratus carus, lapisque angularis qui facis utraque unum, veni, salva hominem quem de limo formasti | Y |
2 | 18-49 | 8r | Christ as redeemer of humankind and Mary's conception of Jesus. | Eala þu reccend ond þu riht cyning | O, clavis David et sceptrum domus Israel, qui aperis et nemo claudit, claudis et nemo aperit, veni et educ vinctos de domo carceris smedentes in tenebris et umbra mortis. | Y |
3 | 50-70 | 8r-9r | Jerusalem's eager awaiting of Christ. | Eala sibbe gesihð, sancta Hierusalem | O, Hierusalem, civitas Dei summi, leva in circuitu oculos tuos et vide Dominum Deum tuum, ecce jam veniet solvere te a vinculo. | Y |
4 | 71-103 | 9r-9v | Mary's merits and the wonder of her conception. | Eala wifa wynn geond wuldres þrym | O, virgo virginum, quomodo fiat istud, quia nec primo te similis visa es, nec habebis sequentem? Filiae Hierusalem, quid me admiramini? Divinum est mystérium hoc quod cernitis. | Y |
5 | 104-29 | 9v | Christ as the morning star. | Eala earendel, engla beorhtast | O, oriens, splendor lucis aeternae et sol justiciae, veni et inlumina sedentes in tenebris et umbra mortis. | Y |
6 | 130-63 | 9v-10r | Christ's redemption of humankind. | Eala gæsta god, hu þu gleawlice | O, Emmanuel, rex et legifer noster, expectatio gentium et sal vatio earum, veni ad salvandum nos, jam noli tardare. | Y |
7 [15] | 164-213 | 10r-11r | A dialogue between Joseph and Mary, as Joseph doubts Mary's virginity. | Eala Ioseph min, Iacobes bearn | O, Joseph, quomodo credidisti quod antea expavisti? Quid enim? In ea natum est de Spiritu Sancto quem Gabrihel annuncians Christum esse venturum. | N |
8 | 214-74 | 11r-11v | Christ as king. | Eala þu soða ond þu sibsuma | O rex pacifice | Y |
9 | 275-347 | 11v-12v | Mary as queen of heaven. | Eala þu mæra middangeardes | O mundi domina | Y |
10 | 348-77 | 12v-13r | The fulfilment of Isiah's prophecy. | Eala þu halga heofona dryhten | Isaiah 7:14 | N |
11 | 378-415 | 13r-13v | Praise of the Trinity and of the Seraphim. | Eala seo wlitige, weorðmynda full | Sanctus, Sanctus, Sanctus, Dominus deus sabaoth. Pleni sunt caeli et terra gloria tua, osanna in excelsis. Benedictus qui uenit in nomine domini, osanna in excelsis [13] The song of Seraphim (Isaias 6:3 ff. and Matthew 21:9) | N |
12 | 416-39 | 13v-14r | How people should praise Christ. | Eala hwæt, þæt is wræclic wrixl in wera life | O admirabile commercium | N |
The order of antiphons that the author uses for the lyrics imply that the poet was not concerned about any distinctions between antiphons, or the order that he had found them in his sources. [14] Upon analysis of the position of each poem, no rational order can be found, suggesting that the order of each poem in the sequence is unimportant. [16]
J.R.R. Tolkien was influenced by the following lines from Christ I (lines 104-5), which inspired his portrayal the character Eärendil in his legendarium and is one of many examples of the Old English word middangeard which partly inspired Tolkien's fantasy world: [17]
Eálá Earendel engla beorhtast | Hail Earendel brightest of angels, |
Tolkien wrote "There was something very remote and strange and beautiful behind those words, if I could grasp it, far beyond ancient English." [18]
Old English literature refers to poetry and prose written in Old English in early medieval England, from the 7th century to the decades after the Norman Conquest of 1066, a period often termed Anglo-Saxon England. The 7th-century work Cædmon's Hymn is often considered as the oldest surviving poem in English, as it appears in an 8th-century copy of Bede's text, the Ecclesiastical History of the English People. Poetry written in the mid 12th century represents some of the latest post-Norman examples of Old English. Adherence to the grammatical rules of Old English is largely inconsistent in 12th-century work, and by the 13th century the grammar and syntax of Old English had almost completely deteriorated, giving way to the much larger Middle English corpus of literature.
TheDream of the Rood is one of the Christian poems in the corpus of Old English literature and an example of the genre of dream poetry. Like most Old English poetry, it is written in alliterative verse. The word Rood is derived from the Old English word rōd 'pole', or more specifically 'crucifix'. Preserved in the tenth-century Vercelli Book, the poem may be as old as the eighth-century Ruthwell Cross, and is considered one of the oldest extant works of Old English literature.
Cynewulf is one of twelve Old English poets known by name, and one of four whose work is known to survive today. He presumably flourished in the 9th century, with possible dates extending into the late 8th and early 10th centuries.
Aurvandill is a figure in Germanic mythology. In Norse mythology, the god Thor tosses Aurvandill's toe – which had frozen while the thunder god was carrying him in a basket across the Élivágar rivers – into the sky to form a star called Aurvandils-tá. In wider medieval Germanic-speaking cultures, he was known as Ēarendel in Old English, Aurendil in Old High German, Auriwandalo in Lombardic, and possibly as auzandil in Gothic. An Old Danish Latinized version, Horwendillus (Ørvendil), is also the name given to the father of Amlethus (Amleth) in Saxo Grammaticus' Gesta Danorum.
Crist is the title of any of three Old English religious poems in the Exeter Book. They were initially believed to be a three-part work by a single late 9th and early 10th century author, but more recent scholarship has argued that the works are more likely of differing origins.
The Exeter Book, also known as the Codex Exoniensis or Exeter Cathedral Library MS 3501, is a large codex of Old English poetry, believed to have been produced in the late tenth century AD. It is one of the four major manuscripts of Old English poetry, along with the Vercelli Book in Vercelli, Italy, the Nowell Codex in the British Library, and the Junius manuscript in the Bodleian Library in Oxford. The book was donated to what is now the Exeter Cathedral library by Leofric, the first bishop of Exeter, in 1072. It is believed originally to have contained 130 or 131 leaves, of which the first 7 or 8 have been replaced with other leaves; the original first 8 leaves are lost. The Exeter Book is the largest and perhaps oldest known manuscript of Old English literature, containing about a sixth of the Old English poetry that has survived.
"Wulf and Eadwacer" is an Old English poem in alliterative verse of famously difficult interpretation. It has been variously characterised, (modernly) as an elegy, (historically) as a riddle, and as a song or ballad with refrain. The poem is narrated in the first person, most likely with a woman's voice. Because the audience is given so little information about her situation, some scholars argue the story was well-known, and that the unnamed speaker corresponds to named figures from other stories, for example, to Signý or that the characters Wulf and Eadwacer correspond to Theoderic the Great and his rival Odoacer. The poem's only extant text is found at folios 100v-101r in the tenth-century Exeter Book, alongside other texts to which it possesses qualitative similarities.
The Wanderer is an Old English poem preserved only in an anthology known as the Exeter Book. It comprises 115 lines of alliterative verse. As is often the case with Anglo-Saxon verse, the composer and compiler are anonymous, and within the manuscript the poem is untitled.
The Seafarer is an Old English poem giving a first-person account of a man alone on the sea. The poem consists of 124 lines, followed by the single word "Amen". It is recorded only at folios 81 verso – 83 recto of the tenth-century Exeter Book, one of the four surviving manuscripts of Old English poetry. It has most often, though not always, been categorised as an elegy, a poetic genre commonly assigned to a particular group of Old English poems that reflect on spiritual and earthly melancholy.
Saint Guthlac of Crowland was a Christian hermit and saint from Lincolnshire in England. He is particularly venerated in the Fens of eastern England.
The Vercelli Book is one of the oldest of the four Old English Poetic Codices. It is an anthology of Old English prose and verse that dates back to the late 10th century. The manuscript is housed in the Capitulary Library of Vercelli, in northern Italy.
"Juliana", is one of the four signed Old English poems ascribed to the mysterious poet, Cynewulf, and is an account of the martyring of St. Juliana of Nicomedia. The one surviving manuscript, dated between 970 and 990, is preserved in the Exeter Book between the poems The Phoenix and The Wanderer. Juliana is one of only five Old English poetic texts that describe the lives of saints.
Christ II, also called The Ascension, is one of Cynewulf's four signed poems that exist in the Old English vernacular. It is a five-section piece that spans lines 440–866 of the Christ triad in the Exeter Book, and is homiletic in its subject matter in contrast to the martyrological nature of Juliana, Elene, and Fates of the Apostles. Christ II draws upon a number of ecclesiastical sources, but it is primarily framed upon Gregory the Great’s Homily XXIX on Ascension Day.
"The Ruin of the Empire", or simply "The Ruin", is an elegy in Old English, written by an unknown author probably in the 8th or 9th century, and published in the 10th century in the Exeter Book, a large collection of poems and riddles. The poem evokes the former glory of an unnamed ruined ancient city that some scholars have identified with modern Bath, juxtaposing the grand, lively past with the decaying present.
Andreas is an Old English poem, which tells the story of St. Andrew the Apostle, while commenting on the literary role of the "hero". It is believed to be a translation of a Latin work, which is originally derived from the Greek story The Acts of Andrew and Matthew in the City of Anthropophagi, dated around the 4th century. However, the author of Andreas added the aspect of the Germanic hero to the Greek story to create the poem Andreas, where St. Andrew is depicted as an Old English warrior, fighting against evil forces. This allows Andreas to have both poetic and religious significance.
"The Husband's Message" is an anonymous Old English poem, 53 lines long and found only on folio 123 of the Exeter Book. The poem is cast as the private address of an unknown first-person speaker to a wife, challenging the reader to discover the speaker's identity and the nature of the conversation, the mystery of which is enhanced by a burn-hole at the beginning of the poem.
The Phoenix is an anonymous Old English poem. It is composed of 677 lines and is for the most part a translation and adaptation of the Latin poem De Ave Phoenice attributed to Lactantius. It is found in the Exeter Book.
Guthlac A and Guthlac B are a pair of Old English poems written in celebration of the deeds and death of Saint Guthlac of Croyland, a popular Mercian saint. The two poems are presented consecutively in the important Exeter Book miscellany of Old English poetry, the fourth and fifth items in the manuscript. They are clearly intended to be considered two items, judging from the scribe's use of large initials at the start of each poem. Guthlac A begins on 32v, and Guthlac B begins on 44v.
"Maxims I" and "Maxims II" are pieces of Old English gnomic poetry. The poem "Maxims I" can be found in the Exeter Book and "Maxims II" is located in a lesser known manuscript, London, British Library, Cotton Tiberius B i. "Maxims I" and "Maxims II" are classified as wisdom poetry, being both influenced by wisdom literature, such as the Havamal of ancient Germanic literature. Although they are separate poems of diverse contents, they have been given a shared name because the themes throughout each of the poems are similar.
Christ III is an anonymous Old English religious poem which forms the last part of Christ, a poetic triad found at the beginning of the Exeter Book. Christ III is found on fols. 20b–32a and constitutes lines 867–1664 of Christ in Krapp and Dobbie's Anglo-Saxon Poetic Records edition. The poem is concerned with the Second Coming of Christ (parousia) and the Last Judgment.
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