Genesis B

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The first folio of Genesis B, depicting Adam and Eve in the Garden of Eden. With modern lineation and punctuation, the text reads:
"ac niotad inc thaes odres ealles, forlaetad thone aenne beam,
wariad inc wid thone waestm. Ne wyrd inc wilna gaed."
Hnigon tha mid heafdum heofoncyninge
georne togenes and saedon ealles thanc,
lista and thara lara. He let heo thaet land buan,
hwaerf him tha to heofenum halig drihten,
stidferhd cyning. Stod his handgeweorc
somod on sande, nyston sorga wiht
to begrornianne, butan heo godes willan
lengest laesten. Heo waeron leof gode
denden heo his halige word healdan woldon. Bodleian Libraries, Caedmon Manuscript 13.jpg
The first folio of Genesis B, depicting Adam and Eve in the Garden of Eden. With modern lineation and punctuation, the text reads:
"ac niotað inc þæs oðres ealles, forlætað þone ænne beam,
wariað inc wið þone wæstm. Ne wyrð inc wilna gæd."
Hnigon þa mid heafdum heofoncyninge
georne togenes and sædon ealles þanc,
lista and þara lara. He let heo þæt land buan,
hwærf him þa to heofenum halig drihten,
stiðferhð cyning. Stod his handgeweorc
somod on sande, nyston sorga wiht
to begrornianne, butan heo godes willan
lengest læsten. Heo wæron leof gode
ðenden heo his halige word healdan woldon.

Genesis B, also known as The Later Genesis, is a passage of Old English poetry describing the Fall of Satan and the Fall of Man, translated from an Old Saxon poem known as the Old Saxon Genesis . The passage known as Genesis B survives as an interpolation in a much longer Old English poem, the rest of which is known as Genesis A , which gives an otherwise fairly faithful translation of the biblical Book of Genesis. Genesis B comprises lines 235-851 of the whole poem.

Contents

Genesis B and Genesis A survive in the partially illustrated Junius Manuscript. The manuscript is incomplete, having in particular missing pages (conjectured to be two leaves, or four sides) between pages 22 and 23, meaning that the transition point between Genesis A and Genesis B is lost.

Background

The fall of the angels in Genesis B. Bodleian Libraries, Caedmon Manuscript 16.jpg
The fall of the angels in Genesis B.

Scholars once believed that the legendary first Old English poet Cædmon was responsible for not only the Genesis poems but also the entire Junius Manuscript. This theory has long since been disregarded. [1]

Eduard Sievers realised that Genesis B was originally separate from Genesis A in the 1870s: by philological and stylistic analysis, he showed that these lines must have been translated from an Old Saxon (continental Low German) original. In 1894 his hypothesis was dramatically confirmed by the discovery of parts of the Old Saxon original in a manuscript in the Vatican: about two dozen lines of the Old Saxon text coincide almost word-for-word with part of Genesis B. [2]

Content and controversy surrounding the text

Genesis B is a strikingly original and dramatic retelling of the Fall of the Angels and the Fall of Man.

Genesis B depicts the fall of Lucifer from heaven, at which point he is renamed "Satan" and assumes authority as the ruler of Hell. The text goes on to describe the temptation and subsequent fall of Adam and Eve from God's grace, but the account presented in this manuscript differs largely from any other version. Oldrieve addresses this controversy in terms of the language used to describe Satan's bodily form. According to Genesis B, Satan appears to Adam as an angel, as opposed to the serpent which typically represents Satan. [3] Woolf even goes as far as to compare Satan to Loki of Norse mythology, stating that the similarities between the two are "undoubtedly sufficient". [4] The controversies, however, are not as superficial as the depiction of the devil, which is still crucial to the overall meaning of the poem, but complicate much more significant plot points and characters. One of these major differences that Hill cites is the portrayal of Eve; while Genesis A claims that Eve is motivated by the desire to be more God-like, Genesis B shows that she was tempted by Satan and is instead trying to help save Adam by fulfilling God's wishes. [5] Oldrieve's conclusion that Eve was so deceived by the devil and his words that she believed she saw an angel instead of a serpent blend these two controversies and offer further support of Eve's innocence and lack of manipulation, [6] much like the discrepancy noted by Hill.

The issue of language, the philology, is also a concern of Timmer's, a scholar referenced several times throughout other scholars’ interpretations of Genesis B. He discusses the discrepancies between versions of the fall of Adam and Eve and attributes them to problems with the translation from Old Saxon to Old English, offering reason as to how specific words are construed to have a meaning different than those found in any other Old English manuscript. [7] A different explanation is offered by Doane; he argues that many of the discrepancies are a result of the extended time period between the oral telling of the story and the transcribing of the story by the Old Saxons, causing embellishment to heighten the literary drama of the text. [8]

Translations

Many scholars who translate Genesis B give significant evidence to the reasoning behind their translations, due to the complicated nature of the text. Oldrieve chooses to focus on maintaining the beauty of the text in her translation in order to portray the “vivid and lifelike characterization of Satan, Adam, and Eve”. [9] Similar to Oldrieve, Woolf uses the text to further explore the portrayal of the devil throughout Old English poetry; in Genesis B alone, she compares Satan to Loki, as mentioned before, along with other Norse gods, and Weland of Beowulf, the latter which she cites as Timmer's original idea. [10] Timmer's goal in transcribing the text, since he does not offer a direct translation, was to represent a complete rendering of the text based on manuscripts and several other transcriptions and translations he encountered, similar to Doane. He goes on to acknowledge the discrepancies he still encounters, despite his thorough investigation of the text. [11]

Relationship with Paradise Lost

Genesis B makes Satan a central character, giving him a monologue which provides an extensive opportunity for character development. This literary approach is similar to that of John Milton's seventeenth-century epic Paradise Lost . Since Milton was acquainted with Franciscus Junius (the younger), who owned Julius 11 and made some attempt to read it, it has been speculated that Genesis B was one inspiration for Paradise Lost. [12] [13] [14]

Editions and translations

See also

Related Research Articles

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<span class="mw-page-title-main">Junius manuscript</span> Tenth century illustrated manuscript in the collections of the Bodleian Library

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<i>Genesis A</i>

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<i>Christ and Satan</i> Old English alliterative poem

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<i>Exodus</i> (poem)

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<span class="mw-page-title-main">Cædmon's Hymn</span> Old English poem composed 658 to 680

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<span class="mw-page-title-main">Battle of Brunanburh (poem)</span> Old English poem

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Genesis is an Old Saxon Biblical poem recounting the story of the Book of Genesis, dating to the first half of the 9th century, three fragments of which are preserved in a manuscript in the Vatican Library, Palatinus Latinus 1447. It and the Heliand, a heroic poem based on the New Testament, a fragment of which is also included in the same manuscript, constitute the only major records of Old Saxon poetry. It is also the basis of the Anglo-Saxon poem known as Genesis B, and Eduard Sievers postulated its existence on linguistic evidence before the manuscript was discovered.

References

  1. Weston Wyly 2007, p. 212.
  2. Breul 1898, p. 174.
  3. Oldrieve 2010, para. 3.
  4. Woolf 1953, p. 2.
  5. Hill 1975, p. 280.
  6. Oldrieve 2010, para. 4.
  7. Timmer 1948, p. 19.
  8. Doane 1991, p. 48.
  9. Oldrieve 2010, para. 11.
  10. Woolf 1953, p. 3.
  11. Timmer 1948, p. 67.
  12. Lever 1947.
  13. Bolton 1974.
  14. Ramazzina 2016.

Bibliography

Additional reading