Cædmon's Hymn

Cædmon's Hymn is a short Old English poem originally composed by Cædmon, an illiterate cowherd, in honour of God the Creator. It survives in a Latin translation by Bede in his Historia ecclesiastica gentis Anglorum and in vernacular versions written down in several manuscripts of Bede's Historia. The poem forms a prominent landmark and reference point for the contemporary study of Old English prosody, for the early influence which Christianity had on the poems and songs of the Anglo-Saxon people after their conversion, and for the historical foundations of English literature at large.

Like many Old English and Anglo-Latin pieces, it was designed to be sung aloud and was never physically recorded by Cædmon himself, but was written and preserved by other literate individuals. The Hymn itself was composed between 658 and 680, recorded in the earlier part of the 8th century, and survives today in at least 14 verified manuscript copies.

Although there is some debate as to whether or not the inscriptions upon the Ruthwell Cross or Franks Casket may deserve this title, it is often agreed upon by scholars that Cædmon's Hymn is the earliest documented oral poem in English history."^[1]

Cædmon

Main article: Cædmon

Bede writes about the poet and his work in the fourth book of his Historia ecclesiastica gentis Anglorum.^[2] The Hymn is Cædmon's sole surviving composition.

Manuscript evidence

One of two candidates for the earliest surviving copy of Cædmon's Hymn is found in "The Moore Bede" (ca. 737) which is held by the Cambridge University Library (Kk. 5. 16, often referred to as M). The other candidate is St. Petersburg, National Library of Russia, lat. Q. v. I. 18 (P)

All copies of the Hymn are found in manuscripts of the Historia ecclesiastica or its Old English translation, where they serve as either a gloss to Bede's Latin translation of the Old English poem, or, in the case of the Old English version, a replacement for Bede's translation in the main text of the Historia. Despite this close connection with Bede's work, the Hymn does not appear to have been transmitted with the Historia ecclesiastica regularly until relatively late in its textual history. Scribes other than those responsible for the main text often copy the vernacular text of the Hymn in manuscripts of the Latin Historia.

In three cases, Oxford, Bodleian Library, Laud Misc. 243, Oxford, Bodleian Library, Hatton 43, and Winchester, Cathedral I, the poem is copied by scribes working a quarter-century or more after the main text was first set down.^[3] Even when the poem is in the same hand as the manuscript's main text, there is little evidence to suggest that it was copied from the same exemplar as the Latin Historia: nearly identical versions of the Old English poem are found in manuscripts belonging to different recensions of the Latin text; closely related copies of the Latin Historia sometimes contain very different versions of the Old English poem. With the exception of the Old English translation, no single recension of the Historia ecclesiastica is characterised by the presence of a particular recension of the vernacular poem.^[4]

Text and translation

The manuscripts containing Cædmon's Hymn began to emerge in the 8th century all the way through the twelfth. They show two separate manuscript environments. They show the transformation of the hymn as it goes from an oral tradition to a literate one. In the West Saxon Translation of the Historia ecclesiastica, the Hymn is made a part of the main text. However, in the Latin translation, the hymn appears only as a gloss to the paraphrase of the song. Between the fourteen manuscripts, the hymn only appears in two dialects. The importance of the two translations is that it shows the formatting practices of Latin and Old English during those five centuries. The word division, capitalization, punctuation, as well as where the text is found on the page all helps to give fuller understanding to the Old English language which at the time was new to being written, as well as to its Latin counterpart, which is considered a textual language.^[5]

The 8th-century Latin manuscripts of Historia ecclesiastica contain pronounced visual cues to help with the proper reading of the hymn. This is done by way of capitalization and placing the text in two distinct columns. In later editions of Historia the hymn is laid out with each verses first capital written in red, and the end of each verse written in a lighter color. The lighter ink expresses a caesura in the text while the darker ink shows a terminal punctuation. All this helped to differentiate between the hymn and the surrounding Latin prose, which has led some experts^[who?] to believe that these visual cues were needed to properly read the versus. The Latin copies of the hymn are not the same as the Old English copies. The old English lack the general uniformity in style that the Latin copies possess. There are variations of the subject (we), and in some copies it is eradicated all together. It is believed by some experts that some manuscripts were not written as copies of previous manuscripts, but written by memorization. Despite the differences in the Hymn found in the Old English manuscripts, each copy of the hymn is metrically, semantically, and syntactically correct. These manuscripts bear testament of a supposed transitional period where oral poems were being placed into written word with the specific purpose of giving a predetermined message to its reader.^[6] The translation of Cædmon's Hymn makes it readily available for a larger audience but greatly discredits the beauty. It loses the alliteration that only the original had. As the various manuscripts of the hymn show, as the hymn continues to be translated from old English to Latin to modern English, it loses more and more of its original self. In some sections entire lines do not translate at all.

Old English	Latin	Modern English
Nu scilun herga hefenricæs uard metudæs mehti and his modgithanc uerc uuldurfadur sue he uundra gihuæs eci dryctin or astelidæ he ærist scop aeldu barnum hefen to hrofæ halig sceppend tha middingard moncynnæs uard eci dryctin æfter tiadæ firum foldu frea allmehtig.	Nunc laudare debemus auctorem regni caelestis potentiam Creatoris et consilium illius facta Patris gloriae quomodo ille cum sit aeternus Deus omnium miraculorum auctor extitit qui primo filiis hominum caelum pro culmine tecti dehinc terram Custos humani generis omnipotens creauit	Now we must praise heaven-kingdom’s Guardian, the Measurer’s might and his mind-plans, the work of the Glory-Father, when he of wonders of every one, eternal Lord, the beginning established. He first created for men's sons heaven as a roof, holy creator; then middle-earth mankind’s Guardian, eternal Lord, afterwards made- for men earth, Master almighty.

Form and role in Old English prosody

Cædmon's Hymn is often approached as if it were a poem, even though the Historia ecclesiastica refers to the work as a song and despite the fact that Cædmon designed it to be an oral piece that praised and worshipped God. It is seldom considered by hymnologists as an actual hymn since it does not meet the formal and structural criteria of hymnody. By modern standards, a "true" hymn must be metrical, having verses that are equal in length, as well as a controlled syllable count. A hymn must also contain a refrain that can be sung in "antiphonal responsive liturgies",^[7] have a balanced structure, and a closure where the syllables mimic the opening line. Cædmon’s Hymn, as we know it today, does not qualify as a true hymn since its more poetic structure does not align with the modern standards of hymnody. Although the suprasegmentals in the hymn's original form seem to show that when it was constructed it would have been regarded as a true hymn, it has been primarily considered by scholars since the 16th century as a poem.

Nearly all Old English poetry (whether or not it was written or sung) follows the same general verse form. Since rhyme was nonexistent in early Old English poetry, and would not become a component of the period's prosody until its later stages, one of the central literary device of the Hymn is alliteration (the repetition of similar sounds at the beginning of words or in stressed syllables). As was common with poetry of the period, the nine lines of the Hymn are divided into eighteen half-lines by a medial caesura(pause or break in the middle of the line); the four principle stresses of each line are in turn divided evenly, allotting each half line with two stresses.^[8] It is generally acknowledged that the text can be separated into two rhetorical sections (although some scholars believe it could be divided into three), based on theme, syntax and pacing; the first being lines one to four and the second being lines five to nine.^[9] Undoubtedly, it is often difficult to savor the content and complexities of Cædmon's Hymn when reading its modern English equivalent, but even Bede himself stated (in regards to his own Latin translation of Cædmon's Hymn) that, "it is impossible to make a literal translation, no matter how well written, of poetry into another language without losing some of the beauty and dignity^[10]” of the piece.

In seeking to understand the mechanics of the oral Old English verse, experts of oral-formulaic analysis have tried to duplicate the supposed creating process of Anglo-Saxon poets. By unmaking the old verses and trying to remake them using the formulas of the time period, it has been found that Old English poetry does have a traditional formulaic style. However, it is believed that the poetry that comes from this period is a result of a transitional time in literature, where oral poems and songs were being translated and modified for the purpose of reading. This process would have been more than likely done by English monks and clergymen, who not only were educated in Christian Latin literature but were familiar with oral traditions and translating them into written poetry.^[11]

Originality and significance

It is doubtful that the majority of readers today (regardless of whether or not they are familiar with Old English religious poetry) would find the form and content of Cædmon’s Hymn to be radically innovative or awe-inspiring—but this is where “we are led astray by our knowledge of later poetry.”^[12] Since Cædmon’s compositions had been produced in such a short time after Northumbria had been converted to Christianity, the diction and content of his Hymn would have hardly been considered conventional or banal. Cædmon utilized a form of Anglo-Saxon poetry traditionally used for the veneration of kings and princes, and altered the vernacular in a way that would cause it to refer to God instead of a monarch. For instance, the phrase rices weard (keeper of the kingdom) was changed to heofonrices weard (keeper of the kingdom of heaven), in order to shift the emphasis away from earthly kings to his Godly king. Despite the great deal of scholarly debate and speculation as to whether or not there existed pre-Cædmonian Christian composers from which Cædmon may have been influenced, the evidence that exists makes it “seem reasonably clear that Cædmon coined the Christian poetic formulas that we find in the Hymn,” which influenced and were employed by generations of later poets. Cædmon’s work “had a newness that it lost in the course of time,” but it has been asserted by many that his poetic innovations “entitle him to be reckoned a genius.”^[13]

Notes

1. ^ O'Keeffe, Katherine O'Brien. "Orality and the Developing Text of Caedmon’s Hymn." Speculum 62.1 (Jan, 1987): 222. JSTOR. Web. 24 February 2010. http://www.jstor.org/stable/2852564
2. ^ Bede, Historia ecclesiastica, ed. Colgrave. Book IV, chapter 22.
3. ^ See Ker 1957, arts. 341, 326 and 396; also O’Keeffe 1990, p. 36.
4. ^ Compare the recensional identifications for witnesses to the Old English Hymn in Dobbie 1937 with those for manuscripts of the Latin Historia in Colgrave and Mynors 1969, pp. xxxix-lxx.
5. ^ O'Keeffe, Katherine O'Brien. p. 226
6. ^ O'Keeffe, Katherine O'Brien. p. 244
7. ^ Altman, Rochelle, p. 4.
8. ^ “Caedmon’s Hymn.” The Norton Anthology of English Literature. 8th ed.1. 2006. 19-20. Print.
9. ^ O’Donnell, Daniel P. “Bede’s Strategy in Paraphrasing Caedmon’s Hymn.” Journal of English and Germanic Philogoy 103.4 (October, 2004)JSTOR.Web. 3 March 2010.
10. ^ "Caedmon’s Hymn." The Norton Anthology of English Literature. 8th ed.1. 2006. p. 26. Print
11. ^ Stevick, Robert D. “The Oral-Formulaic Analyses of Old English Verse.” Speculum 37.3 (Jul, 1962):382-383. JSTOR. Web. 3 March 2010.
12. ^ Malone, Kemp. “Modern Language Notes.” The Johns Hopkins University Press 76.3 (1961): 193-195. JSTOR. Web. 26 February 2010.
13. ^ Malone, Kemp. p. 194

References

• Bede, Historia ecclesiastica gentis Anglorum, ed. and tr. Bertram Colgrave and R. A. B. Mynors (1969). Bede's Ecclesiastical History of the English People. Oxford Medieval Texts. Oxford: Clarendon. 
• Bammesberger, Alfred (2008). "Nu Scylun Hergan (Caedmon's Hymn, 1a)". ANQ: A Quarterly Journal of Short Articles, Notes, and Reviews (EBSCO) 21.4: 2–6. 
• Altman, Rochelle (2008). "Hymnody, Graphotactics, and 'Cædmon's Hymn'". Philological Review (EBSCO) 34.2: 1–27. 
• Dobbie, E. v. K. (1937). The manuscripts of Cædmon's Hymn and Bede's Death Song with a critical text of the Epistola Cuthberti de obitu Bedae. Columbia University Studies in English and Comparative Literature 128. New York: Columbia. 
• Richards, Mary P., ed (1994). Anglo-Saxon Manuscripts: Basic Readings. New York: Google Books. 
• O'Keeffe, Katherine O'Brien (January 1987). "Orality and the Developing Text of Caedmon's Hymn". Speculum (JSTOR) 62.1: 1–20. 
• Stevick, Robert D. (July 1962). "The Oral-Formulaic Analyses of Old English Verse". Speculum (JSTOR) 37.3: 382–389. 
• O'Donnell, Daniel P. (October 2004). "Bede's Strategy in Paraphrasing Caedmon's Hymn". Journal of English and Germanic Philology (JSTOR) 103.4. 
• "Caedmon’s Hymn". The Norton Anthology of English Literature (8th ed. ed.). 2006. pp. 18–26. 
• Malone, Kemp (1961). Modern Language Notes (JSTOR) 76.3: 193–195. 

Further reading

• Fry, D.K. (1974). Cædmon as a Formulaic Poet. pp. 227–47. 
  • Also published as: Fry, D.K. (1975). "Cædmon as a Formulaic Poet". In J.J. Duggan. Cædmon as a Formulaic Poet. Edinburgh and New York. pp. 41–61. 

External links

• Kiernan, Kevin S.. "Reading Cædmon’s “Hymn” with Someone Else’s Glosses". http://www.uky.edu/~kiernan/ReadingCH/ReadingCH.htm. 
• Verse Translation of Caedmon's Hymn at Poems Found in Translation, also includes an audio recording