Today saw the release of Trinity House Review‘s premier issue! THR is a journal dedicated to serious poets doing work that tends to the transcendent in human life, to craft, and to “the hallows of a haunted age” (from their opening editorial). It’s an honor to be included in its pages and with such terrific poets.
My translation of the Old English “A Journey Galdor” (usually called “A Journey Charm” by editors) appears in the issue. The galdru are a strange “genre” of poetic and prose texts in Old English: half-prayer, half-magic, half-recipe. (!) They are a relic of a time when the self was more porous than moderns tend to think of it.
“A Journey Galdor” is one of my favorites of the genre, because it is a prayer for protection (and so, very practical) and because of its vague mentioning of various kinds of early Germanic “terrors”. This is a world in which elves and dragons and other wights are still very much a live option and need to be defended against. It’s a hoot, and deadly earnest.
I always say I’m excited to announce a new book. But this time I’m even more excited than normal. Gracewing in the UK has done me a great favor in bringing out a book that pulls out all the stops. O Shining Light: Old English Meditations for Advent and Christmastide is the first stand-alone, poetic translation of the Old English Advent Lyrics, a poem that opens the Exeter Book. (The Exeter Book is the first anthology of English poetry, copied down in the southwest of England sometime in the later tenth century.) You can get a copy here!
The Advent Lyrics are a set of short meditations on the “O Antiphons” sung at Vespers leading up to Christmas, and several others. (O Come, O Come Emmanuel” is based on the O Antiphons too.) The early English poet gave us a heartfelt, brooding, and celebratory poem. At the same time, it can be hard for modern readers to see what he is doing clearly at first blush, so we’ve included commentary that breaks open the poetic and theological riches of the poem too. Guides for individual and group reflection too make the book perfect for devotional Advent reading.
I’m particularly delighted because of the following features: my wife Mamie and I collaborated on the Introduction and Commentary; Daniel Mitsui provided illustrations inspired by Anglo-Saxon manuscript illustrations that frame the poem thru-out; Br. Paul Quenon, a terrific poet, photographer, and Cistercian monk, provided a welcoming and astute foreword; and the crew at Gracewing set the work in splendid typeface imitative of Anglo-Saxon script. It’s a poet’s (this poet’s) dream book.
Oh, and for anyone who might want to hear the original poem read aloud, I have posted audio files of myself reading the lyrics here. You can follow along in your book, just like when we were kids! 🙂
I’m delighted to (belatedly) announce that my translation of the Old English poem “The Ruin” appears in the newest issue of Presence, a great journal run by great people.
I read the poem in the audio file below, but here’s some basic context too:
“The Ruin” is a poem found in the tenth-century Exeter Book, which is the first anthology of English poems and a great treasure of English speakers’ literary inheritance. The poem is spoken by an Anglo-Saxon as he stands before what seems to be a Roman ruin in Britain, and he meditates on the transience of culture and human life as he marvels at what the ruin suggests about the creative energies that once existed where he stands. In my translation, I take this scene and “update” it to a Euro-American standing in front of a Middle Woodland burial mound in Milwaukee, WI’s Lake Park, with the same kind of brooding on transience etc.
The picture below shows the Lake Park mound (the green slope between trees with the stone marker on top) and the audio provides a reading of part of the original Old English and of the whole Modern English translation.
I hope you enjoy what was an immensely rewarding project for me.
I am very grateful to the selection committee, especially because this was Cistercian Publications‘ first foray into the Old English textual world and because the volume attempts to find a somewhat new audience for Old English literary culture. I was also pleasantly surprised because there are especially so many solid and important editions of Old English and Anglo-Latin texts being done by respected scholars every year.
Thank you, ISAS, Cistercian Publications, and Saint Æthelwold!
Marquette University has one of the most impressive collections of Tolkien writing and materials in the world (including the original hand-written manuscripts of The Lord of the Rings and The Hobbit!). Luckily, I happen to work within a stone’s throw of this magnificent collection.
The archivist for the Special Collections and University Archives, Bill Fliss, is spearheading a new project that seeks to compile an oral history of Tolkien fans’ testimony on why they find the Professor so captivating (interviews are limited to three minutes). They’re looking to collect “6,000 audio interviews, one for each of the Riders of Rohan that Théoden mustered and led to the aid of Gondor.” (Yes, it’s geeky, but delightful too!) My interview was just posted, and was lots of fun to prep for and do. Very low pressure!
If you’re in the Milwaukee area, you can contact the Archive to set up a time to come in, or if you’re elsewhere, you can give your interview remotely as well.
St. Æthelwold’s Day is upon us again! On this day in 984, St. Æthelwold passed on to his eternal reward, as the saying goes. I’m currently teaching two classes and in the midst of writing three different books, so unfortunately I am not able to post a translation of a hymn in honor of Æthelwold today as I did last year, but I will post at least another collect and translation below.
But I will make one Æthelwold-related suggestion: anyone interested in Æthelwold’s legacy, the English Benedictine Reform generally, and especially their influence on English culture and literature would do well to check out John D. Niles’s new book out from Exeter University Press, God’s Exiles and English Verse, an excellent new and comprehensive study of the tenth-century Exeter Book. The Exeter Book is the first anthology of English poetry, and it contains some of the great poems that have come down to us from Anglo-Saxon England. As it was made in the cultural orbit of the Benedictine Reform, Niles reads the whole manuscript in light of this movement, and when I read his book last month I was both impressed and delighted.
Next year, I’m hoping to have a translation of the Middle English verse Life of St. Æthelwold done for his day. As I assume I won’t find a publisher in a journal for that one, I’ll likely publish it here. Stay tuned.
Anyhow, for today, here’s my translation of a collect for Æthelwold’s feast, found in Alencon Bibl. mun. 14 and edited in Lapidge and Winterbottom, The Life of St. Æthelwold, p. cxv:
Deus, qui preclari sideris sancti pontificis Adeluuoldi illustratione nouam populis Anglorum tribuisti lucem hodierna die clarescere, tuam suppliciter imploramus clementiam ut cuius magisterio totius religionis documenta cognouimus illius et exemplis informemur et patrociniis adiuuemur. Per [Dominum nostrum Christum. Amen.]
O God, who by the illumination of the bright star of the bishop Æthelwold have today made a new light to shine upon the English people, we humbly implore your mercy that we might be formed by the example and aided by the protection of him by whose teaching we have found the model of all religious observance. Thru [Christ our Lord. Amen.]
It is my great pleasure to share that Dr. David Grubbs of the Christian Humanist Radio Network recently invited me to sit down and talk about my work with St. Aethelwold’s Old English translation of the Rule of St. Benedict (and other Anglo-Saxon things), and the interview is now available here.
We had a great time, and while we geeked out over all kinds of Anglo-Saxon things, we also wanted to keep the conversation grounded in order to invite folks into a relatively specialized topic. That is to say: you don’t need to be a student of medieval history or literature to follow the interview, so please do give a listen!
Thanks again to Dr. Grubbs and everyone there at The Christian Humanist!
Tomorrow, my class on Old English poetry will be discussing the poem known as “The Order of the World.” The poem is found in the tenth-century Exeter Book (the first anthology of English poetry!) and is one of my favorite Old English poems.
The poem is a self-referential exploration of the power of verbal art set up as a kind of challenge to its audience to trade wisdom with its speaker. It begins by noting the power that poetry has to convey the wisdom begotten by the “sage who ponders the world, / holding in the meditation of his heart / what many have recounted in rhythmic recitations.” The speaker exhorts the audience to listen to his herespel (praise poem), which turns out to be a meditation on the nature of the sun reminiscent of Psalm 19. But herein lies the poem’s skill–the herespel becomes a “script” or a model for how contemplation of creation operates to lift the attentive mind (mens intenta in Gregory the Great’s vocabulary) to the Creator. And so he “shows” his audience how poetry conveys the mysteries of creation after he “tells” them it does. An artful poem all the way.
In my chapbook, Lofsangas, I translated this poem and gave it the title “Se Woðbora,” referring to one of the speaker’s epithets for himself from the poem’s second line. I read the original Old English and then my translation in the audio file below.
While I will be posting about other things very soon, given my recent preoccupation with all things Æthelwoldian I thought I’d share the news that, yes!, it is St. Æthelwold’s Day today.
For anyone reading this who may be unfamiliar with St. Æthelwold, he was an Anglo-Saxon bishop and abbot who was a primary architect of the religious and political movement we call the Anglo-Saxon Benedictine Reform in the tenth century, which had huge implications for English religious life, the English state, and (most importantly to me) Old English literature. (More here.)
St. Æthelwold passed away (was “born into eternal life,” as his contemporaries would have thought of it) on August 1st, 984. His communities at Winchester and abroad “culted” him shortly after his death. This means they made him a saint by celebrating the anniversary of his death in the liturgy; this was long before “official canonization.” The technical word for this anniversary of a saint’s death is “deposition” (really referring to the body’s interment in a grave, but close enough…).
Though St. Æthelwold’s cult never spread very far, he is still recognized in the Roman Martyrology as a saint. There, it says:
“Vintoniæ in Anglia, depositio sancti Ethelwoldi, episcopi, qui, Regularem Concordiam illam exaravit ad monasticam disciplinam redintegrandam, quam a sancto Dunstano didicerat.”
Which means, more or less:
“At Winchester, in England, the deposition of St. Æthelwold, bishop, who composed the Regularis Concordia in order to renew monastic discipline, which he had learned from St. Dunstan.”
(The Regularis Concordia was the document intended to standardize daily observance of the monastic life throughout England, agreed upon at the Council of Winchester ca. 973 and thought to have been largely drafted by St. Æthelwold himself.)
In addition to the Roman Rite of the Catholic Church still venerating him, the Ordo (liturgical outline of the Church year) for the Personal Ordinariates of Our Lady of Walsingham and of the Chair of St. Peter also commemorate him, though the Ordinariates’ calendars place Æthelwold together with Sts. Dunstan and Oswald on St. Dunstan’s traditional feast day of May 19th.
Despite Æthelwold’s leaving a less-than-spectacular mark on the liturgical front, I’ve decided to make a good showing for this year’s deposition. Below, you can find a hymn and a collect prayer for St. Æthelwold’s feast day that were likely composed by his student, Wulfstan of Winchester. Wulfstan was the precentor, or liturgical director/composer, at Winchester’s Old Minster, where Æthelwold was buried (note that the hymn says “here before your holy limbs”/”Hic coram tuis artubus”). Both are from a manuscript known by the shelf-mark Alençon, Bibliothèque Municipale 14.
The hymn is octosyllabic Latin verse, and I’ve done a rough-and-ready English translation into octosyllabic verse too; the text for both is found below the audio. The audio immediately following this paragraph is a recording of the hymn being chanted in Latin and English to a traditional setting for octosyllabic hymns from the Divine Office, which was taught to me by a former Premonstratensian. (Disclaimers: 1) I have no idea whether or not this setting or something like it would have been used in the tenth century–likely not, but it’s in the same stream of tradition so I use it here; 2) I have no training in singing generally, nor in Gregorian chant specifically–this is just to give a taste or hint of what such things would sound like.)
The Latin text goes like this (edited by Michael Lapidge and Michael Winterbottom in their The Life of St. Æthelwold):
Celi senator inclite
Sancte pastor ecclesie:
O Adeluuolde supplices
Tuos exaudi seruulos!
Iam sidus inter sidera
Resplendens super ethera,
Nobis benignus impetra
Paracliti karismata.
Pronis rogamus mentibus
Hic coram tuis artubus:
Nostris adesto precibus
Serenus ac propitius.
Vt tuis necessariis
Protecti patrociniis,
Ad celorum perpetua
Perueniamus gaudia.
Prestet nobis Ingenitus
Hoc atque Vnigenitus
Sanctus amborum Spiritus
Trinus et unus Dominus!
The translation:
O heav’nly representative
and good shepherd of holy Church,
O father Æthelwold, hear us,
grant good end to your servants’ search.
Now brightest star among the stars,
shining resplendent in the sky,
obtain for us you blesséd man,
the Holy Spirit’s gifts most high.
We beg you with our souls prostrate
before your body’s holy limbs,
attend to all our earthly prayers:
calm, gentle healing of our sins,
that in our weakness protected
by patronage that you employ
we might be led to the heavens
rejoicing in perpetual joy.
May the Inborn and Holy Source
and Unbegotten Only Son
and Holy Spirit of them both,
the Three-in-One, grant this to us. Amen.
And here’s the collect (Latin again from Lapidge and Winterbottom):
Deus, qui hodiernam diem beati confessoris tui Adeluuoldi episcopi transitu nobis honorabilem dedicasti, concede propicius ut cuius eruditione ueritatis tue luce perfundimur, eius intercessione celestis uite gaudia consequamur. Per.
And a translation:
God, who have dedicated this glorious day for us thru the passing away of your blessed confessor Æthelwold, kindly grant that we may obtain the joys of heavenly life through the intercession of the one through whose erudition we have been imbued with the light of your truth. Though [our Lord Jesus Christ your Son, who lives and reigns with you and the Holy Spirit, one God, forever and ever. Amen.]
As part of my continued efforts to make available more obscure resources for understanding the cultural, intellectual, and religious context of the culture in which Old English poetry was copied down, I have created a page on my website for translations of texts that are difficult to find.
The two installments (no more are planned right now, but if folks find them helpful for themselves or students and let me know, I’d be happy to do more) are both documents providing some background to the early moves of the Anglo-Saxon Benedictine Reform. I have heard both of these texts referenced in classes once or twice throughout my studies, but never actually read them. I found out recently that at least part of why I never read them is that there aren’t readily available Present Day English translations. Hence the new page.
Both texts have to do with the refounding of monasteries in Winchester. Why Winchester? It was the seat of royal power at the time, it had a bishop’s see, there was a growing city in the period with agriculture and craftspeople, and St. Æthelwold became bishop there, establishing a school that would shape Anglo-Saxon music, manuscript illustration, and the standardizing of the Old English language for decades.
The first text is a translation of the New Minster Charter from 966. Written in the voice of King Edgar, it was almost certainly composed by Æthelwold, and it is a surprisingly elaborate charter written in gold lettering and including an illustration of King Edgar that visually situates the grandeur and limits of royal power. The charter was likely intended to sit on the New Minster’s altar for the monks and the visitors to see, and it was meant to be read aloud throughout the year (though the chapter that promises to describe that process is missing.) The text places the refounding of Winchester’s New Minster in the context of salvation history, blesses those who will help the monks, condemns those who would hinder them, and notes that the monks will be able to choose their own abbot, all in a surprisingly elaborate way.
The second text is a letter from Pope John XII (+964) that gives permission to King Edgar (+975) and St. Æthelwold (+984) to eject secular priests from the Old Minster in Winchester and to set up monks in their place. The letter is important 1) in showing the papal blessing on innovations in church governance that the Reform was pursuing, like having monastic cathedral chapters and monks electing bishops (both of which were unique at this time in the western church), and 2) it helps attenuate somewhat a picture of St. Æthelwold as a particularly harsh figure. (An excellent treatment of how this perspective came to be can be found in Alison Hudson‘s article.) Though we do not want to understand such actions naively, the letter translated here provides context for Æthelwold’s actions at Winchester’s Old Minster in 964–namely, that King Edgar had received permission for the expulsion from Pope John XII via a letter to the pope from St. Dunstan (+988), archbishop of Canterbury. Æthelwold was the agent on the ground, as it were, but it is good to keep in mind that he was acting in concert with other powerful forces.
These pieces can help interested readers and students of western monasticism and Old English literature understand a bit more of the institutional conduits through which the majority of Old English, and lots of Anglo-Latin, was copied, preserved, and passed down the centuries.
