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and His works.God firstcreated heaven as a roofformen, then the Earth for
them."The inspirationofthepiece may wellbe liturgical.6
Beforeexaminingthe Hymnwitha view to determining
the natureof its language, it willbe well to stressthe fact that orallycomposedpoetryby unlettered
singers- or occasionallyby letteredsingerscomposingaccordingto the technique oftheirunletteredfellows- as opposed to the workofletteredpoets with
readyaccess to writingmaterials,is put togethernot wordby wordwithdeliberationand at leisurebut rapidlyin thepresenceofa liveaudienceby meansofreadymade phrases fillingjust measures of isochronousverse capable of expressing
every idea that the singermay wish to expressin various metricalsituations.
the verseofthe
These phrasesmay be called formulasand theiruse distinguishes
orally composed poems of unletteredsingerswhetherAnglo-Saxon,Faroese,7
or Serbo-Croatian,1"
Finnish,8Hlomeric,9
to mentionno others.It is quitepossible,
6
la.
53
11See Coleridge'spreliminary
statementor headnoteto the poem in ErnestHartley Coleridge,ed.,
ThePoemsofSamuel TaylorColeridge,
etc. (Oxford,1917), pp. 295-297.
12 Reportedin David Masson, The Life of Milton,vi (London, 1880), 464-466, quotingthe poet's
nephew,Edward Phillips,to the effectthat Milton composed"in a parcel of ten, twenty,or thirty
verses at a time, which being writtendown by whateverhand" (fromWilliam Godwin, Life of
Milton [London, 18151,pp. 130, 376). Masson supplementsthis with a statementby Jonathan
Richardsonthat Milton used to composefortylines at a time,summonone of his daughtersat any
old hour, and dictate the same. Richardson furtherspeculates that Milton ultimatelyknew all
Paradise Lost by heart; thisby no means unequalled prodigyofmemorywould,ofcourse,be possible
ifpeople read aloud the (fixed)text of the poem to him again and again as it progressed.
13 Parry
I, 80.
Idem,I, 85 ff.
are essentiallybased on G. P. Krapp and E. V. K. Dobbie, edd.,
Quotationsand line-references
TheAnglo-SaxonPoeticRecords,I-VI (New York: ColumbiaUniversityPress,1931-53), withspellings
normalizedon the basis ofearlyWest Saxon as set forthin Les LanguesModernes,XLV (1951), 68-69.
in a threelettercode ofthe titlesofthe poems citedhereare based on the KrappTitle-abbreviations
Dobbie titles;abbreviationsforthe titlesofall Anglo-Saxonpoems willappear in a forthcoming
issue
of EtudesAnglaises.
14
16
54
55
2. THE DATE OF CIEDMAN'S DREAM, HIS AGE AT THAT TIME, AND HIS
LITERARY BACKGROUND
56
"Saban Rahmanovic in Bihac told us [Parryand Lord] that he did not learn
to sing untilhe was about twenty-eight
in 1935) and that he
(he was forty-five
learnedhis songsfromsong-books,the Matica hrvatska
in particular.Althoughhe
could not read, somebodyhad read themto him. But he had also heard theolder
singersin his district.... In the case of Saban it is verypossible that he had
heard many singerswhen he was young- he admits having heard his uncle
sing- but thathe did notattemptto learntheart untillater."'7
Since the learningperiodof an oral singeris extendedand posits a protracted
periodoflisteningto oldersingersand ofabsorbingformulasand themes,thereis
no reason to suppose that Anglo-Saxonsingersordinarilydevelopedtheirart in
fromthe Yugoslavs. Since,however,as willappear
any substantialway different
pp. 58-59, below, Caedman must have learned to sing well beforehis public
appearance beforethe angel and the Whitby community,it makes little differenceat what age we imaginehis debut. To his monasticaudience it evidently
seemed late - old - and one mightas well imaginehim as fortyishor fiftyish
as anythingelse. In any event,once he got going,he may actuallywellhave gone
on singingto a ripeold age indeed."8
Caedman'sliterarybackgroundconsistedof everysong and storyhe ever listened to, traditionaland secular or, relativelynovel in the Anglo-Saxonworld,
religious,whetherfromsingersof tales or frompriestsor nuns tellinghim Bible
stories.All thisconstituteda literarybackgroundas much as thoughit had come
to himthroughhis eye ratherthan his ear. At the timeBede's storybegins,it is
clearthat therewas a traditionofsingingtraditionalsongson the Whitbyestate.
The basis of the careersof the overwhelming
majorityof oral singersconsistsin
listeningto othersingers,ordinarilytheirelders,and thisis impliedin Caedman's
case by the words "in convivio,cum esset laetatis causa decretum,ut omnes
per ordinemcantare deberent"; in Caedman'sset singingwas patentlya commonlypracticedart. Amongthe Anglo-Saxonsin generalthe singingof songs,
usually probablyto the accompanimentof a harp,was a favoredformof entertainmenton festiveoccasionsas witnessedin Beowulfby the settingof the Creation hymn(89b-98), of the varioussongsimpliedin 856b ff.,of the Lay of Finn
(1063-1159a), singingin the same settingpickedup again in 2107-13a (wherewe
firstlearn that Hropgar was a singerin his own right),and in Widsip 66-67b
and 103 ff.'9Csxdmanhad no doubt heardmuchsingingin the courseofhislifeon
and offthe monasticestate.
One may appropriatelyask what sort of singingCaedmanwould have heard
Lord, thesis,p. 46.
There wereaged singersamongthe subjectsofLord and Parryand similarly,includingwomenas
well as men,amongFinnishruno-singers,
as reportedin Comparetti,op. cit. (note 8 above), p. 18 and
n. 1,p. 21 and n. 1; Krohn,op. cit.(note 8 above), FFC, No. 53, p. 20.
19On the harp see n. 4, above. On antiphonal singing,possibly referredto in Widsi]3103-104
("Wit Scielling. . . sang ah6fon"), see Stefan Einarsson, "VaixelsAngi Widsifb(?),Sturlungaoch
Finland," Budiavlen,xxx (Turku/Abo,1951), 12-32; on Finnishpracticesee Comparetti,pp. 69-71,
Krohn,loc.cit.,pp. 29-30. There is a mosteffective
painting,done in 1845by the PolishartistG. Budkowskiand preservedin the FinnishNational Museum (Suomen Kansallismuseo) in Helsinkiof the
runo-singers
Olli Kymaliainenand Pietari Makkonen,singingthus with the kantele.
17
18
57
The language and the subject matterof the Hymn,as of the late poem Christ
and Satan previouslydiscussed,20
raises the questionofthe existenceof Christian
poetrybeforeCaedman'sday. The highlytraditional,formulaiclanguage of the
Hymninclu(desa numberof formulaswhichcannot be easily imaginedto have
been createdor used in pre-ChristianEngland, all withreferencesto the Deity:
Weard (la), Metodesmeahte(2a), Wuldor-fceder
heofon-ritees
(3a), cee Dryhten
(4a, 8a), Frea eall-mihti3(9b), and hdli3Scieppend (6b), the last only by chance
not representedelsewherein the poetry.There are eightreferencesto the Deity
in eighteenverses,makingup forty-four
plus per cent of the poem. It mightbe
argued that Caedmaninventedthese and the other formulasin his sleep, but
20 See SPECULUM, XXVIII
(1953), 454-458.
58
The numberof times that Bede speaks of Caedmanas having been divinely
aided both in the compositionof the Hymn,and by inference,his referencesto
Caedman'spoetic giftas a matterof divinegrace, makes quite clear that Bede
and almost surely the communityof Whitby viewed C.Tdman's suddenly acquired abilityto sing in public (or fromtheirpoint of view,perhaps,to sing at
all) as an authenticmiracle.2'It is not unlikelythat Bede in good measureincludedthe storybecause he viewedit as a miracleor at least highlysupernatural.
But the Middle Ages weregenerallyspeakingless criticalof miraclesthan is the
Churchtoday and thus it may be easier and morenaturalhere to seek fora rationalexplanationof the eventin question.
Accordingto Bede's reportCLedmanwas in the habit oflisteningto the singing
of Anglo-Saxon,and thereseems to have been a singingtraditionin the XYhitby
presumablyof songs on traditionalsubjects. It would furtherseem
community,
thathisfriendshad somenotionthathe could singifhe would,otherwisewhydid
they urge him to sing in turn?One does not urge a person to play the violinin
public if one knowsthat he has never taken a lesson or had the instrumentin
his hands. Nor can any Tom, Dick, or HIarrylivingin a communitywherethere
is oral singingsingifhe is not a singer.Here one mightsuspectthat CLedmanoccasionallysang when alone or thoughthe was alone, say, when out in the fields
tendinghis flockand that on one or moreoccasionshe had been overheard.For
21 Cp. C. Grant Loomis, "The Miracle Traditionsof the VenerableBede," SPECTLTLM,
xxi (1946),
404-418. On the wide-spreadstoryofthe giftofsongacquiredin one's sleep (ultimatelyperhapsbased
on experiencessimilarto Coedman's?)see A. H. Smith,op. cit. (note 2 above), p. 14 (with understandingcomment)and n. 2; also Magoun, "The Praefatioand VersusAssociatedwith Some OldSaxon Biblical Poems" in Mediaeval Studiesin Honor of JeremiahD. M. Ford (Cambridge,Massachusetts:Harvard UniversityPress,1948), p. 117 and n. 28, p. 135; thislatterstory,patentlymodelled
on Bede, has no independentvalue and tellsus nothingsubstantialabout any Old-Saxonsinger.The
jarlsskalds (?9),
Icelandic storyof the shepherdHallbjorn, told at the very end of Porleifs 6dttur
with the revenantskald porleifursubstitutingfor
offerssome interestinganalogies in stage-setting,
Caedman'sheavenlyvisitor(Gutni J6nsson,fslendingas6gur,viii [Reykjavik, 1947],233-234).
parallel but totallyunrelatedstoryof MoThe curiousreader is referredto the extraordinarily
hammed'sfirstrevelation(see Koran, SQirah96, 1-5) receivedfroman angel near Mecca about A.D.
609: "He was asleep or in a trancewhenhe heard a voice say: 'Read!' He said: 'I cannotread.' The
voice again said: 'Read!' He said: 'I cannotread.' A thirdtimethe voice, moreterrible,commanded:
'Read!' He said: 'What can I read?' The voice said: 'Read: In the name of thy Lord Who createth,
Createthman froma clot,'" etc., quoted fromMohammed Marmaduke Pickthall, The Meaning of
the GloriousKoran: An ExplanatoryTranslation(New York: The New AmericanLibrary, 1951;
Allenand Unwin),pp. x, 445.
59
the compositionof the Hymnand forhis subsequentsingingon Biblical and related themeshe must have commandedall necessaryformulas,unless one assumesa truemiracleor disbelievesBede's statement.This commandofformulas
and generaltechniqueafterthe dream can only mean a commandof the same
beforethe dream,in a word,that Caedmanhad been learningthem over a long
time,sincechildhoodor, ifa late starter,since earlymanhood.His real and sole
would seem then to have been only an unconquerablefearand consedifficulty
quent inabilityto sing beforean audience, to have sufferedin effecta kind of
he may have been like a stammererwho can speak quite clearly
stage-fright;
when alone. On the nightof the dream,as no doubt on otheroccasions,he obviouslywanteddesperatelyto be able to singin publicand clearlyexpressedthis
wishin the dream by, in effect,orderinghimselfto perform- aftersome (self-)
urging- beforethe heavenlyvisitor."Mihi cantarehabes," he makes the angel
in mindto singforme," as indeedhe did. The
say to him: "You have [something]
dreamamountedto a call forhelp and, as it was evolving,may well have had for
Caedmansomeofthe aspects ofa nightmare:he was beingmade (thoughby himself) to sing beforea stranger,an audience,if only of one. The dreammay have
workedlike shocktreatmentand have brokenthe block. In any event,afterthe
dream Caedmanwas able and willingto singand, fromall accounts,to sing fluentlyand well, thoughonly on the basis of materialassociated withpiety and
religion.
It willpresumablyneverbe possibleto interpretCaedman'sdreamcompletely
or to everybody'ssatisfactionbut any rational interpretation
of the "miracle"
would seem to point in the generaldirectionsuggestedhere.In any case thereis
no reason to doubt the essentialfactsreportedby Bede on the basis, direct or
indirect,ofWhitbytradition.
5. CAEDMAN'SULTIMATE REPERTORY
60
61
6O2,,
7. CONCLUSION
CHART
N(uwe sculonherian heofon-ric'es
Weard,
Metodesmeahte and His mod-3ePanc,
weorcWuldor-faeder,
swa he wundragehwoes,
ce6eDryhten, or (var.ord)onstealde.
5 He aerest
(3e)scop ielda(var. eorban)bearnum
heofon
to hrofe hali3Scieppend;
J'amiddan-3eardmann-cynnes
Weard,
ceceDryhten aefter
teodefirum
foldan Freaeall-mihti3.
la Gen816 N(ume mae3hreowan;And 1517Nu 1p'meaht3ecnawan;Ele 511 N(u PI'
meaht3ehieran;
Bwf395N' 3e m6tongangan.lb Gen1363,1484,1744,2073;Exo 486
Weard;And52 heredeon heortan,
Dan 12,26; XSt 420 N(ui6 Pechalsie/ heofon-rices
91;Glc611,789;Met11,31;PPs 90,1;Ps 50,113
197,445,718;DrR
heofon-riesWeard;Ele
KtH 2; JdgII 70.2a XSt 352;And694;Dan 169Poethe woldeMetodes/ meahte3eliefa]
537 Metodesmeahta,658, Gen189 Metodesmeahtum.Cp. Dan 20 Metodesm0e3ens
2b Met31,19; cp.Gen(B
ciepe;Phx6 PurhMetodesmeaht;Met29,48 Metodescrmefte.
253sw1a
Bwf1729mannes
Gen93,1524,2341
mihiti3ne
/ on hismod-3epoht;
mod-3epanc;
3a Cp. Chr21'
2647mod-3epances
(instr.);Max I 123Pxerbipmannes/ mod-3epancas.
wundra(paes
3b Cp. frequent
mid PlnneWuldor-faeder;
Men 147 mid Wuldor-faeder.
fela(orworn)in Grein-Kohler.
4a Aza 128,Bwf108,Sol 251;PPs 53,4, 70,18,20,71,IC
casesnote:gen.sing.de
8. In inflected
73,17,78,1 etseq.;PsFr 5, 1, 2, 87,89,19; Cw,d
Brb16,Men12;c'ean Dryhtnes
Gen7, 1885;Chr396,711;Phx600;PPs 67,E
Dryhtnes
9,68,29; dat.sing.cecumDryhtne
Bwf2796,Jdg11 37; SmP 26; acc. sing.cf6neDryhtei
PPs 55, 9, 65, 1, 3, 7; aecanDryhtenBwf1692,1779,2330.4b Bwf2407;Rdl 3, 59 o
3escope
onstelle;XSt 113ordonstealdon.
5a Gen112Her restscop;Met20, 53 werest
Aza 128Paoet
oer3escop;also OrW38 Hwaet,onfrym4e
3escOp;Phx 84 Se hiton fryml
3escop;Gen1278JaHe'Adamscop.5b Gen2472;Chr937,Ord99(-a);Run76; cp.furthe
bearnumDan 6926,
XE
dryhtabearnumGen993,Men 220,Par 25, Glc 1103(-a);haelebe
398,581,Chr1591,Bwf2224(-a); leodabearnumChr1424;mannabearnumGen40Z
63
1554,PPs 135, 7, 144, 11; nippabearnumGen 1135(-a), 1284, Rdl 37, 6(-a), Bwf 1005(-a),
Men 196, Run 27, PPs 58, 5(-a).
6a No supportingevidence. 6b Cp. Grein-Kohlerforfrequentha1i3Dryhtenand Chr
417 milde Sceppend. 7a Dan 636 stod middan-3eard;Gen 986 Pes middan-3eard,1554
eall Pes middan-3eard;Glc 521 Paet he middan-3eard;Rdl 31, 1 Is Pes middan-3eard;
Wan 62 Swa Pes middan-3eard.Cp. frequentadv. gen. middan-3eardes,formingan
A-verse,e.g., Gen 136, 1206, 1378,and otherpoems. 7a Gen2758, 2896. 8a See 5a, above.
8b Cp. Gen469, 623 aefterlibban; Bwf 12, aeftercenned,2731 aefterwurde; And 182, Jul
197 aefterweortan; Rdl 39, 23 aeftergangeP.9a No supportingevidence.9b Gen 5, 116,
150, 173, 852, 904, 1359, 1427; Chr 1379; Jud 301; PPs 68, 14, 69, 6, 85, 17.