Exeter Riddle 26
MEGANCAVELL
Date: Mon 11 Aug 2014Matching Commentaries: Commentary for Exeter Riddle 26
Mec feonda sum feore besnyþede,
woruldstrenga binom, wætte siþþan,
dyfde on wætre, dyde eft þonan,
sette on sunnan, þær ic swiþe beleas
5 herum þam þe ic hæfde. Heard mec siþþan
snað seaxses ecg, sindrum begrunden;
fingras feoldan, ond mec fugles wyn
geond speddropum spyrede geneahhe,
ofer brunne brerd, beamtelge swealg,
10 streames dæle, stop eft on mec,
siþade sweartlast. Mec siþþan wrah
hæleð hleobordum, hyde beþenede,
gierede mec mid golde; forþon me gliwedon
wrætlic weorc smiþa, wire bifongen.
15 Nu þa gereno ond se reada telg
ond þa wuldorgesteald wide mære
dryhtfolca helm, nales dol wite.
Gif min bearn wera brucan willað,
hy beoð þy gesundran ond þy sigefæstran,
20 heortum þy hwætran ond þy hygebliþran,
ferþe þy frodran, habbaþ freonda þy ma,
swæsra ond gesibbra, soþra ond godra,
tilra ond getreowra, þa hyra tyr ond ead
estum ycað ond hy arstafum
25 lissum bilecgað ond hi lufan fæþmum
fæste clyppað. Frige hwæt ic hatte,
niþum to nytte. Nama min is mære,
hæleþum gifre ond halig sylf.
A certain enemy robbed me of my life,
stole my world-strength; afterward he soaked me,
dunked me in water, dragged me out again,
set me in the sun, where I swiftly lost
5 the hairs that I had. Afterward the hard
edge of a knife, with all unevenness ground away, slashed me;
fingers folded, and the bird’s joy
[spread] over me with worthwhile drops, often made tracks,
over the bright border, swallowed tree-dye,
10 a portion of the stream, stepped again on me,
journeyed, leaving behind a dark track. Afterward a hero
encircled me with protective boards, covered me with hide,
garnished me with gold; therefore the wonderful
work of smiths glitters on me, surrounded by wire.
15 Now those ornaments and the red dye
and that wondrous dwelling widely worship
the protector of the people, not at all foolish in wisdom.
If the children of men wish to enjoy me,
they will be the more sound and the more victory-fast,
20 the bolder in heart and the more blithe in mind,
the wiser in spirit, they will have more friends,
dear and near, faithful and good,
upright and true; then their glory and prosperity
will increase with favour and lay down
25 goodwill and kindness and in the grasp of love
clasp firmly. Find what I am called,
useful to men. My name is famous,
handy to heroes and holy in itself.
Notes:
This riddle appears on folios 107r-107v of The Exeter Book.
The above Old English text is based on this edition: Elliott van Kirk Dobbie and George Philip Krapp, eds, The Exeter Book, Anglo-Saxon Poetic Records 3 (New York: Columbia University Press, 1936), pages 193-4.
Note that this edition numbers the text Riddle 24: Craig Williamson, ed., The Old English Riddles of the Exeter Book (Chapel Hill: University of North Carolina Press, 1977), pages 82-3.
Tags: anglo saxon exeter book riddles old english solutions riddle 26
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Commentary for Exeter Riddle 26
MEGANCAVELL
Date: Fri 22 Aug 2014Matching Riddle: Exeter Riddle 26
Let me warn you now: I’m sick and I might be contagious. Oh wait…this is the internet, and that’s not how germs work. Still, if this commentary comes across as particularly grumpy or incoherent, now you know why.
So, Riddle 26, eh? Straight from the inappropriate touching of root vegetables to animal martyrs and religious book-making in one fell swoop…no one ever said the Exeter Book compiler was a person of limited interests. “But why, oh why, are you so sure we’re dealing with religious book-making?” you might ask. My un-sick self would probably answer something like “What a good question. Let’s take a look at the scholarship.” My sick self, on the other hand, is going to reply thusly: “Because I bothered to read the riddle, and it’s soooooooooo obvious, and everyone else agrees with me anyway, you cheeky imaginary questioner, you.” Then I might stop to realize that I’m having this debate in my head and you, real-life readers, were probably on the same page as me the whole time. Sigh.
Anyway, let’s all stop arguing with myself and look at the details of the solution. I’ve listed Book, Bible and Gospel Book, although Hide has also been suggested in the past. Of course, we’re dealing with a period when book-making involved using the skins of animals (sheep, goats, cows, etc.), so all four of these solutions are really interconnected.
Here’s a photo of parchment drying in Pergamena’s workshop from April Hannah Llewellyn’s (no longer live) website.
The question is, then, whether we’re dealing with a particularly religious book or not. Well, the reference to the ornamentation of the book being used to worship the dryhtfolca helm (protector of the people) in lines 16b-17a does seem to imply a Christian context. If you’re not convinced, then perhaps the even more strongly religious implications of the final line and a half will change your mind: Nama min is mære, / hæleþum gifre ond halig sylf (My name is famous, / handy to heroes and holy in itself). So, it’s a religious book then (case closed!). But why quibble between Bible and Gospel Book? Because it seems that complete Bibles were fairly rare in early medieval England (see Niles, pages 118-19). This is not to say that the early English didn’t have access to biblical texts (whether in Old English or in Latin). Of course they did! It’s just that they didn’t necessarily all travel together in a tidy package. That’s why Gospel Book, or godspell-boc in Old English (or Cristes boc, as Niles solves it on page 141), is a solid suggestion.
Here is a VERY PRETTY picture of an 8th-century Latin gospel book known as the Codex Aureus of Canterbury (folios 9v and 10r). Photo (by David Stapleton (Dsmdgold) from Wikimedia Commons (public domain).
But let’s look a bit more at the contents of the poem. The first thing that strikes me and likely strikes most people (probably since it’s…well…the first thing we read) is the nastiness of the opening lines. In identifying with whichever animal provided the raw material, the speaker accuses the book-maker of being feonda sum (a certain enemy) who robs and steals the animal’s life and strength. This may sound a bit out of place for a religious text: shouldn’t those who practice this religion believe the book’s making is a happy thing? Well, maybe in other cultures and literary traditions, but in early medieval England, I assure you that the tone is spot on. Not only is the movement from alive/free to dead/in service a common Old English riddling trope, but it also speaks to a broader interest in affliction throughout early medieval literature. To put it simply, Old English poets love a good martyr. In this literary context, if you aren’t suffering, then you probably aren’t doing it right. So, even though it might make a modern audience a bit uncomfortable to think that the clerical types making books and writing this poetry down were very much aware of the sacrifice that their enterprise required, it really does provide an excellent window into early medieval culture. Of course, biblical and apocryphal narratives are full of suffering and sacrifice, so why shouldn’t the manuscript that contains them be?
A 8th/9th-century Italian medical manuscript, Glasgow University, Hunterian Library, MS Hunter 96 (own photo, with thanks to the library).
Speaking of manuscripts, how’s about a little intro to medieval book-making? Well, you really need look no further than the images of Riddle 26. K, maybe a little bit further, but that was a classy sentence and I reserve the right to include classy sentences in my writing from time to time. But, seriously, from the second line of the poem, we have a list of processes involved in making a manuscript. The soaking refers to the water and lime bath that helps loosen the skin’s hairs and fat. After scraping these away, the skin would be stretched on a frame and smoothed. When ready, it would be cut and folded, ruled and written on. This is where we get the lovely image of the fugles wyn (bird’s joy) making tracks upon the speaker. This little riddle within the riddle points toward the quill pen used for writing. We also have references to tracks in other, related riddles from early medieval England like Tatwine’s Latin Enigma 5, De membrano:
Efferus exuviis populator me spoliavit,
Vitalis pariter flatus spiramina dempsit;
In planum me iterum campum sed verterat auctor.
Frugiferos cultor sulcos mox irrigat undis;
Omnigenam nardi messem mea prata rependunt,
Qua sanis victum et lesis praestabo medelam.
(Glorie, vol. 133, page 172)
(A savage ravager robbed me of my clothing, and likewise deprived my pores of the breath of life; but a craftsman turned me into a level plain again. A cultivator soon irrigates fertile furrows with waves; my meadows render a harvest of balsam of every kind, with which I will supply nourishment to the healthy and healing to the sick.)
But the Old English text pays much closer attention to the nitty-gritty of book-making. After the preparation of the manuscript and writing of the text, the riddle alludes to additional steps: the stitched up gatherings of folded manuscript pages (or leaves) would be bound to the front and back boards and covered in leather. The riddle’s manuscript is also blinged out beyond mere functionality. It’s covered in gold and intricate metalwork. This sort of fancy-pants decoration was generally reserved for biblical and liturgical books in early medieval England (see Bitterli, page 177). There are lots and lots of lovely images of ornamented books available online, but check out the 12th-century Eadwine Psalter on Trinity College, Cambridge’s website for a particularly user-friendly, scrollable one that includes the front and back covers.
There’s lots more to say about this riddle’s style, diction, poetics, etc., but I think I’m going to leave it there. Mainly because I’m giving you homework! (I think you and I knew it would come to this eventually). Luckily for you, the homework is fun and optional! If you want to learn more about medieval book history, then I strongly suggest that you trot on over to the University of Nottingham’s website and take advantage of the resources (videos! photos! links!) provided on the materials and processes involved in manuscripting. I’ve just coined that verb. Or verbed that noun, rather. Which seems to me a good place to say good-bye for now. Go do your homework.
References and Suggested Reading:
Bitterli, Dieter. Say What I Am Called: the Old English Riddles of the Exeter Book and the Anglo-Latin Riddle Tradition. Toronto: University of Toronto Press, 2009.
Glorie, F., ed. Variae Collectiones Aenigmatum Merovingicae Aetatis. Corpus Christianorum Series Latina, vol. 133-133A. Turnhout: Brepols, 1968.
Niles, John D. Old English Enigmatic Poems and the Play of the Texts. Studies in the Early Middle Ages 13. Turnhout: Brepols, 2006.
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