Exeter Riddle 14
MEGANCAVELL
Date: Mon 28 Oct 2013Matching Commentaries: Commentary for Exeter Riddle 14
Ic wæs wæpenwiga. Nu mec wlonc þeceð
geong hagostealdmon golde ond sylfore,
woum wirbogum. Hwilum weras cyssað,
hwilum ic to hilde hleoþre bonne
5 wilgehleþan, hwilum wycg byreþ
mec ofer mearce, hwilum merehengest
fereð ofer flodas frætwum beorhtne,
hwilum mægða sum minne gefylleð
bosm beaghroden; hwilum ic bordum sceal,
10 heard, heafodleas, behlyþed licgan,
hwilum hongige hyrstum frætwed,
wlitig on wage, þær weras drincað,
freolic fyrdsceorp. Hwilum folcwigan
on wicge wegað, þonne ic winde sceal
15 sincfag swelgan of sumes bosme;
hwilum ic gereordum rincas laðige
wlonce to wine; hwilum wraþum sceal
stefne minre forstolen hreddan,
flyman feondsceaþan. Frige hwæt ic hatte.
I was an armed warrior. Now a bold
young retainer covers me with gold and silver,
twisted coils of wire. Sometimes men kiss me,
sometimes I call close comrades
5 to battle with my voice, sometimes a horse bears me
over the bounds, sometimes a sea-steed
draws me over the depths, brightly decorated,
sometimes one of the girls fills
my bosom, ring-adorned; sometimes I must lie
10 on boards, hard, headless, despoiled,
sometimes I hang decorated with ornaments,
appealing on the wall, where men drink,
comely army-attire. Sometimes battle-warriors
carry me on a horse, when I must swallow,
15 treasure-stained, breath from a certain one’s breast;
sometimes I proudly call with cries
warriors to their wine; sometimes I have to reclaim
stolen goods from enemies with my voice,
put to flight fiendish foes. Reveal what I am called.
Notes:
This riddle appears on folio 104r 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), page 187.
Note that this edition numbers the text Riddle 12: Craig Williamson, ed., The Old English Riddles of the Exeter Book (Chapel Hill: University of North Carolina Press, 1977), page 75.
Tags: anglo saxon exeter book riddles old english solutions riddle 14
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Commentary for Exeter Riddle 14
MEGANCAVELL
Date: Mon 28 Oct 2013Matching Riddle: Exeter Riddle 14
So, revealing that my childhood nickname was “Moo Moo” (thanks, Dad) is endearing, right? Well, maybe it’s because of that personal connection, but I really have a soft spot for the Old English cattle riddles. Hopefully you’ll all remember the potential “Ox and Ox-hide” of Riddle 12, and I’ll go ahead and hint that you haven’t seen the last of early medieval oxen (say that twelve times fast) in this collection. Admittedly, this riddle is more interested in the horn itself, rather than the animal that provided it, but still.
Me with Corpus Christi College, Cambridge’s aurochs drinking horn at my matriculation ceremony in 2008. Photo courtesy of James Brown. But not THE James Brown.
I guess the first order of business concerns the solution. But, unfortunately for the purposes of filling out a full post, there really hasn’t been a great deal of debate for this one. In fact, because the solution “Horn” – which is the same word in Old and Modern English – has received such wide support, the riddle hasn’t been hugely popular in scholarship. But even if the solution is a bit…well…obvious, the poem still deserves to be read!
In fact, it’s a very stylish poem, as far as Old English poetics are concerned. Many of the lines employ double alliteration, which is when two words (or elements of a compound word) in the first half-line share the same initial sound as a word in the second half-line. Like “w” in line 1: Ic wæs wæpenwiga. Nu mec wlonc þeceð. In fact, there, we’ve got three “w”s in the first half-line! Calm down, poet! Sheesh! Old English poetry doesn’t require double alliteration by any stretch – the poem would still be nice and poetic-like if the half-lines were linked by only one alliterating word in each (like “g” in line 2: geong hagostealdmon golde ond sylfore). So 12+ lines of double alliteration is extra fancy. The reason I say “12+” is because it could be argued that lines 4 and 11 doubly alliterate too…it’s just that adverbs like hwilum (sometimes) don’t usually contribute to the alliteration.
But this is all getting terribly technical. Let’s pause over the use of hwilum for a moment. It certainly deserves attention because this word is used no fewer than 10 times in 19 lines! It’s as though the horn is saying: “Look at all the things I can do! I’m a multitasker!” In the very least, the poet is emphasizing the horn’s versatility through repetition. Also, I wonder if maybe all these “hw” sounds are meant to recall the shape of the mouth when blowing a horn and the actual sound that it would make. I don’t want to read too much into alliteration (sorry…back to that), but “w” and “h” alliterate A LOT in this poem. This is significant not only on an aural level, but also because Horn starts with an “h.” I get the sense that the poet wants us to solve this riddle a bit too much.
A feasting scene from the Bayeux Tapestry scene (I don’t know what’s going on with the guy on the right’s hand), excerpted from an image on Wikimedia Commons (public domain).
Okay, enough with the sounds now. I get it: you want themes and imagery. Well, this poem is not about to let you down. In it, we have all the trappings of the early medieval, aristocratic warrior lifestyle: treasure, horses, ships (sea-steeds!), drinking, battle and chasing off enemies. And there appears to be a bit of kissing going on, but I’ll let you read into that what you will (check out Riddle 63 too…this seems to be a thing).
One aspect I like most about this riddle is the tension between the object-as-object and the object-as-agent. Of course, this is a theme we see throughout the riddles, but I think it’s especially interesting here with all the emphasis on actions, as opposed to just attributes. In only 19 lines, the horn characterizes itself as the passive object of the following actions: it’s covered with treasure, kissed, borne by horses and ships, filled up with drink, despoiled, carried and forced to hang on the wall. These are all things done to what used to be a wæpenwiga (armed warrior) but is now an object of heroic use. However, a shift takes place in the final lines after the horn is forced to swallow someone’s breath, which seems to draw on the idea that the early English understood speech as coming from the chest (see Jager, full ref below). I find that image powerfully weird. It’s almost like it’s undergoing mouth-to-mouth, and, when it takes in the person’s breath, it gains a voice. In fact, after the ingesting of air, the horn begins to take action: it calls warriors to a feast, reclaims stolen goods and puts enemies to flight. This little theory is slightly marred by the early reference to the horn calling warriors to battle in lines 4-5, but perhaps we can assume that the calling to action is another mouth-to-mouth image…after all, it takes place just after the kissing. At any rate, all this object-agent tension is nicely summed up by the use of wlonc (proud) twice – once in line 1 and once in line 17. This is an envelope pattern that ties together the proud retainer who uses the horn and the horn itself, which proudly calls together the retainers for wine-sodden bonding. Good times.
Righto, before I let you go, there’s one final thing I want to draw your attention to. Riddle-objects that relate to drinking are not just a remnant of the past. Has anyone seen the San Miguel commercial? Watch it…I’m sure someone on the creative team was a student of Old English!:
References and Suggested Reading:
Jager, Eric. “Speech and the Chest in Old English Poetry: Orality or Pectorality?” Speculum, vol. 65 (1990), pages 845-59.
I also published an academic version of this post recently: Cavell, Megan. “Sounding the Horn in Exeter Book Riddle 14.” The Explicator, vol. 72 (2014), pages 324-7.
Tags: anglo saxon exeter book riddles old english solutions riddle 14
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