Commentary for 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.

SAMSUNGHere’s a photo of parchment drying in Pergamena’s workshop from April Hannah Llewellyn’s 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 Anglo-Saxon England (see Niles, pages 118-19). This is not to say that the Anglo-Saxons 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.

CodexAureusCanterburyFolios9v10rHere 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 the Wikimedia Commons.

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 Anglo-Saxon 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 Anglo-Saxon literature. To put it simply, Anglo-Saxon 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 Anglo-Saxon culture. Of course, biblical and apocryphal narratives are full of suffering and sacrifice, so why shouldn’t the manuscript that contains them be?

Riddle 26 Glasgow Hunter MS 96

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 blog 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 Anglo-Saxon riddles 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: http://sites.trin.cam.ac.uk/manuscripts/r_17_1/manuscript.php?fullpage=1&startingpage=576

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 here 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.

One thought on “Commentary for Riddle 26

  1. Pingback: Commentary for Riddle 28 | The Riddle Ages

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