Changes

:uuordtêcan uuâr: ni uuas thes giuuand ênig.

:uuordtêcan uuâr: ni uuas thes giuuand ênig.

==Detailed commentary==

==Detailed commentary==

The [http://www.wikipedia.org/wiki/9th_Century 9th century] poem on the [[Gospel]] [[history]], to which its first [[editor]], J. A. Schmeller, gave the appropriate name of ''Heliand'' (the [[word]] used in the [[text]] for [[Savior]], answering to the [http://nordan.daynal.org/wiki/index.php?title=English#ca._600-1100.09THE_OLD_ENGLISH.2C_OR_ANGLO-SAXON_PERIOD Old English] hǣlend and the modern German and Dutch Heiland), is, with the [[fragments]] of a version of the [[story]] of [[Book of Genesis|Genesis]] believed to be by the same [[author]], all that remains of the [[poetical]] [[literature]] of the [http://en.wikipedia.org/wiki/Old_Saxon old Saxons], i.e. the Saxons who continued in their [[original]] [[home]]. It contained when entire about 6000 lines, and portions of it are preserved in four manuscripts. The Cotton MS. in the [[British Museum]], written probably late in the [http://www.wikipedia.org/wiki/10th_Century 10th century], is nearly complete, ending in the middle of the [[story]] of the journey to [[Emmaus]]. The Munich MS., formerly at Bamberg, begins at line 85, and has many lacunae, but continues the [[history]] down to the last verse of [[Gospel of Luke|St. Luke's Gospel]], ending, however, in the middle of a sentence. A MS. [[discovered]] at Prague in 1881 contains lines 958-1106, and another, in the [[Vatican Library]], discovered by K. Zangemeister in 1894, contains lines 1279-1358. The poem is based, not directly on the [[New Testament]], but on the pseudo-[http://en.wikipedia.org/wiki/Tatian Tatian's] [http://en.wikipedia.org/wiki/Gospel_harmony Gospel harmony], and it [[demonstrates]] the [[author]]'s acquaintance with the commentaries of [http://en.wikipedia.org/wiki/Alcuin Alcuin], [http://en.wikipedia.org/wiki/Bede Bede], and [http://en.wikipedia.org/wiki/Rabanus_Maurus Rabanus Maurus].

The [http://www.wikipedia.org/wiki/9th_Century 9th century] poem on the [[Gospel]] [[history]], to which its first [[editor]], J. A. Schmeller, gave the appropriate name of ''Heliand'' (the [[word]] used in the [[text]] for [[Savior]], answering to the [https://nordan.daynal.org/wiki/index.php?title=English#ca._600-1100.09THE_OLD_ENGLISH.2C_OR_ANGLO-SAXON_PERIOD Old English] hǣlend and the modern German and Dutch Heiland), is, with the [[fragments]] of a version of the [[story]] of [[Book of Genesis|Genesis]] believed to be by the same [[author]], all that remains of the [[poetical]] [[literature]] of the [http://en.wikipedia.org/wiki/Old_Saxon old Saxons], i.e. the Saxons who continued in their [[original]] [[home]]. It contained when entire about 6000 lines, and portions of it are preserved in four manuscripts. The Cotton MS. in the [[British Museum]], written probably late in the [http://www.wikipedia.org/wiki/10th_Century 10th century], is nearly complete, ending in the middle of the [[story]] of the journey to [[Emmaus]]. The Munich MS., formerly at Bamberg, begins at line 85, and has many lacunae, but continues the [[history]] down to the last verse of [[Gospel of Luke|St. Luke's Gospel]], ending, however, in the middle of a sentence. A MS. [[discovered]] at Prague in 1881 contains lines 958-1106, and another, in the [[Vatican Library]], discovered by K. Zangemeister in 1894, contains lines 1279-1358. The poem is based, not directly on the [[New Testament]], but on the pseudo-[http://en.wikipedia.org/wiki/Tatian Tatian's] [http://en.wikipedia.org/wiki/Gospel_harmony Gospel harmony], and it [[demonstrates]] the [[author]]'s acquaintance with the commentaries of [http://en.wikipedia.org/wiki/Alcuin Alcuin], [http://en.wikipedia.org/wiki/Bede Bede], and [http://en.wikipedia.org/wiki/Rabanus_Maurus Rabanus Maurus].

The questions relating to the ''Heliand'' cannot be adequately [[research|discussed]] without considering also the [[poem]] on the history of [[Genesis]], which, on the grounds of similarity in style and vocabulary, and for other reasons afterwards to be mentioned, may with some [[confidence]] be referred to the same [[author]]. A part of this poem, as is mentioned in the article [http://en.wikipedia.org/wiki/C%C3%A6dmon Cædmon], is extant only in an [http://nordan.daynal.org/wiki/index.php?title=English#ca._600-1100.09THE_OLD_ENGLISH.2C_OR_ANGLO-SAXON_PERIOD Old English] [[translation]]. The portions that have been preserved in the [[original]] [[language]] are contained in the same Vatican MS. that includes the fragment of the ''Heliand'' referred to above. In the one language or the other, there are in [[existence]] the following three fragments: (I) The passage which appears as lines 235-851 of the Old English verse Genesis in the Caedmon Manuscript (MS Junius 11) (this fragment is known as Genesis B, distinguishing it from the rest of the poem, Genesis A), about the revolt of the [[angels]] and the [[temptation]] and fall of [[Adam and Eve]]. Of this a short part corresponding to lines 790-820 exists also in the original Old Saxon. (2) The story of [[Cain]] and [[Abel]], in 124 lines. (3) The account of the destruction of Sodom, in 187 lines. The main source of the [[Genesis]] is the [[Bible]], but E. Sievers has shown that considerable use was made of the two [[Latin]] poems by [http://en.wikipedia.org/wiki/Alcimus_Avitus Alcimus Avitus], De initio mundi and De peccato originali.

The questions relating to the ''Heliand'' cannot be adequately [[research|discussed]] without considering also the [[poem]] on the history of [[Genesis]], which, on the grounds of similarity in style and vocabulary, and for other reasons afterwards to be mentioned, may with some [[confidence]] be referred to the same [[author]]. A part of this poem, as is mentioned in the article [http://en.wikipedia.org/wiki/C%C3%A6dmon Cædmon], is extant only in an [https://nordan.daynal.org/wiki/index.php?title=English#ca._600-1100.09THE_OLD_ENGLISH.2C_OR_ANGLO-SAXON_PERIOD Old English] [[translation]]. The portions that have been preserved in the [[original]] [[language]] are contained in the same Vatican MS. that includes the fragment of the ''Heliand'' referred to above. In the one language or the other, there are in [[existence]] the following three fragments: (I) The passage which appears as lines 235-851 of the Old English verse Genesis in the Caedmon Manuscript (MS Junius 11) (this fragment is known as Genesis B, distinguishing it from the rest of the poem, Genesis A), about the revolt of the [[angels]] and the [[temptation]] and fall of [[Adam and Eve]]. Of this a short part corresponding to lines 790-820 exists also in the original Old Saxon. (2) The story of [[Cain]] and [[Abel]], in 124 lines. (3) The account of the destruction of Sodom, in 187 lines. The main source of the [[Genesis]] is the [[Bible]], but E. Sievers has shown that considerable use was made of the two [[Latin]] poems by [http://en.wikipedia.org/wiki/Alcimus_Avitus Alcimus Avitus], De initio mundi and De peccato originali.

The two poems give [[evidence]] of [[genius]] and [[trained]] [[skill]], though the poet was no doubt hampered by the [[necessity]] of not deviating too widely from the [[sacred]] [[originals]]. Within the limits imposed by the [[nature]] of his task, his treatment of his [[sources]] is remarkably free, the details unsuited for poetic handling being passed over, or, in some instances, boldly altered. In many passages his work gives the impression of being not so much an imitation of the ancient Germanic epic, as a genuine example of it, though concerned with the deeds of other heroes than those of Germanic [[tradition]]. In the Heliand the Saviour and His [[Apostles]] are conceived as a king and his [[faithful]] warriors, and the use of the traditional epic phrases appears to be not, as with [http://en.wikipedia.org/wiki/Cynewulf Cynewulf] or the [[author]] of Andreas, a mere following of accepted models, but the [[spontaneous]] mode of [[expression]] of one accustomed to sing of heroic themes. The [[Genesis]] fragments have less of the heroic [[tone]], except in the splendid passage describing the [[rebellion]] of [[Satan]] and his [[host]]. It is noteworthy that the poet, like [http://en.wikipedia.org/wiki/John_Milton John Milton], sees in Satan no mere [[personification]] of [[evil]], but the fallen [[archangel]], whose awful [[guilt]] could not obliterate all traces of his native [[majesty]]. Somewhat curiously, but very naturally, [[Enoch]] the son of [[Cain]] is confused with the Enoch who was [[translated]] to [[heaven]] - an error which the [[author]] of the [http://nordan.daynal.org/wiki/index.php?title=English#ca._600-1100.09THE_OLD_ENGLISH.2C_OR_ANGLO-SAXON_PERIOD Old English] Genesis avoids, though (according to the existing text) he confounds the names of Enoch and Enos.

The two poems give [[evidence]] of [[genius]] and [[trained]] [[skill]], though the poet was no doubt hampered by the [[necessity]] of not deviating too widely from the [[sacred]] [[originals]]. Within the limits imposed by the [[nature]] of his task, his treatment of his [[sources]] is remarkably free, the details unsuited for poetic handling being passed over, or, in some instances, boldly altered. In many passages his work gives the impression of being not so much an imitation of the ancient Germanic epic, as a genuine example of it, though concerned with the deeds of other heroes than those of Germanic [[tradition]]. In the Heliand the Saviour and His [[Apostles]] are conceived as a king and his [[faithful]] warriors, and the use of the traditional epic phrases appears to be not, as with [http://en.wikipedia.org/wiki/Cynewulf Cynewulf] or the [[author]] of Andreas, a mere following of accepted models, but the [[spontaneous]] mode of [[expression]] of one accustomed to sing of heroic themes. The [[Genesis]] fragments have less of the heroic [[tone]], except in the splendid passage describing the [[rebellion]] of [[Satan]] and his [[host]]. It is noteworthy that the poet, like [http://en.wikipedia.org/wiki/John_Milton John Milton], sees in Satan no mere [[personification]] of [[evil]], but the fallen [[archangel]], whose awful [[guilt]] could not obliterate all traces of his native [[majesty]]. Somewhat curiously, but very naturally, [[Enoch]] the son of [[Cain]] is confused with the Enoch who was [[translated]] to [[heaven]] - an error which the [[author]] of the [https://nordan.daynal.org/wiki/index.php?title=English#ca._600-1100.09THE_OLD_ENGLISH.2C_OR_ANGLO-SAXON_PERIOD Old English] Genesis avoids, though (according to the existing text) he confounds the names of Enoch and Enos.

Such external [[evidence]] as exists bearing on the [[origin]] of the ''Heliand'' and the companion poem is contained in a [[Latin]] document printed by [http://en.wikipedia.org/wiki/Matthias_Flacius Flacius Illyricus] in 1562. This is in two parts; the one in prose, entitled (perhaps only by Flacius himself) Praefatio ad librum antiquum in lingua Saxonica conscriptum ; the other in verse, headed Versus de poeta et Interpreta hujus codicis. The Praefatio begins by stating that the emperor [http://en.wikipedia.org/wiki/Louis_the_Pious Ludwig the Pious], desirous that his subjects should possess the [[word]] of [[God]] in their own tongue, commanded a certain Saxon, who was esteemed among his countrymen as an eminent poet, to [[translate]] poetically into the German language the [[Hebrew Bible|Old]] and [[New Testament]]s. The poet willingly obeyed, all the more because he had previously received a [[divine]] command to undertake the task. He rendered into verse all the most important parts of the Bible with admirable skill, dividing his work into vitteas, a term which, the [[writer]] says, may be rendered by lectiones or sententias. The Praefatio goes on to say that it was reported that the poet, till then knowing nothing of the art of poetry, had been admonished in a [[dream]] to turn into verse the precepts of the [[divine]] [[law]], which he did with so much skill that his work surpasses in beauty all other German [[poetry]] (Ut cuncta Theudisca poemata suo vincat decore). The Versus practically reproduce in outline Bede's account of Caedmon's dream, without mentioning the dream, but describing the poet as a herdsman, and adding that his poems, beginning with the [[creation]], relate the history of the five ages of the world down to the coming of [[Christ]]

Such external [[evidence]] as exists bearing on the [[origin]] of the ''Heliand'' and the companion poem is contained in a [[Latin]] document printed by [http://en.wikipedia.org/wiki/Matthias_Flacius Flacius Illyricus] in 1562. This is in two parts; the one in prose, entitled (perhaps only by Flacius himself) Praefatio ad librum antiquum in lingua Saxonica conscriptum ; the other in verse, headed Versus de poeta et Interpreta hujus codicis. The Praefatio begins by stating that the emperor [http://en.wikipedia.org/wiki/Louis_the_Pious Ludwig the Pious], desirous that his subjects should possess the [[word]] of [[God]] in their own tongue, commanded a certain Saxon, who was esteemed among his countrymen as an eminent poet, to [[translate]] poetically into the German language the [[Hebrew Bible|Old]] and [[New Testament]]s. The poet willingly obeyed, all the more because he had previously received a [[divine]] command to undertake the task. He rendered into verse all the most important parts of the Bible with admirable skill, dividing his work into vitteas, a term which, the [[writer]] says, may be rendered by lectiones or sententias. The Praefatio goes on to say that it was reported that the poet, till then knowing nothing of the art of poetry, had been admonished in a [[dream]] to turn into verse the precepts of the [[divine]] [[law]], which he did with so much skill that his work surpasses in beauty all other German [[poetry]] (Ut cuncta Theudisca poemata suo vincat decore). The Versus practically reproduce in outline Bede's account of Caedmon's dream, without mentioning the dream, but describing the poet as a herdsman, and adding that his poems, beginning with the [[creation]], relate the history of the five ages of the world down to the coming of [[Christ]]