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Christ I (also known as Christ A or (The) Advent Lyrics) is a fragmentary collection of Old English poems on the coming of Jesus as preserved in the Exeter Book. In its present state, the poem comprises 439 lines in twelve distinct sections. In the assessment of Edward B. Irving Jr, "two masterpieces stand out of the mass of Anglo-Saxon religious poetry: The Dream of the Rood and the sequence of liturgical lyrics in the Exeter Book ... known as Christ I".[1]

Key Information

The topic of the poem is Advent, the time period in the annual liturgical cycle leading up to the anniversary of the coming of Jesus, a period of great spiritual and symbolic significance within the Christian churches — for some in early medieval Europe a time of fasting and the subject of a sermon by Gregory the Great (AD 590-604).[2] The Old English lyrics of Christ I, playing off the Latin antiphons, reflect on this period of symbolic preparation.

Manuscript and associated texts

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Christ I is found on folios 8r-14r of the Exeter Book, a collection of Old English poetry today containing 123 folios. The collection also contains a number of other religious and allegorical poems.[3] Some folios have been lost at the start of the poem, meaning that an indeterminate amount of the original composition is missing.[4]

Christ I, concerning the Advent of Jesus, is followed in the Exeter Book by a poem on Jesus's Ascension composed by Cynewulf, generally known in modern scholarship as Christ II, which in turn is followed by Christ III, on the Last Judgment. Together these three poems comprise a total of 1664 lines and are in turn linked to the poems that follow, Guthlac A and Guthlac B. The sequence of Christ I-III is sometimes known simply as Christ and has at times been thought to be one poem completed by a single author. Linguistic and stylistic differences indicate, however, that Christ I-III originated as separate compositions, perhaps with Christ II being composed as a bridge between Christ I and Christ III).[citation needed] Nevertheless, Christ I-III stands as an artistically coherent compilation.[5]

The text also contains glosses by Laurence Nowell from the sixteenth century or George Hickes from the seventeenth.[6]

Origins

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Because Christ II is signed by Cynewulf, earlier scholarship supposed that Christ I might also be his work;[7] but recent research agrees that the authorship is unknown.[8][5]: 4–5  Claes Schaar suggested that the poem may have been written between the end of the eighth century and the beginning of the ninth.[8]

Sample

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Ēala ēarendel engla beorhtast / ofer middangeard monnum sended (second half of top line, first half of second line) - Exeter Book folio 9v, top

The following passage describes the Advent of Christ and is a modern English translation of Lyric 5 (lines 104-29 in the numbering of the Anglo-Saxon Poetic Records):

Ēala ēarendel,     engla beorhtast,
ofer middangeard     monnum sended,
ond sōðfæsta     sunnan lēoma,
torht ofer tunglas,     þū tīda gehwane
of sylfum þē     symle inlihtes!
Swā þū, god of gode     gearo acenned,
sunu sōþan fæder,     swegles in wuldre
būtan anginne     ǣfre wǣre,
swā þec nū for þearfum     þīn āgen geweorc
bīdeð þurh byldo,     þæt þū þā beorhtan ūs
sunnan onsende,     ond þē sylf cyme
þæt ðū inlēohte     þā þe longe ǣr,
þrosme beþeahte     ond in þeostrum hēr,
sǣton sinneahtes;     synnum bifealdne
deorc dēaþes sceadu     drēogan sceoldan.
Nū wē hyhtfulle     hǣlo gelyfað
þurh þæt word godes     weorodum brungen,
þe on frymðe wæs     fæder ælmihtigum
efenece mid god,     ond nū eft gewearð
flæsc firena lēas,     þæt sēo fǣmne gebær
geomrum to gēoce.     God wæs mid ūs
gesewen būtan synnum;     somod eardedon
mihtig meotudes bearn     ond se monnes sunu
geþwǣre on þēode.     Wē þæs þonc magon
secgan sigedryhtne     symle bi gewyrhtum,
þæs þe he hine sylfne ūs     sendan wolde.[9]

Translation:

Hail Earendel, brightest of angels,
Sent to men over middle-earth,
And true radiance of the sun,
Fine beyond stars, you always illuminate,
From your self, every season!
As you, God born wholly of God,
Son of the true Father, were ever
In the glory of heaven without beginning,
So now your own creation awaits you
Through eternity in need, that you send
To us that bright sun, and you yourself come
So that you illuminate those who for the longest time,
Covered by smoke, and in darkness here,
Dwelled in continual night; enfolded in sins,
They had to endure the dark shadow of death.
Now we believe in joyful salvation,
Brought to people through the word of God,
Which in the beginning was from the Father almighty,
Jointly eternal with God, and now again became
The flesh without sin that the virgin bore
Through suffering to safety. God was with us,
Seen among sins; the mighty child of fate
And the son of man dwelt together,
United amidst the people. We may express
Our thanks to the Lord of victory always through our deeds,
Because he wanted to send himself to us.

Sources and structure

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As presented in the Exeter Book, Christ I is divided into five sections, each marked by a large capital, a line-break, and punctuation, as follows: lines 1-70, 71-163, 164-272, 275-377, 378-439.[7]: 15 

However, researchers have found it helpful to understand Christ I as comprising twelve sections or 'lyrics'. Each lyric is introduced with a selection from a Latin antiphon (verses from Scripture sung before and after the reading of a psalm chosen to reflect the fundamental ideas presented in the psalm), followed by lines of poetry in Old English which expand on that source. Most of the antiphons used are known as the O Antiphons, which receive their name because they all begin with the Latin interjection O (rendered in the poem with the Old English interjection ēalā).[10][11][12] Medieval manuscripts of the O Antiphons vary in order and content, meaning that the precise sources for several of the Christ I lyrics are uncertain.[13][7]

Several of the Greater Antiphons are not used in Christ I, leading some scholars speculate that, since we know that the beginning of Christ I is missing, the missing antiphons ("O Sapientia", "O Adonai", and "O radix Jesse") were originally used in the poem but have been lost.[14]

The following table summarises the content and sources of each of the twelve lyrics. Unless otherwise stated, information on sources comes from Burgert[7]: 51  and the antiphon text from Bamberg State Library, MS Misc. Patr. 17/B.11.10, folios 133-62, 10c.[13]: 12–14 

lyric lines folios topic OE incipit sources greater antiphon?
1 1-17 8r Christ as repairer of a broken house. lost O, rex gentium et desideratus carus,

lapisque angularis qui facis utraque unum,

veni, salva hominem quem de limo

formasti

Y
2 18-49 8r Christ as redeemer of humankind and

Mary's conception of Jesus.

Eala þu reccend ond þu riht cyning O, clavis David et sceptrum domus

Israel, qui aperis et nemo claudit,

claudis et nemo aperit, veni et educ

vinctos de domo carceris smedentes in

tenebris et umbra mortis.

Y
3 50-70 8r-9r Jerusalem's eager awaiting of Christ. Eala sibbe gesihð, sancta Hierusalem O, Hierusalem, civitas Dei summi, leva in

circuitu oculos tuos et vide Dominum Deum

tuum, ecce jam veniet solvere te a

vinculo.

Y
4 71-103 9r-9v Mary's merits and the wonder of her conception. Eala wifa wynn geond wuldres þrym O, virgo virginum, quomodo fiat istud,

quia nec primo te similis visa es, nec

habebis sequentem? Filiae Hierusalem, quid me

admiramini? Divinum est mystérium hoc quod

cernitis.

Y
5 104-29 9v Christ as the morning star. Eala earendel, engla beorhtast O, oriens, splendor lucis aeternae et sol

justiciae, veni et inlumina sedentes in

tenebris et umbra mortis.

Y
6 130-63 9v-10r Christ's redemption of humankind. Eala gæsta god, hu þu gleawlice O, Emmanuel, rex et legifer noster, expectatio

gentium et sal vatio earum, veni ad salvandum

nos, jam noli tardare.

Y
7[15] 164-213 10r-11r A dialogue between Joseph and Mary, as Joseph doubts Mary's virginity. Eala Ioseph min, Iacobes bearn O, Joseph, quomodo credidisti quod antea

expavisti? Quid enim? In ea natum est de

Spiritu Sancto quem Gabrihel annuncians Christum

esse venturum.

Matthew I:18-21

N
8 214-74 11r-11v Christ as king. Eala þu soða ond þu sibsuma O rex pacifice Y
9 275-347 11v-12v Mary as queen of heaven. Eala þu mæra middangeardes O mundi domina Y
10 348-77 12v-13r The fulfilment of Isaiah's prophecy. Eala þu halga heofona dryhten Isaiah 7:14 N
11 378-415 13r-13v Praise of the Trinity and of the Seraphim. Eala seo wlitige, weorðmynda full Sanctus, Sanctus, Sanctus, Dominus deus sabaoth.

Pleni sunt caeli et terra gloria tua, osanna in excelsis.

Benedictus qui uenit in nomine domini,

osanna in excelsis[13]

The song of Seraphim (Isaias 6:3 ff. and Matthew 21:9)

N
12 416-39 13v-14r How people should praise Christ. Eala hwæt, þæt is wræclic wrixl in wera life O admirabile commercium N

Interpretation of structure

[edit]

The order of antiphons that the author uses for the lyrics imply that the poet was not concerned about any distinctions between antiphons, or the order that he had found them in his sources.[14] Upon analysis of the position of each poem, no rational order can be found, suggesting that the order of each poem in the sequence is unimportant.[16]

Influence on other writers

[edit]
Further information: Eärendil and Elwing

J.R.R. Tolkien was influenced by the following lines from Christ I (lines 104-5), which inspired his portrayal the character Eärendil in his legendarium and is one of many examples of the Old English word middangeard which partly inspired Tolkien's fantasy world:[17]

Eálá Earendel engla beorhtast
Ofer middangeard monnum sended.

Translation:

Hail Earendel brightest of angels,
over Middle Earth sent to men.

Variants of lines inspired by these survived through multiple poetic and prose versions to be published in The Silmarillion where they appear as the greeting "Hail Eärendil, bearer of light before the Sun and Moon! Splendour of the Children of Earth, star in the darkness, jewel in the sunset, radiant in the morning!" [18]

Tolkien wrote "There was something very remote and strange and beautiful behind those words, if I could grasp it, far beyond ancient English."[19]

Editions and translations

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Editions

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  • Krapp, George Philip; Dobbie, Elliott Van Kirk, eds. (1936), The Exeter Book, The Anglo-Saxon Poetic Records: A Collective Edition, New York: Columbia University Press, ISBN 9780231087667, OCLC 352008 {{citation}}: ISBN / Date incompatibility (help), pp. 3–49; online at the Oxford Text Archive
  • The Advent Lyrics of the Exeter Book, ed. by Jackson J. Campbell (Princeton: Princeton University Press, 1959)
  • The Old English Advent a Typological Commentary, ed. by R. B. Burlin, Yale Studies in English, 168 (New Haven, CT, 1968)
  • Old English Poetry in Facsimile Project, ed. by Foys, Martin et al. (Center for the History of Print and Digital Culture, University of Wisconsin-Madison, 2019-); poem edited in transcription and digital facsimile edition, with Modern English translation

Translations

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Notes

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References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Christ I

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Christ I, also known as the Advent Lyrics, is an anonymous poem comprising twelve interconnected lyrical meditations on the anticipation of Christ's birth and , preserved as the opening work in the , a tenth-century housed in Library. The poem, totaling 439 lines, expands upon the Latin "" from the Advent liturgy, each lyric beginning with the exclamatory "Eala" (O!) to invoke divine attributes and petition for grace, blending monastic devotion with vernacular theology. The content centers on themes of sin, redemption, divine judgment, and the Incarnation, portraying Christ as a triumphant king and judge while emphasizing human exile and the hope of restoration through obedience and mercy. A notable feature is the sophisticated depiction of the Virgin Mary in several lyrics (II, IV, VII, IX, XII), presenting her as a powerful intercessor and sinless temple of God, with Lyric VII featuring a dramatic dialogue between Mary and Joseph resolving doubts about her pregnancy through her testimony of divine favor. This Marian focus reflects early Anglo-Saxon beliefs in her Immaculate Conception and role in salvation, influenced by apocryphal sources like the Protoevangelium of James and liturgical traditions from Syriac, Greek, and Irish origins. Scholars date the composition to the late eighth through mid-tenth century, likely by a single monastic author in eastern , predating or contemporary with King Alfred's reign (871–899), though earlier attributions to the poet have been widely rejected due to the absence of his runic signature. The poem's structure unifies the lyrics through recurring motifs of gift-giving, temple imagery, and verbal echoes, intended for communal recitation in a monastic setting to foster devotion and ethical reflection aligned with Anglo-Saxon legal and social norms. Debates persist on its exact unity as a single poem versus a compilation, but it remains a cornerstone of for its innovative fusion of , gender dynamics, and heroic vernacular style.

Introduction

Overview and Significance

Christ I, also known as the Advent Lyrics, is a collection of twelve poems preserved solely in the , each serving as a meditative lyric on the themes of Christ's , his advent, and his divine attributes such as wisdom and kingship. These lyrics draw from Latin liturgical antiphons, transforming them into vernacular expressions of devotion that emphasize the mystery of God becoming human and the hope of salvation. The poem holds historical significance as one of the earliest examples of liturgical poetry in , innovatively blending Christian theological concepts with the rhetorical and rhythmic traditions of pre-Christian Anglo-Saxon verse. This fusion is evident in its use of native to convey complex doctrines like the , marking a pivotal development in the adaptation of pagan literary forms to Christian purposes. Within the broader corpus of religious poems in the , Christ I stands out for its fragmentary nature, beginning with a missing opening section, yet it fulfills a devotional role tailored for monastic audiences seeking personal communion with the divine. Central to its structure are recurring "eala" exclamations—such as "O Earendel" or "O Clavis "—that invoke Christ directly, creating an antiphonal, prayer-like quality reminiscent of liturgical responses.

Title and Composition

The poem now designated as Christ I was earlier known primarily as the Advent Lyrics, a title reflecting its structure as a sequence of devotional pieces centered on the Advent season. In the , editors such as Benjamin Thorpe and C.W. Grein began grouping it with two other poems on Christian themes—The Ascension (now Christ II) and Christ in (now Christ III)—under the collective heading "Christ," assigning sequential numbers to distinguish them. This created the modern notion of a "Christ ," though the poems originate from separate manuscripts and lack evidence of original interconnection; Christ I appears in the , while Christ II and Christ III are in the . Early scholarship, influenced by the runic signature in Christ II, attributed all three to the poet , but contemporary analysis rejects Cynewulf's authorship of Christ I and Christ III, viewing the trilogy as an editorial construct rather than a unified cycle. Composed in the vernacular of the late 8th through mid-10th century, likely in the , Christ I comprises twelve thematically linked but structurally independent lyrics, each expanding on Latin liturgical antiphons from the Advent season, such as the "O" used in monastic worship. These lyrics employ recurring motifs, including the exclamatory "eala" invocations addressing Christ or divine figures, which create a sense of devotional continuity despite variations in style and focus. Scholars like Jackson J. Campbell have identified this lyrical form as a deliberate poetic adaptation of antiphonal , blending personal with communal to evoke anticipation of Christ's . Debate persists among scholars regarding whether Christ I originated as a single cohesive poem or as a compilation assembled by the Exeter Book's or an earlier collector. Proponents of unity, such as recent analyses emphasizing shared theological patterns like Marian devotion and monastic , argue for a single anonymous author crafting an integrated sequence before the manuscript's compilation around 950–975 CE. Conversely, studies highlighting stylistic inconsistencies, disordered liturgical references, and palaeographical breaks suggest it is a curated of distinct pieces by multiple poets, unified only retrospectively through thematic echoes like the "eala" cries and Advent motifs. This preserved in the Exeter Book alongside other religious verse.

Manuscript and Context

The Exeter Book

The is a 10th-century anthology of poetry consisting of 123 folios of , the largest surviving collection of such verse from the Anglo-Saxon period. Donated to the library of by its first bishop, Leofric, in 1072 as part of a larger gift of books and relics, the —designated Exeter Dean and Chapter MS 3501—has remained in the cathedral's possession ever since and is now preserved in the Exeter Cathedral Library. This donation is documented in a contemporary listing ".i. micel englisc boc be gehwilcum þingum on leoðwisan geworht" (a large English book about various things worked in poetic form), confirming its early association with religious content. The codex measures approximately 31.8 by 21.8 centimeters, with a writing space of about 24 by 16 centimeters per folio, and was produced from parchment derived from various animal skins. Christ I occupies folios 8r to 14r near the manuscript's opening, which features religious poems including the other two poems of the Christ series. The volume shows significant physical damage, including burn marks from a hot poker or fire-brand applied post-compilation, wormholes, slashes from sharp objects, and liquid stains, particularly affecting the later folios and causing lacunae in the text. Scholars believe the was compiled in a in , possibly linked to or a West Saxon center, between approximately 950 and 975, with evidence pointing to a or West Saxon dialectal influence in its linguistic features. It was copied by a single , whose hand connects it to other like , , Bodley 319, suggesting production in a monastic workshop during the late . In 2021, the entire manuscript was fully digitized in high resolution by the , making its folios accessible online for scholarly and public study and facilitating non-invasive analysis of its features. The was inscribed on the Memory of the World Register in 2016, recognizing its outstanding significance to world . Paleographically, the Exeter Book is written in Anglo-Saxon square minuscule script, characterized by its compact and uniform letter forms typical of late 10th-century English manuscripts. It lacks rubrication—red ink highlighting—or any painted illustrations, though faint uninked drawings appear on some leaves, and marginal notes reveal the scribe's corrections and additions, such as glosses and repairs to errors during copying.

Associated Texts in the Manuscript

Christ I occupies folios 8r to 14r of the , serving as the opening poem in the surviving manuscript and immediately preceding Christ II (The Ascension) on folios 14r to 20v. This positioning establishes a cohesive Christological sequence, with Christ III () following directly on folios 20v to 32r, collectively forming the initial triad of religious poetry that emphasizes key moments in Christ's life and eschatological promise. The arrangement underscores a shared focus on Christian devotion, linking the Advent themes of Christ I to the Ascension and Doomsday motifs in the subsequent poems, potentially evoking a liturgical progression from to final . Further along in the anthology, the manuscript transitions to other religious works that echo devotional elements, such as The Phoenix on folios 55v to 65v, which explores creation, resurrection, and paradise imagery resonant with the Christ poems' theological depth. Later, Soul and Body II (also known as the Soul's Address to the Body) appears on folios 98r to 100r, presenting a dialogue on judgment and the afterlife that aligns with the manuscript's overarching moral and eschatological concerns. These texts contribute to the Exeter Book's blend of religious and secular content, where Christ I's placement as an entry point into lyrical praise contrasts with the elegiac introspection of later pieces like The Wanderer on folios 76v to 78r. Scholars have noted that the scribal arrangement likely reflects intentional design, grouping the three Christ poems to mimic a unified liturgical cycle despite the loss of an initial folio before 8r, which renders Christ I incomplete at its start. This organization highlights the anthology's progression from Christ-centered hymns to broader contemplative and didactic works, integrating secular riddles and elegies while maintaining a devotional core.

Origins and Dating

Estimated Date of Composition

Scholars estimate the composition of Christ I, also known as the Advent Lyrics, to the late eighth to mid-tenth century, with linguistic and metrical analyses favoring a date in the late eighth or early ninth century before the reign of King Alfred (871–899). The poem exhibits Anglian features, such as unsyncopated forms like geriseð in Lyric 1 and the usic in Lyric 5, alongside vocabulary and grammatical structures typical of pre-Alfredian . Metrically, it adheres to early verse patterns, as outlined in studies of alliterative stress and syllable resolution, further supporting an origin in eastern , possibly or , during a period of monastic literary activity. This dating aligns with the poem's position in Anglo-Saxon literary history, contemporaneous with other religious works like Christ II (The Ascension), attributed to the ninth-century poet , which shares thematic and stylistic elements within the Exeter Book's Christ triad. The original composition likely predates the Alfredian revival of learning in the late ninth century, though the poem's preservation reflects the broader cultural resurgence in vernacular poetry during that era. The manuscript, which contains Christ I, provides an upper limit for transmission, with paleographic evidence dating its copying to approximately 965–975, amid the Benedictine monastic reforms led by figures like Archbishop Dunstan. Recent scholarship, including Tracey-Anne Cooper's 2023 analysis, refines this timeline through detailed dialect mapping and annalistic correlations, confirming a pre-871 origin while emphasizing the poem's role in early . John D. Niles's 2019 study of the Exeter anthology similarly situates the lyrics within late tenth-century monastic contexts, though it underscores their earlier composition as foundational to the collection's devotional unity.

Authorship Theories

Christ I, also known as the Advent Lyrics, is an , distinguished by the absence of the runic that identifies as the author of the succeeding poem Christ II in the . This lack of attribution has led scholars to theorize that the poem originated from an anonymous monastic author associated with an eastern English , reflecting the broader tradition of unattributed religious verse in late Anglo-Saxon . In the early nineteenth century, editors such as Benjamin Thorpe proposed attributing Christ I to , citing stylistic parallels in theme, imagery, and alliterative meter across the three Christ poems, and treating them as a unified composition in the first printed edition of the . This view persisted into the early twentieth century but has been widely rejected by subsequent scholarship, which emphasizes the distinct lack of Cynewulf's runic self-reference in Christ I and variances in linguistic and prosodic features; modern editions, including those by George Philip Krapp and Elliott van Kirk Dobbie (1936) and Robert E. Bjork (2013), exclude Christ I from Cynewulf's canon. Alternative hypotheses suggest that Christ I could represent the work of multiple authors, given its compilation of twelve loosely connected lyrics drawn from liturgical antiphons, potentially assembled over time or adapted from oral devotional practices in monastic settings. Dialectal evidence points to possible connections with poets, as archaic Anglian forms underlie the late West Saxon dialect, indicating an earlier midland origin before scribal revision in a southern center. Contemporary scholarship favors a single-author composition, with Anya Adair's analysis demonstrating structural and thematic unity through consistent rhetorical patterns and a unified devotional perspective across the lyrics. A 2023 study further underscores this by arguing for a unified work by a single monastic , framing the poem within monastic , while a 2021 examination of emotional dynamics in specific lyrics reinforces the presence of a singular, cohesive voice without identifying a specific . No definitive author has been established, aligning with the anonymous ethos of much religious poetry.

Content Summary

Structure of the Poem

Christ I consists of 439 lines preserved in the , forming a sequence of 12 distinct . Each typically opens with the exclamatory "Eala" (equivalent to "O" in Latin antiphons), and ranges in length from 17 to 73 lines, averaging about 37 lines per unit. The manuscript indicates divisions at the starts of lyrics 4, 7, 9, and 11 through large capitals, line breaks, and , while other transitions rely on the recurring "Eala" and shifts in address. The poem employs the traditional of Anglo-Saxon poetry, characterized by two half-lines per full line separated by a , with stress patterns and linking words across the caesura for rhythmic unity. Poetic devices include kennings, such as "heaven's king" for Christ, which nouns to evoke divine attributes metaphorically within the alliterative framework. The lyrics progress thematically from direct invocations of Christ's titles, such as Creator and Redeemer in the early sections, to prophecies of Advent and the Nativity in later ones, creating a meditative sequence tied to the liturgical season. A possible lacuna precedes the surviving text, rendering the first lyric fragmentary and suggesting an original opening may be lost, as inferred from the abrupt start and contextual gaps in the manuscript. Scholars debate the poem's overall unity, with evidence for a ring structure—where themes circle back to reinforce central motifs—or an antiphonal sequence adapted from liturgical chants, emphasizing responsive praise across the lyrics. This formal organization highlights the poem's adaptation of oral and ecclesiastical traditions into a cohesive poetic form. The 12 lyrics have the following line ranges: Lyric 1 (1–17), Lyric 2 (18–49), Lyric 3 (50–70), Lyric 4 (71–103), Lyric 5 (104–129), Lyric 6 (130–163), Lyric 7 (164–213), Lyric 8 (214–274), Lyric 9 (275–347), Lyric 10 (348–377), Lyric 11 (378–415), Lyric 12 (416–439).

Key Themes and Lyrics

Christ I consists of twelve interconnected lyrics that meditate on the Advent season, progressing theologically from invocations of Christ's eternal divinity and role in creation to the mystery of the and Virgin Birth, and culminating in themes of and eschatological . The first four lyrics (lines 1–103) emphasize Christ's as the eternal Creator and , calling upon him to descend as the "bright dawn" to renew a fallen world, drawing on imagery of piercing the darkness of . Lyrics five through eight (lines 104–274) shift to the humility of the , celebrating the Virgin Mary's role in bearing the divine Word, with petitions for her and reflections on the prophetic fulfillment of through Christ's human birth. The final four lyrics (lines 275–439) turn to the consequences of Christ's coming, portraying him as the triumphant who unlocks heavenly gates for the redeemed while condemning the unrepentant, evoking joy in redemption and for eternal rewards. Central to the poem are themes of divine in the Advent, where the omnipotent assumes mortal form to redeem humanity; the profound of achieved through Christ's sacrifice; and eschatological hope, promising heavenly bliss to the faithful. These ideas are conveyed through vivid , such as Christ as the radiant illuminating the soul's , the opening of celestial gates symbolizing access , and rewards of eternal and for the obedient. Rather than a linear , the prioritize meditative , inviting of Christ's advent as both historical event and ongoing spiritual reality. Notable highlights include the first lyric's portrayal of Christ as the "midwinter's messenger" who brings solace in the night's depths, invoking him to "stir the spirits" of the weary with his coming (lines 1–17). In the ninth lyric, Christ appears as the "noble warrior" descending from heavenly halls to conquer sin, emphasizing Mary's exalted role as queen and mediator in the Virgin Birth (lines 275–347). This structure avoids plot-driven storytelling, favoring lyrical devotion that builds emotional and theological intensity across the sequence. Theologically, Christ I blends typology—such as prophecies from foretelling the Messiah's birth—with fulfillment in Christ's life, death, and anticipated return, all tailored to deepen devotion during the Advent . This typological approach underscores the continuity of divine promise, portraying the as the pivotal bridge between creation's origins and salvation's consummation.

Poetic Analysis

Sources and Liturgical Influences

Christ I draws upon a range of biblical sources, primarily prophecies that anticipate the Messiah's advent, which are woven into the poem's lyrics through paraphrase and allusion rather than direct quotation. The opening section alludes to :7-10, evoking the image of heaven's gates opening for the "King of Glory" as Christ approaches, symbolizing divine entry and triumph. Prophecies from are also prominent, including Isaiah 9:2, which describes light dawning in darkness, and Isaiah 7:14 and 9:6, foretelling the birth of Emmanuel and a child named Wonderful Counselor, adapted to emphasize Christ's and role as redeemer. Elements from the Gospels appear in later lyrics, such as references to the in Luke 1:26-38, where the angel announces Mary's conception of the divine child, influencing depictions of the Virgin's role in the poem's meditation on and divine favor. The poem's structure and themes are deeply rooted in the Roman rite's Advent liturgy, particularly the Greater O Antiphons sung during Vespers from December 17 to 23, which invoke Christ under titles like O Sapientia (Wisdom, from Isaiah 11:2-3 and Proverbs 8), O Oriens (Dayspring, from Zechariah 6:12 and Malachi 4:2), and O Emmanuel (from Isaiah 7:14 and Matthew 1:23). These antiphons, expanded in vernacular form, provide the framework for most of the poem's twelve lyrics, with the Old English "Eala" exclamations mirroring the Latin "O" invocations to create a meditative progression suited for monastic or lay devotion during the Advent season. Not all sections follow this pattern precisely; for example, lyric VII on Mary's doubt draws from additional liturgical prayers related to the nativity, as identified in scholarly analysis of responsories and collects. Patristic influences shape the poem's interpretive depth, echoing the exegetical traditions of early without verbatim translation. Ambrose of Milan's Advent hymns, such as , contribute to the lyrical emphasis on Christ's dual nature and cosmic kingship, influencing the poem's rhythmic invocations and theological focus on . Bede's commentaries on the and provide a key Anglo-Saxon lens, with his glosses on prophetic texts like informing the poem's typological reading of advent imagery as fulfilled in Christ. As detailed in Bernard J. Muir's 2006 edition of the , these patristic elements are adapted to enrich the vernacular text, blending Latin theological precision with native poetic forms. The adaptation process transforms these Latin prose and liturgical sources into , expanding brief antiphons into extended meditations while incorporating Anglo-Saxon heroic motifs, such as Christ as the "lord of hosts" (ealdorcyning) who conquers like a warrior-king, thereby making abstract biblical and patristic concepts accessible and resonant for an . This vernacular expansion preserves the sources' devotional intent but infuses them with cultural specificity, evident in the poem's use of terms like "heofona healdend" (ruler of heavens) to evoke both divine sovereignty and earthly lordship.

Interpretations of Unity and Form

Scholarly interpretations of the unity and form of Christ I (also known as the Advent Lyrics) have evolved significantly since the . Early scholars, influenced by the poem's proximity to 's signed Christ II in the , often viewed the sequence as a single, cohesive work attributable to Cynewulf himself, emphasizing its liturgical coherence as evidence of authorial intent. However, post-2000 analyses have shifted toward a consensus that Christ I represents a compiled of discrete , assembled by a or monastic editor with deliberate thematic progression from Advent anticipation to eschatological , rather than a unified original composition. Formal analysis highlights structural devices that enhance perceived coherence despite the compilation. The sequence employs a ring composition, framing the with motifs of divine creation in the opening fragment and final judgment in the concluding sections, creating an enclosing arc that mirrors the liturgical cycle of expectation and fulfillment. Additionally, the repeated use of the exclamatory "Eala" (translating the Latin "O" from the ) functions as an anaphoric device, establishing a rhythmic, prayer-like cadence that evokes the oral liturgical tradition and unifies the meditative tone across . Debates persist regarding potential fragmentation, with some scholars positing scribal interventions or lost intervening lyrics that might have smoothed transitions, based on palaeographical inconsistencies and abrupt shifts in voice. A recent study emphasizes emotional unity through relational devotion to Christ, arguing that shared affective piety—manifest in dialogues like that between Mary and Joseph—binds the lyrics thematically, fostering a collective intimacy with the divine despite formal discontinuities. The poem's formal innovations lie in its hybrid blending of lyric intimacy and epic scope, departing from the didactic of contemporary homilies to cultivate personal, devotional response; this fusion allows for varied personae (e.g., prophetic voices, maternal laments) that intensify the reader's pious engagement without relying on narrative progression.

Samples and Excerpts

Selected Lines in Old English

The first lyric of Christ I, beginning at line 104 of the poem, opens with a striking to Christ as Earendel (a term denoting a radiant star or morning light, glossed as "dawn-bringer" or "bright radiance"), emphasizing his role as a heavenly messenger sent to humanity. This passage, preserved in the (folio 9v), exemplifies the poem's form, where stressed syllables align sounds like beorhtast (brightest) and engla (angels) to evoke luminous imagery without modern or . The text below uses normalized from scholarly editions, expanding manuscript abbreviations such as þæt for "that" and noting minor variants like the spelling middangeard () in some reconstructions.

Éala éarendel engla beorhtast ofer middangeard monnum sended, ond sóðfæsta sunnan leoma, torht ofer tunglas, þú týda gehwane of sylfum þé symle inlýhtest! Swa þú, god of gode gearo acenned, sunu sóðan fæder, swegles in wuldre butan anginne æfre wære, swá þec nú for þearfum þín agen geweorc

Éala éarendel engla beorhtast ofer middangeard monnum sended, ond sóðfæsta sunnan leoma, torht ofer tunglas, þú týda gehwane of sylfum þé symle inlýhtest! Swa þú, god of gode gearo acenned, sunu sóðan fæder, swegles in wuldre butan anginne æfre wære, swá þec nú for þearfum þín agen geweorc

A representative selection from the sixth lyric (lines 130–163), centered on the incarnation and the prophetic name Emmanuel ("God with us," glossed from Hebrew via the angel's announcement in Matthew 1:23), illustrates the poem's integration of liturgical sources with alliterative patterns, such as the repetition of cyning (king) to underscore divine kingship. Drawn from the Exeter Book (folio 8v–9r), this excerpt maintains the original metrical fidelity, with the scribe's abbreviations like þt for þæt (that) expanded for readability; no major variants alter the core phrasing in standard editions. These lines highlight the poem's rhythmic flow, where half-lines balance through alliteration, preserving the oral-aural quality of Anglo-Saxon composition.

Éala gæsta god, hú þú gleáwlice mid noman Emmanuel nemned wære, swá se engel ǽrest cwæþ on Ebréisc! Þæt is swýðe geopenod on his gerynum: "Nú is heofona weard, god sylfa mid ús!" Swá þá yldran men manigum géarum soðfæstlice witegodon ealra cyninga cyning, sunu meotodes sylfa wolde gefǽlsian foldan mǽgðe, swilce grundas éac gǽstes mǽgne siðe gesécean. Nú hie sófte þæs bídon in bendum hwonne bearn godés cwome.

Éala gæsta god, hú þú gleáwlice mid noman Emmanuel nemned wære, swá se engel ǽrest cwæþ on Ebréisc! Þæt is swýðe geopenod on his gerynum: "Nú is heofona weard, god sylfa mid ús!" Swá þá yldran men manigum géarum soðfæstlice witegodon ealra cyninga cyning, sunu meotodes sylfa wolde gefǽlsian foldan mǽgðe, swilce grundas éac gǽstes mǽgne siðe gesécean. Nú hie sófte þæs bídon in bendum hwonne bearn godés cwome.

Modern English Translation of Sample

The following provides a line-by-line prose rendering of the selected excerpt from Christ I (lines 104–112), drawn from post-2000 scholarly editions that prioritize literal accuracy and the poem's devotional tone while echoing its alliterative structure where feasible. Hail, Earendel, brightest of angels,
over sent to men,
and true light of the righteous sun,
bright over the stars—you illuminate
every season always from yourself!
So you, God born readily from God,
Son of the True Father, were ever
without beginning in the glory of the heavens,
so now your own creation faithfully awaits you in need. This translation approach, as exemplified in Bernard J. Muir's edition of the (2000) and Mary Clayton's 2013 volume, aims to preserve the original's rhythmic without modern poetic embellishments, rendering it accessible for contemporary readers while maintaining the liturgical immediacy of the address to Christ as . Similar literal renderings appear in Mary Clayton's 2013 volume, which underscores the poem's antiphonal roots in Advent . Translating terms like "Éarendel" presents challenges, as it literally denotes a "dawn" or "morning star" in Old English, here applied metaphorically to Christ as the harbinger of salvation, echoing the Latin "O Oriens" (O Rising Dawn) from the "O Antiphons." Kennings such as "sunnan léoma" (sun's light) are rendered straightforwardly as "true light of the righteous sun" to convey the cosmic brilliance without over-interpreting, though they evoke biblical imagery of Christ as eternal luminary (John 8:12). These choices highlight cultural nuances of Anglo-Saxon Christianity, where celestial metaphors blend pagan poetic traditions with patristic theology.

Influence and Legacy

Impact on Later Old English Literature

Christ I, also known as the Advent Lyrics, exerted a significant influence on the subsequent poems in the Exeter Book's Christ cycle, particularly Cynewulf's Christ II (The Ascension) and Christ III (The Judgment), through shared thematic and stylistic elements that create a cohesive narrative of Christ's comings. The poem's emphasis on divine grace and the lord-subject relationship, evident in its petitions for redemption and imagery of exile from heavenly joys, establishes a foundational motif that recurs in Christ II's depiction of post-Ascension gifts to humanity and Christ III's portrayal of judgment as a fulfillment of contractual obligations between God and believers. Scholars have noted that Christ I's invocatory structure, marked by repeated "Eala" exclamations addressing Christ under various titles (e.g., "Eala earendel" for the dawn-bringer), inspires a similar rhetorical intensity in the later poems, where direct addresses to Christ evoke liturgical prayer and reinforce Christological imagery of exaltation and divine intervention. This stylistic echo contributes to the perceived unity of the cycle, with Christ II potentially composed to bridge Christ I's anticipation of the Incarnation and Christ III's eschatological vision. Beyond the immediate Christ cycle, Christ I inspired vernacular hymnody in other major collections, such as the poems of the , where themes of salvation history and Christ's triumph over in Christ and Satan parallel the Advent Lyrics' focus on the and redemptive arrival. The poem's adaptation of Latin antiphons into alliterative verse provided a model for blending liturgical sources with native poetic forms, influencing the Junius poems' narrative expansions of biblical events into devotional sequences. During the Benedictine Reform period (ca. 970–1000), Christ I's approach to sacred themes contributed to the production of reform-era poetry, such as Ælfric's homiletic works and anonymous hymns that emphasize monastic devotion and ethical instruction in the mother tongue, reflecting a broader shift toward accessible religious expression. Thematically, Christ I popularized Advent devotion in , foregrounding incarnational motifs—Christ's humble entry into the world as a remedy for human exile—that resonate in anonymous lyrics like , where the cross's narrative of divine suffering and victory echoes the Lyrics' portrayal of redemptive humility. This legacy is evident in the poem's role as a devotional touchstone, shaping later texts' exploration of Christ's dual nature as warrior-lord and suffering savior. Specific examples include the alliterative prayer forms in subsequent compositions, such as the Phoenix's meditative addresses and the Wanderer's supplicatory laments, which adopt Christ I's rhythmic invocations and thematic petitions for grace, as analyzed in pre-2020 studies of the anthology's devotional unity.

Reception in Modern Scholarship

In the nineteenth century, scholars often attributed Christ I (also known as the Advent Lyrics) to the poet due to its proximity in the to signed poems bearing his runic signature, reflecting a romantic view of unified authorship in religious verse. Benjamin Thorpe's 1842 edition of the Codex Exoniensis presented the 's contents, including Christ I, as a cohesive , treating the opening Advent poems as part of a larger epic sequence without emphasizing their fragmentary state. Twentieth-century scholarship shifted toward analyzing Christ I through its liturgical sources, recognizing the poems as adaptations of Latin Advent antiphons rather than a single epic. Jackson Campbell's edition highlighted their devotional structure, drawing on monastic liturgical practices to interpret the as interconnected meditations on Christ's . This approach influenced subsequent studies, such as those exploring emotional depth in the poems, though debates persisted on their unity versus independence. Recent scholarship since the has increasingly addressed the fragmentary nature of Christ I, with the loss of initial folios underscoring its status as an incomplete opening to the anthology. The 2021 digitization of the by the has facilitated new paleographic analyses, revealing scribal intentions and material context. A 2023 study emphasizes the poems' , particularly monastic devotion to Mary, while integrating them into the broader anthology. Additionally, analyses have turned to gender dynamics and relational theology, as in a 2021 examination of emotion in Lyric VII's dialogue between Mary and , challenging earlier views of passive female figures. John D. Niles's 2019 monograph further contextualizes Christ I within the 's thematic unity, addressing gaps in prior unified interpretations.

Editions and Translations

Major Scholarly Editions

The earliest scholarly engagement with Christ I came through partial transcriptions of the Exeter Book manuscript. Benjamin Thorpe's 1842 edition, Codex Exoniensis, provided the first modern printed transcription of select portions of the manuscript, including initial lines from Christ I, marking a foundational step in making the poem accessible beyond paleographic study. This work focused on diplomatic rendering of the text with an accompanying English translation, though it covered only fragments due to the manuscript's complexity and the era's editorial constraints. A significant advancement occurred in 1857 with C. W. M. Grein's Bibliothek der Angelsächsischen Poesie, which offered the first complete printed text of Christ I in normalized , drawing directly from the while introducing editorial emendations to address scribal ambiguities. Grein's edition emphasized philological accuracy, including glossarial notes that highlighted linguistic variants, and it became a standard reference for subsequent scholars studying the poem's liturgical structure. Later revisions by Richard Paul Wülker in the further refined Grein's , incorporating additional comparisons to resolve textual lacunae. In the twentieth century, the Anglo-Saxon Poetic Records series established a benchmark for critical editions. George Philip Krapp and Elliott van Kirk Dobbie's 1936 volume, The Exeter Book, presents Christ I on pages 3–15 in a semi-diplomatic transcription that collates the manuscript's readings with Grein's earlier work, providing extensive footnotes on emendations and metrical irregularities. This edition prioritizes textual fidelity, including a glossary of rare terms and discussions of scribal errors, such as those in lines 18–32 affected by physical damage to the folios. It remains a cornerstone for scholars due to its comprehensive apparatus, facilitating detailed analysis of the poem's unity as a sequence of Advent lyrics. Modern scholarly editions build on these foundations with enhanced resources. Bernard J. Muir's The Exeter Anthology of Old English Poetry (second revised edition, 2000; updated 2006) delivers a normalized text of Christ I alongside a high-resolution digital of the on accompanying media, enabling precise study of paleographic features like ink blots and erasures. Muir's work includes detailed annotations on variant readings across historical editions and a that elucidates theological , addressing gaps in earlier transcriptions. Digital editions have expanded accessibility in recent decades. The Poetry Project at offers an edition of Christ I with searchable text, interlinear translations, and manuscript images, updated through 2021 to incorporate user annotations and cross-references to liturgical sources. Similarly, the interactive at OEPoetryFacsimile.org, launched around , provides a zoomable digital scan of the relevant folios (8r–14r) paired with an edited text derived from Krapp-Dobbie and Muir, featuring tools for highlighting emendations and variant collations. These platforms include glossaries and notes on textual interventions, such as proposed restorations for damaged passages, supporting advanced research into the poem's form without requiring physical access to the .

Translations into Modern English

One of the earliest complete translations of Christ I into modern English was provided by Israel Gollancz in his 1892 edition, Cynewulf's Christ: An Eighth Century English Epic, which offers a prose rendering aimed at making the poem's devotional structure accessible to Victorian readers while preserving its rhythmic qualities. This translation emphasizes the poem's liturgical origins, rendering the Advent lyrics in straightforward prose that highlights their antiphonal calls to Christ. Shortly thereafter, Charles W. Kennedy's 1910 The Poems of Cynewulf delivered a poetic rendering of Christ I (as part of the broader Cynewulf corpus), adopting an alliterative style to evoke the original's oral performance and heroic undertones, thereby bridging the gap between scholarly fidelity and literary appeal for early 20th-century audiences. In the mid-20th century, translations shifted toward more literal approaches suitable for classroom and devotional use. S.A.J. Bradley's 1982 Anglo-Saxon Poetry: An Anthology of Old English Poems in Prose Translation (Everyman's Library edition) includes a complete prose version of Christ I, prioritizing syntactic accuracy over poetic flourish to facilitate direct engagement with the text's theological , such as the metaphors of and kingship in the lyrics. Similarly, Jackson J. Campbell's 1959 The Advent Lyrics of the Exeter Book provides a facing-page literal prose , focusing on the poem's division into discrete antiphons and offering interpretive notes that underscore variations in addressing Christ as Redeemer or Eternal . Recent translations have increasingly incorporated digital accessibility and contextual annotations to enhance interpretive depth for contemporary readers. Aaron Hostetter's ongoing Old English Poetry Project (launched circa 2015) features a dual-language online edition of Christ I, with a modern English rendering that balances literalness and readability, accompanied by glosses and audio recitations to illuminate the poem's rhythmic and phonetic elements. R.M. Liuzza's 2014 Old English Poetry: An Anthology presents a fresh prose translation of the Advent lyrics, emphasizing their emotional invocation of salvation while drawing on recent manuscript scholarship for textual reliability. In 2020, Jacob and Mamie Riyeff published O Shining Light: Old English Meditations for Advent and Christmastide, the first stand-alone poetic translation of the Advent Lyrics, offering a rhythmic modern rendering with commentary to renew their devotional appeal for contemporary audiences. These works often build on major scholarly editions like those of Krapp and Dobbie (1936) for their base texts. Over time, translations have evolved from a 19th-century emphasis on the poem's heroic, epic tone—reflecting Romantic interests in Anglo-Saxon vigor—to 21st-century renderings that prioritize devotional intimacy and liturgical resonance, making Christ I more approachable for theological and poetic study.

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