Category Archives: Dark Ages

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Society News: Slavery in Anglo-Saxon England

In this series of posts about what Anglo-Saxon society was like in 7th century England, I have been covering the various classes and people groups including Kings and Queens, the upper class, the church, coerls, and others. 

Finally we have reached the bottom of the rung, that being the class of slaves.

Slavery is common to all societies throughout history, and it was no different in 7th century England. People could be bought and sold as slaves at that time, and in some cases they even sold themselves into slavery.

So, it was not an usual thing. Perhaps the most famous slave of the Early Medieval period in England was St. Patrick. HIs Confessions detail his early life. Born as the son of a wealthy Christian Romano-British family, while he was a young boy Patrick was captured by Irish raiders who carried him back to their island home where he worked as a slave. It was while shepherding his master’s sheep that he had the vision from God that propelled him to escape and make the dangerous journey back home to England. Eventually he came back to Ireland as a missionary and became Ireland’s most famous saint.

Patrick’s story illustrates just one of the many ways you could find yourself sold into slavery. Raids between warring kingdoms were common, and along with the cattle or sheep that might be taken, sometimes people were taken, too. Another way to become a slave would be to be part of a losing group of fighting men in a battle. Those who weren’t killed would either be taken as slaves and sold for profit, or kept as hostages, if they were part of a noble family who could afford to pay for their release. However many of the warriors would generally be killed in battle, as it was shameful to survive if your lord was killed. This meant it would be the surviving women and children who would then be taken off as part of the battle booty and sold as slaves.

A person could also be born into slavery, if their parents were slaves. There was also penal slavery, in which a person could be made a slave as a punishment for a crime committed.

Finally, you could sell yourself into slavery, as mentioned above. This might sound like an odd thing to do, but actually it was a way to survive in times of famine or other difficulty.   By selling yourself and your children into slavery you were ensured of a roof over your head and a food to eat. Keeping in mind that everyone in this society worked hard, from the kings and nobles down to the lowly slave, it meant that often the amount of work you would have to do did not differ much between slaves and freemen and women. The idle upper class did not come along until centuries later.

Bede tells us that the Augustinain mission to England came about because Pope Gregory saw some fair-haired children in the slave market in Rome. Taken by their fair hair and curls, he inquired where they were from. Hearing they were Angles, he declared, “Not Angles, but angels!” and resolved to send missionaries to their land to teach them the Gospel of Christ. Image from Lawrence OP, on Flickr

Slaves were the one class of people who had no weregild, but that didn’t necessarily mean they were unprotected by law. In fact, slave-owners had a duty to feed and care for their slaves, which is why selling yourself into slavery was a viable option for those who faced starvation otherwise. Slave-owners were also legally responsible for the actions of their slaves, so owning slaves came with some heavy responsibilities.

Although they had no weregild, slaves were valuable as property, and so if someone killed or injured a slave, recompense would be made to the owner. However, killing your own slave had no legal ramifications, but it was still seem as murder under church laws and therefore if the owners were Christian, they would face the sanction of the church. The Church also frowned upon selling slaves outside of England, as they would be exposed to heathen religions and ways, and so as Christianity flourished the selling of slaves overseas lessened, but of course never stopped completely.

The Church also often would buy slaves on the market and free them as an act of charity. Often these slaves would then enter a monastery or convent, which would make sense, as they could be far from home and family who could shelter them.

The laws of Alfred the Great in the 9th century shows us that slaves were allowed some time off on certain feast days, and that slaves were encouraged to better their lot by selling gifts they may have recieved in order to eventually buy themselves out of slavery. We don’t know for certain, but I would suspect that customs were not much different in the 7th century, even though they had not been codified by law.

Slaves were also freed as acts of compassion and religious observance by thier owners on special feast days, or as part of the owner’s will. The ceremony to free someone was a solemn affair, with witnesses and legal documentation.

The amount of slaves during the Early Medieval period in England was considerable. By the time of the Norman conquest and the Domeday Book was compilied, around 10% of the population were slaves. However, the Viking occupation perhaps increased that number over what it had been in Anglo-Saxon times, but we can’t say for sure.

Life was hard in the 7th century, and slaves had it harder than most. But they had food, shelter, some protection by law and the Church and the opportunity to better their lot, and so I suppose one could say they had it better than other people who became slaves in other times and places. 

Still, I suspect they would rather be at the top of the ladder than at the bottom, if they had the choice. 
 

 

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Letters from the Dark Ages: Berhtgyth

It’s that time of year when letters and cards might actually arrive in your mailbox. Real letter, hand-written by a friend or loved one who lives far away. Isn’t it wonderful? One of the sad things about this modern age is the pen-and-paper letter has gone the way of the dodo, for the most part.

Of course, this is a relatively new phenomenon. Up until even thirty years ago, it wasn’t uncommon to get a letter from someone far away. And even in Anglo-Saxon England, in the midst of the so-called Dark Ages, there were people who communicated to one another via letters.

This was not an easy task, and, just like today, not exactly a common one. There wasn’t the convenience of a centralized postal system which would handily take care of getting your letter to its destination. You had to find someone who was going to the letter’s intended destination, and then someone at that destination had to get that letter to the recipient.

Couple these difficulties with the fact that most people could not read and write, and you can easily see that for the general population, this means of communication was not possible. It’s hard for us to imagine now, but for most of human history, when people left their homes to go to faraway places (in those days, that could even be relatively close by, to our minds), it was likely that they would never be heard from or seen again by their loved ones.

Having said all that, it’s amazing that some letters from the 7th century survived through the centuries. They are  fascinating, as they give us a first hand view of one person’s life at the time. Since these close and personal glimpses of life in the Early Middle Ages are few and far between, these letters are very instructive to us today.

The one group of people who could easily write and send letters were those in religious life, as they learned to read and write as part of their vocations. And because there were often travellers between the various monasteries, they had a way for letters to be carried back and forth. So, it’s not surprising that the letters we have are mainly from Church men and women.

And seeing as the Church was engaging in missionary work at this time, establishing monasteries on the Continent, there were even opportunities to send letters back and forth across the ocean.

Today I want to introduce you to Berhtgyth, a Anglo-Saxon nun who grew up in Wessex. She eventually went overseas to Germany as part of a mission to that country, likely with her mother, Cynehild, and taught in the region of Thuringia, Germany. She likely worked under the leadership of the Abbess Leoba. At the end of the 8th century* she  wrote some letters to her brother, a monk named Balthard, who at the time of receiving the letters could have been Abbot of the monastery at Bad Hersfeld, in central Germany. The letters themselves aren’t clear exactly where Balthard was, but it is evident he was some distance away, either in Germany, or perhaps even back in England.

We don’t have Balthard’s side of the correspondence; just three letters that Berhtgyth wrote to him have survived. You might wonder why. Although it seems she was a learned woman and accomplished teacher, Berhtgyth was, by all accounts, an ordinary nun, doing the work set out for her as part of an English missionary circle which included the much more famous Boniface, the celebrated English missionary to Germany.

According to a later, 11th century Life of St. Boniface, Berhtgyth’s mother Cynehild was a maternal aunt of Lull. Lull (or Lullus) was the eventual successor of Boniface as Archbishop of Mainz. Because Boniface and Lull were both important figures, the correspondence between the two of them, as well as letters to and about Boniface, were saved for posterity. In the midst of that bundle of letters that have been saved (probably compiled by Lull), you will find these three letters from Berhtgyth to her brother Balthard. I will touch on why this might be so later.

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Statue of St. Lullus, in Bad Hersfeld. Image from Wikipedia

The letters are short, but remarkable. To give you a taste, here is the opening of the second letter:

Most beloved brother in God and dearest in the flesh, Berhtgyth salutes Balthard in the name of Christ. 

My soul is weary of my life because of our fraternal love, for I am alone, left behind and without help of kin. For my father and my mother abandoned me, but the Lord has taken me up. Many are the congregations of water between me and you, yet let us be joined in love because true love is never divided by the borders between places. But still I say that sadness never recedes from my soul, nor can I rest my mind in sleep, because love is as strong as death. I therefore ask you now, most beloved brothers to come to me or have me come to you, so that I might see you before I die, because your love never leaves my soul. Brother, your only sister salutes you in Christ. 

All three letters follow this theme. In them, Berhtgyth begs her brother to come and visit her, and expresses her loneliness and sadness at being abandoned by her parents (by their death). In fact, as you can tell from this excerpt, she does lay it on rather thick. However, we have to keep in mind that this type of overblown rhetoric only seems that way to our  modern eyes. In some of the other literature we have looked at, such as The Wife’s Lament, you can see hints of this same style, so it’s not like this was unusual for the times.

In the third letter, we get a glimpse of some of the ways letters travelled from one person to another, as we see that Balthard has obviously replied to Berhtgyth’s letter.

It may be known to you that your missionary words came to me through a faithful messenger named Aldraed,  together with gifts that are embraced with intimate love. And now I confess to you that with the help of God I long to fulfill all that you instructed me, if your will might deem it worthy to come to me, because I cannot in any other way suppress my fountain of tears.

Aldread has brought a letter back to her from Balthard, along with some gifts. It almost seems like the package of a letter and the gift maybe passed through more than one hand, finally getting to Aldread and thus to Berhtgyth. And at the end of the letter, she reciprocates:

A little present, although small, still loaded with great love, which we send to you by the faithful messenger named Alfred; that is a ribbon.

Try to look past the “fountain of tears” to see the woman who wrote the words, who has given up husband and family to serve Christ as a nun, and who is missing her only kin, her brother, longing for a glimpse of home in a foreign land. They write back and forth, sending gifts via a messenger or messengers they can only hope and pray will reach their destination. It’s really rather touching, don’t you think?

There is some speculation that these letters were included with the bundle of Boniface correspondence as a type of “form letter” that others could use in their own correspondences to use in similar circumstances. If you were missing your brother/sister/aunt/uncle/mother/father, etc, you could pull out these letters, personalize it with the appropriate names, and you would have a letter already done for you. Keep in mind that letter writing was an important skill that was taught in Classical times, and although we don’t know for sure, there are hints that it could have been taught throughout the Early Medieval period in England as well at the monastery schools. It was expected that letters would follow certain forms and include specific parts. It would have been handy to have examples of a “good” letter to work from for busy church men and women.

At any rate, no matter why there are there, I’m really glad these letters still survive. We get a small glimpse of an ordinary person of the times, in her own words. That it is a woman’s voice we are hearing is even more remarkable. These letters are a small window into this long-ago time, one far removed from the battles, warriors, and saints we usually see.

But I wish we knew whether Balthard finally visited Berhtgyth or not, don’t you? I really hope so!

Featured image from medievalists.net

If you want more in-depth info on Berhtgyth’s letters, have a look at Berhtgyth’s Letters to Balthard, a scholarly paper from the University of Iowa by Kathryn Maude.

 

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Cover Reveal! 

This is it! If you are one of my newsletter subscribers, you got a sneak peek at this last week, but today I’m releasing to the wider world the cover of my first book, Wilding: Book One of the Traveller’s Path.

I think it looks awesome, how about you? The designers at Ebooklaunch did a fabulous job, and I am very pleased. I would recommend them if you are in the market for a cover. And bonus: they are Canadian, to boot!

Someone asked me, “What are the significance of the elements of the cover?” I wasn’t able to give a very coherent answer, mainly because we were sitting at a table at a social event with loud music and lots of conversation in the background, so it was difficult to explain anything in-depth. But it was a good question, and I thought I could answer it properly here.

1. The Celtic Cross – the main bulk of the story action takes place in 7th century Northumbria. The cross represents this time and place because it was a time when the Christian faith was beginning to become the dominant faith, and in particular, the variety of Christianity that we now call Celtic Christianity was the one the people there adhered to. This Celtic Cross could be found dotted across the Northumbrian landscape, at various monasteries and as well as at places where they would be known as “teaching crosses”, places where travelling monks would stop and preach the Gospel on their rounds throughout the kingdom. The cross on the cover also represents the monastery at Lindisfarne, where Thomas, my main character, finds refuge. And finally, it symbolizes the spiritual journey Thomas undergoes as he is swept away from everything familiar, and his already struggling faith is challenged in new and unexpected ways.

2. The crows – I don’t want to give too much away, here, but I can just say that the crows represent Thomas’ main adversary in the Travelling Path series (which will likely be three books, but I’m not exactly sure yet).

3. The mist – Thomas, and others, have a recurring dream, of him walking through the mist, heading towards an unspecified, but earth-shattering, threat. So I thought it would be good to include this on the cover.

I wanted a cover that was not too cluttered but gave readers a sense of the book’s content and genre. One thing that was tricky was to impart the sense that this is not just a historical book, but a historical fantasy. In the end, we decided to do that by making the font stylized and artistic, rather than just block letters. Barring dragons and wizards on the cover (neither of which appear in my book) I think it helps to give the cover a fantasy feel.

It was an interesting process to get this designed, and a fun one. And to see my name on the cover…whoo.

My final bit of news is that I have firmed up my publication date. Wilding will be available on Amazon and all the other e-book retailers on February 5, 2019. 

Lots to do until then….stay tuned!

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Anglo-Saxon Elves

Today is a special day on The Traveller’s Path – this is my first crosspost! My post today is also being featured on the Superversive Inklings Blog…many thanks to them for allowing me to share their space…

One of the intriguing questions about the Anglo-Saxons who lived in England in the Early Middle Ages revolves around their religious beliefs and mythologies. Pretty much all of what we know of these beliefs were written down by Christian monks, and so it’s tricky to tease out the truth of that second-hand information. Bede gives us some glimpses of their religion, but by the time he was writing his Ecclesiastical History of the English People, completed around 731 AD, the religious practices of the pagan Anglo-Saxons had pretty much disappeared from England, so he was writing about beliefs and practices that were pretty much legend in his time.

The Anglo-Saxons of the 7th century* were, of course, descended from the Angles, Saxons, and Jutes who migrated to Britain after the Romans left the island defenceless in the 4th century. There is considerable discussion about whether these migrants came as conquerors or settlers, and the truth is likely a mix of the two.

These groups of people came with their own set of beliefs and worldview that were distinct from those of the Celtic and Romano-British people who populated Britain at the time. They were Germanic people, and shared the rich heritage of the Norse and Germanic religions. They certainly were not Christians, but encountered a strong thread of Christian culture in Britain, a legacy of the Roman occupiers.

So in trying to determine the religion and mythologies of the pagan Anglo-Saxons, scholars and historians look to the beliefs of their contemporary Germanic and Norse kin who lived on the Continent during the time they settled in Britain. But of course, their culture and beliefs slowly diverged from their Continental neighbours as time passed, and as they began to be integrated with the local population.

I don’t have the time or expertise to cover all of the Anglo-Saxon beliefs and mythology, but I thought I could give a brief overview of their mythologies about elves, seeing as I did some research on this in writing my first novel, Wilding: Book One of the Traveller’s Path (coming early 2019).

Much has been made of Tolkien’s elves, and many scholars with far more expertise than I have written about Tolkien’s understanding of the Saxon myths and religion and how he incorporated that into his Middle Earth (itself an Anglo-Saxon term) and his conception of elves.

I have posted before about how the concept of “elves” is a feature in many different cultures’ mythologies across the world. In that post I wrote:

Elves are fascinating creatures of legend, and their roots go deep into our history. And when I say “our”, I mean collective mankind, for although we may think that the concept of elves is a Western European one, you can actually find elf-like creatures in most of the world’s mythology. In the Norse and Germanic cultures they are alfar, supernatural beings having great beauty and long lives, sometimes helping humans, sometimes hindering them.

Our English word, “elf”, comes directly from the Anglo-Saxon word ælf. This means “white being”, which seems to relate to ideas of the supernatural, divine, or of feminine beauty. At any rate, the Anglo-Saxon elves were thought of as being human sized, and indeed, generally they were said to look human, although usually they were thought of as being exceptionally beautiful. They could make themselves invisible, or change shape. These are not “Tinkerbells”. The conception of elves (or “fairies”) as being diminutive beings with wings came much later, in the Late Medieval period.

Elves were not to be trusted in Anglo-Saxon mythology. They could be helpful, but they could just as easily be tricksters, or worse. They could lure both men and women into illicit sexual unions, or into a bargain that inevitably would end badly for the human.

They certainly were seen as the cause of some illnesses, both amongst humans and livestock. In Bald’s Leechbook, you can find charms or remedies against what is called “elf-shot” – a sudden, sharp pain, which was caused by being shot by an invisible arrow from an invisible elf.

 

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Bald’s Leechbook. Image from The British Library

Another great danger the Anglo-Saxon elves posed was their penchant for stealing children. It is said that they would take a human child and switch it with one of their own, a sickly, wizened being that would be known as a changling. Human parents who suddenly had a fractious, sickly baby would fear that they had been the recipient of this type of switch. There were also tales about human women who were tricked by elves to become wet nurses for their offspring. And of course, time moves differently in the elves’ world. The woman could emerge from the Otherworld to find that three hundred years had passed when she thought it was only three.

Speaking of the Otherworld, it is very difficult to determine exactly where the Anglo-Saxons thought their elves lived, or where they came from. That’s because the mythology of Anglo-Saxon elves has been conflated with the British Celtic views on these beings, whether they be Irish, Scottish or Welsh, and so to tease out what is specifically Anglo-Saxon about the legends in this regard is tricky. However, it does seem that the general idea was than the elves lived in hills under the earth, which would sometimes open up and reveal the elves singing, dancing, and feasting, which were favourite activities of theirs. They are also associated with certain trees, especially oaks.

The mention of elves from this time period comes from either medical treatises or from epic ballads such as Beowulf. In that poem, the elves are lumped in with other creatures such as giants and demons, who are all descendants of Cain. These are creatures exiled by God that feud endlessly with mortal men, who are the descendants of Seth (Adam’s son) and Noah. This assumes that their home is on Earth, but that they are hidden in some way from men until they make themselves known.

In general, then, when trying to categorize the elves of Anglo-Saxon lore, it is best to think more of Tolkien’s depiction than Disney’s Tinkerbell. Keep in mind, however, that Tolkein was writing fiction, and brought both his own imagination and some later Scandinavian legends and stories for his idea of elves. Not everything in Lord of the Rings corresponds with actual Anglo-Saxon beliefs about them. Especially not the pointed ears!

But because of Tolkien’s influence, there is still interest in these stories and legends that otherwise we likely would have forgotten or ignored. Our Anglo-Saxon ancestors would likely be amazed to know that, this many centuries after they are gone, we still tell stories about the elves and their kin.

*As my book takes place mainly in 7th century Northumbria, that is the time period that is the focus of this blog. Although there would be some differences from the beginning of the Anglo-Saxon migration until the time of the Vikings, these broad strokes are pretty close to what most of them would have believed throughout that time.

Featured image: Oberon, Titania and Puck with Fairies Dancing, by William Blake (1786) This painting comes from the 18th century, but I think that it is actually not a bad depiction of Anglo-Saxon elves! Image from sussexarch.org.

 

Want to know more about my book, an historical fantasy set in 7th century Northumbria? Sign up for my newsletter, and you will get the first chapter as a thank-you! You’ll also get interesting articles and other bonus material relating to my writing. Newsletters come once a month, unless I have a special announcement. I’d love to connect with you there! 

 

 

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The Celts: 7th Century Wales

At the time of the 7th century, the Celtic peoples had been pushed by the Anglo-Saxons in to three main areas of Britain. These correspond roughly to what we call Wales, Ireland, and Scotland today. In the next few posts on my series on the Celts, I will focus on each of these three places in turn.

I’m going to start with Wales, because that lovely little piece of the world holds a special place in my heart, as my mother was Welsh, born in the charming town of Mumbles, on Swansea Bay in the south of Wales.

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Sigh. The rugged beauty of Northern Wales. Image from pixabay

Wales in the 7th century was, of course, not known by that name, although the name “Wales” does originate from this time. It comes from the word, wælas, meaning foreign, strange  in Anglo-Saxon. The word wælisc therefore meant foreigner, or stranger, and it was the word they would use to refer to the Celtic Britons who lived in England at the time. Which is ironic, seeing as the Britons were there first. It gives you a sense of the hostility that simmered between these two groups of people.

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The Welsh flag. The dragon has been used on flags in Wales for centuries. Some suggest it came from the draco military standard brought over by the Roman legions, and was adapted by the prominent Romano-British families thereafter. The green and white stripes were additions of Henry Tudor in the Middle Ages. 

The Welsh called themselves the Cymry (CUM-ree), which loosely translated means, fellow-countrymen. Today the word for Wales in the modern Welsh language is Cymru (also pronounced CUM-ree). But in the 7th century, the place we now call Wales did not have one name.

That is because, like the rest of Britain, Wales was divided up into several kingdoms. These were very much based on tribal and kinship allegiances rather than territory, although of course they did generally correspond to one area or another. The borders were fluid, due to the penchant of the kings’ attempts to expand territory by raids and warfare against other tribes/kings. The history of the various kinship groups and the territories they held are rather murky, and it’s difficult to say for certain a lot about the specifics of Welsh in the Early Middle Ages because of this. Certainly the people of Gwynedd in the north were a prominent group at this time, and we also know some about the kingdoms of Dyfed and Gwent. The kingdom of Powys was not referred to by that name in this time, although it certainly existed, under a different name. The name Powys does not surface until the 9th century.

Wales at this time was very much a rural society, with no large civic centres to speak of. The kings didn’t govern in the way we think of it, they were mainly the chief warriors who expanded the territory of the tribe/kinship group and who doled out the rewards of conquest to his faithful retainers. They might also give judgements on disputes, but only in consultation with the local elders. The local head of the kinship group would be the one to whom people looked to for the day-to-day stuff of making life work.

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The Bodvoc Stone. This dates from the late 6th century-early 7th century, and was originally set on a prehistoric barrow on Margham Mountain in South Wales. The inscription reads “The stone of Bodvoc. He he lies, son of Cattegern, great-grandson of Eternalis Vedomavus.” It’s the earliest known family lineage in Wales. Image from britain express.com

Wales was a Christian society at this time.  There were several monasteries in Wales, the most famous being the one founded by St. David, in the south. The Welsh followed the practices of the Celtic Christian church, which had some differences from the Roman Christian practices, most notably in the style of tonsure and the dating of Easter. There some other, cultural differences, too.

Just as they were never completely subdued by the Romans, the Welsh were never completely subdued by the Anglo-Saxons who followed them. The mountains of the north were a formidable barrier to any invaders, and the fierce independence of the Welsh made them difficult adversaries in any battles. Various of the Welsh tribes/kingdoms did form alliances with certain Anglo-Saxon kings, most notably with Penda of Mercia, in their fights against the Northumbrian kingdoms, and there was some intermarrying that went on as well. They also had some alliances with their neighbouring Celts in Ireland, and would make war with them on the Picts or Anglo-Saxons at times.

For the most part, the Britons who lived in the place we now call Wales were a strong, independent people, well used to defending their territories and their customs against all who encroached upon them. Which is the reason why Wales survives today as a unique part of the United Kingdom.

Cymru Am Byth!* 

For more posts on this series on the Celts, see this introduction to the series.

Are you interested in 7th century England? Do you want to know more about my historical fantasy novel, set in 7th century Northumbria? Do you like getting exclusive bonus material and articles? If you answered YES to any of the above, sign up for my newsletter, and you will get all that and more! 

*”Long Live Wales!” This is the motto of Wales.

 

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Anglo-Saxon Literature: The Wife’s Lament

On of the poems contained within the Exeter book is one called “The Wife’s Lament”. It’s an elegy, a poem that is a melancholy lament on death or other such sorrow, In this particular poem, a wife laments her separation and exile from her husband. It is written in Old English. As the Exeter book dates back to the late 10th century, we know that this poem is at least that old.

I have given you some simple facts about this poem in that first paragraph, but actually some of them are not facts, they are conjecture. Which makes this poem very tricky to write about! Like the Franks Casket, this little poem (53 lines) is subject to many interpretations and much scholarly debate.

Before we get into the general murkiness of the poem’s meaning, I will start with the bare bones of what it is about, in the minds of most scholars. The poem begins with a woman’s general lament over the state of her life. Keeping in mind that Old English is very difficult to translate, and so there are many variations of translations available, here is one fairly easy to understand version of the first stanza:

I make this song of myself, deeply sorrowing,
my own life’s journey. I am able to tell
all the hardships I’ve suffered since I grew up,
but new or old, never worse than now –
ever I suffer the torment of my exile.

The poem then gets into the details of her “life’s journey”. She is in exile because she has married into a different tribe/kingdom, and is without friends or family. And a secondary exile seems to take place in the poem, as he husband leaves her, the reason for which is unclear. Perhaps because of a feud, or a crime, we don’t know enough to say. The upshot of this is that the woman leaves as well, to look for her husband.  She is thwarted in this by her husband’s kinsmen, and is then commanded to live in a hole in the ground. Which leads her to pen this sorrowful poem. Can’t say I blame her.

There is also a section in the poem that could be about a tryst with another lover (perhaps that’s why she is put in the hole), or could also refer to a betrayal of her love by the husband. Some say that the “hole” is actually a grave, in other words, that the woman has been killed, and this is her ghost speaking. Either way, it’s all gloomy.

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Photo by Kat J on Unsplash

So, getting back to the first paragraph of this post, here’s a little more enlightenment on the controversies surrounding this poem:

The title – It is true that the poem is found within the Exeter Book, and is written in Old English. But, like the other elegies and poems in that book, it doesn’t actually have a title in the original manuscript.  The poem simply starts with the first line.  The first person to name it, Anglo-Saxon scholar Benjamin Thorpe, actually named it “The Exile’s Lament” in 1842. It wasn’t until eight years later that the title was changed to “The Wife’s Lament”. What’s going on, here?

Well, first of all, the Old English equivalent for the word “wife” does not appear in the poem. The poem is clearly meant to be in a woman’s voice, however, because the pronouns and adjectives in the poem are written in the Old English feminine form, rather than masculine. And by the way, this is one of the first pieces of English literature written from a woman’s point of view, which makes it pretty special aside from anything else, don’t you think? This is likely why Benjamin Thorpe did not ascribe it to a woman, because there isn’t much literature from a woman’s point of view that comes from this male-dominated era. Perhaps he was just not expecting to see that, and so he didn’t. And as I said, Old English, especially poetic Old English, is very tricky to translate.

The subject of the poem is of a more domestic nature, as compared to the heroic poems such as “Beowulf”,  with its monsters, fighting, and mead-halls. This also makes “The Wife’s Lament” stand out amongst the other poems we have from this era.

Of course, just because it’s in a woman’s “voice” doesn’t mean the creator of the poem was a woman. Don’t forget, very few people could read or write at the time. These poems were meant to be spoken, performed for an audience. It is possible that there were women who created poems, but it is likely that it would only be men who performed them. We only have a few poems from this era that were captured by a scribe at some point and written down. This scribe, however, could have been male or female, as this work was done pretty much exclusively in monasteries or nunneries.

Because of the female voice of the poem’s narrator, she is assumed to be a wife of the “lord” that she is mourning over in the poem. Hence, “The Wife’s Lament”.

The style of poem – although the interpretation of the poem being an elegy is the most common one, some scholars think that this is not an elegy, but is actually a riddle. They believe this because of a lot of complicated textual analysis that I can’t claim understand well enough to write about, so I will take their word for it. The poem ends, Woe to the one who must suffer longing for a loved one. This type of epitaph is typical of Anglo-Saxon riddles, which always end with these bits of what is called “gnomic” wisdom.  It is interesting that this poem, along with “The Wanderer “and “The Seafarer”, are found in the Exeter Book, which also contains 92 other riddle poems. So, I suppose it’s possible….

Unknown

Yeah. Basically. 

We have comparatively little extant written material from the Early Middle Ages, and so each piece we have is so very important to help us understand the culture and the times in which it was written. “The Wife’s Lament”, in particular, even with it’s difficulties, puts a small spotlight on a woman’s perspective (albeit a very sad one!), and that makes it very special, indeed.

Want more? Here are the posts in my Anglo-Saxon Literature series:

The Dream of the Rood

The Anglo-Saxon Chronicle

The Wanderer

What’s In a Word?

Bald’s Leechbook: The Doctor is In

The Lindisfarne Gospels

The Cotton Library

Cynewulf the Poet

Beowulf Basics

Cynewulf the Poet

The Exeter Book

 

Feature image of the Exeter Book from exeter-cathedral.org

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The Franks Casket

The Franks Casket, also known as the Auzon Casket, is a singularly fascinating object from early 8th century Anglo-Saxon England, probably Northumbrian in origin.

It is a small chest (the word “casket” is a bit deceiving, it is only 9″ by 4″). It’s unknown exactly what its original purpose was, but possibly it was made to hold a Gospel book or a book of Psalms (a psalter). It is made out of whale bone.

It is amazing that this small chest survived at all through the centuries. It first came to light in medieval France, as a reliquary in St. Julien’s Basilica in Brioude. It next appears on the record as a possession of a family in Auzon, France. Possibly it was looted from the church during the French Revolution, but it’s hard to say. At any rate, the box was used as a sewing box until the silver hinges and fittings were taken off and traded for a silver ring.

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Sir Augustus Wolloston Franks, described by Marjorie Caygill, historian of the British Museum, as “arguably the most important collector in the history of the British Museum, and one of the greatest collectors of his age”. Image from Wikicommons

Without the hinges the box fell apart, and the panels were shown to a professor who sold them to an antique dealer in Paris. Three of the panels were bought by Sir Augustus Wolloston Franks in 1857, and he donated them to the British Museum as he was the Keeper of the British and Medieval collections there,

The missing fourth panel (the right end) was found in a drawer by the family in Auzon and sold to the Bargello Museum in Florence, where it still resides.  It wasn’t until 1890 that the discovery was made that it belonged to the other pieces in the British Museum. The British Museum made a cast of the missing piece and reassembled the casket, and it is now on display there.

What is so interesting about this small chest are the exquisite carvings that adorn the sides and the top. Each panel depicts a different scene, all of them include runic inscriptions of varying lengths, with one Latin word thrown in for good measure. The dating and place of origin of the Franks casket comes mainly from the linguistic evidence of the words and the artistic style of the carvings.

The inscription on the front is a riddle, which also includes the answer. It is a riddle that describes what the box is made out of:

The flood lifted up the fish on to the cliff-bank;
the whale became sad, where he swam on the shingle.

Whale’s bone.

The casket was most certainly made in a monastery for some important figure, likely a king. There have been some attempts to tie it to the monastery at Ripon, founded by Wilfrid, but nothing definitive can be said about that.

There have been reams of scholarship on the decorative carvings, and that is because they are all so very different, and have many possible interpretations. The runes are not exactly straightforward, either, as in one spot the carver has used a simple substitution cipher to encrypt the words, and in other places has even written words backwards. This type of playing with words and letters is familiar – the use of riddles and encryption is seen in other surviving manuscripts from this time period. Anglo-Saxons obviously had a great respect for the power of the written word, don’t you think? I find it so fascinating, Don’t you wish you could sit down with the maker and find out exactly what was in his mind as he made this object?

Originally all the carved panels were thought to be random scenes, placed with no overall thought or design in mind. However, scholars are starting to reject that idea. They are now coming to see the carvings as an extremely clever and intellectually rich commentary, chosen precisely for how they all fit together.

The trouble is that the overarching theme or commentary is still unknown, and likely will never be known. Some postulate that the casket is telling the story of the history of England, from its pagan past to its Christian present (at least at the time of the 8th century, when it was created). Others see it as a commentary of the superiority of Christianity over pagan religions.

Because the obviously Christian element on the panel is only one small part of it, though, the thinking is that the casket was likely meant for a secular ruler. There are certainly  many references to secular/pagan legends and history.

There is so much informed and scholarly thought about what each of the carved panels represent that it would be a longer blog post than you likely want to read to tell you all of the possible interpretations. But, in a nutshell, here are a brief description of the panels and some of the proposed meanings of them.

Front panel – contains the riddle described above, flowing around the top, bottom, and sides of the panel, written in runes. The pictures are broken up into two distinct scenes. One the right, you have the only obviously Christian scene on the casket, that of the Adoration of the Magi after Christ was born in Bethlehem. We know this because the maker has helpfully included the word “mægi” over the three figures who are bowing to the baby held by the woman. Easy-peasy.

On the left, there is something completely different, namely, a depiction of part of the Germanic legend of Weyland the Smith. In this scene Welyand has been captured by the cruel king Niohad.. It also depicts the headless body of Niohad’s son, whom Weyland has killed in revenge for his captivity. Weyland is holding a goblet in his tongs, this could be the missing head, which he has made into a goblet. In the legend he offers a goblet of drugged beer to Niohad’s daughter, whom he then rapes. A female figure is in this scene, probably this is her.

Why on earth would the creator of this casket put these two scenes together? Possibly it is juxtaposing the benign Christ and his rule as opposed to the darkness and death of paganism from which the Saxons have escaped.

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Front panel. Image from John W. Schulze, on Flickr

Left side panel – this is a depiction of the legend of the twins Romulus and Remus, the two founders of Rome. The legend states that they were suckled by a she-wolf. The panel shows the wolf on her back, protecting and suckling the twins, with four men with spears watching. The runic inscription says, Romulus and Remus, two brothers: a she-wolf fed them in Rome city, far from their native land. 

This legend shows up in other Anglo-Saxon artifacts from the 8th century, so it’s not necessarily surprising to see it here. There are some parallels to it and the story of Hengist and Horsa, the Saxon brothers who were the legendary founders of England. Bede tells us that they were invited to Britain by King Vortigern along with a mercenary army of Saxons, Angles, and Jutes, to help him fight against the Picts of the north in the light of the departure of Rome’s legions in the 5th century.  Soon the money ran out and the erstwhile saviours turned against the British and began to claim England for their own.

Therefore, this panel could also be a reference to England’s past.

Alternatively, Rome was the centre of the Christian church at the time, so this could be symbolizing the aid and succour that Mother Church gives to her children.

I hope you are starting to see the difficulty scholars have in interpreting these scenes!

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Left panel. Image from Wikicommons

Back Panel – this depicts the conquest of Jerusalem by the Romans in 70 AD by Titus. Again, the runic inscription explains this. Interestingly, some of the words here are carved in Latin script, not with the runic alphabet.

Again, one might wonder why this scene is included here. This conquest of the Jews  by the Gentile Roman, Titus, was seen as a divine punishment by God for the wickedness of the Jews in their rejection of Christ. Similarly, Bede, in his Ecclesiastical History of England,  presents the invasion of the Saxons as punishment of the Britons for their moral laxity. This panel, then, could be a subtle, or not-so-subtle, commentary on a painful episode in England’s history that God used to chasten his wayward people. Others speculate it is more general than that, and is a commentary of the triumph of Christianity over Judaism.

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Back panel. Roman soldiers are on the left, beseiging Jerusalem. On the right are the captive prisoners being led away. Note the Latin letters on the top right. Image from Wikicommons

 

Lid – The top is missing the two panels that border the centre panel, which, assuming it was similar to the sides, contained the runic inscription. Perhaps these were made of silver as well, with the runes etched on it? Hard to say.  It also has a round spot in the middle which could have had an embellished silver boss or a knob-like handle attached.

Without the helpful runic inscriptions, it’s a little harder to suss out the meaning of the carvings. Some speculate it depicts an unknown part of the legend of Egill, a Germanic hero who is Weyland’s brother. There is one runic word incorporated in the carving, which says Ægill, hence the above interpretation. Other scholars argue that the word is actually referring to Achilles, and the carving is a depiction of the death of Achilles at Troy.

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Lid. Image from Wikipedia

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Here you can see the centre panel on the lid, with the obvious missing pieces on either side. Image from Wikicommons

Right Side Panel – this is the most enigmatic of all, and the one that generates the most scholarly debate. The inscription reads,

Here the horse stands above the mound of woe,
It suffers tribulation; just as to her Erta appointed anxiety,
A grave of grief, in sorrow and anguish of heart.

Wood. Biter. Rush.

Hmm. Not really helpful. This is the panel that contains the encrypted words, and as well the words run together without separation between them, adding to the difficulty of translation.

The picture is of a horse standing over a mound, which contains a human-like figure (possibly a burial mound, the “mound of woe”). On the left there is a strange figure with the body of a man and the head of a horse sitting on a mound, with a man wearing a helmet and carrying a spear in front of it. On the right there are three figures. This possibly echoes the three magi on the front.

The word “horse” is sometimes translated as Hos, a name. But no one knows who Hos and Erta (or Eratae)  are, or what legend they refer to. There are also possible references to the Norse god Woden, as the symbols under the legs of the horse are ones that could refer to him.

Some believe this picture refers back to Hengist and Horsa again. The word “horsa” means “horse” in Old English, so perhaps this depicts Horsa mourning over the death of his brother Hengist.

There are several other interpretations of this panel which I won’t go into here. Needless to say, it’s a mystery!

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Right side panel (this is the cast that was made from the original). Image from Wikicommons 

So, the pictures and inscriptions on the casket are a great source of scholarly discussion. To top it all off, there seems to also be some numerological significance to the number of runes on the casket. There are 72 runes on the front and left panels, and a total of 288 runes in total. The 72 could correspond to the 72 disciples mentioned in the Latin Vulgate Bible familiar to the Anglo-Saxons. The number 288 is a multiple of 24, which is the number of runes in an early continental Anglo-Saxon runic alphabet, which had magical significance for the Anglo-Saxons.

Phew! No wonder many scholars have devoted so much time and effort on trying to decipher the runes and pictures on this little box. The more you look at it, the more you discover.

This beautiful box has so much to tell us about this fascinating period in England’s history. It’s an extremely important object that demonstrates for us the rich cultural milieu from which it sprang, giving us tantalizing hints into the way they saw themselves.

Featured image from Wikipedia

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