「캐드먼의 찬미가」 원저자 연구: 고대영시 시작법과 신학적 해석을 중심으로
The Authorship of “Caedmon’s Hymn” in Relation to Old English Composition and Theological Interpretation
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It is assumed that “Caedmon’s Hymn” is composed by Caedmon, who was a shepherd and later became a monk after being endowed with the faculty of composing verse by heavenly grace. In the Latin version of Historia Ecclesiastica Gentis Anglorum, Bede, after describing Caedmon’s inspiration and the circumstances of the composition of the Hymn, gives a Latin paraphrase of it. In its Old English form, the Hymn is not an integral part of Bede’s Historia Ecclesiastica Gentis Anglorum. In such manuscripts as contain it, it is usually added in the margin or at the foot of the appropriate page, or, as in the Moore manuscript, on some other page. However, Bede’s Latin paraphrase differs from “Caedmon’s Hymn” in Old English in terms of content. Hence some significant questions arise as to the original form of the alleged hymn and the true authorship of Caedmon. Unlike the Latin paraphrase, the later versions in Old English show that they are composed following the tradition of theological interpretation established by those early Christian exegetes such as Augustine and St Basil. It is quite unlikely that Bede omitted willingly or mistakenly those key phrases “eci Dryctin or astelidae” (the Eternal Lord, established the beginning) and “ece drihten aefter tida firum on foldum, frea aelmyhtig” (the eternal Lord, thereafter adorned [or made, created]/ for men on earth, Almighty ruler). In view of his accuracy and skill as an historian, there can be little doubt that Bede believed the hymn to be Caedmon’s. If he followed his usual practice, he had it from some trustworthy source, either an eyewitness or some written description made by such an eyewitness at Whitby. We can not therefore doubt that Bede was actually paraphrasing a poem already existent. It is quite probable that the late Old English versions were reconstructed, based on the Caedmon’s original hymn, by those who are familiar with the art of Old English composition and the Christian tradition of biblical interpretation initiated by the early Christian exegetes.
Abstract
It is assumed that “Caedmon’s Hymn” is composed by Caedmon, who was a shepherd and later became a monk after being endowed with the faculty of composing verse by heavenly grace. In the Latin version of Historia Ecclesiastica Gentis Anglorum, Bede, after describing Caedmon’s inspiration and the circumstances of the composition of the Hymn, gives a Latin paraphrase of it. In its Old English form, the Hymn is not an integral part of Bede’s Historia Ecclesiastica Gentis Anglorum. In such manuscripts as contain it, it is usually added in the margin or at the foot of the appropriate page, or, as in the Moore manuscript, on some other page. However, Bede’s Latin paraphrase differs from “Caedmon’s Hymn” in Old English in terms of content. Hence some significant questions arise as to the original form of the alleged hymn and the true authorship of Caedmon. Unlike the Latin paraphrase, the later versions in Old English show that they are composed following the tradition of theological interpretation established by those early Christian exegetes such as Augustine and St Basil. It is quite unlikely that Bede omitted willingly or mistakenly those key phrases “eci Dryctin or astelidae” (the Eternal Lord, established the beginning) and “ece drihten aefter tida firum on foldum, frea aelmyhtig” (the eternal Lord, thereafter adorned [or made, created]/ for men on earth, Almighty ruler). In view of his accuracy and skill as an historian, there can be little doubt that Bede believed the hymn to be Caedmon’s. If he followed his usual practice, he had it from some trustworthy source, either an eyewitness or some written description made by such an eyewitness at Whitby. We can not therefore doubt that Bede was actually paraphrasing a poem already existent. It is quite probable that the late Old English versions were reconstructed, based on the Caedmon’s original hymn, by those who are familiar with the art of Old English composition and the Christian tradition of biblical interpretation initiated by the early Christian exegetes.
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