Caedmon

/kad"meuhn/, n.

fl. A.D. c670, Anglo-Saxon religious poet.

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flourished 658–680

Earliest known Old English Christian poet.

According to Bede, he was a herdsman who received a divine call in a dream to sing of "the beginning of things" and began to utter "verses which he had never heard." He entered a monastery, where he produced vernacular poetry on sacred themes expounded to him by more learned brethren. Only the nine-line original dream hymn can be confidently attributed to him, but it set the pattern for almost all of Anglo-Saxon religious verse.

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▪ English poet

flourished 658–680

      first Old English Christian poet, whose fragmentary hymn to the creation remains a symbol of the adaptation of the aristocratic-heroic Anglo-Saxon verse tradition to the expression of Christian themes. His story is known from Bede's Ecclesiastical History of the English People, which tells how Caedmon, an illiterate herdsman, retired from company one night in shame because he could not comply with the demand made of each guest to sing. Then in a dream a stranger appeared commanding him to sing of “the beginning of things,” and the herdsman found himself uttering “verses which he had never heard.” When Caedmon awoke he related his dream to the farm bailiff under whom he worked and was conducted by him to the monastery at Streaneshalch (now called Whitby). The abbess St. Hilda believed that Caedmon was divinely inspired and, to test his powers, proposed that he should render into verse a portion of sacred history, which the monks explained. By the following morning he had fulfilled the task. At the request of the abbess he became an inmate of the monastery. Throughout the remainder of his life his more learned brethren expounded Scripture to him, and all that he heard he reproduced in vernacular poetry. All of his poetry was on sacred themes, and its unvarying aim was to turn men from sin to righteousness. In spite of all the poetic renderings that Caedmon supposedly made, however, it is only the original dream hymn of nine historically precious, but poetically uninspired, lines that can be attributed to him with confidence. The hymn—extant in 17 manuscripts, some in the poet's Northumbrian dialect, some in other Old English dialects—set the pattern for almost the whole art of Anglo-Saxon verse.

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