L. Whitbread - The Sources and Literary Qualities of Bede's Doomsday Verses

258 Whitbread

nische) verwerflichen Charakterzug Atlis ansehen, dann bestimmt nicht aus Gr?nden der Rechtsschelte, sondern der Billigkeit (weil er volle Schatzkammern hatte).

Nach allem Gesagten bliebe also festzustellen, da? Wesensz?ge genuin menschenfreundlicher Natur in den Eddaliedern dem Hunnenherrscher allein vorbehalten sind. Sie bleiben ohne Entsprechung auf der gjukun gischen Seite, w?hrend die auf den ersten Blick nur bei Atli erkennbaren inferioren Eigenschaften und dem entsprechenden Handlungen regel

m??ig, direkt oder bildlich, Spiegelungen typisch gjukungischer Wesens merkmale bzw. Taten darstellen. Der so ausgedr?ckte immanente Zu

sammenhang zwischen gjukungischer Untat und hunnischer Widertat dient der inneren Aufeinanderabstimmung beider Hauptteile der Dich

tung. Obgleich diese noch bei einer inhaltlich weder im einzelnen noch als Ganzes durchgearbeiteten liedhaften Aufgliederung des Sagen stoffes verh?lt, sind die Ans?tze sowohl f?r die inhaltlich-logische Ver

kn?pfung als auch f?r die innere Aufeinanderabstimmung bereits unzwei

deutig auszumachen. Ein weiteres Ergebnis ist, da? das Atlibild der Lieder-Edda gegen?ber dem postulierten Urbild gewi? eine Aufhellung erfahren hat. Diese Ver?nderung ergab sich f?r den Kompilator bei der

Verbindung der Sagenteile von selbst und kann zudem auch aus der tat s?chlichen Kenntnis von milderen Wesensz?gen des Hunnenk?nigs in anderer ?berlieferung erkl?rt werden.

Berlin Hanns Midderhoff

THE SOURCES AND LITERARY QUALITIES OF BEDE'S DOOMSDAY VERSES

The short poem usually styled 'Versus de die iudicii', a distinctive account in hexameters of doomsday and its sequel, can only be reckoned a minor work of Bede1. It achieved however a remarkably wide and

lasting popularity in later centuries, and towards the close of the Anglo Saxon period was competently translated into Old English verse. The

11 have dealt in forthcoming studies elsewhere with such questions as the date (ca. 716?731), text, later dissemination and influence of the poem, and with the textual tradition followed in the Old English translation. Modern editions of the Latin original include (i) J. A. Giles, Complete Works of the Venerable Bede I, London 1843, 99-103, thence Migne, PL 94 (Paris 1850) 633-638; J. R. Lumby, Be Domes Daege, E. E. T. S., o.s. 65 (London 1876, reprinted 1964), pp. 22-26; H. L?he, Be D?mes Dsege (Bonner Beitr?ge zur Anglistik 22), 1907, pp.6?37, based ultimately on the lost MS used by G. Cassander, Hymni ecclesiastici, Cologne 1556, pp.338?344; (ii) H. Petrie/J. Sharpe/T. D. Hardy, Monumenta

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The Sources of Bede's Doomsday Verses 259

following notes and comments attempt to indicate something of the source texts on which Bede drew for this work, and something of its

special literary and stylistic qualities, not always wisely handled by modern critics.

Bede's authorship of the poem is now securely established on the basis of the forty or so surviving manuscripts, but internal considerations are

equally definite in his favour. The theme of doomsday was especially congenial to him1, witness the extended treatment in his 'De temporum ratione' (lxviiiff.) and the several otherworld visions incorporated in his

'Historia', including the long account of Drycthelm (v. 12), which has detail and phrasing reminiscent of the 'Versus'. The even, clear style, sober wording and accurate metre of our poem are quite what we should

expect of his verse. The sustained if not specially obtrusive alliteration is not merely an insular trait but may remind us particularly of his story of the poet Caedmon (H. E. iv. 24), whose (alliterative) poems, on dooms

day and kindred subjects, were known to, admired and perhaps even

emulated by Bede. The marked reliance on Scriptural wording and de

tails, especially those in the synoptic gospels and the Apocalypse2, and the close acquaintance to be demonstrated with writers such as Virgil and the Christian-Latin poets Iuvencus (Evangelia), Prudentius, Dra contius (De laudibus dei), Sedulius, Arator, Fortunatus3, are other very characteristic features.

Discounting the special epilogue to Acca and later accretions, Bede's

poem amounts to 154 or 155 lines, the last missing from many copies and unessential to the sense. The work is planned on a neat and orderly pattern, and achieves a sustained and comprehensive balance with such contrasts as the pleasant terrestial landscape at the beginning,

hist?ri?? Britannica^ I, London 1848, 654?657; T. Arnold, Symeonis monachi opera omnia II (Rolls ser. 75), London 1885, 23?27, based on Cambridge MS C. C. C. 139; (iii) J. Fralpont, Bedse venerabiHs Uber hymnorum, rhythmi, variae preces, Bedae opera IV (Corpus Christianorum ser. lat. 122), Turnhout 1955, pp. 439?444, an improved version of Cassander, the only critical text to date. In the notes and Appendix this last edition is abbreviated Fraipont; other abbre viations include: CSEL Corpus scriptorum ecclesiasticorum latinorum (Vienna); AA Auctores antiquissimi, M. G. H. (Berlin) ; C. Plummer, sedee opera hist?rica I, II, Oxford 1896.

1 Plummer, I. lxvi?lxvii.

2 see Appendix, s.n. 'Bible'. For convenience citations are made to the Vulgate received text, though Bede used both Old-Latin and Vulgate recensions. 8 see J. D. A. Ogilvy, Books known to Anglo-Latin Writers from Aldhelm to Alcuin (670?804), Mediaaval Academy of America, Studies and Documents no. 2 (1936), passim. Without considering the 'Versus' Ogilvy (p. 36) has doubts that

Bede knew Dracontius' poem, but the parallels noted in the Appendix seem con

vincing enough. Arator, Iuvencus and Sedulius are prominent in Bede's 'De arte metrica', see H. Keil, Grammatici latini VII, Leipzig 1878, 229?233; Ogilvy, p. 59. Fortunatus is mentioned in the H. E., i. 7. The epithet floriger in 'Versus' (1) appears first in Sedulius, who receives a mention along with Aldhelm in . E. v. 18. In H. E. iv.2, Bede refers approvingly to the instruction in ecclesiastical poetry given by Theodore and Hadrian at Canterbury.

. , D. A. XCV 4 18

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1 Inter flor?geras fecundi cesp?tis herbas, Flamine uentorum resonantibus undique ramis,

beside the flowery scene in heaven at the end, 146 Atque inter ros?is splendentia castra triumphis,

Candida uirgineo simul inter et agmina flore,

the lists of hell torments, 93 Nec uox ulla ualet miseras edicere poenas :

Ignibus tern nigris loca plena gehennce,

Frigora mixta simul feruentibus algida flammis, Nunc oculos nimio fientes ardore camini, Nunc iterum nimio stridentes frigore dent?s ?,

beside heavenly delights, 124 Felix o nimium, semper que in s cula felix,

Qui illas effugiet poenarum prospere clades, Cum sanctisque simul l tatur in omnia s cecia!

Coniunctus Christo c lestia regna tenebit, Nox ubi nulla rapit splendorem lucis amoence ?,

and the twofold reminder to repent (42ff. and 87ff.). In developing its theme the poem becomes more remarkable for its assembly of universally popular details than for any striking novelties of its own. The opening in a woodland glade, and the double list of noxious things ever present in hell and absent from heaven, are typical not only of descriptions of the Christian heaven or purgatory but of many early allusions to the golden age and the earthly paradise1. References to world dissolution and conflagration (51 fF., 72ff.)2, to the alternating torment of excessive heat and cold (94 ff.)3,

1 see A. S. Cook, The Old English Elene, Phoenix, Physiologus, New York 1919, pp. liiff.; H. R. Patch, The Other World according to Descriptions in Medieval Literature (Smith College Studies in Modern Languages, n. s. 1), 1950, pp. 134ff. A number of details, more especially as translated and expanded in the Old English version of the 'Versus', recall the opening of the O. E. verse 'Phoenix' (based on Lactantius' De ave phoenice) and 'Christ' III, 1649ff. For the roses of paradise (Versus 146) as symbols of love and purity, compare Chaucer's 'Second Nun's

Tale', 220ff. (and F. N. Robinson's note, Works of Geoffrey Chaucer, 21957, p. 758). 2 Extensive patristic allusions are assembled by M.-M. Dubois, Les El?ments latins dans la Po?sie religieuse de Cynewulf, Paris 1943, pp. 22f., 125f. The fires

which were to consume the world enter dramatically into the vision of Furseus as recounted by Bede, H. E. iii. 19. 3 see L. Whitbread, Philological Quarterly 17 (1938) 365-370, and ib., 23 (1944) 210f.; to the references there given add J. Vendbyes, Revue Celtique 46 (1929) 134?142; Patch, pp. 129f. Bede himself refers to heat alternating with cold in his vision of Drycthelm (H. E. v. 12) and in his commentary on Luc. 13.28 (with reference to lob 24.19, cf. also Ps. 65.12), ed. Giles XI (1844) 191; PL 92 (1850) 509; see A. S. Cook, The Christ of Cynewulf, Boston 1900, 1909, p. 218;

E. S. Duckett, Anglo-Saxon Saints and Scholars, New York 1947, p. 281. Famous later references include 'Measure for Measure' iii. 1, where Claudio speaks of the dead spirit bathing in fiery floods or residing in thick-ribbed ice, and (from Bede?) Milton, Paradise Lost ii. 594-603 (Shelley, Prometheus Unbound i. 32f., 268f.); for these see now J. E. Hankins, PMLA 71 (1956) 482?495, and J. M. Steadman, Anglia 76 (1958) 116-128.

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to the overwhelming stench in hell (103)1 and to its darkness visible

(99, 108, 116, 123)2, while not strictly or entirely Scriptural, repro duce other widely found early eschatological notions. Likewise with the popular paradox of prefacing a description of hell torments by calling them beyond description (92f.)3. We may assume that while Bede's notions of doomsday and the last things drew first and foremost on his intensive study of the Scriptures, he was also perfectly familiar with their treatment by the fathers4 and in early Christian-Latin poets5, as well as with the tradition of native visions current in his day, for instance those of Purseus and Drycthelm reported at length in his Oistoria'6.

The framework of his poem, on the other hand, appears to be fairly distinctive and individual : the usual medium of a vision or dream is not

employed7, and Bede's effective alternative, of bringing to his woodland scene fierce winds (2ff.), which then call to mind the traditional great wind before doomsday8, seems to lack specific literary sources or parallels. It is of course quite possible that this framework and the introductory episode are based on some actual experience in Bede's own intense

spiritual life9. The opening device leads on at once to a personal soliloquy 1 as in Bede's account of Drycthelm, for which Plummer (II. 296) cites a parallel

from the fourth-century Apocalypse of Paul; compare also Chaucer, Parson's Tale 208, Hous of Fame (III) 1654. 2

again as in Drycthelm's vision, Chaucer's Parson's Tale 182, and, of course, Milton's Paradise Lost i. 62-64, 180-183.

8 Scriptural origins may be traced to II Cor. 12.4 and apoc. Enoch 14.16;

compare also Virgil, Aen. vi. 625ff. For instances in Old English literature, see L. Whitbread, Philol. Quarterly 23, 212. 4 In particular, the simplicity and directness of Bede's views agree with those of his hero Gregory the Great, witness the latter's Moralia ix. 63?66 (PL 75, 910?918) and in this instance his letter to king Ethelbert, H. E. i. 32, ed. Plummer, 1.69 :

Adpropinquante autem eodem mundi termino, multa inminent, quae antea non fuerunt; uidelicet immutationes aerie, terroresque de c?elo, et contra ordinationem temporum tempestates, bella, fames, pestilentiae, terrae motus per loca . . . quia idcirco h c signa de fine s culi pr mittuntur, ut de animabus nostris debeamus esse solliciti, de mortis hora suspecti, et uenturo ludici in bonis actis inueniamur esse pr parati. 6 Commodian (Instruct, ii. 2, Carm. apol.), Orientius (Common, ii. 347ff.), Pseudo

Cyprian (Carm. ad Flavium Felicem 137ff.), Verecundus (Carm. 142ff.), and the anon. 'Lamentum poenitentise' (57ff.), are cited as a general background to Bede's

poem by M. Manitius, Gesch. d. ehr.-lat. Poesie b. . Mitte d. 8. Jh.s., Stuttgart 1891, p.499. 6 In his 'Historia abbatum' vi (ed. Plummer, 1.370), Bede writes of the impression

made, on himself as on others, by the sacred pictures which Benedict Biscop had

brought from abroad to Monkwearmouth to adorn the walls of the church, inclu

ding 'the perils of the last judgment', extremi discrimen examinis, quasi coram oculis habentes, no doubt vivid scenes from the Apocalypse mentioned just before. 7 A sense of affinity with the vision tradition may be indicated by the fact that in one early MS, St. Gallen Stiftsbibliothek 573 (mid-ninth century), the 'Versus' follow immediately after four popular vision texts, two of Wettin, one of a pauper cula mulier, and one of Barontus.

8 the ventus magnus of Apoc. 6.13; see Dubois, p. 26. Later allusions include 'Piers Plowman' v. 14ff. (A, B), vi. 117if. (C), Dante (Inf. v. 28-33) and Chaucer (Hous of Fame 1803). 9 The more unpleasant manifestations of nature figure among the evils absent

from heaven, 'Versus' 133. In his account of St. Chad of Mercia, H. E. iv. 3, Bede

18*

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262 Whitbread

or meditation1 on repentance before doom set in the frame of an ex

hortation from his own soul to the various members of his sinful body. If then any literary tradition is involved, it is rather the widespread theme of the soul addressing the body.

An alternative proposal has recently been made by Bernabd F. Hupp? in his study of the influence of Augustine's writings on Old English poetry and its source materials2. According to Hupp?, the tree under which the poet finds himself at the beginning is the 'tree of the

garden' of Gen. 3,8ff. ; his sudden fear, subito planctu turbatus amaro (4), is akin to Adam's primeval terror; the wind is the ad auram of Gen. 3,8; and the flowers, flor?geras fecundi cespitis herbas (1), are symbols of

mortality as in Gregory's Moralia 14,2. The theory is extended to include some further details added to this opening passage by the author of the late-Old English metrical translation. As far as Bede's Latin original is

concerned, the parallelism suggested seems rather remote. Bede's poem is executed, as it is planned, with commendable compe

tence and economy: examples of its precision and orderliness are the lists of qualities in heaven and hell already mentioned, and the sufferings of the five senses and the mind:

100 Vox ubi nulla sonat, dirus nisi fletus ubique, Non nisi tortorum facies ibi cernitur ulla, Non sentitur ibi quicquam nisi frigora, flamm .

Fetor praeingenti complet putredine nares, Os quoque flammiuomo lugens implebitur igne, Et uermes lac?rant ignitis dentibus ossa.

Insuper et pectus curis torquetur amaris

Cur caro luxurians sibimet sub tempore paruo Atro perpetuas meruisset carcere poenas

?

The hexameters are well turned; the style, if not impeccable by the classical standards of which Bede was well aware3, is lucid and workman

describes with evident sympathy how the saint would always pay great heed to the warnings of the elements, see Plummer, 11.209; Duckett, pp. 229?230. Chad's

explanation, ed. Plummer, I. 210?211, might in fact almost serve as the text on which Bede wrote: Mouet enim cera Dominus, uentos excit?t, iaculatur fulgora, de c lo intonat, ut terrigenas ad timendum se suscitet, ut corda eorum in mem?ri?m

futuri iudicii reuocet ... ut, quoties cere commoto manum quasi ad feriendum minitans

exerit, nec adhuc tarnen percutit, mox imploremus eius misericordiam, et discussis

penetralibus cordis nostri, atque expurgatis uitiorum ruderibus, solliciti, ne umquam percut? mereamur, agamus. As Plummer noted, the passage is no doubt suggested by such texts as Luc. 21. 25ff. (compare 'Versus' 52ff.). 1 as a few early readers and copyists appear to have appreciated : the usual title 'Versus' is replaced by lamentatio bede in the rubric to Cambridge C. C. C. MS 139 (later-twelfth century) and by meditado .. . bede in York Chapter Library MS

XVI Q. 14 (thirteenth century) ; in London B. M. Cotton Domitian A. i (mid-tenth century) a later hand marks 'Versus' 13ff. as Inuocatio. 2 Doctrine and Poetry, Augustine's Influence on Old English Poetry, New York 1959, pp. 80-98. 8 In addition to echoes of Virgil, and possibly Ovid and Horace (but see p. 263, n. 2), classical colouring is seen particularly in the description of heaven near the end,

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like, if rather compressed and at times prosaic1. To judge by his treatise 'De arte metrica', Bede's interest in verse was primarily academic, and it is in keeping with such an attitude that sustained poetic flights are not attempted and that places where a more poetic or imaginative touch is felt may regularly be set aside as reminiscences of earlier poets2. Des

pite the undoubted sincerity of the work, its general level does not rise above that of a skilful exercise. 'Its merits are small', declares one modern

writer3, and another speaks of its Latinity as 'scholarly but uninspiring'4. One may at least add that Bede's poem, even if largely because of sharing a reputation gained elsewhere, was long and widely popular in those ages most in sympathy with it; a work drawn upon by reputable poets like

e.g. turmae 143, cohortes 143, 153, arces 145, castra, triumphi 146, senatus 151. Loose construction with et ?-que 7 ff. and preposition cum 18, 23, the infinitives of 49, 76, non ... aut 129, ei non 130, a few words post-classical in form or use, e.g. floriger 1, medela 41, and adaptations such as districtus (all MSS) 9, active stipatus 58, ultrix used attributively 72, infinitive ulciscere 76 (yet ulcisci, H. E. i. 27, ed. Plummer, 1.51), the metonymy of scelerum 76, 83, 122, or (focies) uidebitur 112, are, by con trast, more typical of medieval Latin. Neither medieval scribes nor modern editors have found it possible to be consistent over the mixture of present and future tenses, compare 50ff., 72 ff., etc. although this is not exceptional or confusing, see

D. R. Druhan, The Syntax of Bede's H. E. (Catholic University of America, Stu dies in Medieval and Renaissance Latin VEII), 1938, pp. 146f. A feature which the Old English translator was to find troublesome is Bede's liking for the descriptive ablative of accompaniment without a preposition, especially 99, 145ff. 1 K. Werner, Beda d. Ehrw?rdige u. seine Zeit, Vienna 1875, p. 105, contrasted the affectation of the 'Fragmentum de die iudicii' attributed to Bede's contemporary Aldhelm, ed. PL 89 (1850) 297-300; this is not however Aldhelm's, as R. Ehwald showed, AA XV (1919) xvi. 2

e.g., the compounds floriger 1 (Sedulius, Fortunatus, with reference to the

garden of Eden), igniuomus 82 (Fortunatus), celsithronus 48, flammiuomus 104 and aUithronus 141 (Iuvencus), Titan for the sun 54, the sharp goads of lust 89 (Virgil), the advance of fire on broken rein 73 (Iuvencus), the distresses of hell absent from heaven 115, 133 (Dracontius), the heavenly senate 151 (Sedulius), limbs cast on the ground 15, and Christ shining in judgment 59. Of these last two, the first re calls a line of Horace and the second one of Ovid. Whether Bede had any consi derable acquaintance with pagan classical poets apart from Virgil is doubtful according to M. L. W. Laistner, in : Bede : his Life, Times, and Writings, Oxford 1935, pp. 241 f., and Laistner, The Intellectual Heritage of the Early Middle Ages, Ithaca 1957, pp. 96f., 122f., though Ogilvy, pp. 46, 66ff., assumes some direct

knowledge of Horace and Ovid. Bede uses, without acknowledgement, a phrase from Horace's Epist. i. 2.56 in one of his homilies, ii. 4.151, ed. D. Hurst (Corpus Christianorum ser. lat. 122), 1955, 211 (not noted by Ogilvy); and he quotes aptly from Ovid's Metamorphoses i. 84ff., though only as from quidam poetarum, in his

commentary on Genesis (PL 91, 29). But these short citations are quite likely to be taken, at secondhand, from the grammarians. 8 F. J. E. Raby, A History of Christian-Latin Poetry, Oxford 21953, p. 148. Similarly so sympathetic a critic as Eleanor Duckett, op. cit., p. 252, has to conclude that 'On the whole ... Bede is no poet'. 4 E. V. K. Dobbie, The Anglo-Saxon Minor Poems (Anglo-Saxon Poetic Records

6), New York 1942, p. lxxi. Helen Waddell, The Wandering Scholars, London 71934 (various reprints), ch. ii. 3, finds that 'the poet is in the strange burst of

weeping that took him under a tree in the open, in a line or two of his vision of hell ... and the wistful beauty of his heaven', praise more effusively repeated by A. Bryant, The Story of England I, London 1953, 89 ; 'His vision of Hell ... expresses the very soul of the dark ages he helped to illumine ... So does his picture of Heaven'.

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264 Whitbread

Alcuin and his circle, translated with the care and respect shown in the Old English version, and copied in numerous scriptoria at regular inter vals for some six centuries, cannot be dismissed as altogether uninspiring. The theme of physical torment, distasteful and somewhat naive as it may

nowadays appear, is not developed in the gloating and morbid fashion of many other medieval treatments, and there can be little disparage ment for the humility with which Bede applies it first to himself.

Appendix: Possible Imitations and Reminiscences (Vs.

= Bede's 'Versus de die iudicii', ed. Fraipont)

ARATOR (fi. 544) De act. apost. i. 592 (A. P. McKinlay, CSEL 72 [1951], p. 48) sine fine beat ,

cp. sine fine beatum Vs. 157 *.

BEDE (t 735) H. E. iii. 10; iv. 6,25 (Plummer, 1.147,218,263), cp. medel Vs. 41; iii.13,23;

v. 12,13 (1.152,177,308,305f.) = Mortis in articulo Vs. 30; iv. 20,16 (1.247) Virg? neos flores huius honor genuit

= uirgineo . .. flore Vs. 147 ; v. 12 (1.308) flammis

feruentibus et frigoribus . .. in uum . .. fetor inconparabilis =

Frigora ... feruen tibus ... flammis Vs. 95, in uum 98, Fetor pr ingenti ... putredine Vs. 103; v. 14

(I.313f.) flammis ultricibus = Vs.72; -

i?ora.i.8,257f.; 18, 27f. (D. Hurst, Corpus Christianorum ser. lat. 122 [1955,] pp.59,129) Dei genitrix, pia uirgo Maria = Vs. 148; - Vita Cuthberti (metr.) 37 (W. Jaager, Palestra 198 [1935], p. 61) =

flammiuomo Vs. 104; 111 Noxia, inquit, linquamus gaudia (p.66) = Noxia ...

gaudia Vs.117; 131,621,723 (pp.68,106,113) = altithrona Vs. 141; 213 (p.74) per vum = in uum Vs. 98; 239 (p. 76) prece commendare profusa

= precibus commenda

benignis Vs. 163; 325 (p. 82) = igniuomus Vs. 82; 519 (p. 97) variis hominum findun tur pectora curis

? pectus curis torquetur amaris Vs. 106; 617 (p. 106) eventum edicere

pugn ? miseras edicere po?nos Vs. 93; 663 (p. 109) attonito vibratur corda timore

=

attonito .. . timore Vs. 86; 935 (p. 130) Membra solo reddam = Membra solo sternam

Vs. 15 ; ? Hymn. xi. 3,2f. (Fraipont, p. 433) Dei genitrix, pia uirgo Maria = Vs. 148 ;

Oratio 20, Carm. de Ps. cxii. 1 (pp. 445,450) = altithrona Vs. 141.

BIBLE (vulg.) Ps. 146.3, Es. 61.1, Nah. 1.13, Luc. 4.18f., cp. Qui solet allisos sanare et soluere

uinctos Vs. 24; Ps. 148.8, cp. Fulmina nimbus hiems tonitrus nix grondo procell Vs. 133; Eccles. 12.2, Es. 13.10, 17.12f., 34.4, apoc. Assumpt. of Moses 10.4f.

(R. H. Charles, The Apocrypha and Pseudepigrapha of the Old Testament II, Oxford 1913,197,421 f., Matth. 24.29, Marc. 13.24f., Luc. 21.25, Act. 2. 19f., cp. Vs. 52ff. ; Es. 42.3 Calamum quassatum non conterei, et Unum fumigans non extinguet, Matth. 12.20 Arundinem quassatam non confringet, et Unum fumigans non extinguet =

Quassatos nec uult calamos infringere dextra, Nec Uni tepidos undis extinguere

fumos Vs.25f.; 1er. 9.1 Quis dobit .. . oculis meis fontem lacrymarum, cp. fontes

aperite Vs. 13; Ioel 2.2, 10, 30f. ; 3.13; Nah. 1.5, cp. Terra tremit montesque ruunt

collesque liquescunt Vs. 51; Nah. 1.12, cp. Nec Deus therius bis crimina uindicat

ulli Vs. 45; apoc. I Enoch 14.13 (R. H. Charles, The Book of Enoch, Oxford 1912,

1 The lines immediately following (593ff.), are quoted by Bede in his commentary on Acts vii, 58, ed. M. L. W. Laistneb, Bedae venerabilis expositio Actuum Apost. et retractatio, Publications of the Mediaeval Academy of America 35 (1939), p. 36.

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pp. 33f.), cp. Frigora mixta simul feruentibus algida flammis Vs. 95; apoc. I Enoch 14.16, II Cor. 12.4, cp. Nee uox ulla ualet miseras edicere poenas Vs. 92;

? Matth.

4.23, 9.35, 10.1, cp. languor = infirmitas Vs. 115; Matth. 5.22, 29 = gehenn Vs.

94; Matth. 8.12, 13.50, 22.13, Luc. 13.28, cp. Nunc iterum nimio stridente frigore dent?s Vs.97; Matth. 10.26f., Luc. 12.2f., cp. Omnia ... luci uerbis reddantur

apertis Vs. 20; Matth. 12.36, Rom. 14.12, I Petr. 4.5, cp. rationem reddere Vs. 37; Matth. 13.42, cp. camini Vs. 96; Matth. 16.27, 24.30, 25.31 f., Marc. 13.26, cp. Vs.

56ff.; Matth. 16.27, Rom. 2.6, Apoc. 2.23, 20.13, cp. Vs.60ff.; Matth. 24.31, cp.

Atque omnes pariter homines cogentur adesse Vs. 66; Matth. 25.41, II Petr. 2.4, Jud. 6, cp. Dcemonibus dudum fuerant qu parta malignis Vs. 91; Luc. 23.4, cp. causas ? res (iuris) Vs.76; Luc. 23.39ff., cp. Vs.27ff.; Luc. 23.48 percutientes

pectora sua ?

percutiam ... rea pectora Vs. 14; loh. 13.15 =

exempta ... dobat

Vs. 27; Act. 9.4, cp. Quid = cur Vs. 39; Rom. 2.10, I Tim. 1.17, Apoc. 5.13, cp.

Vs. 135ff. ; I Cor. 3.8, II Cor. 5.10, cp. Indicium ut copi?t gestorum quisque suorum

Vs. 61 ; I Cor. 3.13, cp. Vs. 68ff. ; I Cor. 4.5, cp. cordis in antro Vs. 19; II Cor. 6.2,

cp. P nituisse iuuat tibi nunc et fiere salubre est Vs. 43 ; Titus 3.8, cp. Tu tua fac

promissa, precor, sermone fideli Vs. 159; Apoc. 4.4, 10; 5.8, 14; 11.16, cp. cetherium ... senatum Vs. 151 ; Apoc. 6.12ff., cp. Vs. 51 ff. ; Apoc. 6.13, cp. resonantibus undi

que ramis Vs. 2 ; Apoc. 6.15, cp. pauperque potensque Et miser et dines Vs. 80f. ; Apoc.

7.9, cp. tribus et populi Vs. 79 ; Apoc. 7.16, cp. Non sitis esuries somnus et non labor

ullus Vs. 130; Apoc. 11.18 reddere mercedem = rationem (var. mercedem) reddere

Vs.49; Apoc. 18.14, cp. Vs.l21ff.

BOETHIUS (t ca. 525) Phil. cons. 3.9 (met. ix), 10 (W. Weinberger, CSEL 67 [1934], p. 63) frigora

flammis = frigora flammee Vs. 1021. DRACONTIUS (ssec. v) De laud, dei 1.6f. (F. Vollmer, AA 14 [1905], p.23) nix imber grondo pruin

Fulmina nimbus hiemps tonitrus lux fiamma procell = Fulmina nimbus hiems tonitrus nix grondo procell Vs. 133; 13f., 17 (p.23) languor T dia tristiti ... trux

indignatio ? T dia tristiti trux indignatio languor Vs. 115, T dia tristiti Vs. 132 ; 2.364 (p. 78) = sub tempore porno Vs. 107; 559 (p. 84) reddere mercedem cunctis = rationem (var. mercedem) reddere cunctis Vs. 49; 3.638 (p. 109) = sermone fideli Vs. 159; 641 (p. 109) in cruce pendentem veniam meruisse latronem

? pendens ... in

cruce latro Vs. 27; 755 (p. 113) sedesque beatas = Sedibus beatis Vs. 154.

FORTUNATUS, Venantius (f ca. 609) Carni, hi. 9,1 (F. Leo, AA IV. 1 [1881], p. 59) = flor?geras Vs.l; 3 (p. 59) =

igniuomus Vs. 82; iv. 10,1 (p. 86) Omne bonum = Vs. 138; viii.3,21 (p. 181) fame site ... frigore flammis

= sitis ... frigora flamm Vs. 130f.; 25 (p. 182) Inde dei

genetrix pia virgo Maria coruscat2 ? Dei genitrix pia uirgo Maria Vs. 148; 4.1

(p. 192) Inter apost?licas ocies sacrosque prophetas =

prophetis Inter apost?licas ...

arces Vs. 144f. ; ? App. carm. xxiii. 25 (p. 287) cum venerit arbiter orbis = iudex dum

uenerit orbis Vs. 36; ? Vita s. Martini ii. 122 (p. 318) = Goetibus angelicis Vs. 58.

1 Similarly a distant parallel to Vs. Iff. would be Boethius' opening, Prosa 1:

Haec dum mecum tacitus (cp. Tacito sub murmure Vs. 12) ipse reputarem queri moniamque lacrimabilem stili officio signarem. Whether Bede knew Boethius' work is doubtful according to M. L. W. Laistner, in : Bede : his Life, Times, and Writings, Oxford 1935, p. 262; but Ogilvy, op. cit., p. 22, points to an echo of Phil. cons. 1, pr. 4, in Bede's H. E. v. 21, ed. Plummer, 1.333. 2 A favourite poem of Bede's, see Ogilvy, p. 38. This particular line is singled out by Bede for quotation in his 'De arte metrica', PL 90 (1850), 165; H. Kell, Grammatici latini VEI, Leipzig 1878, 245. Line 21 of the same poem may be echoed in Vs. 130f. and line 155 of it is quoted in the H. E., i. 7, ed. Plummer, 1.18.

on Sat, 16 May 2015 04:21:15 UTC

266 Whitbread, The Sources of Bede's Doomsday Verses

HORACE Carm. i. 1,21 f. membra sub arbuto stratus, cp. Membra solo sternam Vs. 15.

ISIDORE (t 636) Etym. i.36,13 (PL 82 [1850], 111; W. M. Lindsay, I, [1911], n.p.) nubila nix

grando procell fulmina venti ?

Fulmina . ?. nix grando procellce Vs. 133.

IUVENCUS (ssec. iv) Evan, praef. 23 (J. Huemer, CSEL 24 [1891], p.2) = flammiuomo Vs. 104; 24

(p. 2) = aUithrona Vs. 141; i. 482 (p. 27) = celsithronus Vs. 48; 617 (p. 33) = simili ditione Vs. 81 ; 651 (p. 35) c lestia qu rite regna = c lestia regna tenebit Vs. 127 ; 688 (p. 36) = ruptis habenis Vs. 73.

OVID Amores iii. 9,53 lacrimis m rens ... profusis

= lacrimis ... profusis Vs. 40 ; Met. vi. 246 Membra solo posuere = Membra solo sternam Vs. 15; xiii.289 c lestia

dona == c lestia donis Vs. 142; Tristia iv.2,27 fulget sublimis in ostro = fulget sublimis in alto Vs. 59; 73 ilia dies veniet

? Ille dies ueniet Vs. 36; Ep. ex Ponto iv. 9,111 precantia verba

= uerba precantia Vs. 30.

PRUDENTIUS (f ca. 405) Hamart. 943 (J. Bergmann, CSEL 61 [1926], p. 162) = flebitis hora Vs. 87. SEDULIUS (fl.450) Ep. ad Macedonium (J. Huemer, CSEL 10 [1885], p. 9) in c lestis patri senatu

? therium c lesti pace senatum Vs. 151 ; Carm. ii.2 (p. 44)

== flor?geras Vs. 1.

VICTOR, Marius (sac. v?) Comm. in Gen. i.484f. (K. Schenkl, CSEL 16 [1888], p. 452) tu stratus iniquo

Membra solo = Membra solo sternam Vs. 15.

VIRGIL Eel. i. 1, Georg, iv.566 sub tegmine fagi

? Arboris ... sub tegmine Vs. 3; Georg, ii. 309 = picea caligine Vs. 99; 458 O fortunatos nimium, Aen. iv. 657 Felix heu nimium felix, cp. Felix o nimium .. . felix Vs. 124; 508 stupet attonitus = stupet attonito Vs. 86; iv. 1 c lestia dona = c lestia donis Vs. 142; Aen. i. 122, iii. 195, cp. hiems = tempestas Vs. 133; iv. 119, vi. 725, cp. Titan = sol Vs. 54; iv. 673 foedans et pectora pugnis, xi. 86, xii. 155, 871, cp. percutiam pugnis rea pectora Vs. 14; vi. 373, ix. 185, cp. Dira cupido Vs. 119; vi. 639 sedesque beatas

? Sedibus .. . beatis Vs. 154; vi. 734 = carcere c co Vs. 116 ; vii. 237 = uerb? precantia Vs. 30 ; . 5 decisis undique ramis ? undique ramis Vs. 2; xi.337 stimulisque agitabat amaris

= stimulis te

agitabis acutis Vs. 89.

London L. Whitbbead

on Sat, 16 May 2015 04:21:15 UTC