It has been said that he turned his attention largely towards collecting materials for every period of English history. Those materials are particularly rich as regards the Anglo-Saxon period.
Beginning chronologically we find here (in Vitellius, A 15) the story of Beowulf, the oldest monument of AngloSaxon literature, reaching back into the ages of heathendom. It is a pagan war-song which, in being handed down from minstrel to minstrel, has lost nothing of its wild, exultant beauty, while it has received many Christian inflexions from the bards of a better religion than that in which it was originally conceived, through whose minds it passed before being committed to parchment. When the Saxons had embraced Christianity they carefully weeded out from their national poetry all allusion to personages of pagan mythology, so that, in an antiquarian sense, their literature suffered. But the forcible and picturesque imagery of half-barbaric tribes still remained. The coarseness of the beer-hall is, however, subdued by the gold and silken embroideries with which it is adorned. In a vivid description of a battle, in the midst of lurid flames, of blood and carnage, the enemy is "put to sleep with the sword." When a hero dies in peace, "he goes on his way."
The poem of Beowulf has been variously edited. It was first noticed by Wanley, in his catalogue of Saxon MSS. in 1705. It was printed with a Latin translation by Thorkelin, at Copenhagen, in 1815. Conybeare, in his Illustrations of Anglo-Saxon Poetry, points out several errors into which the Dane, Thorkelin, and the Englishman, Turner fell; and Thorpe, in his Anglo-Saxon Poems of Beowulf, differs from all preceding editors, who considered the heroes as mythical beings of a divine order, he suggesting that they were kings and chieftains of the North, within the pale of authentic history.* This opinion had been shared by Kemble, but under the influence of Grimmperhaps the greatest authority on these matters—he ended by regarding the poem as mythic. Later critics have, however, considered that it deals with historical persons.
* Preface, p. xvii.
Only secondary to the romance of Beowulf must once have been the
fragment of a poem on the death of Beorhtnoth.* It was printed by
Hearne in the appendix to his edition of Johannis Glastoniensis
Chronicon, but without a translation.
* Formerly Otho A 12, in the Cottonian Library; the original perished in the fire of 1731.
"It constitutes," says Conybeare, "a battle-piece of spirited execution, mixed with short speeches from the principal warriors, conceived with much force, variety, and character; the death of the hero is also very graphically described. The whole approximates much more nearly than could have been expected to the war-scenes of Homer."
Of the poem of Judith, one of the finest specimens of Anglo-Saxon songs, a fragment is preserved in the same volume which contains the story of Beowulf.
The type of the Anglo-Saxon poets in Christian times is Caedmon, whom Professor George Stephens called "the Milton of North England in the seventh century," and who, according to the legend told by Bede, being singularly unblessed with the power of song, received the gift miraculously in sleep. He is represented in the Cottonian library only by a few prayers in Anglo-Saxon (Julius, A 2) which Junius printed from this MS. at the end of his edition of Caedmon's paraphrase. The interesting collection, which goes by Caedmon's name in the Bodleian library, is a series of pieces on Scriptural subjects, with beautifully painted illustrations.
A manuscript of the tenth century (Cleopatra, B 13) contains a short hymn on the conversion of the AngloSaxons; and in the same volume is a life of St. Dunstan.