LUP_Kendal_Bede_05_Append
APPENDIX 1
BEDE A Hymn on the Work of the First Six Days and the Six Ages of the World1 1 In the beginning God created the sphere of heaven
And the huge mass of earth.
But the deep abyss had covered the earth,
Which was hidden by darkness.2
2 But over the days that correspond
To the Ages of fleeting time3
He ornamented the globe and the sky
And the whole fabric of the world.
3 On the first day the Creator of the world,
Scattering the darkness,
Illumined with light the globe
Which was still hidden by waters.4
4 Presently, in the First Age
The most high5 Creator of the world
Filled the inhabitants of the earth 1 Our translation is based on the edition printed by Fidel Rädle in his 'Bedas Hymnus über das Sechstagewerk und die Weltalter', pp. 59–62, which is to be preferred to that edited by J.
Fraipont, in Bedae Liber Hymnorum (CCSL 122, 407–10). Rädle's article includes an introduction (pp. 53–58), German translation (pp. 64–65), and commentary on sources, etc. (pp. 66–73).
2 Gen. 1:1-2b.
3 Bede echoes his own phrase labentis aeui from the verse epigraph that he prefaced to On the Nature of Things, where he wrote of the broad ages 'of fleeting time' (labentis et aeui).
See above, p. 71.
4 Gen. 1:3, and cf. Bede's commentary, On Genesis, trans. Kendall, p. 73.
5 Typical Bedan wordplay. The most high (altissimus) Creator bringing light is at the opposite pole from the deep (alta) abyss (stanza 1) which covers the earth in darkness.
appendix 1
With the joys of blessed light.6
5 On the second day the vast sphere of heaven
Is placed in the midst of the waters
And the labile liquid
Is divided on both sides.7
6 In the very beginning
Of the Second Age the mystical Ark
Is placed in the midst of the waters
Running together from one side and the other.8
7 At the dawning of the world's third day
The deep abyss flowing
Under the sky subsides,
And dry land appears growing green.9
8 The offspring of Abraham, chosen
From the billowing waves of the faithless,
Grew bright, flowering
At the dawning of the world's Third Age.10
6 Cf. Bede's excursuses on the Ages of the World: On Times 16 (above, pp. 117–18); On Genesis 1.2:3a/b, trans. Kendall, pp. 100–5; The Reckoning of Time 10 and 66, trans. Wallis, pp.
39–41, 157–59. The 'joys of blessed light' that 'filled the inhabitants of earth' can be more fully understood as 'the light of divine knowledge' which diminished in humankind as the evening of the First Age approached (On Genesis 1.2:3a/b, trans. Kendall, p. 101). Bede reckoned the First Age from Adam to Noah; the Second from Noah to Abraham; the Third from Abraham to David; the Fourth from David to the Babylonian exile; the Fifth from the Babylonian exile to the nativity of Christ; and the Sixth from the nativity of Christ to the day of Judgement
(including the present).
7 Gen. 1:6-8. Bede interprets these verses of Genesis to mean that there are waters above the starry heavens as well as below on earth (On Genesis 1.16-8, trans. Kendall, pp. 75–77).
8 Noah's ark is 'mystical', because it has not only a literal, historical reality, but also multiple allegorical meanings. Bede explains that the ark 'was placed in the midst of the waters, which all the ruptured fountains of the deep eagerly poured out on the one side and the opened flood gates of heaven poured out on the other' (On Genesis 1.2:3a/b, trans. Kendall, pp. 101–2; cf. The Reckoning of Time 10, trans. Wallis, p. 40). This explanation seems to be the basis for Bede's wording in stanza 5, which is otherwise scarcely intelligible. Hence, the Hymn must have been composed sometime after On Genesis, and probably after The Reckoning of Time
(see n. 14 below).
9 Gen. 1:9; 1:11.
10 This stanza follows closely Bede's language and imagery in On Genesis 1.2:3a/b, trans.
Kendall, p. 102, and The Reckoning of Time 10, trans. Wallis, p. 40.
BEDE: ON NATURE OF THINGS AND ON TIMES
9 On the fourth day the light
Of the sublime lamps of heaven gleamed forth
To give the shining grace of light
To earth and sky.11
10 The renowned Hebrew people
In the reign of King David gleamed,
Spreading the light of their sublime deeds
In the Fourth Age.12
11 There is brought forth on the fifth day
A new race of swimming creatures,
Begotten from the limpid waters, and
Of flying creatures under the sky.13
12 In the Fifth Age in Chaldea,14
After the punishment of Judea,
There is brought forth from the infidels,
A new race of the faithful.15
13 On the sixth day was created
Man, who, displaying
The image of his Creator,
Would live blessed forever.16
14 The most high Creator of all,
By whom Man was created,
In the Sixth Age was created
A man, the Son of God.17
11 Gen. 1:14-15.
12 Cf. On Genesis 1.2:3a/b, trans. Kendall, pp. 102–3; The Reckoning of Time 10, trans.
Wallis, p. 40.
13 Gen. 1:20.
14 'In the Fifth Age the people of Israel multiplied in Chaldea', The Reckoning of Time
10, trans. Wallis, p. 40. Bede does not mention Chaldea in the corresponding passage in On Genesis, which suggests that the Hymn of the Six Ages may be later than The Reckoning of Time, ca. 725.
15 The reference is to the return to Israel of some of the children of the Babylonian exile
(On Genesis 1.2:3a/b, trans. Kendall, p. 103).
16 Gen. 1:26-27.
17 Cf. On Genesis 1.2:3a/b, trans. Kendall, p. 104.
appendix 1 15 As he sleeps, the splendid
Wife of Adam is formed,
Obtaining bone from his bones,
Flesh from his flesh.18
16 Now a splendid bride is born
To Christ from his very flesh
And by the mystery of his blood
As he sleeps on the cross.19
17 After these lofty deeds the Creator,
Resting on the seventh day,
Ordered it henceforth to be called
And to be the Sabbath.20
18 The Seventh Age of rest
Will be after this world,
When the Creator observes the Sabbath
After these lofty deeds.21
19 The Eighth Age remains,
More sublime than the rest,
When the dead will arise
From their former heap of earth.
20 And the just will see for eternity
The lovely face of Christ,
And they will be like the shining
Angels in the heavenly ark.22
21 He himself going before
Showed us this path to himself,
God and the Son of God,
Born from the Virgin Mother.
22 For, destroying death by death,
He conquered on the sixth day of the week, 18 Gen. 2:21-23.
19 Christ's bride is the Church. Cf. On Genesis 1.2:3a/b, trans. Kendall, p. 104.
20 Gen. 2:2-3.
21 Cf. On Genesis 1.2:3a/b, trans. Kendall, pp. 104–5.
22 Cf. On Genesis 1.2:3a/b, trans. Kendall, p. 105.
BEDE: ON NATURE OF THINGS AND ON TIMES
But he rested on the Sabbath
Hidden in the heart of the earth.
23 And on the first day of the week,
By arising, he opened the gate of life,
And with his fellow rejoicers
He ascended to the throne of the Father.
24 And in the Six Ages
Of this world he orders that we,
By bearing now our cross,
Conquer the whole law of death.
25 Freed from the bonds of the flesh,
We shall enter the Sabbath of eternal life
After all the battles of the world
Have ended in victory.
26 The first day of the week will follow
To be concluded with no ending,
When the eternal immortality
Of the flesh is returned to us.
27 Thus having obtained the twofold joy
Of flesh and spirit,
We shall ascend to the heavenly walls
Of the eternal kingdom.
28 Allow us to come thither,
We pray, holy Trinity,
And to know Thee, the one
True God, forever.
Commentary The 'book of hymns in various metres and rhythms' that Bede tells us he composed (EH 5.24, trans. Colgrave, p. 571) has not come down to us intact, but eleven hymns that are certainly his survive.23 As Michael Lapidge has noted, 'With one curious exception, all the hymns by Bede pertain to feasts of the liturgical year, not to the daily Office'.24 The 'curious exception' is
23 Hymns numbered 1–3 and 6–13 in Fraipont's edition (CCSL 122, 407–15, 419–38).
24 Lapidge, 'Bede the Poet', pp. 936–37.
appendix 1 our poem, Bede's hymn on the six days of creation and the six ages of the world. Bede may have seen this as a way of linking his grand vision of God's universal calendar with his love of the Church's celebration of the fixed and moveable feasts of the calendar year for which his other hymns were designed. It is the poetical counterpart of his chapters on the Six Ages in On Times, The Reckoning of Time, and On Genesis (see above, n. 6), and a splendid manifestation of his lifelong passion for poetry, cosmology, chronology, history, allegorical exegesis and prayer.
Like all the other genuine hymns by Bede, it is composed in classical iambic dimeters, that is, in quantitative octosyllabic iambic lines. As Bede points out in The Art of Poetry 21, this was the metre that Ambrose employed in all his hymns. The metrical schema is:
X — | ˘ — | X — | ˘ X |.25
The hymn is constructed with Bede's customary skill. From stanza 3 to stanza 18, successive pairs of stanzas are linked by the repetition of the first line of the prior stanza as the fourth line of the succeeding stanza (i.e., 3.1
= 4.4; 5.1 = 6.4; 7.1 = 8.4; etc.) (Bede employed this device again in his Hymn on the Holy Innocents). These repetitions link each of the first seven days of creation to the corresponding Ages of the World. There are two pairs of stanzas for the sixth day and Age: in the first (13–14) the creation of Adam is linked with the appearance of God as man; in the second (15–16) the creation of Eve is linked with the formation of the Bride of Christ, the Church, on the cross. The Hymn ends with a prayer to the Trinity.26
25 Accent and ictus coincide in the third foot, except when the line ends with a disyllabic word. Bede employs elision (2.3, 5.3, 9.2, 12.1, 16.3, 17.3, 18.2, 20.4) and generally avoids hiatus (except 15.4).
26 George H. Brown points out that this follows 'the common practice of concluding a hymn with a doxology' (A Companion to Bede, p. 89).
APPENDIX 2
An Excursus on Bede's Mathematical Reasoning In an attempt to understand Bede's approach to an arithmetical problem and its solution, we offer for those who may be interested a hypothetical reconstruction of his process of thought in On the Nature of Things 21. How did Bede construct his formula or 'method for determining the course of the moon through the signs of the zodiac'? We begin by assuming that he knew that one way to find the correct answer to the problem he set is that given by the second alternative in our commentary (above, p. 151). We further assume that he worked out the correct answer for himself (5 11/41 signs or 5 signs and 14 2/3 hours).
FIRST APPROXIMATION
The fraction of a sign that the moon advances in one day, expressed in hours, is 24 hours divided by 54 hours and bes (8/12 [2/3] of an hour, or 40 minutes). Bede simplifies by dropping the awkward fraction of an hour.
Twenty-four divided by 54 is equivalent to 4 divided by 9.1 Multiplying 4/9 by 12 gives the answer 5 with a remainder of 3 (or as we would say, in modern notation, 5 3/9). That remainder of 3 (or 3/9) can be expressed in hours, if we remember that the divisor 9 represents the sixth part of 54 hours (1/9 of 54 hours = 6 hours). Thus, the remainder of 3 = 3 X 6 = 18 hours. If the moon's advance through one sign took exactly 54 hours, it would advance in 12 days through 5 signs and 18 hours. This is a fairly good approximation of the true answer, but Bede brings the approximation even closer.
1 Bede, of course, was working with Roman numerals. His method of calculating fractions was necessarily different from the one we use with Arabic numerals. We do not attempt to recreate his method.
APPENDIX 2
TRUE ANSWER (UNSTATED)
The fact that Bede gives the approximate answer in signs and hours indicates that he appreciated the equivalence of signs and hours (in his first approximation, one sign = 54 hours; 1/3 sign = 18 hours). Crucially, he must have recognized that 5 1/3 of these approximated signs = 288 hours (5 1/3 X 54
= 288), though he leaves this fact unstated. Two hundred and eighty-eight is, of course, the number of hours in 12 days. Whatever the true answer to the original problem, that answer multiplied by 54 2/3 hours must also equal
288 hours.
In his first approximation, Bede states that 1/3 sign equals 18 hours. This implies, though again he does not say so, that the remaining 5 signs of the first approximation equal 288 minus 18, or 270 hours (and, of course, 5 X 54 = 270). But five 54 2/3-hour signs = 273 1/3 hours, not 270. This is five besses or 3 1/3 hours too much! But never mind. Keep the five signs (= 273
1/3 hours). Instead, subtract the extra five besses or 3 1/3 hours from the remainder of 18 hours. 18 minus 3 1/3 hours = 14 2/3 hours. The true answer to the original problem must be, therefore, 5 signs (= 273 1/3 hours) plus 14
2/3 hours (since 273 1/3 + 14 2/3 = 288 hours).
SECOND APPROXIMATION
Bede does not give the true answer to the original problem. He begins with his first approximation (5 signs and 18 hours). He improves on this by subtracting three of the extra five besses, because they can be expressed as a whole number of hours (3 X 2/3 = 2 hours). Thus, his second, and final, approximation is 5 signs and 16 hours — an excess of two besses, or 1 1/3 hours (an amount that could surely not be detected visually).
The method Bede proposes for deriving the second approximation can only have been formulated from his knowledge of the correct solution and some means of reaching it. He may have taken satisfaction in pointing out orally to his pupils that complete accuracy could be obtained by subtracting another one bes for the each of the remaining 2 signs (8/12 + 8/12 = 1 1/3).
The point is that his formula allows a workable approximation to be made with relative ease of what would otherwise be (for most of his readers) a difficult calculation.
APPENDIX 3
Bede's Calculation of Tidal Periods and the Purported 'Immaturity' of On the Nature of Things Charles W. Jones asserted that '[On the Nature of Things] seems somewhat more immature' than On Times, because 'Bede could [not] have taught for many years before rejecting [Pliny's] eight-year cycle'.1 It is certainly true that in The Reckoning of Time Bede chooses not to repeat Pliny's figures and opts instead for the somewhat vague statement that '[n]atural reason convinces us that the tides flow according to the pattern of the moon's cycle of nineteen years'.2 The implication of Jones's remark is that On the Nature of Things must be earlier than On Times, which we know was composed in 703, because in the latter work he describes the nineteen-year lunisolar cycle at length, but never mentions it in On the Nature of Things, instead referring to a supposed eight-year lunisolar cycle of Pliny's.
Several observations are in order. First, Pliny is not advancing a lunisolar cycle of eight years, but rather a tidal cycle of a hundred lunar months, or eight years and 28 days (based on a lunar month of 29½ days).
He does not give a figure for tidal advance. Rather confusingly, he states that '[b]etween two risings of the moon there are two high and two low tides every 24 hours'.3 It is not clear whether his cycle of 100 lunar months was meant to be a cycle of high tides per se or a cycle of maximum high tides (spring tides or malinae), and perhaps he was not clear about this himself, but was merely repeating what he found in his sources. Second, his words (centesimo lunae … ambitu) are susceptible of some latitude of interpretation. Does 'at' the hundredth circuit of the moon mean exactly
8 years and 28 days, or does it mean 'during' or 'after the completion of' the hundredth circuit? Third, unfortunately, we have no way of knowing
1 DNR, ed. Jones, CCSL 123A, 174.
2 The Reckoning of Time 29, trans. Wallis, p. 85.
3 Pliny, NH 2.99.212, trans. Rackham, p. 343.
APPENDIX 3
whether (a) Bede's text of Pliny read certissimo for centesimo, or (b) Bede deliberately altered Pliny's centesimo to certissimo, or (c) Bede's centesimo was miscopied by a scribe.
Bede was certainly capable of using the figure of 47½ minutes to calculate a tidal cycle. A tidal advance of 47½ minutes implies a period of 24 hours and 47½ minutes between high tides on successive days. The problem may be expressed as follows. From the start of a tidal period of 24 hours and 47½ minutes at a given time, say 12 noon, how many periods of 24 hours must elapse before a tidal period will again begin at noon? The answer can be obtained by expressing the length of the tidal period over the length of the day as a fraction. The numerator will give the number of 24-hour periods in the cycle and the denominator the number of tidal periods in the same cycle.
Thus, 24 and 19/24 hours set over 24 hours equals the fraction 595/576.
After 595 days there will have been 576 tidal periods. 595 days is far short of Pliny's eight plus years, but, perhaps realizing that after five 595-day cycles the diurnal tidal period would again coincide with the original hour of the day, Bede may have calculated that in those eight years and 53 days the moon would have completed 100 circuits and been 25 days into the 101st, loosely, 'at the 100th circuit' or more cautiously, 'at a very precise revolution'. This might be enough to explain why Bede chose to repeat Pliny's statement.
Bede took his figure for the daily tidal advance ('3/4 and 1/24 of an hour' = 47½ minutes) from Pliny's figure for the delay in moonrise for the waxing moon. In The Reckoning of Time, chs. 17 and 29, he employed the less cumbersome expression 'four puncti' (= 48 minutes). Whether this was a meaningful change intended to improve the accuracy of the figure for the daily tidal advance may be doubted. Bede would have had no means of making precise observations capable of distinguishing a difference of thirty seconds per day. He might have derived it from someone's empirical observation that there are roughly 30 diurnal tides every 31 days, which is to say, 1 diurnal tide every 1 and 1/30 days (31 ÷ 30), or 24 hours and 48 minutes. And yet, in The Reckoning of Time 29, Bede observes that there are 57 diurnal (114 semidiurnal) tides in 59 days. Ironically, this is so nearly correct that, had he carried out the calculation, he would have arrived at a tidal advance (in modern terms) of 50 minutes, 31½ seconds, almost precisely the modern figure of 50 minutes, 28 1/3 seconds. Did he do so but regard four puncti as a reasonable approximation of what would have been an exceedingly awkward fraction (5/6 + 10/19 hours) to express?
We have no way of knowing. In any case, he may have realized that even a
BEDE: ON NATURE OF THINGS AND ON TIMES
tiny change in tidal advance would have a profound effect on any attempt to construct a 'tidal cycle'. In The Reckoning of Time he quietly dropped the idea of constructing one.
The tidal period is not directly related to the nineteen-year lunar-solar cycle, since the period is measured by the interval between successive moments that a given spot on earth is directly aligned with the moon (a function of the earth's 24-hour revolution on its axis combined with the moon's 27-1/3 day zodiacal circuit of the earth). Bede may have realized that his was a periodic tidal cycle (in On the Nature of Things), not a cycle of peak high tides (malinae). The malinae and ledones are generated by the impact of the 24-hour solar tidal cycle on the 24-hour and 50-minute lunar tidal period. To construct a cycle of peak high tides would have required factoring in the nineteen-year lunisolar cycle, which he did not do. But there is nothing particularly 'immature' about Bede's reasoning. The worst that can be said is that he was 'premature' in accepting Pliny's tidal cycle. There is no reason to suppose that he was not conversant with the nineteen-year lunisolar cycle in On the Nature of Things — he simply had no reason to invoke it. What is important is that, out of the confusing welter of information and misinformation he inherited from his sources, he extracted the key fact that the earth's tides advance and retreat in lockstep with the revolution of the moon, and that this explains the delay in successive diurnal high tides — a delay which he was able to express in a quite accurate measure of time. This was the solid foundation on which he built his highly original and justly admired chapter on 'The Harmony of the Moon and the Sea' in The Reckoning of Time.
APPENDIX 4
Bede and Lucretius The student of classical literature will be curious to know what relationship exists between Bede's On the Nature of Things and the Roman poet Lucretius's great poem of the same name, De Rerum Natura. Did Bede know the poem, and if so, what use did he make of it? The short answers are, he did not, and none. Bede took his title and most of his awareness of the de natura rerum genre from Isidore, not Lucretius.
Unlike Visigothic Spain, where Lucretius's poem was still known,1 there is no evidence that it was available anywhere in Bede's time in England.
The only references to Lucretius in any of Bede's works are to be found, not in On the Nature of Things, but in his treatises, On Orthography (De orthographia) and The Art of Poetry (De arte metrica), where he mentions him by name three times, twice with a brief quotation.2 In On Orthography, under the lemma 'camara', Bede remarks:
Camara ['vault', 'boat'] is spelled with an a, as Verrius Flaccus affirms, not camera with an e. But since Lucretius writes, cameris ex teretibus ['from polished vaults'], he shows that it can also be spelled camera.3
Bede took this passage verbatim from the Ars grammatica of Charisius.4
The quotation from Lucretius, as it appeared in the manuscript of Charisius that Bede copied from, is manifestly not part of a hexameter line, and there is no reason to suppose that Bede thought that it came from a poem. In The Art of Poetry, in a chapter on the prosodic differences between 'ancient' and 'modern' poets, Bede observes:
1 Both Isidore and King Sisebut drew upon it in the seventh century: cf. the apparatus to DNR and Sisebut's poem in Fontaine, Traité, and Riché, Education and Culture, p. 259.
2 Jones cites Lucretius four times in the Index Auctorum to the sources of Bede's educational and scientific texts in CCSL 123C, 779. Three of these references are vague verbal parallels that can be discounted. The fourth is the reference in De orthographia.
3 Ed. Jones, CCSL 123A, 15.191-93.
4 Ed. Keil, Grammatici Latini 1, 58.23-25.
BEDE: ON NATURE OF THINGS AND ON TIMES
[the ancient poets] claim that a short vowel followed by QU and any vowel whatever was common, as Lucretius did in [DRN 6.868]: Quae calidum faciunt aquae tactum atque uaporem ['which give a warm feel and steam to the water'].5
In this case, Bede's source for his claim about the prosodic force of QU in the classical period was the Excerpta of Audax, who quoted the line from Lucretius just as Bede gives it.6 Finally, also in The Art of Poetry, Bede distinguishes three genres of poetry, one of which, the 'narrative or expository' he finds in the Georgics of Vergil, 'and also in the poems of Lucretius, and in other works similar to these'.7 Here, Bede is quoting from the Ars grammatica of Diomedes.8 Diomedes goes on to say, in a passage that Bede doesn't quote but very likely saw, that the expository genre in turn is subdivided into three types, among them, the didactic poem, which is the vehicle, inter alia, for 'the philosophy of Empedocles and Lucretius'.9
In sum, there is no evidence that Bede knew anything about Lucretius except that he was a poet (and, possibly, a philosopher), not even that his poem was entitled De rerum natura. He was probably unaware of the atomistic theory expounded by Lucretius and his master, Epicurus, and certainly would have rejected the atheistic and hedonistic conclusions attributed to them by classical and patristic authors like Cicero and Lactantius.
5 The Art of Poetry 16, trans. Kendall, p. 141.
6 Ed. Keil, Grammatici Latini 7, 328.18–329.3. In point of fact, Lucretius wrote laticis where Audax and Bede have aquae, though elsewhere he does employ the licence Bede describes.
7 The Art of Poetry 25, trans. Kendall, p. 165.
8 Ed. Keil, Grammatici Latini 1, 482.20-23.
9 Ed. Keil, Grammatici Latini 1, 483.2.
select bibliography
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Audax. Excerpta, in Keil, Grammatici Latini 7.
Augustine. Confessiones, ed. Luc Verheijen, CCSL 27 (1981); PL 32.
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BEDE: ON THE NATURE OF THINGS AND ON TIMES
1972); trans. Henry Bettenson, with an introduction by John O'Meara, Concerning the City of God against the Pagans (Harmondsworth, 1984).
––– De Genesi ad litteram, ed. Joseph Zycha, CSEL 28.1 (1894); PL 34.
––– De Genesi ad litteram imperfectus liber, PL 34.
––– De Genesi contra Manichaeos, ed. Dorothea Weber, CSEL 91 (1998); PL 34.
––– Enarrationes in Psalmos, ed. Clemens Weidmann, CSEL 93/1A (2003) (Ps. 1–32); PL 36.
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––– De arte metrica, ed. Calvin B. Kendall, CCSL 123A; ed. and trans.
Calvin B. Kendall, Libri II De Arte Metrica et De Schematibus et Tropis:
The Art of Poetry and Rhetoric (Saarbrücken, 1991).
––– De natura rerum, ed. Charles W. Jones, CCSL 123A (1975). For other editions, see Inventory of MSS and Editions.
––– De orthographia, ed. Charles W. Jones, CCSL 123A.
––– De tabernaculo, ed. David Hurst, CCSL 119A (1969); PL 91; trans.
Arthur G. Holder, On the Tabernacle, TTH 18 (1994).
––– De templo, ed. David Hurst, CCSL 119A (1969); PL 91; trans. Seán Connolly, with an introduction by Jennifer O'Reilly, On the Temple,
TTH 21 (1995).
––– De temporibus liber, ed. Charles W. Jones, Bedae Opera De Temporibus, pp. 293–325; ed. Charles W. Jones (with the addition of chaps.
17–22 = Chronica minora), CCSL 123C (1980). For other editions, see Inventory of MSS and Editions.
––– De temporum ratione, in Bedae Opera De Temporibus, pp. 175–291; ed.
Charles W. Jones (with the addition of chs. 66–71 = Chronica maiora), CCSL 123B (1977); ed. J. A. Giles, The Complete Works of the Venerable
Bede 6 (London, 1843), 139–342; PL 90; trans. Wallis, The Reckoning of Time, pp. 3–249.
––– Epistola ad Pleguinam, ed. Jones, Bedae Opera De Temporibus, pp.
305-15; trans. Wallis ('The Letter to Plegwin'), The Reckoning of Time, pp. 405–15.
––– Expositio Actuum Apostolorum, ed. M. L. W. Laistner, CCSL 121 (1983).
SELECT BIBLIOGRAPHY
––– Expositio Apocalypseos, ed. Roger Gryson, CCSL 121A (2001); translation in preparation by Faith Wallis.
––– Historia ecclesiastica gentis Anglorum, ed. Plummer, BOH 1, 3–363; ed. and trans. Bertram Colgrave and R. A. B. Mynors, Bede's Ecclesiastical History of the English People (Oxford, 1969); PL 95; trans.
Leo Sherley-Price, rev. R. E. Latham, with new introduction by D. H.
Farmer, Bede: Ecclesiastical History of the English People with Bede's Letter to Egbert and Cuthbert's Letter on the Death of Bede (Harmondsworth, 1990).
––– Homeliae Euangelii, ed. David Hurst, CCSL 122 (1955); PL 94.
––– Hymnus de opere sex dierum primordialium et de sex aetatibus mundi.
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