| CURRENT
ISSUE |
| |
| FEATURES |
| |
| |
|
|
|
|
|
|
|
|
| ABOUT
US |
|
|
| |
| |
|
|
| |
|
|
| SERVICES |
| |
| |
|
|
| |
|
|
|
The Caedmon Room
Upstairs, one floor below the Opera House
on top of the building, was the Caedmon room—
a library of sorts. The Caedmon room
was empty of readers most of the time.
When the last reader left and closed the door,
I locked it and moved in for life. Right now,
I am writing this in the Caedmon room.
Caedmon was an illiterate, 7th-century,
British peasant to whom one night a lady
appeared in a dream. She said to him, speaking
in her own language, “Caedmon! Sing me something!”
And he did just that. What he sang, in his
own language, was consequential—because
he did not learn the art of poetry
from men, but from God. For that reason,
he could not compose a trivial poem,
but what is right and fitting for a lady
who wants a song. These are the words he sang:
“Now praise the empty sky where no words are.”
This was Caedmon’s song. Caedmon’s voice is sweet.
In the Caedmon room shelves groan under the
weight of eloquent blank pages, histories
of a sweet world in which we are not found.
Caedmon turned each page, page after page
until the last page—on which was written:
“To the one who conquers, I give the morning star.”
—Allen Grossman
Allen Grossman's
most recent books of poetry are Sweet Youth and
How to Do Things With Tears. He is the Mellon Professor in
the Humanities at The Johns Hopkins University.
Originally published in the September/October 2005
issue of Boston Review
|
|
home