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The Scriptorium

Orthodox to the Core

Celtic Christians were theologically orthodox.

Poetry, Theology, and Worldview among Celtic Christians (2)
Part 1: Colum Cille, Altus Prosator (2)

The exalted Creator, Ancient of Days, and Unbegotten One
was without a first beginning or a foundation;
he is, and he will be for unending ages.
[His] only-begotten Christ, and the Holy Spirit,
are coeternal with him in the everlasting glory of Godhead.
We do not assert that there are three gods, but speak of one God,
retaining our faith in the three most glorious Persons.

Translation, John Carey, King of Mysteries

Celtic Christianity revived
The period in which the faith of Jesus Christ flourished among the Celtic-speaking peoples of Europe is not well known, and it is even less appreciated.

Recent years, however, have witnessed a revival of interest in Celtic Christianity, with many books, websites, and other information sources devoted to exploring and explicating the remarkable achievement and heritage of the Celtic Christians. The books and other publications offering us glimpses into this period are not all of equal value. But the widespread interest in Celtic Christianity has encouraged scholars involved in the study of the literary heritage of this period to bring some of these materials back to print in forms accessible to a general readership.

This is definitely good news, for it means that now we can look more deeply into the hearts and minds of those who, for the better part of four centuries, demonstrated extraordinary faith and courage in re-evangelizing much of Europe and creating a cultural heritage in spirituality and the arts that continues to benefit many in our day.

One of the surprising aspects of the Celtic Christian heritage is their fondness for poetry, not just as a form of entertainment, but as a tool for theological education and spiritual formation. Celtic peoples were by nature inclined to story and poetry. The poets and musicians of the pre-Christian Celtic peoples were esteemed and valued as of third importance behind tribal leaders and the druids. It was the most natural thing for Celtic Christian scholars, priests, and monks to turn to verse as a tool in their kit for building the Kingdom of Christ.

One of the earliest and most profound of the Celtic spiritual poems is by Colum Cille, founder of the monastic community on Iona (fl. late 6th century). It is called Altus Prosator and sets forth, in strict verse form, the broad outline of the story of redemption presented in the Bible. In this poem we may glimpse not only the artistic abilities of the Celtic Christians, but their theological mind and vision as well.

Stanza I: The Poet’s Faith in the Triune God – Form
Altus Prosator
or “Exalted First-Sower” or “Creator” is a Latin abecedarian poem in 23 stanzas and a concluding envoi. The first stanza begins in the same way the Bible does, and the same way that many contemporary books on Christian worldview begin, by setting forth the strong conviction of faith in the one Creator-God. Many versions of Altus Prosator can be found, some online and some in publications of source materials from the Celtic period. But none of these translations that I have seen attempt to capture the lyrical flavor of the original form of the poem. In this series we will be examining each section of Colum’s poem, and I will use a rendering of the poem that draws from several excellent translations but in a lyric form more nearly approximating the original. This should help us to get a better “feel” for the poem and why it would have been such an excellent tool for instruction, meditation, and worship.

Here is my rendering of the first stanza (you can compare it with John Carey’s literal translation, provided above):

I
All-high God, Creator ever, Ancient One, begotten never,
was without beginning, and beneath Him no foundation can be.
He forever lives, and through eternity continues to be.
Christ, the unbegotten Son, together with the Spirit, One, do
share in equal glory ever with God in the Godhead ever.
Not three gods do we insist on, but one God alone we rest on;
these we tell to all who hear it: Father, Son, and Holy Spirit.

In Colum’s Latin version, the primary emphasis is on the number of syllables per half-line (or line, depending on how the version is set up). Colum counted eight syllables as a half-line (or line), and our version is set up with sixteen syllables per line. Each stanza is written in trochees (poetic “feet” which follow a stressed/unstressed pattern) or iams (unstressed/stressed), eight poetic feet to a line, with the fourth and eighth foot of each line rhyming. The first line begins with the first letter of the Latin alphabet, an aid to memory in a time when writing materials and literacy were scarce.

If you read the stanza strictly according to the lyric, you can feel the energy of the lines pulling you on, on, on through to the end and on into the next line. The poem thus read can take on an almost cheer-like aspect, and begin to sound rather trite. Of course, such would not have been in Colum’s mind.

Read the poem aloud, however, following normal speech patterns, stresses, and punctuation, and the strict rhythm evens out and becomes a much more readable and lovely passage.

Crafting a poem like this is not something one does without much effort. One of the accounts of the origins of Altus has Colum tossing it off in a single sitting. This is highly unlikely, given the extraordinary care and thoughtfulness invested in the lyrical form alone.

This is a beautiful work of art, lovingly created to teach aspiring missionaries and lay believers the broad outline of the plan of redemption in a form they could easily remember and would delight to sing and share with others.

Stanza I: Theology
Celtic Christians are sometimes charged with heretical inclinations, especially the heresy of Pelagianism. This stems both from Pealgius’ being a Briton – a kind of guilt by association – as well as from a few episodes of Pelagian leanings on the part of a bishop or monk here and there.

In the main, however, Celtic Christian scholars, bishops, abbots, and other clergy toed the orthodox line unfailingly. That can clearly be seen in this first stanza, in which Colum carefully asserts his belief – and that of his colleagues (the first person plural of the last line) – in the historic Trinity. His language is almost Augustinian in the fourth and fifth lines (see his On the Trinity, Book I), and he places his views clearly within the orthodox framework of Nicea, Ephesus, and Chalcedon in lines five and six. 

The starting-point for all Celtic Christian theology, spirituality, community life, and mission is faith in the Triune God and in each of the Persons of the Godhead according to His individual role in the divine economy. The plan of redemption, which Altus will outline, begins in eternity past with the uncreated God, Father, Son, and Holy Spirit. He is self-existent, Triune, and full of glory, and He has made a way for men to know and relate to Him, a way the remainder of Altus will unfold in brief.

Stanza I: Singing Altus
The trochaic nature of this stanza, and the uneven lines, make finding a familiar melody a bit of a challenge. However, if we repeat the first line again at the end of the stanza, and elide without a breath the break between verses that would naturally be taken at lines four and five, the melody, Tryggare Kan Ingen Vara can carry these trochees in a contemplative and satisfying manner. Try singing Stanza I, one note per syllable, without any slurring:

I
Tune: Tryggare Kan Ingen Vara – “Children of the Heavenly Father”

All-high God, Creator ever, Ancient One, begotten never,
was without beginning, and beneath Him no foundation can be.
He forever lives, and through eternity continues to be.
Christ, the unbegotten Son, together with the Spirit, One, do
share in equal glory ever with God in the Godhead ever.
Not three gods do we insist on, but one God alone we rest on;
these we tell to all who hear it: Father, Son, and Holy Spirit:
All-high God, Creator ever, Ancient One, begotten never.

For reflection: Do you agree that singing can help to “stick” truth in our minds? Ask a few of your Christian friends about whether this is their experience. Does this fact present problems as well as opportunities? Explain.

T. M. Moore

If you’d like to read some contemporary theological poetry, order T. M.’s three works of poetry from our online bookstore: The Hidden Lifeprovides poetry, songs, and exercises to draw you more deeply into the Lord. Fault Lines is a collection of lyrics exploring aspects of the Christian worldview. Satan Bound is a lengthy narrative poem exposing the wiles and ways of the devil.

T.M. Moore

T. M. Moore is principal of The Fellowship of Ailbe, a spiritual fellowship in the Celtic Christian tradition. He and his wife, Susie, make their home in the Champlain Valley of Vermont.
Books by T. M. Moore

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