The Ruin

The extant poem consists of forty-nine lines in the Exeter Book, on folios 123b-124b between ''The Husband's Message'' and 34 preceding riddles. It is written near the end of the manuscript, on both sides of the leaf. A large diagonal burn in the centre of the page has rendered part of the script illegible. ==Contents==

The unknown poet compares the ruins that were extant at the time of writing with the mighty structures, since destroyed by fate, that had once stood there. The desolate and lichen-grey stones of the poet's time are linked to their long-gone mighty builders and to the wealth and activity of their heyday. ==The poem and a version in modern English==

: ==Modern literary criticism==

Setting One of the main arguments that surround the poem is that of which city is depicted in the poem. Heinrich Leo first suggested in 1865 that the city depicted was the city of Bath. Others have suggested Chester, Hadrian's Wall, Babylon of the Apocalypse, or that it does not describe any one city in particular. However, the general consensus among analysts has been that Bath was the city the author was describing throughout the poem. There are three features distinctly referred to in the poem that when used conjunctively could only be in the city of Bath: the hot spring mentioned at the end of the poem (as opposed to artificially heated water), the mention that there were many bathing halls, and the mention of a circular pool also at the end of the poem. Furthermore, the description of the decay matches Bath's probable appearance in the first half of the eighth century. Themes Although the poem appears a straightforward description of the visual appearance of the site, the author's non-Roman assumptions about the kind of activities that the building would have sheltered, and their emotional state concerning the decay of the ruins, allow different interpretations to be brought forth. William Johnson sees the poem not as a reflection of the physical appearance of the site but rather an evocative effort to bring "stone ruins and human beings into polar relationship as symbolic reflections of each other." Johnson further sees the poem as a metaphor for human existence, a demonstration that all beauty must come to an end. From this perspective, the author of "The Ruin" could be describing the downfall of the Roman Empire by showing its once great and beautiful structure reduced to rubble just as the empire was. Similarly, Alain Renoir points to the author's use of the word "wyrde," meaning "fate," as the reason for the buildings' decay, implying the inevitable transience of man-made things: "that all human splendor, like human beings themselves, is doomed to destruction and oblivion." Where "The Ruin" can be seen from a sentimental perspective, it may also be viewed from an imagistic perspective. Arnold Talentino sees the poem as not a sorrowful lamentation, but as an angry or realistic condemnation of the actual people who wrought the destruction. This interpretation would be more historically realistic in that it would reflect a very Christian view of the destruction, a common theme in Old English poems. Talentino states, "His [the author's] view of what once was and his thoughts about it indicate that the city's former inhabitants caused its fall, that crumbling walls are, in part at least, the effect of a crumbling social structure." "The Ruin" shares the melancholic worldview of some of its contemporary poems such as The Seafarer, The Wanderer and Deor. But unlike "The Wanderer" and other elegies, "The Ruin" does not employ the ubi sunt formula. Renoir and R.F. Leslie also note that while "The Wanderer" has a moral purpose, "The Ruin" has a detached tone. ==Influence==

J.R.R. Tolkien, who was a scholar in Old English, took inspiration from the phrases ("_g skill ancient work_") and ("the work of giants is decaying") in The Ruin and the verse in Maxims II for the names of the tower Orthanc and the tree-men Ents in The Lord of the Rings. == Modern musical settings ==

An alternative rendition of the poem in Modern English, was set by Peter Hammill to music as the song "Imperial Walls", on his 1979 album pH7. Another version, by Michael Alexander, was set by Nicholas Maw as his piece 'The Ruin' for double eight-part chorus and solo horn. Michael Alexander's translation was also used in both Paul Keenan's The Ruin and A Field of Scarecrows. An excerpt of the poem set to ambient music is featured in the 2010 BBC documentary "Requiem for Detroit." In 2016 Oscar Bettison set the poem, in Old English, in his piece "Presence of Absence". ==See also==

• "The Ruin" is edited and annotated to digital images of its manuscript pages by Martin Foys et al. in the Old English Poetry in Facsimile Project: https://oepoetryfacsimile.org/?document=14917&document=14834 == Further reading ==