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It had by that time grown intolerable, that on the self-same page with the text of Holy Scripture, should stand some bitter pithy comment, conceived in a temper the very reverse of that which befits men who profess to love God in Christ. Scrivener, The Cambridge Paragraph Bible: Of the Authorized English Version, xxiv. Codex Sinaiticus is one of the most important books in the world. Handwritten well over 1600 years ago, the manuscript contains the Christian Bible in Greek, including the oldest complete copy of the New Testament. The Codex Sinaiticus Project is an international collaboration to reunite the entire manuscript in digital form and make it accessible to a global audience for the.

Franciscus Junius (1545-1602) is a significant figure in the development of Reformedtheology in the era of early Reformed orthodoxy. Junius studied under John Calvin in Geneva, pastoringchurches throughout Europe and serving on the theological faculties of two of the most important academiesof the time, Heidelberg and Leiden. Junius was an accomplished exegete, linguist, and theologian.A selection of his theological writings were collected and published in 1882 as the first volume inthe Bibliotheca Reformata series edited by Abraham Kuyper. Citing his wide influence, as “Junius taughteverywhere,” Kuyper found it fitting to introduce the series, intended to reintroduce the works of majorReformed theologians to the church and academy, with Junius.

François du Jon (1545–1602), Latinized as Franciscus Junius, was a significantReformed Protestant voice in the era of late sixteenth-century confessionalization. He is perhapsbest known as a professor of theology at Leiden University from 1592–1602. Junius was born in Bourges,France, into a family of minor nobility with all of the attendant social and educational advantages ofone of such rank. At the age of twelve, Junius matriculated at the academy of Bourges and studied lawunder the Huguenot jurist, François Douaren (1509–1559) who is recognized as a major voice in articulatingthe mos gallicus school of applying the fruits of Italian humanism to the legal code of Justinian. Juniusalso studied under the renowned French humanist, Huguenot, and jurist Hugues Doneau (1527–1591).Doneau, or Latinized Hugo Donellus, was perhaps best known for his application of French humanismto a study of Justinian’s Corpus Iuris Civilis, specifically the Digesta. Junius would imbibe ofthese studies deeply, and the maturation of these studies is evidenced in the marginalia and citationsof the classical Greco-Roman legal tradition in his various works.

With the Franco-Ottoman alliance beginning in 1536 against the Holy Roman Empire andby extension various allied city-states in Italy, there were frequent French diplomatic envoys crossingfrom Toulon to Istanbul. In 1560, due to his facility in Greek and law, Junius secured a diplomaticposition as an aide to the French ambassador to the court of Suleiman I (1494–1567). Junius, however,did not journey to Constantinople because he literally missed the boat, or rather the entourage thatdeparted from Lyon heading to the Mediterranean coast for passage to Constantinople. For the next twoyears, he lived instead in Lyons studying and attending lectures on the Greek and Roman classics.

Shortly thereafter, Junius decided to enter the French Reformed Church, and just shyof his seventeenth birthday, in the midst of the Huguenot wars in France, Junius arrived in Geneva onMarch 17, 1562, to study under Calvin and Beza. Although of noble birth, his income was severed dueto the revolt in France as well as to the murder of his Protestant father, reducing him to theseverest poverty while he studied for three years. In April of 1565 and almost twenty years ofage, he accepted a call to pastor a Walloon church in Antwerp, Belgium.

It was during this period in Antwerp that Junius took part in shepherding theBelgic Confession through the ecclesiastical channels in the Reformed church for formal recognitionat the Synod of Antwerp. Although prepared in 1561 primarily by Guido de Bres with the assistanceof H. Modestus and G. Wingen, Junius was tasked with a slight modification and abridgment ofArticle 16 of the Belgic Confession. Junius also played an active role in distributing copiesof the Belgic Confession to Geneva and other Reformed churches for feedback and for reaching abroader consensus. In 1566, the Synod of Antwerp was the first synodical body to adopt theBelgic Confession, followed by the Synod of Wesel (1568), and the Synod of Emden (1571).

In early 1566, King Philip II of Spain allowed the inquisition to come to theNetherlands. Throughout the Netherlands, there was a general uproar that resulted in iconoclasticexcess, of which Junius did not take part or encourage. There is a famous period picture of unknownauthorship of Junius preaching at night to his Antwerp congregation in a room lit through the windowsby the fires of Walloon Protestant martyrs in the public square. Junius also made his political voiceknown in a published appeal to the King of Spain on behalf of the Walloon churches that was printedin French (1565) as well as in German (1566). One of the accords William of Orange reached withPhilip II of Spain on September 2, 1566, only protected ministers and preachers who were nativesof the Low Countries. As a result, Junius fled to Limburg. Still exposed to threats from Roman Catholicsand Anabaptists, he fled again to Heidelberg. The year 1568 places Junius in Heidelberg. Following abrief tenure as pastor of a Reformed Church at Schonau, and an even briefer stint as a chaplain in afailed military campaign to the Netherlands, Junius returned to his pastorate at Schonau until 1573.

The period from 1573 to 1578 was marked by an extraordinary contribution toReformed biblical studies in the period of Reformed Protestant orthodoxy. In one edition or another,the Tremellius-Junius translation of the Bible shaped Protestant—and especially Reformed—theology anddogmatics well into the late eighteenth century. During this period, Junius was partner to adistinctively Reformed Protestant translation of the Scriptures from the original languages into Latin.He embarked on this work with famed Hebraist, Giovanni Emmanuele Tremellio (1510–1580), or Tremellius.Tremellius was an Italian-Jewish scholar and graduate from the humanist bastion of the University ofPadua, a convert to Roman Catholicism (1540) and then to Protestantism (1541). Tremellius was alsoimprisoned briefly for a period in the 1550s as a Calvinist. As a Hebrew professor, Tremellius’career took him to academies and universities at Strasbourg (1541–1549), Cambridge (1549–1553),Heidelberg (1561–1577), and then Sedan (1577–1580). Both of these scholars were skilled in Hebrew,Aramaic, and its cognates of Syriac and Chaldee, as well as Arabic, Greek, and Latin. The firstedition of the Tremellius-Junius Bible appeared in 1579 and enjoyed three further recensions byJunius (1581, 1593, 1602), with the most popular recensions being the second (1581) and the fourth(1602). The Tremellius-Junius Bible was published in Frankfurt, Amsterdam, London, Geneva, Hanover,and Zürich with over thirty-three different printings between 1579 to 1764. The Tremellius-Juniustranslation of the Old Testament was frequently paired as well with Theodore Beza’s Latin translationof the New Testament.

In 1576 upon the death of Frederick III, Elector of the Palatinate and staunch adherentof Reformed Protestantism, he was succeeded by his Lutheran son, Louis VI. Under the tenet of cuius regio,eius religio (whoever’s region, that one’s religion), Heidelberg became Lutheran again. The Reformedfaculty and students who refused to sign the Formula of Concord (1577) were driven out of the Universityof Heidelberg in 1577. Over the discord from the Formula of Concord, in approximately 1578–1579 JohannCasimir von Pfalz-Simmern (1543–1592), Frederick III’s brother and also an ally of the Reformed, foundedthe Casmirianum Collegium (1579–1583) at Neustadt. Junius was among the faculty at the newly formed andshort-lived college with one of the primary authors of the Heidelberg Catechism, Zacharias Ursinus (1534–1583),who had become a friend beginning in his days in Heidelberg. Junius would later deliver the funeral orationupon Ursinus’ death in Neustadt. It was very likely during this period at Neustadt in his lectures on thePsalms that Junius would first articulate his hermeneutical method for interpreting the psalms as well ashis distinctive understanding of foedus, pactum, and testamentum articulated in his commentaries on Genesisas well as his theological theses. In 1583 upon Louis VI’s death, Casimir became regent for his youngnephew and future elector, Frederick IV, and thus Heidelberg crossed from Lutheran hands into Reformed handsonce again. At this time, after Ursinus’ death, Junius was invited back as professor of theology toHeidelberg, a post he would hold until the late 1580s. While here, Junius’ engaged in the writing ofbiblical commentaries, political tracts and letters, and theological theses for his students’ practicedisputations. One of his most significant contributions from this period is his work Sacrorum Parallelorum(3d ed., 1588), which was a comparison, correlation, and commentary on all the Old Testament passagesin the New Testament.

At some point in the late 1580s through early 1592, Junius was involved in diplomaticconversations and missions for the duke of Bouillon in France and Germany at the close of the Huguenotwars and in personal conversation with Henry IV of Navarre, king of France. It was during this time thatthe curators of the University of Leiden persistently beseeched Junius to consider a professorship intheology at the University of Leiden. In early 1592, Junius accepted the position of professor primarius.

While at Leiden, Junius authored the work before us now as well as a significant workon theological prolegomena, De Vera Theologia. The content of De Vera Theologia became a cornerstone ofReformed, scholastic theology, surviving well into late nineteenth-century Reformed theologians such asHerman Bavinck. Themes and hints of the De Vera Theologia even found their way into such seventeenth-centuryLutheran scholastics as Andreas Quenstedt and Johannes Gerhard’s Loci Communes. In this work, Junius notonly outlines the archetypal/ectypal relationship as the basis for understanding the Creator/creaturedistinction but also for understanding theology and the necessity of Scripture for human beings fallenin sin, but striving as pilgrims or wayfarers for the blessed visio Dei. This work first appears in printin Leiden in 1594, two years after he employs the archetypal/ectypal understanding of the Creator/creaturedistinction in explaining natural law and its relationship to the Mosaic polity.

In 1602 upon his death, it was Junius’ chair of theology (and house on the Rapenburgin Leiden together with most of the furniture) that Jacobus Arminius filled after Junius’ death in theplague that struck Leiden. No less than the world-renowned historian and humanist Joseph Justus Scaliger(1540–1609) composed these words upon Junius’ death for the bereaved Leiden university community:

You, O mourning school, weep for your teacher!
You, O bereft Church, your parent!
Your doctor, O whole wide world, lament!

The Junius manuscript is one of the four major codices of Old English literature. Written in the 10th century, it contains poetry dealing with Biblical subjects in Old English, the vernacular language of Anglo-Saxon England. Modern editors have determined that the manuscript is made of four poems, to which they have given the titles Genesis, Exodus, Daniel, and Christ and Satan.^[1] The identity of their author is unknown. For a long time, scholars believed them to be the work of Cædmon, accordingly calling the book the Cædmon manuscript. This theory has been discarded due to the significant differences between the poems.

The manuscript owes its current designation to the Anglo-Dutch scholar Franciscus Junius, who was the first to edit its contents and who bequeathed it to Oxford University. It is kept in the Bodleian Library under shelfmarkMS Junius 11.

Name and date[edit]

The codex now referred to as the 'Junius manuscript' was formerly called the 'Cædmon manuscript' after an early theory that the poems it contains were the work of Cædmon; the theory is no longer considered credible, therefore the manuscript it is commonly referred to either by its Bodleian Library shelf mark 'MS Junius 11', or more casually as 'the Junius manuscript' or 'Codex Junius'. 'Junius' in these is Franciscus Junius, who published the first edition of its contents in 1655.

It has been established on palaeographical grounds that compilation of the manuscript began c. AD 1000. Recent work has suggested an earlier, narrow window for the likely compilation date to 960-1000 for Liber I and shortly thereafter for Liber II, based on an integrated dating of the text, paleography, and illustrations.^[2]

The compilation was in two stages: Liber I contains the poems Genesis, Exodus, and Daniel, and was the work of a single scribe. Liber II contains the poem Christ and Satan. The manuscript contains numerous illustrations that are an example of the Winchester style of drawing, typical of the period and region; it appears that two illustrators worked independently on the manuscript. The first scribe left spaces in the text for other illustrations which were never completed.^[3]

Selections From Codex Junius 11 Rejected Scriptures In The Bible

Illustrations[edit]

The manuscript is partly illustrated with a series of line drawings depicting the events in the text.^[4] From spaces left by the scribes, it appears that it was intended that the manuscript be fully illustrated; in the event, the work was left unfinished after only about a third of the artwork had been drawn. This scheme of illustrations, which is unparalleled in other manuscripts of Anglo-Saxon poetry, implies that the manuscript was conceived of as being considerably more important than most vernacular texts; it may have been intended for devotional or didactic use.^[5][6]

Contents[edit]

The names of the poems themselves are modern inventions; they are not given titles in the manuscript. As with the majority of Anglo-Saxon writing, the poems are anonymous and their provenance and dating are uncertain.

Genesis[edit]

Genesis is a paraphrase of the first part of the biblicalbook of Genesis, from the Creation through to the test of Abraham's faith with the sacrifice of Isaac (Gen. 22).

The work is now recognised as a composite work formed of two originally distinct parts, conventionally referred to as Genesis A and Genesis B; the latter, lines 235-851 of the poem as we have it, appears to have been interpolated into an older poem to produce the current text.^[7]

It is Genesis B which has attracted the most critical attention. Its origin is notable in that it appears to be a translation from a ninth-century Old Saxon original;^[7] this theory was originally made on metrical grounds, in 1875 by the German scholar Sievers, and then confirmed by the discovery of a fragment of Old Saxon verse that appears to correspond to part of the work in 1894.^[8] The writer of the interpolated passage most probably the German^{[clarification needed]} may have lacked Cædmon's craftsmanship but his genius was great.^{[citation needed]} Thematically and stylistically, it is distinctive: it tells the story of the falls of Satan and Man in an epic style, and has been suggested as an influence for Beowulf, and even, perhaps, for Paradise Lost.^[9][10]

Exodus[edit]

Exodus is not a paraphrase of the biblical book, but rather a retelling of the story of the Israelites' Flight from Egypt and the Crossing of the Red Sea in the manner of a 'heroic epic', much like Old English poems Andreas, Judith, or even the non-religious Beowulf. It is one of the densest, most allusive and complex poems in Old English, and is the focus of much critical debate.

Exodus brings a traditional 'heroic style' to its biblical subject-matter. Moses is treated as a general, and military imagery pervades the battle scenes. The destruction of the Egyptians in the Red Sea is narrated in much the same way as a formulaic battle scene from other Old English poems, including a 'Beast of Battle' motif very common in the poetry.

The main story is suspended at one point to tell the stories of Noah and Abraham's sacrifice of Isaac. Some scholars consider this change of subject a feature of the 'epic style' comparable with the similar digressions in Beowulf, while others have proposed it is a later interpolation. Edward B. Irving edited the poem twice, 1955 and 1981: the first edition excerpted the Noah and Abraham portion as a separate poem; on later reflection, Irving recanted, admitting it was an integrated part of the Exodus poem. There appears to be justification in patristic sermons for connecting the crossing of the Red Sea with these topics.

In recent decades, attention has shifted away from the 'heroic' aspects of Exodus to consider its densely allusive structure and possible typology. Peter J. Lucas, for instance, has argued that the poem is an allegorical treatment of the Christian's fight with the devil. The Crossing of the Red Sea has been seen as echoing the Baptismal liturgy and prefiguring the entrance into Heaven. The Pharaoh may be associated with Satan through some subtle verbal echoes. However, these readings are still controversial and much-debated. A more balanced view would accept that though certain intermittent parts of the narrative of Exodus merge into typological allusion, this is not sustained throughout the poem.

Daniel[edit]

Selections From Codex Junius 11 Rejected Scriptures Verse

A short paraphrase of the book of Daniel, dwelling particularly on the story of the Fiery Furnace, deals with the first five chapters of the Book of Daniel.

Christ and Satan[edit]

A three-part poem detailing the Fall of Satan, Christ's harrowing of Hell (from the Apocryphal New Testament Gospel of Nicodemus), and Christ's temptation in the desert.

Facsimiles[edit]

• The Cædmon manuscript of Anglo-Saxon Biblical poetry: Junius XI in the Bodleian , ed. by Israel Gollancz (London: Oxford University Press, 1927.)

Digital facsimiles are available online and offline:

• A complete digital facsimile is available through digital Bodleian.

A complete digital facsimile with copious annotations, transcriptions and translations was released on CD format in 2004:

Selections From Codex Junius 11 Rejected Scriptures Written

• Muir, Bernard J., ed. (2004), A Digital Facsimile of Oxford, Bodleian Library, MS. Junius 11 (CD-ROM; software by Nick Kennedy), Oxford: Bodleian Library, University of Oxford

See also[edit]

References[edit]

1. ^Saltzman, Benjamin A. 'Junius Manuscript (Encyclopedia of British Medieval Literature, 2017)'. Encyclopedia of British Medieval Literature.
2. ^LOCKETT, LESLIE (2002). 'An integrated re-examination of the dating of Oxford, Bodleian Library, Junius 11'. Anglo-Saxon England. 31: 141–173. JSTOR44510560.
3. ^Broderick 1983, p. 175-176.
4. ^Broderick 1983.
5. ^Broderick 1983, p. 162, n. 4.
6. ^Raw 1976, p. 135.
7. ^ ^abWrenn 1967, p. 99.
8. ^Breul 1898, p. 174.
9. ^Lever, J. W. (1947). 'Paradise Lost and the Anglo-Saxon Tradition'. The Review of English Studies. 23 (90): 97–106 – via JSTOR.
10. ^W. F. Bolton (1974). 'A Further Echo of the Old English Genesis in Milton's Paradise Lost'. The Review of English Studies. 25 (97): 58–61 – via JSTOR.

Further literature[edit]

Selections From Codex Junius 11 Rejected Scriptures Study

• Broderick, Herbert (1983), 'Observations on the Method of Illustration in MS Junius 11 and the Relationship of the Drawings to the Text', Scriptorium, 37 (2): 161–177, with plate 2, doi:10.3406/scrip.1983.1312.
• Broderick, Herbert (2009). 'Metatextuality, Sexuality, and Intervisuality in MS Junius 11'. Word and Image. 25 (4): 384–400. doi:10.1080/02666280902717262.
• Breul, Karl (1898), 'Eduard Sievers', The Modern Quarterly of Language and Literature, 1 (3): 173–175, JSTOR41065399.
• Karkov, Catherine E. (2001). Text and Picture in Anglo-Saxon England: Narrative Strategies in the Junius 11 Manuscript. Cambridge Studies in Anglo-Saxon England. 31. Cambridge, UK: Cambridge University Press. ISBN978-0521093064.
• Karkov, Catherine (2007). 'Margins and Marginalization: Representations of Eve in Oxford, Bodleian Library, MS Junius 11'. In Keefer, Sarah L.; Bremmer, Rolf H. (eds.). Signs on the Edge. Space, Text and Margin in Medieval Manuscripts. Mediaevalia Groningana New Series. 10. Paris: Peeters. pp. 57–84. ISBN978-9042919808.
• Lockett, Leslie (2002). 'An Integrated Re-examination of the Dating of Oxford, Bodleian Library, Junius 11'. Anglo-Saxon England. 31 (1): 141–173, with plates I–IVc. doi:10.1017/S0263675102000066.
• Lucas, Peter J. (1980), 'MS Junius 11 and Malmesbury', Scriptorium, 34 (2): 197–220, doi:10.3406/scrip.1980.1172.
• Ohlgren, Thomas H. (1992). Anglo-Saxon Textual Illustration. Kalamazoo, MI: Medieval Institute, Western Michigan University. ISBN978-1879288102.
• Raw, Barbara C. (1976), 'The Probable Derivation of Most of the Illustrations in Junius 11 from an Illustrated Old Saxon Genesis', Anglo-Saxon England, 5: 133–148, with plates Ia–IV, doi:10.1017/S026367510000082X.
• Raw, Barbara C. (1984). 'The Construction of Oxford, Bodleian Library, Junius 11'. Anglo-Saxon England. 13: 187–205. doi:10.1017/S0263675100003586.
• Wrenn, Charles Leslie (1967), A Study of Old English Literature, Norton, ISBN978-0393097689.

External links[edit]