Aldhelm was the first of a line of Anglo-Saxons, including some of the most celebrated, who chose to compose Latin verse. Nor were his efforts faltering or undistinguished. As innovations and experiments in Latin poetic technique Aldhelm's verses are unrivalled in Anglo-Saxon England, and indeed such was his influence on later authors that Aldhelm can be described fairly as the father of Anglo-Latin verse.

In assessing the nature of Aldhelm's knowledge and use of the verse of earlier authors and in highlighting those areas in which the idiosyncrasies of his poetic technique are most pronounced, this book seeks always to consider Aldhelm's poetic art in its Anglo-Saxon context, by comparison with the poetic practices and influences of his Anglo-Latin successors and his vernacular peers. For the poetic art of Aldhelm is a typically Anglo-Saxon blend of the new Latin learning and the traditional techniques of the pagan past; there is a bridge between Anglo-Latin and vernacular Old English verse, and on that bridge (as William of Malmesbury told us) Aldhelm is singing.

Like Aldhelm, I have had the benefit of learning and advice from many scholars, students and friends. Malcolm Godden and Michael Reeve proved genial and stimulating examiners of the Cambridge doctoral dissertation from which this book ultimately derives. Neil Wright was ever generous with his time and expertise in the specialized field of source-hunting which he has made his own, and Michael Lapidge gave wise and clear guidance throughout, in his changing roles of supervisor, colleague and editor. To these four go my chief thanks.