dream of the rood

Although the Bible’s description of Jesus and his crucifixion has not been changed, the perception of the people about Jesus has been changing throughout the ages. The poem “The Dream of the Rood” is good example of a unique view of Jesus and his crucifixion. The poem is referred as “one of the first and most successful treatments of the crucifixion” in Old English poetry (Burrow 123).

One of the first pieces of British literature recorded is the epic poem Beowulf. The poem concentrates on the life of the adventurous Geat warrior, Beowulf. Beowulf faces several challenges throughout the poem that depict him as a man who would go to extreme lengths to accumulate fame. While creating a legend for himself, Beowulf and other characters within the poem reveal several values of the Anglo-Saxons. These values include their belief in boasting, revenge, and loyalty.

The Bible has been translated into 451 languages, sold over 6 billion times, and depicted in over 40 movies. The Bible and the crucifixion of the Messiah are prominent aspects in cultures all around the world today. The death, burial, and resurrection of Jesus Christ has been translated, dramatized, televised, adapted, and cartooned. In “The Dream of the Rood,” translated by R.M. Liuzza, the Biblical cross comes to life to tell its own version of Christ’s death and resurrection. The author recreated the Biblical account to appeal to the Anglo-Saxon warrior group to effectively convert them. However, the story from the cross’s perspective matches the crucial material of the Biblical account of the crucifixion without defaming Christ.

The last sentence of the poem, ““There is still murder in your heart” (14), is a powerful claim that suggests that a routine consisting of prayer, communion, or hymn singing will not dissolve the sin of the heart. However, seeing this claim from a different standpoint, this can also suggest that this dull routine is convenient when it comes to preserving an appearance of purity and grace. There is an image in the middle of the poem, “light swords” (7), that possibly represents sharp members of the congregation trying to deceive the church authorities and God. Their comfort to the routine is remarkable because it does not really make a difference at the end; the only thing that truly matters is the masked life they are trying to keep hidden. Readers may consider the arguments presented in this poem as the truth reaching out to the contemporary church and its followers to improve their relationship with

Death perception is what sets apart the wise from the foolish and the sensitive from the weak minded; this statement is both true within life and the epic poem Beowulf. Many statements within the spectrum of death in the current world relates and dates back to this one poem, even more so now through the translation of Seamus Heaney. Passed along as a folk tale from as early as the 5th century to the 9th century, and then composed in about the 10th century, Beowulf creates a solid base for many of today’s present and worldly ideals. Countless themes are taken from this poem, but one theme that many people may glaze over is the extremely morbid tone of death and its purpose. Used as an archetype for the audience, the purpose of this morbid theme of death is to help understand and cope with mortality, especially during that time period. Accepting/ understanding is wiser than foolishly attempting to escape or cheat death as the poem blatantly proves after closely analyzing its purpose of discussing fate and death before the battles; choosing to always stand by good morals and actions; and the major significance of the main character’s death along with a couple counterarguments. By examining each aspect, the reader will gain the realization as to why Seamus Heaney decided to create this theme that he did with the direction from “The Beowulf poet [that] was captivated by the imagery of death” (Tanke 356).

The final aspect of Anglo-Saxon culture that was present throughout the novel was the belief of wyrd. In Anglo-Saxon culture, warriors fought with the belief not that they could control the outcome of everything, but that fate was in the end responsible for how things turned out. In the poem, Beowulf has gained

The oldest of the great lengthy poems written in English and perhaps the lone survivor of a genre of Anglo-Saxon epics, Beowulf, was written by an unknown Christian author at a date that is only estimated.  Even so, it is a remarkable narrative story in which the poet reinvigorates the heroic language, style, and values of Germanic oral poetry.  He intertwines a number of themes including good and evil, youth and old age, paganism and Christianity and the heroic ideal code, into his principal narrative and numerous digressions and episodes; all of which were extremely important to his audience at the time.  Vengeance, part of the heroic code, was regarded differently by the two distinct religions.

The cross, once plain wood, is now “exalted over all forest-tress” (91) and risen to the status of a lord. The Dreamer is seeing for himself the validity of Christ’s claims of rewarding his faithful servants. So the Cross, it seems, is now further gift-giving and reciprocating by telling the Dreamer that he has been given a gift by Christ, who died for his sins. The Dreamer interprets the telling of this story by the Cross as a gift, and so in return for this gift that the Cross has given him, the Dreamer tells the story of his dream to others in order to tell the tale and let others know of this great gift that was given to all of humanity by Christ. Its resplendence in its appearance to the dreamer is testament to the validity of its sacrifice in going against traditional Germanic servitude, which is important to addressing the comingling of cultures in The Dream of the Rood. This is certainly not heroism and faithful retainership as the Anglo-Saxons were used to it, but the Dreamer’s vision of the Cross in all its glory gives credence to Christ as a lord and gift giver.

The Christ depicted in this passage willingly accepts his battle on the cross and because of this act the poet then goes on to describe Christ as a "warrior", "strong," and "stouthearted." Christ is not portrayed as a meek and humble man resigned to his task as savior and lord. Within this portion of the text, he becomes a bold warrior climbing the cross as if going into battle. At the end of the poem, the narrator looks to Christ and the cross for protection.

“The Seafarer”, an elegy from the Exeter Book Elegies, discusses the idea that the Anglo-Saxon way of life is fleeting, and the only way to overcome this is living a life free of sin. The Anglo-Saxon epic Beowulf continuously digresses into stories whose purpose is to teach the main character how to behave in order to become a heroic figure. In the excerpt from first work mentioned, the speaker believes that soon the “pomp” and “lordly fame” associated with the warrior culture of the Anglo-Saxon world will be a thing of the past (82, 85). Conversely, in the Beowulf excerpt, which tells the story of the bad King Heremod, the attitude of the speaker is that warrior culture is a central part of life. The speaker of “The Seafarer” excerpt explains the benefits of being a man who is “humble” and “strong minded” (108, 109). On a similar note, the speaker of the Beowulf excerpt condemns those who are selfish “he gives no golden rings” and “angry” (1749). Both the poem and the epic discuss the ideal way that a man should conduct himself. The importance of these lessons in “The Seafarer” is to live an everlasting life in heaven while in Beowulf the reason is to gain glory on earth and be remembered.

The ethical paradigm traditionally associated with the treasurehouse model of mentality in Old English poetry—the sapiential economy of the accumulation and then distribution of mental valuables— converges in The Dream of the Rood with the poet’s religious ideal of the Christian faith as universally acknowledged and collectively practiced in the form of devotion to the Cross”(Mize Britt, pg 177). The rood's description, had a deep connection and references to both the Christian and Pagan culture, also indicating the obedient relationship he had or shared with Jesus Christ as that of a Lord and thane.

Writers for many centuries have depicted the greatest event of history, Christ's sacrifice in many ways. Fantasy writers, especially, have symbolized it as either the sacrifice of a lion on the Stone Table, a mighty warrior battling a red dragon, or less obviously, the destruction of a ring, and numerous other ways. However once writers chose to directly write about Christ's sacrifice without using symbols. Nonetheless even these writers differed greatly in their portrayal of Christ's sacrifice. Among these, William Langland, who wrote Piers Plowman, and the poet who penned “Dream of the Rood” both discuss Christ's sacrifice vividly and poetically. While Piers Plowman and “Dream of the Rood” share many similarities in their portrayal of Christ

‘The Dream of the Rood’ has been marveled as one of the finest religious poems from the Anglo-Saxon time period. The poem itself shows the contrast between the Pagan religion and Christianity and the overlap of religious symbols between them. It follows the crucifixion of Jesus and the dreamer’s journey to finding faith. The rood is seen as the backbone of the crucifixion and is depicted as being praised more than Christ. Using the literary devices of kenning and alliteration the author highlights the heroic nature of the rood, the dreamer’s gradual progression to optimism and the struggle of the people of the time to remove Pagan traditions in literature.

The consequence of their loyalty leads the warriors of the Maldon to death. Likewise, the Rood also follows Christ in his suffering and to his death. It states, ¡°standing in a sweat of blood/ I was all wounded with shafts¡±(The Rood, 57). Indeed, that ¡°sweat of blood¡± belongs to the Rood and its ¡°wounded¡± body identifies with that of the Christ¡¯s. In fact, while having the knowledge of the inevitable tragedy, the heroes of the Anglo-Saxon literature neglects to heed to their fear of death. What defines a hero in this period pertains to facing the ¡°wierd.¡± Rather than a resignation in giving up their lives, they participate actively in order to live out their given role, to fulfill what they have promised to do. Indeed, the heroes of the Maldon are ¡°fated [to] fall¡±(Maldon, 4). In the face of their inevitable doom, these heroes state ¡°in right good time dost thou recall us to our allegiance¡±(Maldon,232). This ¡°allegiance¡± to serve the lord cannot be forfeited even when the lord no longer lives. Regardless of the tragic consequences, these heroes choose to suffer. The Rood indicates, ¡°wry wierds a many I underwent¡± in revealing its active role in its fate (The Rood, 56). The Rood states that ¡°[it] underwent],¡± have chosen to suffer with Christ.

Eternal life thus defeats death and throughout the poem, John’s strong background of Christianity allows him to associate death with temporary entities as he refers to death as a state of “much pleasure” (7). Death is conceptualized as a phase rather than an element which represents finality. Death is personified and therefore has no greater power over human beings. Death losses its fearful connotation and achieves a new meaning that makes it less intimidating and less powerful.