Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Anglo Saxon Early Culture
Anglo Saxon Early Culture
Anglo Saxon Early Culture
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Anglo Saxon Early Culture
The Dream of the Rood—an Anglo-Saxon poem dating at least as early as the tenth century—is an old, unique literary work that has survived throughout the ages. Found preserved in the Vercelli Book, the poem is not only distinct in its depiction of Christ but also in the representation of two distinct cultures: paganism and Christianity. These two religious groups are typically seen as clashing, largely due to the historical replacement of pagan religions by Christianity throughout Europe around the time the poem was written. Many would therefore expect an early Christian work such as The Dream of the Rood to convince followers of the older pagan religions to abandon their faith by demonizing the polytheistic gods of paganism while inviting …show more content…
Many pagan religions emphasized nature as one or more conscious, spiritual beings, usually symbolized by the particular religion’s gods and/or goddesses. In The Dream of the Rood, the rood speaks and tells the story of how it became the cross upon which Christ was crucified on, beginning as a tree (an organism affiliated with nature) but becoming adorned with gold and gems as a sort of idol after it became a symbol of Christ’s legendary crucifixion. The rood even goes on to use the pronoun “we” later in the poem to suggest that it and Christ have become one: an ultimately Christian mixture of both the pagan god and Jesus Christ. The Dream of the Rood was therefore written in a way that allowed converting pagans to connect with the main story of Christianity more easily and deeply, potentially instilling in the new Christians a desire to preserve the poem as a memento of their new faith and resulting in the preservation of the poem for …show more content…
First, if one looks at the Old English version of the poem he or she will find that The Dream of the Rood is an alliterative poem with the strict rhythmic scheme characteristic of the Anglo-Saxons. Second, the story of Christ’s crucifixion is told in a truly Anglo-Saxon way. Christ is portrayed as a courageous, self-sacrificing warrior who fights against sin and sinful men to the point of death to win salvation for all of mankind, just like an Anglo-Saxon king or warrior would fight to save his kingdom from the enemy. Poems would frequently be written about the stories of such epic heroes. Therefore, in taking note of these characteristics we can label The Dream of the Rood an Anglo-Saxon poem with Anglo-Saxon influences as evidence to back our
Grendel’s characterization is incremental; the reader is slowly provided with characteristics of the “demon” terrorizing Heorot (86). Interestingly, there is a bit of characterization prior to the speaker even acknowledging that such a demon has a name. This is significant in that the speaker’s own moral perspective on the demon is seemingly more important than Grendel’s own self-perception. In Anglo-Saxon poetry, one’s identity is critical to his social status in that boasting about his accomplishments is central to others’ perceptions of him. This draws a clear distinction between the Anglo-Saxons and the pagans in Beowulf; a seemingly minute order of characterization reveals the attitude of the Beowulf-poet toward “the other.”
The mentioning of Scyld, the legendary Danish hero, and of Beowulf the Dane at the beginning of the poem serve as an implicit comparison with the forthcoming Beowulf the Geat. Similarities between the warrior and the heroic predecessors expose Beowulf’s qualities.
Archetypes can be enforced by using symbols, a pattern, a characteristic, a certain idea or theme, or an image of some kind. They can also be conveyed in dreams, literature, religion, folklore, fantasies, and myths. There are a total of six archetypal groups including: symbolic, character, situational, heroic, and characteristics of the hero’s journey. Within the epic poem, a lengthy poem that portrays a story of a certain hero’s tasks, of Beowulf, originally written by an anonymous Anglo-Saxon poet and translated by R.M Liuzza, effectively portrays many differing archetypal groups. Furthermore, the work of the anonymous poet who created the marvelous epic poem by the name of Beowulf illustrates broadened examples of
History has been recorded throughout time in stories, books, poems and other literary works. These writings give historians and readers of the present day valuable insights into the lifestyles, beliefs, society, economics, politics and pagan religion of the time period they originate. Authors are greatly influenced by the beliefs and attitudes of their own society and time. The works they write provide a window to the past that allows us to peak through and see what life was like for the people of that particular history. Middle Age literary works show the reader of the present who the people were, what was important to them, and how they lived. In a culture
McGrath, Alister. "The religious symbolism behind the Chronicles of Narnia." BBC. N.p., 21 Nov 2013. Web. 3 Mar 2014. http://www.bbc.co.uk/religion/0/24865379
In The Dream of the Rood, the poet has added elements of the idealized heroic death (as exemplified in Beowulf and The Battle of Maldon) to the crucifixion. He has also eliminated details of the story that tend to render Christ as a figure of pathos, in order to further Christ's identification with the other glorious warriors Anglo-Saxon poems.
One of the first literary work studied by our class was “Beowulf,” the longest and greatest surviving Anglo-Saxon poem. The poem is packed full of Christian and Pagan elements that are constantly fighting for the dominant position. In order to understand these thematic elements portrayed throughout “Beowulf,” we must first discover
The Anglo-Saxon poem known as, The Dream of the Rood is the reverse image of the crucifixion. The Dream of the Rood is unique in describing the crucifixion from the vantage point of the Cross, and within the framework of a dream. In comparison, The York Play of the Crucifixion discusses each step in the process of tying Christ to the cross. Both representations of the crucifixion compare and contrast each other.
With the creation of the Christian religion followers of it obtained peace and tried their best to avoid the impurities of the world, interestingly enough, these “worldly” impurities consume the religion that is Paganism, which Christianity is heavily based off of. As time has progressed mankind has always searched for their purpose. Religion is often used to help one discover their ultimate purpose and give them guidelines to live a pure life by that may be amorphous without spiritual guidance. The religious fundamentals in Christianity help its believers to fathom why they are on this Earth and what their greater purpose is. Unknowingly, they develop their character through this religion without knowing that it is heavily stemmed from Paganism! Many practices, cultural elements, and habits in Paganism are strongly seen as ignoble by a majority of the modern Christians. A supreme amount of the text in the Seamus Heaney’s translation of Beowulf help to entirely clarify the religious transitions that have occurred between both Paganism and Christianity. Throughout the ages, human beings used a religious power to help them evaluate their lives and wellbeing, specifically Paganism, Christianity; the transition from paganism to Christianity illustrates how much religion effects one’s life.
The Dream of the Rood is a poem that illustrates the crucifixion, burial, and resurrection of Jesus Christ from the perspective of the cross. The illustration comes together in a dream. The rood or the cross communicates with the Dreamer, to give him hope in the future return of Christ and eternal glory. Additionally, the rood encourages the Dreamer to share his dream with others and point them to the cross. This poem is meaningful to me because it prompted me to reflect on the cross and what it represents. It is a symbol of God’s love and what He did on the cross, so we could be saved from our sins.
The image of Jesus nailed to a wooden cross by the palms of his hands and with a crown of thorns wrapped around his head is one that has transcended all time barriers. It has inclusive been replicated into figure form that is utilized in various ways but whose primary function is to serve as a constant reminder of the physical suffering endured by Jesus. In The Dream of the Rood however, the perception of Jesus Christ as not only the son of God and savior of mankind but also as a human with the capacity to feel pain, is subverted when through the perspective of a personified cross he is conveyed as a warrior in the midst of combat. The portrayal of Jesus in this way immediately evokes the image of an ideal stereotypical hero who is strong, courageous, and unrelenting in appearance. Nevertheless, it can be said that this type of hero is more inclined towards fantasy than it is based on reality because these idealized heroic figures have only ever truly existed in a fictional universe. The depiction of Jesus as a warrior thus, undermines forms of heroism that stem from explicit suffering that is not concealed but rather expressed by the individual.
For pagan religion, ‘the Truth’ is something to be glimpsed, something to be ascended to and apprehended in the soul. By ‘eliminating everything’ and reducing the temporal self to naught, a visionary pagan may catch a glimpse of the divine Ground—and this glimpse is its highest hope and goal. But mystical experience can prove hopelessly fleeting, as Plotinus repeatedly discovered, and thus he was mystified by and lamented his inability to remain in that blessed state—for “there comes the moment of descent from intellection to reasoning, and after that sojourn in the divine, and I ask myself how it happens that I can now be descending, and how did the soul ever enter into my body” (IV, 8, 1). Via the painful but necessary path of self-negation, he slowly ascends to his goal, until at last he reaches the heights of divine union and blessedness—but alas, only to helplessly fall away again, back into the temporal and material realm. Self-willfulness, that which is at the root of the soul’s descent*, is at last renounced in its ascendant return to divinity—alas, only to resurface yet again and drag the soul back down into the mires time and matter, in a manner reminiscent of the tale of Sisyphus, or perhaps the wheel of birth and death. In a...
The speaker of the poem describes a great loss, remembering the time when he was happy with his kinsmen, “Thus spoke such a ‘grasshopper’, old griefs in his mind, cold slaughters, the death of dear kinsmen….None are there now among the living to who I dare declare me thoroughly, tell my hearts thought” (6-12). The strongest relationship during the Anglo-Saxon time was through comitatus, and with the death of his lord and kinsmen, this was taken away from him. Now without his support system of his comitatus the speaker is lost, and becomes a wanderer. The horrible experience he has had of losing his lord has shaken his traditional Anglo-Saxon beliefs, and he looks toward Christianity for a different answer.
The poem explains the rood as an instrument of torture and death and is now the dazzling sign of mankind’s redemption. It charges the poet to tell of his vision to all men, so that they too might be redeemed of sin. Most people view the cross on which Jesus was crucified as torture, death, and darkness. However, many also understand that the cross (rood) is a symbolism for the victorious redemption of Christ’s resurrection because of the suffering he endured for the human race. “Wondrous was that victor-tree, and I was stained with sin and wounded with my wickedness. I beheld the cross of glory shining in splendor, graced with hangings and adorned with gold. Worthily had jewels covered over all that