The Use Of Figurative Language In The Dream Of The Rood

In this first section of The Dream of the Rood , the depth of the Christian themes are carefully concealed by the poet’s use of figurative language and literary devices for an emphatic effect, when the theological elements are gradually unmasked. Therefore, in these opening lines the narrator sets the scene and introduces his dream vision by describing the extraordinarily bright tree (lines 1-12). Moreover, in the second half of the introductory part (13-23), the dreamer focuses on the antithesis of bliss and sorrow that characterises the Cross and also considers the corruptive state of his own soul.
The poet uses the bold opening ‘Hwæt’ which sets the tone for the imagery that follows. The interjection translating as ‘lo!’ or ‘so’ forms

As the dreamer’s understanding of his vision deepens and develops, the poet’s linguistic choices become more specific in order to resemble a verbal enlightment, which encourages the involvement of the audience. The metaphorical language in ‘fægere æt foldan scēatum’ depicts the Rood’s transformation as it is no longer a tree isolated in a forest but the beacon reaches every part of the world. The supernatural connotations associated with this metaphor serve as a further clue for its true identity. Paronomasia is also employed in line 5, where the dreamer utters ‘leohte bewunde’ , where ‘wund’ can reflect the wounds of the crucifixion, a device also used metaphorically in line 14 ‘forwunded’ to portray the narrator’s sinful spiritual state. Similarly, ‘wamm’ in line 13 can be interpreted as a physical injury or the moral disability of sin. Accordingly, lines 4-27 form a paradox where the Rood alternates between being adorned with gold and jewels and guarded by angels to being drenched with blood and inspiring fear; ‘þæt hit ærest ongan/ swætan on þā swīðran healfe’ . The antithesis of its role as the ‘tree of glory’ to its role as an instrument of suffering communicates synoptically the Cross’ ironic part in the crucifixion. The dreamer, disturbed by the tree’s changing visions, identifies with this bloody version of the Rood, for he too feels shamefully covered in sin. Moreover, the poet adopts an ironic tone to suggest that in the light of this bright and beautiful Cross, the warrior shines too but only with moral illness, which shows him horribly guilty in the eyes of God. This is a fundamental scene in the poem, which is evident through the hypermetric verse. Thus, lines 8-10 and 20-23 of this section are longer than the rest, and encourage the audience to give extra