392:, Christ is presented as a "heroic warrior, eagerly leaping on the Cross to do battle with death; the Cross is a loyal retainer who is painfully and paradoxically forced to participate in his Lord's execution". Christ can also be seen as "an Anglo-Saxon warrior lord, who is served by his thanes, especially on the cross and who rewards them at the feast of glory in Heaven". Thus, the crucifixion of Christ is a victory, because Christ could have fought His enemies, but chose to die. John Canuteson believes that the poem "show Christ's willingness, indeed His eagerness, to embrace His fate, it also reveals the physical details of what happens to a man, rather than a god, on the Cross". This image of Christ as a 'heroic lord' or a 'heroic warrior' is seen frequently in Anglo-Saxon (and Germanic) literature and follows in line with the theme of understanding Christianity through pre-Christian Germanic tradition. In this way, "the poem resolves not only the pagan-Christian tensions within Anglo-Saxon culture but also current doctrinal discussions concerning the nature of Christ, who was both God and man, both human and divine".
116:
and
Closing Section (lines 122–156). Though the most obvious way to divide the poem, this does not take into account thematic unity or differences in tone. Constance B. Hieatt distinguishes between portions of the Cross's speech based on speaker, subject, and verbal parallels, resulting in: Prologue (lines 1–27), Vision I (lines 28–77): history of the Rood, Vision II (lines 78–94): explanation of the Rood's glory, Vision III (lines 95–121): the Rood's message to mankind, and Epilogue (lines 122–156). M. I. Del Mastro suggests the image of concentric circles, similar to a
107:—they are both pierced with nails, mocked and tortured. Then, just as with Christ, the Cross is resurrected, and adorned with gold and silver. It is honoured above all trees just as Jesus is honoured above all men. The Cross then charges the visionary to share all that he has seen with others. In section three, the author gives his reflections about this vision. The vision ends, and the man is left with his thoughts. He gives praise to God for what he has seen and is filled with hope for eternal life and his desire to once again be near the glorious Cross.
180:
33:
1505:
429:, with the parallels between the concept of sin, the object of confession, and the role of the confessor. She traces the establishment of the practice of Penance in England from Theodore of Tarsus, archbishop of Canterbury from 668 to 690, deriving from the Irish confession philosophy. Within the poem, Hinton reads the dream as a confession of sorts, ending with the narrator invigorated, his "spirit longing to start."
339:) text is difficult, as the scribes who wrote it down were Christian monks who lived in a time when Christianity was firmly established (at least among the literate and aristocratic population) in early medieval England. The style and form of Old English literary practices can be identified in the poem's use of a complex, echoing structure, allusions, repetition, verbal parallels, ambiguity and wordplay (as in the
404:
whole new light on the actions of Jesus during the
Crucifixion. Neither Jesus nor the Cross is given the role of the helpless victim in the poem, but instead both stand firm. The Cross says, Jesus is depicted as the strong conqueror and is made to appear a "heroic German lord, one who dies to save his troops". Instead of accepting crucifixion, he 'embraces' the Cross and takes on all the sins of mankind.
364:"uses the language of this myth of Ingui in order to present the Passion to his newly Christianized countrymen as a story from their native tradition". Furthermore, the tree's triumph over death is celebrated by adorning the cross with gold and jewels. Work of the period is notable for its synthetic employment of 'Pagan' and 'Christian' imagery as can be seen on the
94:
the narrator has a vision of the Cross. Initially when the dreamer sees the Cross, he notes how it is covered with gems. He is aware of how wretched he is compared to how glorious the tree is. However, he comes to see that amidst the beautiful stones it is stained with blood. In section two, the Cross shares its account of Jesus' death. The
416:
Faith Patten identified 'sexual imagery' in the poem between the Cross and the Christ figure, noting in particular lines 39–42, when Christ embraces the Cross after having 'unclothed himself' and leapt onto it. This interpretation was expanded upon by John
Canuteson, who argued that this embrace is a
115:
There are various, alternative readings of the structure of the poem, given the many components of the poem and the lack of clear divisions. Scholars like Faith H. Patten divide the poem into three parts, based on who is speaking: Introductory
Section (lines 1–26), Speech of the Cross (lines 28–121),
93:
The poem is set up with the narrator having a dream. In this dream or vision he is speaking to the Cross on which Jesus was crucified. The poem itself is divided up into three separate sections: the first part (ll. 1–27), the second part (ll. 28–121) and the third part (ll. 122–156). In section one,
98:
story is told from the perspective of the Cross. It begins with the enemy coming to cut the tree down and carrying it away. The tree learns that it is not to be the bearer of a criminal, but instead Christ crucified. The Lord and the Cross become one, and they stand together as victors, refusing to
403:
notes an interesting paradox within the poem in how the Cross is set up to be the way to
Salvation: the Cross states that it cannot fall and it must stay strong to fulfill the will of God. However, to fulfill this grace of God, the Cross has to be a critical component in Jesus' death. This puts a
1022:
Dietrich made four main arguments: one, the theme of both poems is the cross, and more importantly, in both poems, the cross suffers with Christ; two, in "Elene" Cynewulf seems to make clear references to the same cross in Dream of the Rood; three, in "Elene" and his other poems
Cynewulf usually
221:
Now I appear iridescent; my form is shining now. Once, because of the law, I was a spectral terror to all slaves; but now the whole earth joyfully worships and adorns me. Whoever enjoys my fruit will immediately be well, for I was given the power to bring health to the unhealthy. Thus a wise man
387:
is "the central literary document for understanding resolution of competing cultures which was the presiding concern of the
Christian Anglo-Saxons". Within the single culture of the Anglo-Saxons is the conflicting Germanic heroic tradition and the Christian doctrine of forgiveness and
261:
as the first
Christian English poet, stating "On this monument, erected about A.D. 665, we have fragments of a religious poem of very high character, and that there was but one man living in England at that time worthy to be named as a religious poet, and that was Caedmon". Likewise,
99:
fall, taking on insurmountable pain for the sake of mankind. It is not just Christ, but the Cross as well that is pierced with nails. Adelhied L. J. Thieme remarks, "The cross itself is portrayed as his lord's retainer whose most outstanding characteristic is that of unwavering
1023:
speaks of himself, which makes it quite possible that the dreamer in Dream of the Rood is none other than
Cynewulf himself; and finally four, "In both poems the author represents himself as old, having lost joys or friends and as ready to depart. Cook, Albert S., ed.
360:, Richard North stresses the importance of the sacrifice of the tree in accordance with pagan virtues. He states that "the image of Christ's death was constructed in this poem with reference to an Anglian ideology on the world tree". North suggests that the author of
120:, repetitive and reflective of the increased importance in the center: the narrator-dreamer's circle (lines 1–27), the rood's circle (lines 28–38), Christ's circle (lines 39-73a), the rood's circle (lines 73b-121), and the narrator-dreamer's circle (lines 122–156).
235:
is unknown. Moreover, it is possible that the poem as it stands is the work of multiple authors. The approximate eighth-century date of the
Ruthwell Cross indicates the earliest likely date and Northern circulation of some version of
407:
Mary Dockray-Miller argues that the sexual imagery identified by Faith Patten, discussed below, functions to 'feminize' the Cross in order for it to mirror the heightened masculinity of the warrior Christ in the poem.
619:
956:: Northumbria, from about A.D. 680, with its runic verses by Caedmon, and Caedmon's complete cross-lay, "The Holy Rood, a dream" from a south-English transcript of the 10th century. London: J. Smith.
376:
bound upon the Tree of Life. Others have read the poem's blend of Christian themes with the heroic conventions as an Anglo-Saxon embrace and re-imagining, rather than conquest, of Christianity.
210:, it was possible to mostly reconstruct it in the 19th century. Recent scholarly thinking about the cross tends to see the runes as a later addition to an existing monument with images.
1038:
274:. Furthermore, he claimed that the Ruthwell Cross includes a runic inscription that can be interpreted as saying "Caedmon made me". These ideas are no longer accepted by scholars.
623:
198:, which is an 18 feet (5.5 m), free-standing Anglo-Saxon cross that was perhaps intended as a 'conversion tool'. At each side of the vine-tracery are carved
285:, a named Old English poet who lived around the ninth century. Two of Cynewulf's signed poems are found in the Vercelli Book, the manuscript that contains
202:. There is an excerpt on the cross that was written in runes along with scenes from the Gospels, lives of saints, images of Jesus healing the blind, the
417:'logical extension of the implications of the marriage of Christ and the Church', and that it becomes 'a kind of marriage consummation' in the poem.
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1162:
270:
indicated a seventh-century date. Supposing that the only Christian poet before Bede was Cædmon, Stephens argued that Cædmon must have composed
1545:
989:
257:
1509:
1263:
683:
644:
1517:
350:
Some scholars have argued that there is a prevalence of pagan elements within the poem, claiming that the idea of a talking tree is
299:
supposed discovery of the cross on which Jesus was crucified. Thus Franz Dietrich argued that the similarities between Cynewulf's
335:
exhibits many Christian and pre-Christian images, but in the end is a Christian piece. Examining the poem as a pre-Christian (or
356:
552:
318:. He maintains that the poem contains contributions from at least two different poets, who had distinct compositional styles.
1303:
354:. The belief in the spiritual nature of natural objects, it has been argued, recognises the tree as an object of worship. In
307:
reveal that the two must have been authored by the same individual. Again, however, this attribution is not widely accepted.
537:
1488:
1453:
206:, and the story of Egypt, as well as Latin antiphons and decorative scroll-work. Although it was torn down after the
17:
1538:
996:." Classical and Medieval Literature Criticism. Vol 14. Gale Group, Inc., 1995. enotes.com. 2006. 27 September 2007
924:
1746:
2334:
1804:
1732:
1281:
531:
400:
913:, ed. and trans. by D. G. Calder and M. J. B. Allen (Cambridge: Cambridge University Press, 1976), pp. 53-58.
731:
388:
self-sacrifice, the influences of which are readily seen in the poetry of the period. Thus, for instance, in
263:
2016:
1766:
1006:
314:
has adduced metrical, lexical, and syntactical evidence in support of a theory of composite authorship for
213:
A similar representation of the Cross is also present in Riddle 9 by the eighth-century Anglo-Saxon writer
476:
2339:
2009:
1960:
1916:
1531:
672:
Thieme, Adelheid L. J. (1998). "Gift Giving as a Vital Element of Salvation in "The Dream of the Rood"".
519:
2319:
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or the Kirkby Stephen cross shaft which appears to conflate the image of Christ crucified with that of
1554:
2329:
2324:
1657:
1623:
1123:
1084:
155:
843:
Del Mastro, M. I. (1976). "The Dream of the Rood and the Militia Christi: Perspectives in Paradox".
2344:
2061:
2043:
1892:
966:
380:
508:
2172:
2026:
740:
986:
504:, ed. by Joseph Black and others (Peterborough, Ontario: Broadview Press, 2006), pp. 23–25.
2285:
344:
104:
54:
2099:
1999:
1974:
1886:
1880:
1722:
674:
493:, ed. by Greg Delanty and Michael Matto (New York and London: Norton, 2011), pp. 366–77.
243:
Nineteenth-century scholars tried to attribute the poem to the few named Old English poets.
57:
and an example of the genre of dream poetry. Like most Old English poetry, it is written in
2184:
2085:
1848:
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207:
95:
1811:
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Rebecca Hinton identifies the resemblance of the poem to early medieval Irish sacramental
8:
2071:
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1953:
1906:
1842:
1780:
1759:
340:
2178:
1224:(January 2010). "Vestigial Signs: Inscription, Performance, and The Dream of the Rood".
2270:
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1433:
1241:
1143:
1104:
1058:
970:
953:
898:
Ritual and the Rood: Liturgical Images and the Poems of The Dream of the Rood Tradition
879:
760:
711:
703:
599:
515:, ed. and trans. by Elaine Treharne, 2nd edn (Oxford: Blackwell, 2004), pp. 108–15
497:
244:
58:
247:
argued that the inscription of the Ruthwell Cross must be fragments of a lost poem by
1988:
1967:
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1671:
1596:
1484:
1449:
1299:
1245:
1147:
1108:
1062:
824:
Hieatt, Constance B. (1971). "Dream Frame and Verbal Echo in The Dream of the Rood".
809:
Shimonaga, Yuki (2010). "The Structure and Thematic Unity of The Dream of the Rood".
752:
715:
695:
638:
569:
527:
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Acevedo Butcher, Carmen, The Dream of the Rood and Its Unique, Penitential Language
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1981:
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1135:
1096:
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875:
871:
744:
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Galloway, Andrew (1994). "Dream-Theory in The Dream of the Rood and The Wanderer".
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585:
296:
139:. The Vercelli Book, which can be dated to the 10th century, includes twenty-three
1438:
1416:
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1100:
1946:
1932:
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993:
862:
Schapiro, Meyer (September 1944). "The Religious Meaning of the Ruthwell Cross".
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1641:
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78:
502:
The Broadview Anthology of British Literature, Volume 1: The Medieval Period
468:, ed. by Bruce Dickins and Alan S. C. Ross, 4th edn (London: Methuen, 1954).
1678:
1569:
794:
Patten, Faith H. (1968). "Structure and Meaning in The Dream of the Rood".
203:
167:
1692:
1013:
Ed. 5th Edition. Oxford: Oxford University Press, 1985. 27 Sep 2007, p. 2
2207:
1334:
Dockray-Miller, Mary. "The Feminized Cross of 'The Dream of the Rood.'"
462:, ed. by Michael Swanton, rev. edn (Exeter: University of Exeter, 1987).
456:. (Madison: Center for the History of Print and Digital Culture, 2019-).
32:
1715:
1298:(2nd ed.). Peteborough, Ontario: Broadview Press. pp. 58–60.
883:
707:
85:, and is considered one of the oldest works of Old English literature.
1925:
1211:. Sixth Edition. Massachusetts. Blackwell Publishers, 2001, p. 139-140
764:
1708:
1609:
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Multiple Perspectives on English Philology and History of Linguistics
452:(edition, digital facsimile images, translation), ed. by Martin Foys
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1701:
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136:
117:
74:
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1367:. Sixth Edition. Massachusetts. Blackwell Publishers, 2001, p. 257
1198:. Sixth Edition. Massachusetts. Blackwell Publishers, 2001, p. 256
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The Dream of the Rood: An Old English Poem Attributed to Cynewulf.
941:
The Dream of the Rood: An Old English Poem Attributed to Cynewulf.
2244:
2162:
2078:
1773:
1578:
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The dream of the rood: an old English poem attributed to Cynewulf
579:
447:
426:
351:
214:
135:, so called because the manuscript is now in the Italian city of
100:
1350:
Canuteson, John. "The Crucifixion and Second Coming of Christ."
479:, 2 (New York: Columbia University Press, 1936), pp. 61–65.
140:
1089:
ANQ: A Quarterly Journal of Short Articles, Notes and Reviews
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291:
379:
The poem may be viewed as both Christian and pre-Christian.
2293:
1828:
1163:"The Textual Condition of The Dream of the Rood lines 75–7"
373:
252:
199:
63:
1518:
BBC Tyne – 'Dream of the Rood' vocal piece wins top prize
432:
526:, ed. and trans. by Richard Hamer (London: Faber, 1970,
1320:
Supplement to Broadview Anthology of British Literature
489:'The Vision of the Cross', trans. by Ciaran Carson, in
103:". The Rood and Christ are one in the portrayal of the
900:. London, University of Toronto Press, 2005, p. 7, 228
1376:
Burrow, J.A. "An Approach to The Dream of the Rood."
1027:
Oxford: Clarendon Press, 1905. 27 Sep 2007, p. 12-13
662:. Ed. S.A.J. Bradley. London, Everyman, 1982, p. 160
477:
The Anglo-Saxon Poetic Records: A Collective Edition
1039:"The composite authorship of The Dream of the Rood"
513:
Old and Middle English c. 890-c. 1400: An Anthology
491:
The Word Exchange: Anglo-Saxon Poems in Translation
411:
1437:
1085:"Verbs and Versification in the Dream of the Rood"
975:. Clarendon Press series. Oxford: Clarendon Press.
909:Tatwine, ‘Latin Riddle 9 (early 8th century)’, in
1403:Hinton, Rebecca (1996). "The Dream of the Rood".
1391:Old and Middle English c.890-c.1400: An Anthology
779:The Blackwell Encyclopedia of Anglo-Saxon England
2306:
1124:"The Textual Criticism of the Dream of the Rood"
943:Oxford: Clarendon Press, 1905. 27 Sep 2007, p. 6
277:Likewise, some scholars have tried to attribute
1160:
53:is one of the Christian poems in the corpus of
1190:
1188:
1539:
1296:The Broadview Anthology of British Literature
266:contended that the language and structure of
1432:
326:
258:Ecclesiastical History of the English People
81:, the poem may be as old as the 8th-century
1389:Treharne, Elaine. "The Dream of the Rood."
1257:
1255:
1185:
1011:The Oxford Companion to English Literature.
911:Sources and Analogues of Old English Poetry
331:Like many poems of the Anglo-Saxon period,
2200:Metrical Preface and Epilogue to Alfred's
1546:
1532:
842:
684:South Atlantic Modern Language Association
1121:
808:
582:– Old Saxon interpretation of the gospels
420:
343:), and the language of heroic poetry and
1252:
1220:
926:Bede's Ecclesiastical History of England
861:
728:
178:
174:
31:
2350:Poems based on the Crucifixion of Jesus
1469:
1082:
1072:– via Cambridge University Press.
1036:
449:Old English Poetry in Facsimile Project
143:interspersed with six religious poems:
14:
2307:
1553:
1402:
1264:Heathen Gods in Old English Literature
823:
793:
671:
643:: CS1 maint: archived copy as title (
433:Editions, translations, and recordings
357:Heathen Gods in Old English Literature
226:
1527:
1393:. Malden, MA, Blackwell, 2004, p. 108
1346:
1344:
1330:
1328:
1293:
1037:Neidorf, Leonard (19 December 2016).
67:is derived from the Old English word
2128:"An Exhortation to Christian Living"
965:
946:
789:
787:
541:, trans. by Jonathan A. Glenn (1982)
395:
987:The Dream of the Rood: Introduction
922:
222:chooses to keep me on his forehead.
194:can be found on the eighth-century
24:
1426:
1354:, Vol. 66, No. 4, May 1969, p. 296
1341:
1325:
1161:Leonard Neidorf (September 2020).
553:The Dream of the Rood, lines 1-156
321:
171:and a poetic, homiletic fragment.
25:
2361:
1498:
1122:Neidorf, Leonard; Xu, Na (2020).
784:
77:'. Preserved in the 10th-century
2146:"Old English Psalms" (fragments)
1503:
412:Sexualised and gendered language
2216:Metrical Epilogue to CCCC MS 41
1396:
1383:
1370:
1357:
1312:
1287:
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1007:The Vercelli Book: Introduction
999:
979:
959:
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916:
903:
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855:
483:
1322:. Broadview Press, 2007, p. 23
876:10.1080/00043079.1944.11409049
836:
817:
802:
771:
722:
665:
652:
611:
500:', trans. by R. M. Liuzza, in
475:, ed. by George Philip Krapp,
73:'pole', or more specifically '
13:
1:
2122:"Proverb from Winfrid's time"
2067:"Paris Psalter" (BNF MS 8824)
1417:10.1080/00144940.1996.9934069
1140:10.1080/0013838X.2020.1820711
1101:10.1080/0895769X.2020.1782723
826:Neuphilologische Mitteilungen
732:The Review of English Studies
545:
524:A Choice of Anglo-Saxon Verse
123:
27:Old English alliterative poem
2017:Capture of the Five Boroughs
1284:, British Museum Press, 2012
110:
7:
1961:For Loss or Theft of Cattle
1294:Black, Joseph, ed. (2011).
845:American Benedictine Review
593:– composer of a setting of
563:
437:
88:
36:The medieval manuscript of
10:
2366:
1481:University of Exeter Press
1269:Cambridge University Press
1238:10.1632/pmla.2010.125.1.48
217:. Tatwine's riddle reads:
2263:
2237:
2053:
2022:"The Coronation of Edgar"
1998:
1915:
1691:
1658:The Fates of the Apostles
1640:
1595:
1568:
1561:
1083:Neidorf, Leonard (2020).
1055:10.1017/S0263675100080224
967:Cook, Albert Stanburrough
327:Paganism and Christianity
156:The Fates of the Apostles
2197:"Latin-English Proverbs"
2044:The Rime of King William
1793:"The Order of the World"
1005:Drabble, Margaret. ed. "
605:
471:'Dream of the Rood', in
2173:The Seasons for Fasting
2140:"The Lord's Prayer III"
2027:The Death of King Edgar
1876:"Homiletic Fragment II"
1860:"The Descent into Hell"
985:Krstovic, Jelena. ed. "
749:10.1093/res/XLV.180.475
741:Oxford University Press
649:. Rome (GA), 2003. p. 2
310:In a series of papers,
2210:'s translation of the
2134:"The Lord's Prayer II"
1684:"Homiletic Fragment I"
1365:A Guide to Old English
1209:A Guide to Old English
1196:A Guide to Old English
1179:10.1093/notesj/gjaa071
551:Michael D. C. Drout, '
466:The Dream of the Rood
421:Parallels with penance
224:
187:
55:Old English literature
40:
2335:Northumbrian folklore
2131:"A Summons to Prayer"
2039:"The Death of Edward"
1975:For Water-Elf Disease
1893:The Husband's Message
1873:"The Lord's Prayer I"
1510:The Dream of the Rood
1476:The Dream of the Rood
1338:, Vol 76. 1997, p. 2.
952:Stephens, G. (1866).
939:Cook, Albert S., ed.
896:O Carragain, Eamonn.
675:South Atlantic Review
538:The Dream of the Rood
520:The Dream of the Rood
509:The Dream of the Rood
498:The Dream of the Rood
460:The Dream of the Rood
444:The Dream of the Rood
390:The Dream of the Rood
385:The Dream of the Rood
362:The Dream of the Rood
333:The Dream of the Rood
316:The Dream of the Rood
305:The Dream of the Rood
287:The Dream of the Rood
279:The Dream of the Rood
272:The Dream of the Rood
268:The Dream of the Rood
238:The Dream of the Rood
233:The Dream of the Rood
219:
192:The Dream of the Rood
182:
175:Sources and analogues
145:The Dream of the Rood
129:The Dream of the Rood
38:The Dream of the Rood
35:
2206:Metrical Preface to
2086:The Battle of Maldon
2010:Battle of Brunanburh
1854:"The Judgment Day I"
1446:Secker & Warburg
1336:Philogical Quarterly
208:Scottish Reformation
2034:The Death of Alfred
1954:For a Swarm of Bees
1781:The Fortunes of Men
1434:Hunter Blair, Peter
1380:. 43(1959), p. 125.
1318:Black, Joseph ed.,
1043:Anglo-Saxon England
992:6 July 2008 at the
570:Anglo-Saxon futhorc
227:Possible authorship
2340:Rediscovered works
2271:Alliterative verse
2149:"The Kentish Hymn"
2107:Solomon and Saturn
2072:Finnsburh Fragment
2062:Metres of Boethius
1752:"The Gifts of Men"
1555:Old English poetry
954:The Ruthwell cross
777:Lapidge, Michael.
660:Anglo-Saxon Poetry
600:Legend of the Rood
188:
59:alliterative verse
41:
2320:8th-century poems
2315:Old English poems
2302:
2301:
2233:
2232:
2185:Bede's Death Song
2125:"Judgment Day II"
1968:For Delayed Birth
1849:The Wife's Lament
1836:Wulf and Eadwacer
1672:Dream of the Rood
1508:Works related to
1440:The World of Bede
1363:Mitchell, Bruce.
1305:978-1-55481-048-2
1280:Anglo-saxon Art,
1207:Mitchell, Bruce.
1194:Mitchell, Bruce.
1167:Notes and Queries
595:Dream of the Rood
557:Anglo-Saxon Aloud
473:The Vercelli Book
396:Christ as warrior
295:, which is about
50:Dream of the Rood
18:Dream of the Rood
16:(Redirected from
2357:
2330:English folklore
2325:Christian poetry
2276:Beasts of battle
2112:"The Menologium"
1982:Nine Herbs Charm
1822:Soul and Body II
1798:The Rhyming Poem
1631:Christ and Satan
1566:
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1471:Swanton, Michael
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658:Bradley, S.A.J.
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615:
131:survives in the
21:
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2345:Visionary poems
2305:
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2298:
2286:On Translating
2259:
2229:
2179:Cædmon's "Hymn"
2155:"The Gloria II"
2049:
1994:
1947:A Journey Charm
1933:Against a dwarf
1917:Metrical charms
1911:
1817:"The Partridge"
1687:
1665:Soul and Body I
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1427:Further reading
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626:on 4 March 2016
620:"Archived copy"
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591:Howard Ferguson
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322:Interpretations
312:Leonard Neidorf
264:George Stephens
251:, portrayed in
245:Daniel H. Haigh
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2137:"The Gloria I"
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231:The author of
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1857:"Resignation"
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366:Franks Casket
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133:Vercelli Book
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39:
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30:
19:
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2079:Waldere A, B
1989:Wið færstice
1760:The Seafarer
1747:The Wanderer
1723:Guthlac A, B
1677:
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1629:
1622:
1615:
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1584:
1577:
1570:Nowell Codex
1516:
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1461:27 September
1459:. Retrieved
1439:
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1066:. Retrieved
1046:
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1024:
1018:
1010:
1001:
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971:
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935:
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923:Bede (731).
918:
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679:
673:
667:
659:
654:
628:. Retrieved
624:the original
613:
594:
556:
536:
523:
512:
501:
490:
484:Translations
472:
465:
459:
453:
448:
443:
424:
415:
406:
401:J. A. Burrow
399:
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286:
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212:
204:Annunciation
191:
189:
166:
160:
154:
148:
144:
128:
127:
114:
92:
68:
62:
49:
48:
44:
43:
42:
37:
29:
2143:"The Creed"
2054:Other poems
1805:The Panther
1733:The Phoenix
1693:Exeter Book
1068:19 November
383:notes that
96:Crucifixion
61:. The word
2309:Categories
2158:"A Prayer"
2152:"Psalm 50"
1755:"Precepts"
1716:Christ III
1479:. Exeter:
1444:. London:
1405:Explicator
1095:(2): 1–4.
832:: 251–263.
813:: 183–202.
743:: 475–85.
686:: 108–23.
630:2012-05-03
546:Recordings
532:0571087647
190:A part of
124:Manuscript
2212:Dialogues
2202:Hierdeboc
2168:"Aldhelm"
2117:Maxims II
2100:Rune poem
2000:Chronicle
1812:The Whale
1767:Vainglory
1728:"Azarias"
1709:Christ II
1606:Genesis A
1597:Junius MS
1473:(2004) .
1411:(2): 77.
1246:163346214
1232:: 48–72.
1148:222003457
1109:225731782
1063:165092889
1049:: 51–70.
851:: 170–76.
757:1471-6968
716:165617144
700:0277-335X
586:Holy rood
446:, in the
352:animistic
111:Structure
2281:Kennings
2255:Cynewulf
2208:Wærferth
1905:Riddles
1900:The Ruin
1841:Riddles
1788:Maxims I
1702:Christ I
1436:(1970).
990:Archived
969:(1905).
639:cite web
564:See also
438:Editions
283:Cynewulf
141:homilies
137:Vercelli
118:chiasmus
89:Synopsis
75:crucifix
2288:Beowulf
2245:Aldhelm
2163:Thureth
1926:Æcerbot
1885:Riddle
1879:Riddle
1868:Pharaoh
1774:Widsith
1740:Juliana
1651:Andreas
1579:Beowulf
884:3046964
739:(180).
708:3201041
580:Heliand
427:Penance
341:Riddles
215:Tatwine
150:Andreas
105:Passion
101:loyalty
2250:Cædmon
2093:Durham
1624:Daniel
1617:Exodus
1586:Judith
1487:
1452:
1302:
1244:
1146:
1107:
1061:
882:
798:: 397.
765:517806
763:
755:
714:
706:
698:
530:
522:', in
511:', in
249:Cædmon
2264:Other
2238:Poets
2002:poems
1907:61–95
1679:Elene
1562:Poems
1242:S2CID
1144:S2CID
1105:S2CID
1059:S2CID
880:JSTOR
761:JSTOR
712:S2CID
704:JSTOR
682:(2).
606:Notes
454:et al
370:Woden
345:elegy
337:pagan
301:Elene
292:Elene
200:runes
168:Elene
2294:Scop
1843:1–59
1829:Deor
1485:ISBN
1463:2007
1450:ISBN
1300:ISBN
1226:PMLA
1070:2021
796:XLIX
753:ISSN
696:ISSN
645:link
528:ISBN
374:Odin
303:and
253:Bede
183:The
64:Rood
1881:30b
1413:doi
1234:doi
1230:125
1175:doi
1136:doi
1132:101
1097:doi
1051:doi
1009:."
872:doi
745:doi
688:doi
555:',
347:.
281:to
255:'s
70:rōd
45:The
2311::
1887:60
1608:,
1483:.
1448:.
1409:54
1407:.
1343:^
1327:^
1267:.
1254:^
1240:.
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1171:67
1169:.
1165:.
1142:.
1130:.
1126:.
1103:.
1093:35
1091:.
1087:.
1057:.
1047:45
1045:.
1041:.
878:.
868:26
866:.
849:27
847:.
830:72
828:.
786:^
759:.
751:.
737:45
735:.
710:.
702:.
694:.
680:63
678:.
641:}}
637:{{
240:.
165:,
159:,
153:,
147:,
2194:"
2190:"
2187:"
2183:"
2175:"
2171:"
2165:"
2161:"
2119:"
2115:"
2102:"
2098:"
2095:"
2091:"
2088:"
2084:"
2081:"
2077:"
2074:"
2070:"
2064:"
2060:"
2046:"
2042:"
2036:"
2032:"
2029:"
2025:"
2019:"
2015:"
2012:"
2008:"
1991:"
1987:"
1984:"
1980:"
1977:"
1973:"
1970:"
1966:"
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20:)
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