Get Access The Dream of the Rood: The poet develops these notions by the use of heroic diction, symbolism, and irony. These lines are significant to the text as a whole because they allow the dreamer to summarize the sermon of salvation that the rood has preached. They also mark the change of reaction given by the dreamer from hopeless to hopeful.
It is a heroic narrative, more than three thousand lines long, concerning the deeds of a Scandinavian prince, also called Beowulf, and it stands as one of the foundation works of poetry in English. The fact that the English language has changed so much in the last thousand years means, however, that the poem is now generally read in translation and mostly in English courses at schools and universities.
Its narrative elements may belong to a previous age but as a work of art it lives in its own continuous present, equal to our knowledge of reality in the present time. Its hero, Beowulf, is the biggest presence among the warriors in the land of the Geats, a territory situated in what is now southern Sweden, and early in the poem Beowulf crosses the sea to the land of the Danes in order to rid their country of a man-eating monster called Grendel.
Then a dragon begins to terrorize the countryside and Beowulf must confront it. In a final climatic encounter, he does manage to slay the dragon, but he also meets his own death and enters the legends of his people as a warrior of high renown.
We know about the poem more or less by chance, because it exists in one manuscript only. The unique copy now in the British Library barely survived a fire in the eighteenth century and was then transcribed and titled, retranscribed and edited, translated and adapted, interpreted and taught, until it has become an acknowledged classic.
For decades it has been a set book on English syllabuses at university level all over the world. The fact that many English departments require it to be studied in the original continues to generate resistance, most notably at Oxford University, where the pros and cons of the inclusion of part of it as a compulsory element in the English course have been debated regularly in recent years.
For generations of undergraduates, academic study of the poem was often just a matter of construing the meaning, getting a grip on the grammar and vocabulary of Anglo-Saxon, and being able to recognize, translate and comment upon random extracts that were presented in the examinations.
For generations of scholars too the interest had been textual and philological; then there developed a body of research into analogues and sources, a quest for stories and episodes in the folklore and legends of the Nordic peoples that would parallel or foreshadow episodes in Beowulf.
However, when it comes to considering Beowulf as a work of literature, one publication stands out. Inthe Oxford scholar and teacher J. Tolkien assumed that the poet had felt his way through the inherited material — the fabulous elements and the traditional accounts of an heroic past — and by a combination of creative intuition and conscious structuring had arrived at a unity of effect and a balanced order.
He assumed in other words, that the Beowulf poet was an imaginative writer rather than some kind of back-formation derived from nineteenth-century folklore and philology. It is impossible to attain a full understanding and estimate of Beowulf without recourse to this immense body of commentary and elucidation.
Nevertheless, readers coming to the poem for the first time are likely to experience something other than mere discomfiture when faced with the strangeness of the names and the immediate lack of known reference points.
These epics may be in Greek and Latin, yet the classical heritage has entered the cultural memory enshrined in English so thoroughly that their worlds are more familiar than that of the first native epic, even thought it was composed centuries after them.
Achilles rings a bell, not Scyld Sc fing. Ithaca leads the mind in a certain direction, but not Heorot. The Sibyl of Cumae will stir certain associations, but not bad Queen Modthryth. This is because the poem possesses a mythic potency.
Like Shield Sheafson as Scyld Sc fing is known in this translationit arrived from somewhere beyond the known bourne of our experience, and having fulfilled its purpose again like Shield it passes once more into the beyond. These opening and closing scenes retain a haunting presence in the mind; they are set pieces but they have the life-marking power of certain dreams.
They are like the pillars of the gate of horn, through which the wise dreams of true art can still be said to pass. What happens in between is what W. Yeats would have called a phantasmagoria. If we think of the poem in this way, its place in world art becomes clearer and more secure. We can conceive of it re-presented and transformed in performance in a bunraku theatre in Japan, where the puppetry and the poetry are mutually supportive, a mixture of technicolor spectacle and ritual chant.
Or we can equally envisage it as an animated cartoon and there has been at least one shot at this alreadyfull of mutating graphics and minatory stereophonics. Nevertheless, the dream element and overall power to haunt come at a certain readerly price.
The poem abounds in passages that will leave an unprepared audience bewildered. Just when the narrative seems ready to take another step ahead, it sidesteps.“Beowulf” by Seamus Heaney and the Anglo-Saxon poem “Dream of the Rood” Essay October 16, New Essays admin Allegiance is one of the greatly-recognized values of the Anglo-Saxon universe.
Comparing and Contrasting the Use of Fealty in Beowulf by Seamus Heaney and the Anglo-Saxon poem Dream of the Rood Essay by soccersaves, High School, 10th grade, May download word file, 3 pages download word file, 3 pages 0 votes.
Even though Beowulf dates back to a very different era, the poem itself not only gives modern day readers a historical view of Anglo-Saxon life, but it also emphasizes on innate human characteristics and themes of life that are universal and therefore is pertinent to modern day readers.
The poem called Beowulf was composed some time between the middle of the seventh and the end of the tenth century of the first millennium, in the language that is today called Anglo-Saxon or Old English.
It is a heroic narrative, more than three thousand lines long, concerning the deeds of a Scandinavian prince, also called Beowulf, and it.
Fealty is one of the greatly-recognized values of the Anglo-Saxon world. Often defined as a type of loyalty or allegiance, fealty plays a more engaging and active role in Seamus Heaneys Beowulf than in the Anglo-Saxon poem The Dream of the Rood because of the way it causes action to be taken.
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.