‘The Dream of the Rood’ and Anglo-Saxon Monasticism *

The earliest text of "Dream of Dreams" contains the inscriptions of a few lines of Rune characters engraved at the end of the North Cross by Dumsfree Shews Ruthwell. It only represents an essay explaining the piece of text we found in Vercelli MS, the crucifixion and the crucifixion of the cross. The exact relationship between the poetry of Ruthwell Rune and Vercelli is a matter of guess and controversy. For some critics, the inscriptions of Laswell represent "early poetry" in which the texts of Vercelli are extended versions or later revisions or a combination of both. This is a question I would like to pay attention to soon. For the time being, I think that Rune characters will provide valuable clues for the interpretation of Vercelli's poetry on a line that has not been searched for so far. The meaning of the metaphor of "dream dream" is closely related

4 Throughout this article, I used the terms "Benedict" and "Benedict." These have been used by monk scholars since the Mabylon era. They refer to the form of the main monks in the West, wholly or partly based on the director of St. Benedict. These terms are very contemporary currency. See Gillet, R. , 'Spiritual local art and life selonSaintGregoireleGrand,' Théologiedelavie monastique (Paris 1961) 323

6 Wrenn's proposal, C. L. (British Research Review, 12 [1936], 106) Banan on line 66 is the late West Saxon era. PL. The form violently violates the integrity of the subject of the poem. The truth of Christ is the cross, not a nameless, unspecified executor. There is nothing rare about using this term to mean inanimate objects. (See that modern survival in rats.) Robert Oliphant, "Middle Englishganer", Philological Quarterly, 41 (1962) 518-519.

18 Testi medioevali inediti, ed. Carmelo Ottaviano (Florence, 1933) 18. In the hymen of the early monastery, the idea of ​​a strong Gaudía as the end of asylum was common. See e. For example, Alcuin has finished Second Life of St. Willibrord, edited by Monumenta Alcuiniana. Wittenbach and Dumler (Berlin 1873) 79

72 'Eel nemo ascendit in caelum, nisi qui descendit de caelo, Filius hominis, caelo. Filth hominis of Italian high school student, utomnis qui credit in non-peace of Ipsum, (English) (John 13-16)

Anglo-Saxon's poem is called "The Rude of the Rude", which is the opposite of the Crucifix Crucifixion. A dream 's dream is unique to explain the point of view from the point of view of the cross and the point of view within the framework of the dream. By contrast, "Crucible York Opera" explains all the steps to put Christ on the cross. These two crucial expressions are compared to each other. The dream's dream is divided into three parts. A depiction of a dream of a dream cross, a depiction of a monologue of Rued's cross, and a decision to rescue a crucifix of a dream. The beginning of the story is that the narrator remembers the vision he received in his dream. "Join the wonderful dream that I am going to tell you, this dream touched me when my sleep is hidden in the human voice In my dream, I see the most beautiful tree It was.

It is truly eye-catching how poetry can fully embody two different cultures, or a transition point between them. The dream 's dream gives readers a distant past glance in England; in this era the Anglo - Saxon' s hierarchy and pagan rituals have gradually declined, and newer and more focused beliefs attracted the attention of people It was. However, The Rude of the Rude is more important evidence at that festival. I will affirm the praise to the character of the hero, the fear of the soul, the relationship between the Lord and Tarn, not under the shadow of the cross of the Christ. Instead, these things still exist: they shine with the brightness of a masked, blurred, damp ink

Like other Germans, Anglo-Saxons tend to see the biblical and lifetime of Christ through heroic epic images. Christ is depicted as a spectacular hero like Anglo-Saxon's greatest religious poem "Rhodes' Dream." "Dream laugh" represents the crucifixion from the viewpoint of rarely using the cross and represents Christ as a leader of a young hero and as a supporter of a similar german war band. Another prominent example of the fusion of Germanic and Christian traditions is Anglo Saxon's longest poem, Epic Beowulf. Speaking of infidelity heroes of the pagan society, this epic is written from a clear Christian point of view and incorporates the influence of Aeneid of the ancient Roman epic Virgil.