Looking back at Anglo-Saxon literature, religious hymns are one of the few genres of poetry that are defined almost entirely by their rhetorical purpose. While sources such as the Oxford English Dictionary plainly define this poetic genre as “[songs] of praise to God,” the examination of several self-proclaimed hymns from the Anglo-Saxon era ultimately suggest a different definition altogether (“hymn, n.”). Though Cædmon’s Hymn and the “Hymn to St. Cuthbert” vary vastly in content, they ultimately fit the construct of the hymn that is outlined in the aforementioned definition—they consist of a set of lines that are sung en masse about the glory of a Christian God, functioning through concise structures optimized for recitation. If these two …show more content…
The possibility for this proliferation is enacted through the specific diction and the literary devices utilized throughout these texts. What separates the use of diction in religious hymns from other forms of poetry is that hymns necessitate the conscious portrayal of the text as something its audience can identify with. For example, both Cædmon’s Hymn and “Hymn to St. Cuthbert” actively use plural, personal pronouns throughout their texts in an attempt to draw a larger audience. Thus, when it is written that “we must praise the heaven-kingdom’s guardian,” a sense of responsibility is systematically being instilled among the text’s audience (Cædmon 1). The use of the plural, personal pronoun in these texts can also act as a fear tactic. In the “Hymn to St. Cuthbert,” the speaker writes that “we [must] beseech / [Cuthbert’s] perpetual aid, / so that we may deserve” eternal life at the hands of God (“Hymn to St. Cuthbert” 21-28). Though these lines seem innocuous, the use of the personal pronoun is an invitation of sorts, and, by denying it, the outsider privy to the hymn is essentially denying their chance for eternal life. The conscious use of the plural pronoun, then, is propagandistic at its core as its presence is meant to rope in any listeners who aren’t already taking part in the hymnody at hand. This method, while effective, is not utilized in Aldhelm’s Carmen rhythmicum. How, then, does Aldhelm participate in this active proliferation of knowledge? In short, he doesn’t. Not actively, anyway. Carmen rhythmicum, though portrayed as a hymn, consists of a narrative written in the first person. Interestingly enough, though, Aldhelm begins this narrative with the explanation that the speaker, “as a hymnist, sang this song / and delivered up [their] pledge / just as [they] once promised,”
Throughout Bernard's collection of sermons, he justifies the central concerns of the “Song of Songs” within his selected works. He develops a creed of mystical contemplation, meditation, and personal connection with God. Bernard, using an allegorical approach, wrote about the “Song of Songs” and his sermons creating the metaphor of the church, stressing the importance of love in knowing service to God. The “Song of Songs” has many interpretations within the love poem, and Bernard conveys them by discussing what the “Song of Songs” is, dives into what the kisses are that indicate the progression of the soul, describes who the four kinds of spirits are, and identifies the bride and Bridegroom. With Bernard discussing what the “Song of Songs” is, he first starts with his interpretation of the title and then goes into what the book is about.
Christian missionaries to Britain in the early centuries took many words belonging to heathen beliefs and practices and adopted them into the church (Blackburn 3). For example, Hel was at one time the goddess of the world of the dead; Catholic missionaries used Hell to indicate the place of the dead, later of the damned. Likewise with words such as Yule, Easter, God, haelend, nergend, drihten, metod, frea; the latter ones have fallen from usage. We see these words used in Beowulf as well as other Anglo-Saxon poetry.
According to David M. Carr, the history of Scriptural interpretation indicates that religious texts are popular candidates for reinterpretation and, as such, are spaces wherein the personal identity of the reader frequently inscribes itself at length:
Why has religion always been such a complicated topic? Why can it not just be as simple as praying to God for good health? Religion has been the source of many problems for thousands of years including the time period in which two of the most famous works were written. Paganism being converted into Christianity was a vast issue presented during this time. Throughout this paper the dictional similarities of the purposes of the authors of the Dream of the Rood and Beowulf will be compared and discussed. Both authors present their goals by using characteristics of the Norse Mythological Gods, to describe the heroes in both poems to lead their readers, the Anglo- Saxons, to convert to Christianity.
Tharaud, Barry. “Anglo-Saxon Language and Traditions in Beowulf.” In Readings on Beowulf, edited by Stephen P. Thompson. San Diego: Greenhaven Press,1998.
21 Oct. 2013. Lecture. The. Peterson, Eugene H. The Message, Remix: The Bible in Contemporary Language.
Songs and poetry serve an important social function, communicating prominent cultural paradigms and archiving historical events. Oral songs were particularly significant in Anglo-Saxon culture, and were used as channels for creativity, preservation, and religion. Christianity became dominant in later Anglo-Saxon works, as seen in Beowulf. As Tolkien was a scholar of Anglo-Saxon language and Beowulf, his work reflects much of their traditions. Tolkien uses symbolism to establish Christian themes in his songs, which he uses as a conduit for religion and Biblical parallels.
... begins to just sound like one constant ring. Imagery, anaphora, and personification are all used to appeal to the Clergymen’s emotions.
"Poetry is the revelation of a feeling that the poet believes to be interior and personal [but] which the reader recognizes as his own." (Salvatore Quasimodo). There is something about the human spirit that causes us to rejoice in shared experience. We can connect on a deep level with our fellow man when we believe that somehow someone else understands us as they relate their own joys and hardships; and perhaps nowhere better is this relationship expressed than in that of the poet and his reader. For the current assignment I had the privilege (and challenge) of writing an imitation of William Shakespeare’s "Sonnet 87". This poem touched a place in my heart because I have actually given this sonnet to someone before as it then communicated my thoughts and feelings far better than I could. For this reason, Sonnet 87 was an easy choice for this project, although not quite so easy an undertaking as I endeavored to match Shakespeare’s structure and bring out his themes through similar word choice.
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
Stanley, Tim. "Give Me That Old Time Religion." History Today 63.8 (2013): 50. Academic Search Premier. Web. 28 Feb. 2014.CHURCH, S. D. "Paganism In Conversion-Age Anglo-Saxon England: The Evidence Of Bede's Ecclesiastical History Reconsidered." History 93.310 (2008): 162-180. Academic Search Premier. Web. 28 Feb. 2014.Mayfield, Tyler. "Hebrew Bible." Masterplots II: Christian Literature (2007): 1-7. Literary Reference Center. Web. 28 Feb. 2014.Alward, Emily. "The Soul Of Christianity." Masterplots II: Christian Literature (2007): 1-2. Literary Reference Center. Web. 3 Mar. 2014.Hallissy, Margaret. "Christianity, The Pagan Past, And The Rituals Of Construction In William Golding's The Spire." Critique 49.3 (2008): 319-331. Academic Search Premier. Web. 3 Mar. 2014.
The poem On Girls Lending Pens that is written by Taylor Mali tells that a boy forgets to bring his pen for class, so he has to borrow one from a girl beside him. However, he does not expect that girl has too many pens to pick from. It seems that the girl cares too much about her stuff and makes the simplest thing more difficult to deal with. At the end, the boy decides that he would rather come unprepared than borrow a pen from the girl. It is a very humorous and rhymed poem. Through different poetic devices, it shows the theme of being prepared.
...The poet, who refers to himself as "old Khayyám," is unable to commit himself to belief in an afterlife. Consequently, he believes in living for today.
“The Dream of the Rood” is a prime example of Christian influence upon Anglo-Saxon heroism. It is a religious short story that recounts the crucifixion of Christ communicated from Christ’s rood to an unnamed visionary. The crucifixion of Christ is depicted as the ultimate act of heroism. However, it is via Anglo-Saxon tradition that Christian ideology manages to influence the definition and imagery of Anglo-Saxon heroism. In “The Dream of the Rood” Christ is an Anglo-Saxon hero. An Anglo-Saxon hero is valiant, strong or mighty and not frightened when in the face of death. An Anglo-Saxon hero can also be a savior to his people. In “The Dream of the Rood” Christ is valiant, strong and not frightened when confronted by death. Christ is also a savior. These topics represent Christianity’s influence on Anglo-Saxon heroism. Through symbolism, Christian principles influence Anglo-Saxon heroism and therefore ecclesiastics were able to manipulate Anglo-Saxons into believing that to be gallant is to be Christian. “The Dream of the Rood” is a paradigm for Christian influence upon Anglo-Saxon heroism.
Tharaud, Barry. “Anglo-Saxon Language and Traditions in Beowulf.” In Readings on Beowulf, edited by Stephen P. Thompson. San Diego: Greenhaven Press,1998.