“The Dream of the Rood” and The Nature of Conversion

To convert masses from one distinct belief to another, one must master the art of gradual transition. To switch from paganistic appreciation of the Earth and spirit to tragedies of Crucifixion and monotheism is too great a leap for most. Instead, to convince Anglo-Saxons to adapt the Christian religion, the persuasion must be embedded with transitional ideals.

“…That bright tree was
Covered in gold; gemstones gleamed
fairly fashioned down to its foot…” (6–8)

To convince a population, the elite must be first assured. By glorifying the Crucifixion with precious substances, it both satisfies the wealthy and depicts a connection between Christianity and material value. It circumvents the misery by embuing it with treasure; the Rood may be born of sorrow, but to translate the melancholy into pleasantry insinuates a lasting hope and greater meaning. There was death, but now there are riches — a promise of prosperity — to emphasize the merit of the agony. The speaker mentions holy spirits and gems on the high crossbeam, insisting that“clearly this was no criminal’s gallows” (10). If the site of demise held grand opulence, luxury adorning the executioner and where the deceased had been hung, there was no question as to its righteousness.

“until I could hear it call out to me,
the best of all wood began speaking words” (26–27)

“They drove dark nails into me; the dints of those wounds can still be seen,
open marks of malice; but I did not dare maul any of them in return” (46–47)

This poem has not one but two accounts; the Dreamer and the Rood. It elevates the story to not just a tale, but a narrative from the Rood itself, from its uprooting to its use of killing to its salvation. This is very interesting, as Christian stories do not often use animism; it is more common among pagan religions. Modern depictions of the Crucifixion dwell on the people, not the objects, so this fixation on the Rood’s perspective is very unique. It is likely appealing to the pagan population, where nature is valid and revered, so an approach from a slaughtered, injured tree would be well accepted. Trees symbolize many things in the pagan faith; they are wise from their long lives, and their existence is mighty. For one to be stolen from its forest and assaulted with weaponry — forced to aid in “Christ’s” death — it would be understood and validated. Therefore, the tree/Rood’s conviction that it was now exalted by “the lord of glory”, and a remembrance of the “son of God” who “suffered agony for the sins of men,” would hold verity and power in the eyes of pagans.

There are many more instances where this poem caters to its audience. It speaks of ancient strife and blood under the Rood, praying to the tree, the warrior spirit of the young man climbing on the gallows to redeem mankind, and many other descriptions that vary greatly from typical retellings of the Crucifixion. It is very interesting to me how the story was altered to convince the Anglo-Saxon audience. As a heathen myself, the unique images of nature and strife are fascinating. In a time where word was the highest truth, I can see why the Dream of the Rood was written the way it was. I wish there was more information about it (and about the religion of the Anglo-Saxons) because it is hard to draw full conclusions with loose understanding. Nonetheless, it is a very thought-provoking poem, and it has made me ponder much about the process and nature of conversion.