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But there are others as well: at 27 where the poet switches personae from dreamer to cross, at 121 where the dreamer again becomes the speaker to describe his personal reaction to his vision and at 147 where the poet begins an impersonal magnification of Christ which concludes the poem., demonstrates that ‘the English language of Ælfric's time and even of Alfred's relied far less upon inflections to communicate its meanings than grammarians have thought.Even in the early Old English period, case endings were becoming redundant and position was becoming the governing syntactical factor’ (p.
Alas, the museum forbade the taking of any photographs to prove the hypothesis.
The elements comprising the Ruthwell Cross and that at Bewcastle, as well as the famous poem in runes sculpted upon Ruthwell, seem to come from all the cultural elements present at Iona, Whitby, Lindisfarne and Jarrow, to be a glorious mixture of Irish, Anglo-Saxon, and Byzantine styles, to be a truly cosmopolitan gathering. In these places she established the monastic life observing righteousness, mercy, peace and charity.
I omit those which are unmistakably variations of a preceding verb or are part of a subordinate clause. 28; see also Leiter, ‘Patterns of Transformation’, which claims that ‘repetition, parallelism, shifting of the verb of action to the semantically (though not rhythmically) important initial position … 219–20; Burrow notes ‘the compressed paratactic syntax, the lengthened line, and the rapid sequence of verbs of action’ in 30–3, as well as the repetition of þær (‘An Approach’, p.
The sense of being overwhelmed by verbs comes from these verbs as well, many of which begin a half-line; see 33a, 34a, 36a, 43a, 56a, 62a and 71a. are fairly simple devices of a stylization that achieves emotional heightening precisely at the necessary moment in the battle metaphor’ (pp. 126)., and His death is thereafter described as a sleep, in terms which with cathartic effect suggest exhaustion, release and temporary rest’ (‘Doctrinal Influences’, p. For a strong argument that the poet does depict Christ's death, see Note that, as I have stated above, p.
They have been treated explicitly and implicitly for many years from several different points of view.
The most frequently noted disjunction occurs at line 78 where the cross, having completed its eye-witness account of the crucifixion, commences a homily explaining the significance of its experience.
To make this arrangement work Tate has not only to resort to an admittedly ‘delicate’ correspondence but also to omit from the crucifixion 39–43, in which Christ climbs heroically on to the cross, and he has to insert somewhere between 67a and 75 b a scene in which ‘Christ is resurrected and clothed in glory’ (124–5). But, if we note the parallel structure of 110 and 117 and 115 and 119 and the complementary structure of 110 and 115, it becomes clear that 110–16 form one sentence with the same basic structure as that of 117–21. The concepts are clearer and the analysis more accurate because of their criticisms and suggestions.
JULIA BOLTON HOLLOWAY