Medieval history and culture

Medieval

Boethius & the Rood: Discuss the most important ways that Boethius' Consolation of Philosophy is echoed in, and otherwise informs, the Dream of the Rood?

Suffering. The fickleness of fate. The yoke of one's destiny and the need to fulfill one's destiny, regardless of the pain it may cause the suffering individual -- and ultimately, the spiritual delight of accepting the fate God has granted one. All of these themes are stressed both in Boethius Consolation of Philosophy and "The Dream of the Rood," an Anglo-Saxon text, and perhaps is the oldest apocryphal dream poem in English literature.

The Consolation of Philosophy takes the form of a dialogue between the philosopher and Fortune, or the embodiment of his spiritual destiny and his spiritual conflicts. "The Dream of the Rood" has a textual narrative takes the form of a description of Christ's Passion. But rather than Christ, the Rood or Cross is the central speaker of the poem. This brings the Anglo-Saxon style of the poem to the forefront of its genre. Having an inanimate object speak was a hallmark of the Anglo-Saxon riddles. Thus, "The Dream of the Rood" may be read as an Anglo-Saxon rendering of the Christian myth. When the Rood speaks, the Rood seems to create confusion rather than clarity, much like Boethius' dialogues with Fortune.

The Rood embodies a spiritual paradox that must be wrestled with. Over the course of the poem the Rood appears in different guises, highlighting the Rood's dual nature. At times, the Rood shows himself as covered with gold, jewelry, and other rich elements. He is attended by angels and called a Tree of Victory because he represents Christ's glory. Yet the Rood also represents Christ's suffering and appears also covered with blood. Humanity, the poem notes, more readily identifies with the more frightening images of the Rood, for humans often suffer sentiments of unworthiness, shame and sin, just as Boethius feels frightened by the capricious nature of fortune. But the Rood not only inflicts suffering -- the Cross also bleeds during the course of the poem. The Rood suffers because Christ must suffer, and Christ suffers upon the Cross, but not because the Rood itself is bad. Thus, the blood not only flows over the cross but also out of it, for the Rood itself feels wounded. ("The Dream of the Rood," 2004)

This idea of inanimate objects speaking on behalf of the author can be seen early on in Boethuis' "The Consolidation of Philosophy," when the philosopher remarks "thus my maimed Muses guide my pen." The pen of the philosopher, like the Cross, is maimed yet a necessary implement. He is in despair, for "loomy songs make no feigned tears bedew my face. Then could no fear so overcome to leave me companionless upon my way." (Book 1, p.1) But Boethuis is not alone, because like in "The Dream of the Rood," his pen, his muse, and the nature of human Fortune itself are all speakers in his cell.

Likewise, the relationship between the philosopher, his muse in the form of his pen and the relationship of Christ and the cross is both loving and adversarial. The relationship between Boethius and his writing with a pen and his eventual fate are also paradoxical in the sense that Christ needs the Rood or Cross to fulfill His earthy mission to save humanity, and Boethuis' needs his pen. These implements cause pain yet are vital in conveying a sense of dialogue and mission to humanity from the heart.