Liturgy, Performance, and Poetry of the Passion: David Jones and the Dream of the Rood
In essays and correspondence, as well as in his poetry, David Jones continued to return to the image of the Anglo-Saxon 'Dreaming Tree' as he meditated upon the central image of the Catholic Church and of the liturgy, that of the Passion. This paper explores David Jones's interest in...
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
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| Published: |
University of Notre Dame
2017
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| In: |
Religion & literature
Year: 2017, Volume: 49, Issue: 1, Pages: 91-101 |
| RelBib Classification: | CD Christianity and Culture KAE Church history 900-1300; high Middle Ages KAJ Church history 1914-; recent history KBF British Isles KDB Roman Catholic Church RC Liturgy |
| Further subjects: | B
PIERS Plowman (Poem)
B DREAM of the Rood, The (Poem) B Literary style B JONES, David, 1895-1974 B TABLET, The (Book) |
| Online Access: |
Volltext (lizenzpflichtig) |
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| 520 | |a In essays and correspondence, as well as in his poetry, David Jones continued to return to the image of the Anglo-Saxon 'Dreaming Tree' as he meditated upon the central image of the Catholic Church and of the liturgy, that of the Passion. This paper explores David Jones's interest in the tenth-century Vercelli Book poem The Dream of the Rood and its wider tradition, and brings new knowledge from Anglo-Saxon Studies to bear on Jones's late modernist poem, The Anathemata (1952). Drawing on archival research from The Library of David Jones, National Library of Wales, this paper argues that Jones's poetic reworking of The Dream of the Rood in visual and verbal media offers a perceptive and informed response to the liturgical and vernacular contexts that may have produced The Dream of the Rood in the tenth century. Although discussions of Jones's use of The Dream of the Rood often focus upon the image of the sacrificial cross and the trope of the Miles Christi, this paper suggests that Jones's interest lay in how the poem might be seen to respond to the multisensory and performative dimensions of the Christian liturgy. Jones saw The Dream of the Rood, like the liturgy, as a "visual and aural liaison with the formative things of this island and of the religion-culture of the entire West." Such insight can help us to reread both Jones's 1952 poem and the Old English Dream of the Rood within the context of their respective liturgical and literary cultures. | ||
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