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It tells of Constantine's vision of the Rood, on the eve of battle. The poem, which is of very uneven quality, might properly be put at the end of Cynewulf's works. He adds to the poem a personal note, signing his name in runes; and, if we accept the wonderful "Vision of the Rood" as Cynewulf's work, we learn how he found the cross at last in his own heart.
Byzantine saints, Cynewulf's Scriptural legends, German Heldenerzaehlungen, Icelandic Sagas, down to the saints and angels of the pre-Raphaelites, all represented realities to the poet; he would have felt no interest in telling of things which he did not believe to be true.
As I have said, certain poems are signed with Cynewulf's name; and there are others which are with more or less probability of rightness attributed to him on grounds of likeness of subject, likeness of style, similar greatness of treatment. About Cynewulf himself we know, I may say, nothing except what we gather from his work.
Literature reflects the inner struggles of the period: the war-song of Brunanburh, the mystic light which hangs upon the verses of Caedmon, the melancholy of Cynewulf's lyrics. Yet what a contrast is the England delineated by Bede with Visigothic Spain, with Lombard Italy, or Frankish Gaul, as delineated by Gregory of Tours!
"O Emanuel" refers to Christ coming in the Spirit of Fear, but giving us also the Law of Love. These antiphons have formed the theme of the oldest Christian poem in Europe Cynewulf's "Christ," a work which is the admiration of modern scholars. They were celebrated with great pomp and joy in monastic life, the monks carrying their congruous symbolism into their recitation.
On the other hand, we know a good deal as to the authenticity of Cynewulf's poetry, and nothing about his life. Both of these poets wrote in the language spoken in England before the period of French influence.
They had, at Cynewulf's suggestion, taken fresh horses from the reserve, and had little cause to fear pursuit.
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