<P> There are various, alternative readings of the structure of the poem, given the many components of the poem and the lack of clear divisions . Scholars like Faith H. Patten divide the poem into three parts, based on who is speaking: Introductory Section (lines 1--26), Speech of the Cross (lines 28--121), and Closing Section (lines 122--156). Though the most obvious way to divide the poem, this does not take into account thematic unity or differences in tone . Constance B. Hieatt distinguishes between portions of the Cross's speech based on speaker, subject, and verbal parallels, resulting in: Prologue (lines 1--27), Vision I (lines 28--77): history of the Rood, Vision II (lines 78--94): explanation of the Rood's glory, Vision III (lines 95--121): the Rood's message to mankind, and Epilogue (lines 122--156). M.I. Del Mastro suggests the image of concentric circles, similar to a chiasmus, repetitive and reflective of the increased importance in the center: the narrator - dreamer's circle (lines 1--27), the rood's circle (lines 28--38), Christ's circle (lines 39 - 73a), the rood's circle (lines 73b - 121), and the narrator - dreamer's circle (lines 122--156). </P> <P> Like many poems of the Anglo - Saxon period, The Dream of the Rood exhibits many Christian and pre-Christian images, but in the end is a Christian peace . Examining the poem as a pre-Christian (or pagan) piece is difficult, as the scribes who wrote it down were Christian monks who lived in a time when Christianity was firmly established (at least among the aristocracy) in Anglo - Saxon England . Anglo - Saxon influence can be identified by the use of a complex, echoing structure, allusions, repetition, verbal parallels, the ambiguity and wordplay of the Riddles, and the language of heroic poetry and elegy . Some scholars have argued that there is a prevalence of pagan elements within the poem, claiming that the idea of a talking tree is animistic . The belief in the spiritual nature of natural objects, it has been argued, recognises the tree as an object of worship . In Heathen Gods in Old English Literature, Richard North stresses the importance of the sacrifice of the tree in accordance with pagan virtues . He states that "the image of Christ's death was constructed in this poem with reference to an Anglian ideology on the world tree". North suggests that the author of The Dream of the Rood "uses the language of this myth of Ingui in order to present the Passion to his newly Christianized countrymen as a story from their native tradition". Furthermore, the tree's triumph over death is celebrated by adorning the cross with gold and jewels . Work of the period is notable for its synthetic employment of' Pagan' and' Christian' imagery as can be seen on the Franks Casket or the Kirkby Stephen cross shaft which appears to conflate the image of Christ crucified with that of Woden / Odin bound upon the Tree of Life . Others have read the poem's blend of Christian themes with the heroic conventions as an Anglo - Saxon embrace and re-imagining, rather than conquest, of Christianity . </P> <P> The poem may also be viewed as both Christian and pre-Christian . Bruce Mitchell notes that The Dream of the Rood is "the central literary document for understanding (the) resolution of competing cultures which was the presiding concern of the Christian Anglo - Saxons". Within the single culture of the Anglo - Saxons is the conflicting Germanic heroic tradition and the Christian doctrine of forgiveness and self - sacrifice, the influences of which are readily seen in the poetry of the period . Thus, for instance, in The Dream of the Rood, Christ is presented as a "heroic warrior, eagerly leaping on the Cross to do battle with death; the Cross is a loyal retainer who is painfully and paradoxically forced to participate in his Lord's execution". Christ can also be seen as "an Anglo - Saxon warrior lord, who is served by his thanes, especially on the cross and who rewards them at the feast of glory in Heaven". Thus, the crucifixion of Christ is a victory, because Christ could have fought His enemies, but chose to die . John Canuteson believes that the poem "show (s) Christ's willingness, indeed His eagerness, to embrace His fate, (and) it also reveals the physical details of what happens to a man, rather than a god, on the Cross". This image of Christ as a' heroic lord' or a' heroic warrior' is seen frequently in Anglo - Saxon (and Germanic) literature and follows in line with the theme of understanding Christianity through pre-Christian Germanic tradition . In this way, "the poem resolves not only the pagan - Christian tensions within Anglo - Saxon culture but also current doctrinal discussions concerning the nature of Christ, who was both God and man, both human and divine". </P> <P> J.A. Burrow notes an interesting paradox within the poem in how the Cross is set up to be the way to Salvation: the Cross states that it cannot fall and it must stay strong to fulfill the will of God . However, to fulfill this grace of God, the Cross has to be a critical component in Jesus' death . This puts a whole new light on the actions of Jesus during the Crucifixion . Neither Jesus nor the Cross is given the role of the helpless victim in the poem, but instead both stand firm . The Cross says, Jesus is depicted as the strong conqueror and is made to appear a "heroic German lord, one who dies to save his troops". Instead of accepting crucifixion, he' embraces' the Cross and takes on all the sins of mankind . </P>

When was the dream of the rood written