In the essay that follows, Wilson studies the Christ in detail and claims, in contrast to the conclusion reached by some critical scholarship, that the poem is arguably the work of a single author.

In the essay that follows, Kennedy reviews what is known about Cynewulfs identity and the four poems signed with his name and suggests that the scholastic religious tradition which directs the primary content of Cynewulfs poetry is interlaced with more "romantic" overtones.

In the following essay, Wittig claims that the critical "dissatisfaction" with Cynewulf's Juliana neglects the poem's successful representation of the significance of the saint's passion.

In the excerpt that follows, Cook provides an account of the context of Cynewulf's poetry, including the political history and theology of ninth-century Britain. He also examines the poetic style of Cynewulf

In the following essay, Brooke discusses the five poems which were not signed by Cynewulf but have been attributed to him by various critics, with an emphasis on spiritual elements.

In the excerpt that follows, Anderson suggests that Cynewulf considered his creative talents as an instance of the "gifts of men," a theological concept that emphasizes the obligation to use such gifts in the service of faith.

In Greenfield claims that the following essay, Cynewulf's "reflective" tone distinguishes him from other Anglo-Saxon poets of the time, such as the author of the Andreas, which depicts the struggles of a spiritual hero.

In the following essay, Rice defends the importance of the creative expression in Cynewulf's Fates of the Apostles, particularly in the depiction of spiritual atonement.