Christ II, also called The Ascension, is one of Cynewulf's four signed poems that exist in the Old English vernacular.
It is a five-section piece that spans lines 440–866 of the Christ triad in the Exeter Book (folios 14a-20b), and is homiletic in its subject matter in contrast to the martyrological nature of Juliana, Elene, and Fates of the Apostles.
Christ II draws upon a number of ecclesiastical sources, but it is primarily framed upon Gregory the Great’s Homily XXIX on Ascension Day.
Pope Gregory the Great was well known for being the father of Roman Christianity in England, believed to have started the constitution of liturgy, and the compilation of musical service-songbooks used in the church.
Gregory focused the end section of his homily on why angels didn't wear white robes at the Incarnation but did at the Ascension.
Cynewulf receives credit for writing Christ II, but his inspiration came from the 23rd Psalm and a homily written by Pope Gregory.
His name is found as Cyniwulf, Cynewulf, and Cynwulf; he is also responsible for at least Juliana, The Fates of the Apostles, and Elene.
Cynewulf praised the Trinity as being three separate but combined parts, thought sinners may obtain a pardon from hell if they repent and turn from their sins, and assumed saints could intercede in earthly matters.
At the end of The Fates of the Apostles, Cynewulf signs his names F, W, U, L, C, Y, N. It is speculated that he did this to show that he was a sinner like everyone else, or to relate to the Biblical idea that ‘the last shall be first’.
I shall never leave you, but I shall always continue in love towards you and give you power and remain with you for ever and ever so that by my grace you will never be wanting in virtue.” After Christ had given his speech, a large number of angels appeared above the temple.
Long ago, the prophet Job called the Lord's son a bird who would not be understood by many people.
King Solomon gives hope to the people when he sang, “(the Lord) will garland the hills and heights with his glory; he will redeem the world, all earth’s inhabitants, by that glorious spring.” The poem then focuses on the six leaps that Christ has already made.
[3] His fourth spring (se feorða stiell) was when he abandoned the cross (he þone beam ofgeaf) and entered the tomb.
[5] The sixth leap (se siexta hlyp) was when the Lord ascended into the heavens with the joyous jubilation of the angels.
[7] The motif is a mystical interpretation of the Song of Solomon (Canticles 2.8)[8] and is found as early as the third century in the work of Hippolytus.