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Beowulf Criticism
2008 | Filed Under Academics, Student Successes |
Students,
Post your summaries in the comments below!
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James DeCuollo
ENGL 203-01
Dr. Livingston
Beowulf Criticism
Sisam, Kenneth. “Beowulf’s Fight With the Dragon.” JSTORS 9.34 (1958): 129-140. JSTORS. Daniel Library. Daniel Library. 3 Sep. 2008. <http://www.jstor.org/stable/511939?&Search=yes&term=Fight&term=Criticism&term=Dragon&term=Beowulf&list=hide&searchUri=%2Faction%2FdoAdvancedSearch%3Fq0%3DBeowulf%26f0%3Dall%26c0%3DAND%26q1%3DCriticism%26f1%3Dall%26c1%3DAND%26q2%3DFight%26f2%3Dall%26c2%3DAND%26q3%3DDragon%26f3%3Dall%26wc%3Don%26Search%3DSearch%26sd%3D%26ed%3D%26la%3D%26jo%3D&item=2&ttl=124&returnArticleService
“Beowulf’s Bane: The Epic Finale to an Epic Tale”
Kenneth Sisam, author of “Beowulf’s Fight with the Dragon”, offers many claims and ideas to answer the inconsistencies in Beowulf by using textual and historical evidence from what historians and experts of the respectful time period agree on as more or less valid and factual. Sisam elaborates on the possibility of translation issues with the diction of the time period; for example, many words may have meant other things than what is perceived by scholars; in addition, he also explains to the reader the other irrational or non-logical events that happen in the epic. Sisam discusses the Dragon fight sequence in great analytical detail because he believes that there is a lot more going on in the fight scene that one could have imagined.
The dragon fight scene has been abused to the point that it is cliché in most modern novels; in other words many writers have a hard time actually pulling it off. Sisam first dictates to the audience that there is a possible translation gap or error in the epic. He states that the word ‘weallclif’ could possibly mean a cliff from great height or just a small cliff. In addition there are many more discrepancies with other words that opens up the opinion of many scholars that there could possibly be more than one person who transcribed Beowulf from word of mouth to the physical text that the world is aware of today. Sisam states that the presence of another author eludes to “corruption and [the] removal of outstanding discrepancies by emendation” (Sisam 131). Meaning that multiple authors equates to an unstable diction; one author may have altered words to mean something completely different or the difference may be miniscule.
The alterations of words lead to his next criticism with the epic. He states that the “hero’s battle with the dragon who guarded treasure has been elaborated to make Beowulf’s last adventure” (132). More or less, Beowulf had go out with a hero’s death; therefore, the dragon was an added and necessary piece in order to bring closure to an open ended story. He couldn’t just die of old age because a hero’s death is one of glory. According to Sisam, the description of Beowulf as an actual person is not common to that of the Middle English time period. Although, on the other hand he states that Grendel’s appearance is well noted and accounted for in by the Beowulf-poet. The actual dragon as a character is described by J.R.R. Tolkien as the “personification of malice, greed, destruction, and undiscriminating cruelty of fortune” (133). Sisam then describes the fight with the dragon as being filled with zest and valor, yet also distress and a form of dishonor on the part of Beowulf and on his companions who are banished and branded with something similar to the biblical mark of Cain.
While reading this criticism, one should feel compelled to agree with Sisam on many of his points; however, there are some points that were not mentioned that one may find interesting such as the art during the middle ages did not entirely focus on the human elements (until the Renaissance); therefore, one may be correct in assuming that literature may reflect the same sort of issues dealt out by the Catholic church (pre-reformation). Secondly, Beowulf would not be viewed as an all around hero if he was described as being old and completely feeble; no he was to be young and fight until he died. In addition, Beowulf’s armor and sword are described in detail because the sort of honor that he had laid with in besting his foe or being slain in the process; either way he fought bitterly. Around this time, the tribes and peoples of the world believed that characteristics of one person may be inherited and obtained by another through tangible objects such as wearing the armor of one’s forefathers will imbue one with the strength to fight a thousand men.
Sisam does well in mentioning that the dragon wasn’t looking for a fight until the slave stole a piece of his collection. The dragon’s sole existence is a mystery because he doesn’t seem to have traceable lineage in the story (unlike that of Grendel and his mother). Beowulf did what he thought was right and ‘sallied forth’ to fight the dragon with eleven unfaithful companions and one who would become the heir of Beowulf. It is important to note that the humans in the story each did something to anger to the evil beings in the story. Grendel was angered by the Heorot, his mother was angered by Beowulf killing her son and keeping his hand as a trophy, in addition, the dragon was angered by the slave stealing from his treasures. The dragon is, according to Sisam, an almost pure character. He is charged with a duty (by himself or others is unclear) to guard the treasure and that is just what he does; there is no profit to him or to anyone else by him guarding the treasure because the last human owner had died.
The fight with the dragon is an epic battle scene in which it was clear that Beowulf would die; however, one should note the parallels between Grendel, the Judeo-Christian God, Wiglaf, and Beowulf. According to the religious undertone in the epic, Grendel and the other evil monsters were branded along with Cain with a Mark to force them to wander the world in dishonor and disgrace for eternity by the order of God. Wiglaf gave a similar order to the men who abandoned him and the hero in their hour of need. In addition, Grendel’s arm was cut off before the end of his life and it was a downward slope from there. Perhaps it is a sign that the culture is going to fade and die because their king lost his hand in a battle with the dragon or maybe it is a sign of luck because he wounded the dragon and Beowulf killed it with a final blow before he could be dragged out of the cave and laid to rest.
The reader should understand that the purpose of Wiglaf running to the aid of Beowulf and proving himself a worthy heir to the throne of the Geats is that kingship is not limited to a single person but to many people and it is through feats that a person will be judged by, not bloodline or wealth.
Kenneth Sisam discussed the possibilities of their being translation malfunctions, multiple authors, and corruption in transcribing the Beowulf epic. In addition, he criticizes the absence of a physical description of Beowulf, and the fight of the dragon. The dragon is looked upon in a few different ways because some view it as evil and some view it as good; however, it is open to interpretation of the text. Based on what is gathered in this piece of work, the dragon merely retaliated against the people who were responsible for disturbing it’s peace with greed and desire to better one’s self over an other.
Ah… the first one up! Thanks, Mr. DeCuollo!
For the record, it looks to me like this summary needs more summary (i.e., it’s probably 2x too long), and you can’t reference JSTOR — you need to reference the journal that JSTOR pulled the article from.
Referencing JSTOR is like telling me what shelf a book is on in the library; JSTOR is a retrieval system, not a source for information itself.
No harm on this one, but not for the future, everyone!
On second thought, that might be 3x too long!
Dr. Livingston,
What do you want me to do then? Should I fix it?
No, no, James. You’re good. I just didn’t want anyone freaking out about yours being so long!
I still expect them to freak out about your exacting brilliance, of course. :)
I acually have a few questions about Beowulf that I think you may find interesting. I will post them after everyone else is done to see if some good debates are started.
Caroline Lytle
ENGL 203-01
Dr. Livingston
Beowulf Criticism
Day, David D. “Hands across the Hall: The Legalities of Beowulf’s Fight with Grendel.” The Journal of English and Germanic Philology. 98.3 (1999) 1 Sept. 2008 <http://galenet.galegroup.com/servlet/LitRC?locID=citadeldaniel&ADVST2=NA&srchtp=adv&c=20&stab=2048&ASB2=AND&ADVSF2=criticism&docNum=A56745087&ADVSF1=beowulf&ADVST1=NA&bConts=2050&vrsn=3&ASB1=AND&ste=78&tab=2&tbst=asrch&ADVST3=NA
In his article “Hand across the Hall: The Legalities of Beowulf’s Fight with Grendel”, David Day argues that the Beowulf poet portrays the legal guardianship of property metaphorically through Beowulf’s physical altercation with Grendel and that their fight symbolizes a common legal proceeding of the time period. The conflict between Beowulf and the Danes centers on control over property, the hall. Guardianship over the hall, and thus all legal responsibility is handed over to Beowulf by Hrothgar in the form of verbal contract. Upon assuming guardianship, or “holding” the hall Beowulf has full legal powers to demand compensation, be it monetary or otherwise, for any offense perpetrated in or to the hall itself. Day also asserts this handing over of guardianship has a symbolic association with the physical hand itself. In Germanic law the concept of legal control or guardianship over people or property was referred to as ‘mund’, a word whose basic meaning is ‘hand’. An ancient concept, ‘mund’ described the leader of a household’s power of protection and control. Law required that the mund-holder be compensated for things like trespassing and destruction of property. Grendel committed these crimes and surpassed them by breaking into the hall and killing people; from a legal standpoint these crimes were committed against Beowulf, the mund-holder, so he was the one to collect compensation. Day argues that the hall itself represents the sanctity of security and safety manifested through law. Grendel’s crimes then are not just flagrant violations of the jurisdictional rights of a king, but violations against the whole of jurisprudence itself. Beowulf ripping Grendel’s hand off is a quaint metaphorical representation of taking back his property rights. Beowulf separates Grendel from the physical symbol of his unlawful control over the hall his hand.
I found Day’s argument to be a very interesting take. One doesn’t often associate the time period in which Beowulf takes place as a time filled with concerns of legality. It is fascinating to consider that a world of wars, feuds, and destruction- that a “barbaric” society could and did concern itself with the theory of law. I think Day’s article turns ones attention to the fact that we tend to discredit and underestimate the scope of knowledge and sophistication people of the ___ actually possessed. The brutal symbolism of Beowulf and Grendel’s struggle also offers a kind of commentary on the legal system in the status quo. Law, its practice and its enforcement can easily be viewed on the one hand ideally as an epic struggle between good and evil; on the other hand the legal system can be seen as something that despite its idealized outward appearance taps into the basest aspects of human nature- bringing to the surface man’s propensity for greed, violence, and vengeance. Day’s argument does a good job of relating back to the poem’s constant illustration of the struggle between what is good and what is evil both in man’s external environment and within his own character.
I am doing mine now. And I enjoyed your jimmy, and Caroline as well. However I shall wait to discuss them until after I post mine. Good day.
I am doing mine now. And I enjoyed your jimmy, and Caroline as well. However I shall wait to discuss them until after I post mine. Good day.
Excellent, Caroline!
And I’m looking forward to those questions, James (and, I suppose, to your post, too, Louis).
Steven Enck
English 203-01
Dr. Livingston
Beowulf Criticism
Whallon, William. “The Christianity of ‘Beowulf’”. Modern Philology, vol. 60, No. 2
(Nov., 1962): 82-94
The epic Beowulf is notorious for the rise of a northern-European legend as well as the merciless brutality found in the readings. In the article Modern Philology: The Christianity of Beowulf, writer William Whallon takes a separate approach to the dark tale. His article brings to light the Christian similarities that can be found in both Beowulf and biblical scriptures. The reading is cited with a great detail of information, yet ultimately may seem unbelievable, leaving the final beliefs and decisions to the reader.
The article is written scrupulously and it is evident that the author has a plethora of knowledge concerning religion and the origins of certain traditions. When reading, it becomes obvious that Whallon took a religious point of view towards Beowulf. He derived much of the information showing similarities between Beowulf and Christian references from Genesis and other obvious tales. Whallon also made clear to the more skeptical readers that it is a possibility that the theory of a Christian monk editing and rewriting certain aspects of the story could be false altogether. He explains that during the time period that Beowulf was written there were Christian missionaries in the same areas as the original writers of the story. However improbable this theory may be, it technically has just as much credibility as the theory of a monk revising the story to add Christian moralities.
In retrospect, the evidence that Whallon uses to support his claims can seem almost overwhelming. His writing technique seems sporadic at times, and can even be considered unbelievable to many. Yet, these statements are not meant to take any credibility from this article. The author plays the devil’s advocate and plays the role quite well. He presents the information, gives each theory a religious history of how it could have happened, and continues to another topic. His style of writing can get thick and hard to read, but retains the writer’s goal throughout the article.
The only critical problem that can be found among the readers of Whallon’s article is the fact that many of his conclusions and ideas are just theories. There is not much concrete evidence in the article that indefinitely makes an undeniable argument. In Whallon’s article he says, “But the text escaped extensive alteration” (82). He is referring to the theory that a monk rewrote certain parts of the tale, adding a Christian atmosphere. In a tale like this, simply adding any religious background that was not initially in Beowulf is enough to make many readers skeptic. All it takes is a drop of oil to taint a bucket of water, and in this case, a few Christian references brought up more questions than answers.
Overall, Whallon wrote an informational article that any reader could take something from. He used religious texts to support themes and theories while trying to show the most plausible origins for questions that arise from the Christian references shown in Beowulf. A person who is experienced in the fields of religion or a medievalist may take something else from Whallon’s article, but it is clear that his work provokes the question of how Christian beliefs were introduced into Beowulf.
“Beowulf as Romance: Literary Interpretation as a Quest” Natalia Breizmann supports her claim that the story line of the Beowulf poem holds a very diverse range of interpertations and holds firm to the belief that it in many ways is up to the reader as to how it can be viewed. In the case of her article she explores the implication that the poem in many ways exemplifies Beowulf as a romantic figure and gives several reasons to support this claim. Breizman states that in any romantic story regardless of it’s literary affiliation a hero’s character is crucial beacuse it is the prime method to understanding where the story is going, and that Beowulf contains a detailed prehistory of events withn the story such as those found in romantic works. As stated “Romance represents the indivdual as both the object and the subject of literary production: he is the hero and the creator of his own story, as well as a contributor to the larger narrative of his culture”. This is also crucial to the understanding of Beowulf from a romantic prospective beacuse this template so to speak is followed throughout the story. For example when Beowulf enters Hrothgar in order to request permission to fight Grendel he builds himself up in the eyes of the people not only through his stories of battles fought in the past but in his promise of Grendel’s demise. This is also reenforced with his return and subsequent tale. This furthermore supports the claim of romanticism beacuse Beowulf’s quests are often deeply personal as well as solitary.
The ending portion of the poem in many ways clinches this claim beacuse of two main factors: The first is that the killing of Grendel in many ways forshadows the fight with the dragon which is prevelent in romantic works where one confrontation forshadows another much darker one and secondly his death at the end. The prime reason of this is the fact that although Beowulf did die almost deserted by his men, he died for something he loved (his people) although as a result of this their future is uncertain if not condemned.
John Gargano
English 203-01
Dr. Livingston
Beowulf Criticism
Breizmann, Natalie. “Beowulf” as Romance: Literary Interpretation as Quest.
MLN, Vol. 113, No. 5, Comparative Literature Issue (Dec., 1998), pp. 1022-1035
Dr. Livingston,
I pasted the above comment beacuse it was supposed to be apart of my first posting but was accidentally deleated.
Looking pretty good, folks! Keep ‘em coming!
Oh, and bonus points to Louis for the SPQR avatar.
Vaught, Jacqueline. “Beowulf: The Fight at the Center.” Allegorica 5(1980): 125-37.
This article argues the idea that the pivotal fight in Beowulf was not the fight in Heorot with Grendel, but instead the fight in the mere with Grendel’s mother. It argues the idea that the safety of Heorot and its inhabitants was not complete until Grendel’s mother was killed, and Beowulf himself did not achieve the title of “hero” until this task was complete. Vaught points out that the festivities that were ignited by the defeat of Grendel were ended prematurely with the arrival of Grendel’s mother. She points out that the defeat of Grendel by Beowulf was far too easy a victory for him to earn his reward, and stipulates that his reward wasn’t earned until the much more uncertain victory over Grendel’s mother was achieved.
Throughout the length of her article, Vaught is constantly hammering into the reader her opinion of the comparative insignificance of the fight with Grendel in Heorot. The reader could certainly be turned off of her opinion simply by the sheer volume of information Vaught throws at the reader. However, if read slowly as to analyze the article slowly, the reader can begin to understand Vaught’s ideas on the origins of Beowulf’s heroism.
The moment Vaught points out as the climax of Beowulf is very fitting if the reader agrees with her theory. She refers to the text to pinpoint the very moment in which Beowulf’s greatness and fame is earned. “It was easy for the Lord, / the Ruler of Heaven, to redress the balance / once Beowulf got back up on his feet,” reads lines 1554-56. This moment in which Beowulf rebounds from defeat in the pivotal fight against Grendel’s mother is said to be the very instant in which victory over all evil is decided. The symbolic act of Beowulf regaining his footing against the great beast, instead of giving up and fleeing the battle, symbolizes the victory of will Beowulf achieves over his enemies. His selflessness is illustrated in this moment by his determination to protect the people of Heorot against the evil that threatens them.
This article brings up the idea of the fight between Beowulf and Grendel’s mother as being not only the climax of the story, but the point at which Beowulf earns his heroic status. Vaught supports her views well, and argues an interesting idea. In the end, it is not the initial victory over evil which earns Beowulf his fame, but his persistence to triumph over evil.
Chris Connelly
English 203
Beowulf Criticism
Beowulf: The Archetype Enters History
Jeffrey Helterman
ELH, Vol. 35, No. 1 (Mar., 1968), pp. 1-20
Published by: The Johns Hopkins University Press
Helterman precieves Beowulf as an amalgam of christian ideology and pagan, anglo-saxon culture. Clearly, numerous lines throughout the work are christian in nature however similar lines exist that reinforce a non-christian culture. This wax and wane variation of religion as it relates to the protagonist is largely debated by numerous critics.
Helterman argues that Beowulf is not an archetype of solely christianity, but rather an archetype of mankind. Beowulf is the balance that neutralizes chaos. Largely Helterman describes Beowulf’s character as one who struggles toobtain order against chaos, establishing Beowulf as the emblem of balance and Grendel, his mother, and the dragon as insturments of chaos.
Moreover, Beowulf’s struggle with Grendel, Helterman writes, is a metaphor for the inner conflict of oneself. The two fight without weapon or armour as if two conflicting ideals unchecked save by each other. Throughout the excerpt, Beowulf is delivered as one who embodies the desireable traits of mankind thereby he stands as an archetypal figure for men to look towards for guidance. Beowulf is not delivered as one who mimics the mindset of Christ. Beowulf, rather, acts as a beacon, a guide laying out what a proper life should be.
Beouwulf’s fight with the sea monsters, Grendel, and his mother demonstrate the adversities of life that, whether thrust upon you or sought out for, must be checked and overcome for one to live noblely. Furthermore, the battle with the dragon demonstrates man’s inevitable mortality. Beowulf meets his death and the treasure which was the cause of his doom rests burried with his body. This is significant to portray the senslessness of trying to control the chaos of the world.
This work offers a unique look to Beowulf as an archetypal figure that allows the examination of religion in the work to be considered within a different light that I personally find appealing and effectively supported throughout the work.
Parks, Ward. “Preytell: How heroes perceive monsters in Beowulf.”
The Journal of English and Germanic Philology. (Jan 1993) v92 pg 47.
This piece of literary criticism compares and constrasts the human and monster traits that both Beowulf and Grendel possess. Parks comments on how Grendel manages to dehumanize himself by not only killing, but completely devouring his victims. This mostrosity portrayed is then rebutted by Beowulf’s phsyical human form, and yet beastly inhibitions. Beowulf fights like an a monster just as much as Grendel fights like a monster. Even though Beowulf is in fact human, he possesses those similar monstrous traits that make Grendel who he is. Grendel’s taste for human blood and flesh is rivaled by Beowulf’s taste for a good battle. As the saying goes, may the best man win.
Grendel and Beowulf’s relation in Beowulf is described very well in this literary criticism; however to say that the hero is just like the beast that caused all of the destruction does not make sense. The force that each character radiates is completely different from each other. Beowulf uses his force to protect the needy and to prove his might to not only others, but to himself. Grendel uses all of his force to kill the innocent and feed on their flesh. Both characters kill, and both possess supernatural strength and powers, but Grendel and Beowulf represent the extreme opposites, such as light and darkness, black and white, life and death, and above all good and evil. In conclusion, though Beowulf and Grendel possess similar traits, Beowulf defines himself by his choice to protect the innocent, whereas Grendel defines himself by spilling the blood of the innocent and devouring their flesh. Opposites do attract, and in Beowulf they do so in a battle of epic proportions.
Galloway, Andrew.
“Beowulf and the Varieties of Choice”
PMLA, Vol. 105, No. 2 (Mar., 1990), pp. 197-208
In Andrew Galloway’s essay, Beowulf and the Varieties of Choice, he introduces the idea that Beowulf offers a wide array of human choices that are ambiguous. He furthers his thought by saying that most intellectual researchers have been blind to this idea. After reading the text most people feel that these choices pertain to military, ethical, religious, and political realms. While according to his argument he feels that they pertain to emotion, contemplation, and desire. Galloway feels that these expressions of choice have not been fully examined. Galloway argues that, “…a broad literary and cultural survey is necessary to appreciate Beowulfs perspective” (Galloway, p. 197, line 13).
One point that he argues is that the translation of the verb, geceosan, which translation means “to choose” is not fully understood. His argument’s purpose is to add substance and aggravate the concept of the 10th and 11th century verb to show its true festered form of choice. Another reason behind his method he wants to expand the thoughts of fate (wyrd), and the perception of doom and death. One comments that Galloway provides a healthy optimistic method of argument, rather than the Anglo-Saxton’s world views. The organic unity helps the reader see how the areas that Beowulf shows actions are mostly shown with choice. Thus Galloway treads into an area of very little research of the Anglo- Saxton’s writings, customs, and meditation. Galloway lays out his argument, beginning with heroic verse that it is mainly concentrated around heroism, with a mild religious influence. Then Galloway explains further that this enforces fatalism, which leaves the hero without any choice of life or death. Oddly the same verb, geceosan (to choose), that is used for everyday decisions is used for “choosing one’s death bed”. Galloway then shifts gears by giving different examples of choices throughout Anglo-Saxon literature that shows the elements of choice. These examples range from political, religious, morality, and heroic choices. He feels that the element of choice is more of progression throughout the poem. One of the major corner stone’s that shows the formula of morality choice is in Hrothgar’s speech when he talks about a ruler who experiences moral struggles. Thus, at the end Hrothgar gives Beowulf a choice. Beowulf may have not necessarily had the opportunity to act on this choice, but it does show the verb in a new form. This form consists of clear and logical decision making skills, in a theological manner, but as Galloway states, “within the social context of this world.” Later on in his essay, Galloway points out that in lines 714- 777 of the poem that, “Beowulf offers a meditation between the heroic and the devotional traditions of choice, though it’s also in the middle range that choice is most difficult and full of risk, both to achieve and to judge. This middle range bridges inner ethical struggles with their contexts and consequences in the social world. The poem demonstrates the interaction of context, choice, and consequence rather than a flatly casual relationship among them” (Galloway, pages 203 lines 10-22 second column).
Galloway claims that at the end of the play, the character who exerts trust has moved from Beowulf to Wiglaf, and that progression of has almost reached a pinnacle in his freedom of choice within the last third of the poem. The final form of “geceosan” is used to describe what he explained in the beginning, “choosing one’s death bead.” Although this does include fatalism in the literal sense, the author is showing more of a philosophical approach by saying he really did choose his death bead because he was free to choose what he wanted with certain limitations. Galloway ends his essay of the varieties of choice by saying the pagan world allowed him to exercise his imagination in the realm of society and formula’s of choice.
Upon reading Galloway’s essay I feel that it is well constructed and well thought out. He gives examples that lead a progression throughout the play giving it a organic unity and paralleling the choice formula’s. I found his interpretation of his research to be very informative, because of his effort to bring in historical background, and breaking the range of choices down into 4 main categories. I feel that his argument had validity, structure, and factual evidence that proved his argument to be correct.
A. Michael Terry
English 203
Beowulf Criticism
The Great Feud: Scriptural History and Strife in Beowulf
Marijane Osborn
PMLA, Vol. 93, No. 5 (Oct., 1978), pp. 973-981
Published by: Modern Language Association
In Osborn’s article she evaluates the Beowulf Poet’s use of Christian themes in a pagan society. Though the poem is filled with these Christian references of the Cosmos, the actual peoples in the story have not yet been exposed to Christianity. The Beowulf poet brilliantly interlaces Christian themes into the story. She argues that the story “establishes two complementary frames of reference, one heroic and one cosmic.”(973) These two frame of references serves dually to connect the reader with first “native Germanic world within the poem” and to “the Christian world of the poet.” (973). If the monsters from the poem had attacked the “pagans” they would have offered no Biblical lineage to the monsters. Early on in the poem the “scop sounds his harp, says that the Almighty made the earth, then
Set victorious the sun and moon…
and also made life
for every kind of being that moves.—
(ll. 94, 97-98)” (975)
The song goes on to tell of a story quite similar to the creation story in Genesis. Just as Satan enters the Garden of Eden, the “Grim Spirit” Grendel enters Heorot. It is from this Creation song that we learn Grendel and his mother are descendents of Cain. What is odd is the Christian explanation of pagan occurrences. To the people of the poem the monster’s origin and the creation song would have been quite random. The Christian themes also serve to give the audience an even more omniscient perspective of the poem, offering explanation to these random events.
Osborn argues that there is no problem with the Christian and pagan themes in the poem. She asserts that the two themes complement each other in the telling of the story and helps to “estimate man’s valor”. (980)
Butts, Richard. “The Analogical Mere: Landscape and Terror in Beowulf.” English Studies II
(1987): 113-120. Academic Search Premier. 3 Sep. 2008.
Grendelus
Richard Butts’, “The Analogical Mere: Landscape and Terror in Beowulf” sheds light on the true darkness of the Beowulf poet’s character, Grendel. Through the usage of contextual evidence as well as analytical reading, Butts is able to prove that Grendel plays a character “who lives in a darkness quite literally beyond the understanding of men” (114). It seems as though, this was a point in which the poet was trying to convey. The Beowulf poet was trying to make a representation of Grendel. Not only does Grendel portray an adversarial role (much like satan had in early works), he also represents “something beyond the experience of the Danes – something beyond the limits of the natural and social order with which they are familiar” (113). Butts continues explaining that the imagery used by the poet was to show that the world was different from their own, in which the monster was a part of (113). Butts proceeds makes note of Grendel’s mere and how it is a symbol for the limits of men as if it were an “allusion to the depth of a body of water” (114). This author continues stating that the Beowulf poet shows a keen interest in the supernatural aspect of Grendel’s mere for it may be involved in his interest in the psychological aspects of the unknown (115). Lastly, Butts provides textual evidence on how the Beowulf poet uses imagery to allow for a more terrifying affect of Grendel’s mere (117).
Richard Butts did a good job in this literary criticism of Beowulf. His argument is based around the imagery that the Beowulf poet used, as well as the Terror that Grendel instills in the hearts of the Danes. However, one of his points seems quite controversial. Butts states that, the Beowulf poets had to rise above a challenge, which was the “inadequacy of language to convey a complex and subtle state of mind” (114). Of course he is describing the psychological state that the Danish men were in because of the monster Grendel, as well as the darkness that he represented (114). According to Butts’ literary criticism, the Beowulf poet faces a “[deep] epistemological [problem]” (114). However, I believe that the poet of this work was merely using the orally passed down story, thus the poet added in the necessary details in order to produce exactly how evil and dark this character is supposed to be. However, Butts contradicts his own argument by stating that,
The Dane’s reference to the bottom of Grendel’s mere is as much a figurative emblem of the limits of what can be known and said by the men as it is an allusion to the depth of a body of water.
This point is argued clearly, as well as articulated quite well, however the poet was able to articulate it properly and still able to obtain the social affect that was desired (i.e a supernatural experience).
Sir,
I’m on my way with the Criticism
I’m waiting, Dante. (Nice avatar, btw.)
Blaise Flamio
English 203-01
Dr. Livingston
Beowulf Criticism
Jos Bazelmans “By Weapons Made Worthy” Christian thoughts and Beowulf: An Overview. Amsterdam University Press, Amsterdam, (1999) 7th September 2008
http://libcat.citadel.edu/search~S9?/YBeowulf+&searchscope=9&SORT=D/YBeowulf+&searchscope=9&SORT=D&extended=0&SUBKEY=Beowulf%20/13%2C65%2C65%2CB/frameset&FF=YBeowulf+&searchscope=9&SORT=D&13%2C13%2C
Some interpret Beowulf as a Christian poem, but yet the unknown Anglo- Saxon poet who wrote this outstanding piece of literature was most likely a pagan. This leads to only one justification for the many Christian explanations for Beowulf, not only as a warrior in literature, but an archetype to other great literary epics. Jos Bazelmans “By Weapons Made Worthy” presented a criticism which was quite interesting, and at the same time satiating to a personal question: is Beowulf actually a poem of Christian origin? Jos Baselman states in his criticism that “Beowulf dates from the period 675- 800 A.D.”(69) This data could terminate my criticism of this poem due to Christianity’s sweep over Europe shortly after the fall of the Roman Empire. There is one point to take into consideration, “The Anglo- Saxon groups, to which the poet and his audience belonged, were converted to Christianity.”(69) Before the Anglo- Saxons were converted to Christianity they were polytheistic peoples, which means they believed in more than one God and or multiple superior beings. Though Beowulf vanquishes the evil Grendel, who stood for most biblical sins, could have been just another monster, or demon he had slain as were the sea serpents during his swimming race. Bazelman explains the people in Beowulf “…never address God directly, nor do they pray to him for help. They are familiar with the story of creation, but it lacks any reference to God as the creator of man or the Heaven.” (72) The main piece of data which erases my skepticism on the topic is brought up by Bazelmans in his conclusion of 4.4 “A Secular text in a Christian Era” where he presents a few options on Beowulf’s pagan origins. He states “Beowulf, it was held, was the work of only a partly converted poet who wanted to tell stories about an earlier age and ‘Christianized’ his work in order to make it acceptable to his converted audience. Somewhat later there were others who conceded that the poet had exchanged the world for the pagan Gods for the Christian beliefs, but that lacking a profound sense of Christian religiosity he was preoccupied with secular values that were deeply rooted in the pre- Christian world.”(76) This topic is still split both ways, knowing who wrote this poem whould really help out in this investigation, Jos Bazelmans criticism greatly supported the theory, Beowulf is in fact not a Christian Poem.
What is the significance of the color green in Sir Gawain and the Green Knight?
James Gallanta
English 10
Mr….
Beowulf
I believe that Beowulf is not the protagonist of the story. It is clearly said that Grendal is the real protagonist and Beowulf is the antagonist. I mean, as a living thing, he has to eat sometime. I guess he could’ve eaten a bit nicer and Beowulf, if he isn’t so full of pride and fame that he will get afterwaards, he would’ve seen that. Beowulf shows the significant use of one of the seven deadly sins, ‘the egotistical one’.
And you’re posting this here … why?