Grendel, Beowulf and the Relationship Between Nihilistic and Christian Archetypes
The Wisdom god, Woden, went out to the king of trolls…and demanded to know how order might triumph over chaos.
“Give me your left eye,” said the king of trolls, “and I’ll tell you.”
Without hesitation, Woden gave up his left eye.
“Now tell me.”
The troll said, “The secret is, Watch with both eyes!”
Woden’s left eye was the last sure hope of gods and men in their kingdom of light surrounded by darkness. All we have left is Thor’s hammer, which represents not brute force but art, or, counting both hammerheads, art and criticism…
The philosophies expressed in the Beowulf epic complement the exploration of existentialism throughout the modern work, Grendel, by John Gardner. Both works portray different perspectives of the same story, involving the same characters; Beowulf, the ancient Anglo-Saxon hero who destroys Grendel, and Grendel, the monster who terrorizes Hrothgar’s hall. Beowulf and Grendel act as archetypes that explore humanity’s perception of the world. In the Anglo-Saxon epic, Beowulf and his companions represent good, and the monsters, including Grendel, represent evil. When Beowulf kills Grendel, the world is less evil, but since Beowulf’s companions die in the struggle, the world is also less good. Ultimately, the two forces of good and evil will destroy each other, but the story maintains that God will interfere and save mankind from destruction. In Gardner’s story, the progression of society begins when mankind creates a monster and then creates a hero to fight the monster. Once the greater power of the hero had been established, once the conflict’s resolution strengthened society’s power, than a greater monster developed ...
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...fact, it is the saving grace of mankind: the hope that God will save society and establish harmony and justice. The modern story takes the opposite view; it shows what happens when hope is lost, when society has nowhere to turn: it is a more pessimistic, more complicated view of humanity’s progress.
[Throughout this paper, G after a character's name refers to Gardner; AS to Beowulf the poem.]
Works Cited
Gardner, John. Grendel , New York: Vintage Books Edition, 1989.
Gardner, John. Moral Fiction. New York: Basic Books Inc, 1977.
Heany, Seamus. Beowulf: A Modern Translation. New York: Farrer, Straus, and Giroux, 2000.
Sources Cited
Cohen, Jeffrey Jerome. Monster Theory. George Washington University: www.upress.umn.edu/Books/C/cohen_monster.html, 2001.
Johnson, Tim. Grendel. New York: www.panix.com/~iayork/Literary/Grendel/grendel2.html, 2001.
For ages, humanity has always told stories of the classic struggle between man and monster. The battle between Beowulf and Grendel is a prime example of this archetype, but is Grendel only purely a monster? In his article “Gardner’s Grendel and Beowulf: Humanizing the Monster”, Jay Ruud makes a point that Grendel is a hybridization of both monster and man, particularly in John Gardner’s novel Grendel. In the poem Beowulf, Grendel is depicted as a purely evil monster who terrorizes Hrothgar and his people, but the novel provides a more humanistic backstory to the fiend. Throughout the novel, Grendel tells of his internal struggle between his thoughts of filling the role of the monster versus attempting to make amends with the humans. This conflict
He does not act like the blood hungry beast he is seen as in Beowulf. In
Grendel, a book written by John Gardner, retells the epic of Beowulf from the perspective of a lonely monster who struggles to find his purpose. By peering into the life and perspective of Grendel, Gardner encapsulates the themes of, “form is function” and nihilism vs. existentialism. These themes coincide with Gardner’s childhood. On their family farm, Gardner had a cultipacker, a machine that crushes dirt clumps and creates a smooth seedbed. One day he drove the cultipacker with his siblings Sandy and Gilbert. The engine ran out of gas and jolted on a downward incline. Gilbert was thrown out of the cultipacker. It continued to move forward as the huge machine was on an incline, crushing Gilbert’s head (Stanton). At just 12 years old, Gardner
Beowulf outlines turmoil between three opponents: Grendel, Grendel’s mother, and the Dragon. These separate discords each serve to fulfill different metaphoric purposes. Grendel’s character epitomizes the adverse persona of how an Anglo-Saxon warrior should not be. His mother represents everything that a woman during the time era should seldom be. Lastly, the Dragon embodies all the values that an Anglo-Saxon king should not dare retain. Without a doubt, the symbolic implications of the monsters in Beowulf bring the context to a new level of understanding.
There are three prominent monsters in the Beowulf text, Grendel, his mother, and the dragon. While the dragon proves to be the most fatale of foes for Beowulf, Grendel and his mother do not simply pose physical threats to the Germanic society; their roles in Beowulf are manifold. They challenge the perceptions of heroism, a sense of unrivalled perfection and superiority. Moreover, they allow the reader to reconsider the gender constructs upheld within the text; one cannot help but feel that the threat that these monsters present is directed towards the prevalent flaws in Beowulf’s world. Moreover, what makes these monsters is not their physical appearance; it is what they embody. Both Grendel and his mother have humanlike qualities yet their monstrous appearance arises from what their features and mannerisms represent. The challenge they pose to societal paradigms makes them far more terrifying to our heroes than any scaled flesh or clawing hand. These monsters provide the ‘most authoritative general criticism […] of the structure and conduct of the poem’. Their presence provides contrast and criticism of the brave society (Heaney 103).
...tory over Satan to play a central part in the spread of Christianity among the Vikings, whom looked to Odin and Thor for such attributes.
Women burning bras in the 1960’s became a sign of the Women’s Liberation movement. However, this was not the beginning of the women’s movement. This began many years earlier in the late 1800’s. In Marge Piercy’s poem, “What’s That Smell in the Kitchen,” she gives a description of what the women in the 1980’s are doing to be a part of the women’s movement. According to Bell Hooks, "Feminism is a struggle against sexist oppression. Therefore, it is necessarily a struggle to eradicate the ideology of domination that permeates Western culture on various levels, as well as a commitment to reorganizing society so that the self-development of people can take precedence over imperialism, economic expansion and material desires" (26). Piercy argues that women do not have the single goal of being servants to their husbands whether they are in the kitchen or the bedroom.
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