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The Conflicts of Beowulf
George Clark in “The Hero and the Theme” make reference to an interior conflict within the Beowulf hero himself, and how the hero appears to lose this conflict:
Although a strong critical movement followed Klaeber in taking Beowulf as a Christian hero or even Christ figure, the most numerous and influential body of postwar critics, including Margaret Goldsmith (1960, 1962, 1970), read the poem as faulting the hero for moral filures according to one or another Christian standard of judgment (see also Bolton 1978). The poem became a neo-Aritotelian tragedy in which the hero’s flaw could be identified as a sin, greed, or pride (279).
The conflicts of Beowulf are both external and internal, and are quite numerous. Conflict is how one describes the relationship between the protagonist and antagonist in a literary work (Abrams 225). There is also another type of conflict which Clark describes above and which takes place within the mind and soul of a given character.
H. L. Rogers in “Beowulf’s Three Great Fights” expresses his opinion as a literary critic regarding conflicts in the poem:
The superhuman forces are Fate, the heathen gods, or the Christian God; conflicts between them and the hero’s character are frequently found. . . .The treatment in the three great fights of the motives of weapons, treasure and society implies a moral idea in which the poet believed: that a man should not trust in the things of this world, for they will fail him. Another aspect of this idea comes out clearly in the account of the first fight: that a man should trust rather in God and in the natural powers God gives him, for these will not fail him(234-37).
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...om The Harvard Classics, Volume 49. P.F. Collier & Son, 1910.
Translated by Francis B. Gummere. http://wiretap.area.com/ftp.items/Library/Classic/beowulf.txt
George Clark in “The Hero and the Theme” In A Beowulf Handbook, edited by Robert Bjork and John D. Niles. Lincoln, Nebraska: Uiversity of Nebraska Press, 1997.
Clover, Carol F. “The Unferth Episode.” In The Beowulf Reader, edited by Peter S. Baker. New York: Garland Publishing, 2000.
Ogilvy, J.D.A. and Donald C. Baker. “Beowulf’s Heroic Death.” In Readings on Beowulf, edited by Stephen P. Thompson. San Diego: Greenhaven Press,1998.
Clark, George. Beowulf. Boston: Twayne Publishers, 1990.
Rogers, H. L. “Beowulf’s Three Great Fights.” In An Anthology of Beowulf Criticism, edited by Lewis E. Nicholson. Notre Dame, IN: University of Notre Dame Press, 1963.
Bloom, Harold. “Introduction.” In Modern Critical Interpretations: Beowulf, edited by Harold Bloom. New York: Chelsea House Publishers, 1987.
Clark, Gorge. “The Hero and the Theme.” In A Beowulf Handbook, edited by Robert Bjork and John D. Niles. Lincoln, Nebraska: Uiversity of Nebraska Press, 1997.
When all things are considered, one can see the colonies didn't always agree with the way England handled things, in the area of religion, economics, politics, and social structure. Through their determination to obtain a better life for themselves, they ventured away from England and created their own nation over time.
Damrosch, David, and David L. Pike. “Beowulf.” The Longman Anthology of World Literature, Compact Edition. New York: Pearson, Longman, 2008. 929-970. Print.
Shippey, T.A.. “The World of the Poem.” In Beowulf – Modern Critical Interpretations, edited by Harold Bloom. New York: Chelsea House Publishers, 1987..
Shippey, T.A.. “The World of the Poem.” In Beowulf – Modern Critical Interpretations, edited by Harold Bloom. New York: Chelsea House Publishers, 1987..
Beowulf. The Norton Anthology of English Literature, Volume A. Ed. Stephen Greenblatt. New York: W. W. Norton & Co., 2006. 34-100.
Wright, David. “The Digressions in Beowulf.” In Readings on Beowulf, edited by Stephen P. Thompson. San Diego: Greenhaven Press,1998.
Abrams, M.H., ed. Beowulf: The Norton Anthology of English Literature. New York: W.W. Norton & Company, Inc., 2001.
“Beowulf.” Elements of Literature 6th Edition Ed. Kylene Beers, et al. Austin, Tx: Holt, 2009. 23-49. Print.
The punk genre and age was born in 1977 in the United States and Britain. Punk was born in a time of a failing economy, mass unemployment, a malfunctioning government, racial strife and a time when new possibilities seem unavailable. This new type of music appeared to come from a subculture that was angry. The philosophy of this music came from anger, disillusionment, deviance, violence, and hopelessness. The idea of no future became a present concept in many songs. This scene began "as a backlash against disco and pop and progressive rock" (Morrison 2006,).
i. I’ve been listening to punk since as early as the 5th grade. “Punk” (make quote sign) is a term applied to a child or teenager who acts in an antisocial way. Punk music is a form of rebellion, and it turned against all other musical forms and influences at its time of creation. Punk music is as much cultural as it is musical. It is anarchic, against society, and against everything in established order.
American punk seemed lazy by comparison. It was sarcastic where the English version was more violent; the British pushed one step further, thus gaining more recognition.
Beowulf. Holt elements of literature. Ed G Kylene Beers and Lee Odeel. 6th ed. Austin: Holt, Rinehart, and Winston, 2008. 21-48. Print.