Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Main themes of beowulf
The themes in beowulf
Beowulf as an allegory of salvation
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Main themes of beowulf
The Themes of Beowulf
George Clark in “The Hero and the Theme” comments on his insights into the theme of the Old English poem Beowulf:
The poem opens with an illustration and assertion that success is achieved only by praiseworthy deeds and closes commending the hero’s pursuit of fame. . . .The poem’s creation of Beowulf gives its theme ethical force. . . .The poem’s three great stories lead the audience from an assured vision of a benevolently ordered world to the existential world of its minor stories where only the heroic will can achieve a lasting value, the memory and fame of praiseworthy deeds (271).
This essay will treat some of the many interpretations concerning the themes of the poem.
Interpretations of Beowulf ‘s theme vary widely. Ian Duncan in “Epitaphs for Aeglaecan: Narrative Strife in Beowulf” states his interpretation for the main theme in the poem:
Arguments for any interpretation of Beowulf have therefore described discursive configurations within the poem which have then been projected outside it to map, explicitly or otherwise, such a context of tradition, genre, ethos, Weltanschauung. The trouble is that the less aware the critic that this is his procedure, the more likely is he to be not “finding” but forming those very intratextual orders by projecting into the poem his own historical assumptions or the contemporary ideological and generic habits of his own reading. . . .Perhaps the central interpretive claim for B is that the monsters are “evil” and the hero “good,” and that the poem is articulated by a thematic conflict between good and evil. . . . (111-112).
H. L. Rogers in “Beowulf’s Three Great Fights” expresses his opinion as a literar...
... middle of paper ...
...rle, John. “The Conflicting Demands of Heroic Strength and Kingly Wisdom.” In Readings on Beowulf, edited by Stephen P. Thompson. San Diego: Greenhaven Press,1998.
McNamee, M. B. “Beowulf – an Allegory of Salvation.” In An Anthology of Beowulf Criticism, edited by Lewis E. Nicholson. Notre Dame, IN: University of Notre Dame Press, 1963.
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.
Shippey, T.A.. “The World of the Poem.” In Beowulf – Modern Critical Interpretations, edited by Harold Bloom. New York: Chelsea House Publishers, 1987.
Tolkien, J.R.R.. “Beowulf: The Monsters and the Critics.” In Beowulf – Modern Critical Interpretations, edited by Harold Bloom. New York: Chelsea House Publishers, 1987.
Chadwick, H. Munro. “The Heroic Age.” In An Anthology of Beowulf Criticism, edited by Lewis E. Nicholson. Notre Dame, IN: University of Notre Dame Press, 1963.
In Tolkien’s lecture, “Beowulf: The monsters and the Critics,” he argues that Beowulf has been over analyzed for its historical content, and it is not being studied as a piece of art as it should be. He discusses what he perceives the poet of Beowulf intended to do, and why he wrote the poem the way he did. Tolkien’s main proposition, “it was plainly only in the consideration of Beowulf as a poem, with an inherent poetic significance, that any view or conviction can be reached or steadily held” (Tolkien). He evaluates why the author centers the monsters throughout the entire poem, why the poem has a non-harmonic structure, why and how the author fusses together Christianity and Paganism, and how the author uses time to make his fictional poem seem real. He also discusses the overall theme of Beowulf and other assumptions of the text. To support his viewpoints, Tolkien uses quotations and examples from the poem, quotations from other critics, and compares Beowulf to other works of art. Tolkien discusses several statements in interpreting Beowulf as a poem.
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.
Damrosch, David, and David L. Pike. “Beowulf.” The Longman Anthology of World Literature, Compact Edition. New York: Pearson, Longman, 2008. 929-970. Print.
Schucking, Levin L. "The Ideal of Kingship in Beowulf." In An Anthology of Beowulf Criticism, edited by Lewis E. Nicholson. Notre Dame, IN: University of Notre Dame Press, 1963.
Beowulf. The Norton Anthology of English Literature, Volume A. Ed. Stephen Greenblatt. New York: W. W. Norton & Co., 2006. 34-100.
The second classic criticism of Utilitarian Principle is that Mill’s dichotomy of higher and lower pleasures create the need to calculate the happiness derived from each category of pleasures. This has left critics asking “Is a dissatisfied Socrates better off than a satisfied fool?” In response, Mill says that people learn to distinguish physical (or lower) pleasures from mental (or higher) pleasures with training. We possess the tendency to favor the higher pleasures, as we are human beings rather than mere
Wright, David. “The Digressions in Beowulf.” In Readings on Beowulf, edited by Stephen P. Thompson. San Diego: Greenhaven Press,1998.
Encyclopedia Britannica Films, Inc., Despotism: An Erpi Classroom Film, Web Video. Produced by Encylopedia Britannica Films, Inc., Harold D. Lasswell. (United States: 1946)
John Stuart Mill argues that the rightness or wrongness of an action, or type of action, is a function of the goodness or badness of its consequences, where good consequences are ones that maximize the greatest amount of happiness for the greatest number of people. In this essay I will evaluate the essential features of Mill’s ethical theory, how that utilitarianism gives wrong answers to moral questions and partiality are damaging to Utilitarianism.
John Stuart Mill claims that people often misinterpret utility as the test for right and wrong. This definition of utility restricts the term and denounces its meaning to being opposed to pleasure. Mill defines utility as units of happiness caused by an action without the unhappiness caused by an action. He calls this the Greatest Happiness Principle or the Principle of Utility. Mill’s principle states that actions are right when they tend to promote happiness and are wrong when they tend to produce the reverse of happiness. Happiness is defined as intended pleasure and the absence of pain while unhappiness is defined as pain and the lack of pleasure. Therefore, Mill claims, pleasure and happiness are the only things desirable and good. Mill’s definition of utilitarianism claims that act...
Feminists shouldn’t bash other because they use different methods of obtaining empowerment and equality, but rather embrace what they have to bring to the table. Instead of scoffing at other’s tactics, feminists should “choose their weapon” and use their own strategy to reach equality and create change.
Then between August and October in 1717 Stede Bonnet who was at the time one of the worst pirates sailed up to the harbour of Nassau and luckily Blackbeard was there at the same time they were. The crew then begged that B...
Beowulf. Holt elements of literature. Ed G Kylene Beers and Lee Odeel. 6th ed. Austin: Holt, Rinehart, and Winston, 2008. 21-48. Print.
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).