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Symbolism in the epic story Beowulf
Symbolism in the epic story Beowulf
Literary elements in beowulf
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Many historians and Beowulf critics interpret orally recounted history as a long chain of a high stake telephone game where historic value balances on a crumbling foundation—spoken word. Historians usually can not rely on an unidentified speaker, and in epics like Beowulf, the mention of mythical creatures often dub the literature as ahistorical. In actuality, Beowulf can be read as an accurate historical account if one interprets it as orally retold history structured to endure the test of time with action and allegory. By scrutinizing Beowulf’s allegories, one can unveil the history within the folklore. The narrator of Beowulf uses over-exaggerations, heightened speech, and symbolic creatures to recount Geatish history and cultural views …show more content…
An important but oft overlooked historical aspect of Beowulf is the history of the ancient, noble civilization that once mined and owned riches but had perished in war (Heaney 89-90). The parallels between the ancient civilization and the Geats foreshadow the destruction of the Geatish people. The Beowulf narrator uses allegories to craft oral history and draw parallels between the Geats and Danes, the ancient civilization and Geatland, and the two banes Beowulf battles, therefore providing insight into the history of ancient complex societies possibly predating the Geats and detailing ancient worldviews concerning the cyclicity of history.
Often, the purpose of learning and retelling history is to understand the past, comprehend why mistakes were made, and preserve historical themes. In pre-writing eras, in order to recall history, it would have been
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For example, the dragon, the “old harrower of the dark,” represents a dark, demonic force who seeks “heathen gold,” which is basically corrupted gold used for men’s selfish purposes (2271, 2276). When the dragon torments the Geats after the slave steals the cup, Beowulf thinks he may have “thwarted ancient ordinance of the eternal lord,” and because the hoard could only be touched by one whom “God Himself...allowed some person pleasing to Him—and in His eye worthy—to open the hoard,” therefore, the slave must have been God’s tool to open the hoard and unleash the dragon upon the Geats (2329-2331). Beowulf had, in some way, been led off the kingly path and disturbed God, whom he had served fifty winters ago in the fight with Grendel, Cain’s descendant. Although there are many fictional aspects from Germanic folklore which the narrator pulls from, such as the dragon guarding a hoard, the mention of the ancient, rich civilization defeated by war prior to Geatland isn’t outlandish or inflated. The narrator uses the image of the last survivor of the ancient civilization wandering the earth alone to draw a parallel between himself and this last survivor, both who were the “only one[s] to tell the
Frank, Roberta. “The Beowulf Poet’s Sense of History.” In Beowulf – Modern Critical Interpretations, 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.
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.
While the classic battle between good and evil forces is a major theme of the medieval epic Beowulf, one may question whether these good and evil forces are as black and white as they appear. Scholars such as Herbert G. Wright claim that “the dragon, like the giant Grendel, is an enemy of mankind, and the audience of Beowulf can have entertained no sympathy for either the one or the other” (Wright, 4). However, other scholars such as Andy Orchard disagree with this claim, and believe that there is “something deeply human about the ‘monsters’” (Orchard, 29). While Grendel, Grendel’s mother, and the dragon are indeed portrayed as evil and violent foes, there are parts within Beowulf that can also lead a reader to believe that the “monsters” may not be so monstrous after all. In fact, the author of Beowulf represents the “monsters” within the poem with a degree of moral ambivalence. This ambivalence ultimately evokes traces of sympathy in the reader for the plight of these “monster” figures, and blurs the fine line between good and evil within the poem.
He mentions that Grendel may have been a descendent of Cain. Beowulf’s sacrifice for his people in the end has also been compared to Jesus’s sacrifice. On several occasions, characters in the story thank God or reference God in what was originally written as a Pagan myth. This again contributes to the cyclical nature of the story, but this time, the moods are different. The tower at the beginning is a symbol of grandeur and the beginning of an era whereas the tower at the end has a more melancholic meaning and marks the end of an era. Fire and Water seem to be represented the most throughout the story, mostly to convey the setting as eery and dangerous. Earth and Air are both mentioned, but less frequently and mainly by happenstance. If any section of the epic was missing, it may have been an aftermath. Wiglaf’s rule and the reaction of the people to King Beowulf’s death was nondescript and abrupt. I feel that the ending may not have done justice to the exciting and noble life that Beowulf had lived, so maybe there was more that had simply gotten lost, leaving the story to end as shortly as it did. They did discuss Beowulf’s funeral, but very briefly and without
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.
Beowulf is an interesting story in that it has a meaning that is firmly rooted in fantasy creatures based in mythical origins while providing insight into religious ideals and practices of the time. It also speaks of tradition and the struggle of man against things perceived as evil. In this tradition especially, Beowulf is an incredible allegory regarding the struggle of good and evil in the Christian tradition.
“Anyone with gumption/ and a sharp mind will take the measure/ of two things,” states one of the Danish warriors in Beowulf: “what’s said and what’s done” (287-289). Beowulf is, above all, a poem about language, about storytelling: the stories told of the great ones, and the stories the great ones hope will be told about themselves. It is a poem about the importance of boasting and vows, the power of the word made flesh, and the crucial link between worda ond worca, “what’s said and what’s done.” The bulk of the poem's content does not concentrate on what is happening in the present action of the tale, but on the telling what has happened and what will happen. Through language, the Danes and the Geats state their intentions and define themselves as a people; they recall the past exploits that shape the present, and "a battle-scarred veteran, bowed with age,/ would begin to remember the martial deeds/ of his youth and prime and be overcome/ as the past welled up in his wintry heart" (2112-2115). Stories of times gone by and boasts of past accomplishments link the characters to their past; vows of deeds to come and the promise of glory after their deaths help to carry them into the future. As parallels between the past and the present are constantly drawn, the heroes use the example of earlier warriors in hopes of accomplishing the great deeds that will win them similar renown.
Anglo Saxon’s history is well known for their loyalty, courage and bravery. Beowulf our protagonist is symbolized as a hero, who represents the Anglo Saxons at the time. Beowulf earns his fame and respect through battling creatures nobody else would want to face. These creatures symbolize the evil that lurks beyond the dark. Beowulf’s intense battle with these creatures’ symbolizes the epic battle of good versus evil. In the end good triumphs over evil but one cannot avoid death. Beowulf’s death can be symbolized as the death of the Anglo Saxons. Beowulf’s battle through the poem reflects the kind of culture that the Anglo Saxons had. The youth of a warrior to his maturity then the last fight which results in death. Beowulf wanted to be remembered and be told in stories that are passed on from generation to generation after his death. These story tellers relate to the Anglo Saxons time when they told stories about their great heroes.
Beowulf is an epic poem that, above all, gives the reader an idea of a time long past; a time when the most important values were courage and integrity. The only factors that could bestow shower fame upon a person were heroic deeds and family lineage. Beowulf, as the paradigm of pagan heroes, exhibited his desire to amass fame and fortune; the only way to do so was to avenge the death of others. This theme of retribution that is ever present throughout the poem seems to color the identities of its characters.
The hero of Beowulf, one of the oldest written Germanic epics, is a leader of the Geats and a hero unlike all others before him. He is able to conquer foes that no one else can, and he charges into every battle with the full force that he can muster, without any of the encumbrances that others may have. His greatest desire is fame and glory, and he performs whatever difficult tasks he believes will bring him closer to that goal. Beowulf’s quest for power drives him to seek fame by challenging Grendel, Grendel’s mother, and finally a giant dragon that causes his death. Though Beowulf’s strength and courage lead him to power and its accompanying responsibility, the power that he accumulates has negative consequences for those who rely on him. This very thirst for power is Beowulf’s fatal flaw, causing him to ignore his duties towards his people and leave his kingdom unprotected and vulnerable; however, it also serves as the force that allows him to accomplish unbelievable feats.
Another effect of what are called the ‘historical elements’ in Beowulf – the subsidiary stories of the Danes and the Geats – is to give the poem greater depth and verisimilitude. Hrothgar, the Danish king, is a ‘historical character, and the site of his palace of Heorot has been identified with the village of Leire on the island of Seeland in Denmark. The Geat king Hygelac really existed, and his unlucky expedition against the Franks, referred to several times in the poem, is mentioned by Gregory of Tours in the Historia Francorum and has been given the approximate date of AD521 (127).
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).