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Major themes of English and American literature
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Archetypes refer to the persistently recurring symbols or motifs in literature. The term itself has its origins in ancient Greek and continues to play a prominent role in analyzing literature. Archetypal images and story patterns encourage readers to participate ritualistically in basic beliefs, fears, and anxieties of their age. These archetypal features not only constitute the eloquence of the text but also tap into a level of desires and concerns of civilization. The Anglo-Saxon poem, Beowulf, translated by Seamus Heaney, integrates many of the common archetypes that still exist today. The outcast archetype is one that particularly expressed the desires, anxieties and values of the people who lived during the Beowulf era. Grendel, a character of monstrous appearance and hazily human emotion, is portrayed as the principal outsider in Beowulf. The incorporation of a banished character against his fellow society effectively expressed the anxiety and fears that the Anglo-Saxon culture felt towards seclusion and abnormality, caused by a societal absorption in family lineage and traditionalism.
The outcast archetype describes a figure or character that is rejected by a group. There is often a high level of anxiety linked with this idea, as there is a great deal more vulnerability living outside the group than there is in being an integral part of it. Grendel and his mother are elucidated as outcasts from the very beginning, being descendants from Cain. “Grendel was the name of this grim demon haunting the marches, marauding round the heath and the desolate fens; he had dwelt for a time in misery among the banished monsters, Cain's clan, whom the creator had outlawed and condemned as outcasts. For the killing of Abel the Eternal Lo...
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...n very human feelings of resentment and jealousy. Grendel was an unstable and saddened figure because of his outcast status. Though Grendel had many animal attributes and a grotesque, monstrous appearance, he seemed to be guided by vaguely human emotions and impulses. He truthfully showed more of an interior life than one might expect. Exiled to the swamplands outside the boundaries of human society, Grendel’s depiction as an outcast is a symbol of the jealousy and hate that seeks to destroy others' happiness and can ultimately cripple a civilization. This take on the outcast archetype ultimately exposes the Anglo Saxon people’s weaknesses, their doubts and anxieties towards the traditional values that bounded nearly every aspect of their life.
Works Cited
Heaney, Seamus. Beowulf: A New Verse Translation. New York: Farrar, Straus, and Giroux, 2000. Print.
“Thus I fled, ridiculous hairy creature torn apart by poetry—crawling, whimpering, streaming tears, across the world like a two-headed beast, like mixed-up lamb and kid at the tail of a baffled, indifferent ewe—and I gnashed my teeth and clutched the sides of my head as if to heal the split, but I couldn’t.” (Grendel, John Gardner, pg.44) In this moment, Grendel’s mind is split between what he understands to be The world is callous and careless, blunt and belligerent; this he knows. However, with the artistic style and formation of the Shaper’s words, he is brought to tears and is captivated by his spiritual and emotional yearnings. Grendel is also overwhelmed with disgust and shame for himself and his vile habits.
Throughout John Gardner’s Grendel, the audience bears witness to a creature who has been ostracized by the world around him. Throughout his journey, the stories protagonist tries to live out his own life the way he wants to, despite being labeled as evil by those around him. Due to this constant criticism by his peers, he develops an inferiority complex that he desperately tries to make up for as the story progresses. Throughout his development, Grendel very rapidly moves past his existentialist beginning, through a brief phase of forced skepticism, and into a severely nihilistic point of view.
The outcast, an identity relating to nearly every humanistic myth or story, represents the tragic creature Grendel. A giant beast with the intellectual equivalence of a human, Grendel lives nearly half his life before realizin...
Grendel, as a character, has a much more complex identity than just a monster and a human. Some, such as Ruud, classify him as a mixture of three different characteristics, but alone, they tend to conflict with each other. By making the connection that Grendel represents immorality, the previous idea makes more sense, while simultaneously incorporating more aspects of the character into the analysis. In either case, Grendel represents much more than meets the eye, and provides a fascinating insight into
Grendel can be characterized with the villain archetype as a result of society forcing him to become a more cold hearted and unfeeling person. In this part of
Heaney, Seamus. Introduction. Beowulf: a New Verse Translation. New York: Farrar, Straus, and Giroux, 2000. Xvii. Print.
Beowulf. The Norton Anthology of English Literature, Volume A. Ed. Stephen Greenblatt. New York: W. W. Norton & Co., 2006. 34-100.
87-91). Hearing all the jubilation that he cannot share in makes Grendel bitter. Because nothing that can be done to make Grendel’s resentfulness subside, he “[wages] his lonely war, inflicting constant cruelties on the people, atrocious hurt” (ln. 164-166) to make himself feel better. Every day he finds satisfaction in killing and eating the men who fall asleep in the hall after they have drunk and partied the evening away. Causing harm to human society is Grendel’s means of compensating for his loneliness.
The clash between good and evil has been a prominent theme in literature. The Bible presents the conflict between good and evil in the story of Adam and Eve. Many authors use the scene in the Bible in which the snake taunts and tempts Adam and Eve to take a bite of the apple of knowledge to demonstrate the frailty of humankind. John Gardner provides these same biblical allusions of good and evil in his novel, Grendel.
The presence of a bull prompts a shift in Grendel’s purpose in life from remaining obedient to his mother as a young child to being the creator of the world as he transitions into adulthood. As a young monster, Grendel motive’s coincide with his mother since she is the only person who Grendel is able to communicate with. He feels “Of all the creatures I knew, only my mother really looked at me...We were one thing, like the wall and the rock growing out from it… ‘Please, Mama!’ I sobbed as if heartbroken” (Gardner 17-19). His emotions demonstrate that as a child, he doesn’t consider himself as an individual but rather as embodying the same identity as his mother, which is further emphasized by the use of the simile. Additionally, Grendel’s use
After taking a closer look, he can be considered an anti-hero because of his noble and also realistic traits. Grendel expresses some of his humanlike qualities when he says, “Why can’t I have anyone to talk to?” (Gardner, 53). Grendel is lonely because no one can understand him. His mother does not speak his language and although he understands English, the villagers do not know what he is saying. Additionally, Grendel is an outcast because of his appearance. “The doe in the clearing goes stiff at the sight of my horridness” (7). He is misunderstood because he is a beast. Grendel looks so terrifying that it is emotionally challenging for him to always have that awful first impression with others. Furthermore, when Grendel would hear the harper’s beautiful music he would often begin to daydream joyful thoughts. When his mind would wander, he would be quickly pulled back into darkness because evil was his reality (54). Grendel lives a difficult life because he is constantly reminded that his only choice is to live a life of evil. Because he has such relatable feelings of being lonely and an outcast, this causes the reader to consider his point of view as an
"People say that what we're all seeking is a meaning for life. I don't think that's what we're really seeking. I think that what we're seeking is an experience of being alive...." Joseph Campbell made this comment on the search for meaning common to every man's life. His statement implies that what we seem bent on finding is that higher spark for which we would all be willing to live or die; we look for some key equation through which we might tie all of the experiences of our life and feel the satisfaction of action toward a goal, rather than the emptiness which sometimes consumes the activities of our existence. He states, however, that we will never find some great pure meaning behind everything, because there is none. What there is to be found, however, is the life itself. We seek to find meaning so that emptiness will not pervade our every thought, our every deed, with the coldness of reality as the unemotional eye chooses to see it. Without color, without joy, without future, reality untouched by hope is an icy thing to view; we have no desire to see it that way. We forget, however, that the higher meaning might be found in existence itself. The joy of life and the experience of living are what make up true meaning, as the swirl of atoms guided by chaotic chance in which we find our existence has no meaning outside itself.
While the monsters of the poem are the antagonists of the poem, the author still manages to make the reader feel traces of sympathy for them. Grendel’s human depiction, exile and misery tugs at the heart of readers and indeed shows a genuine side to the figure, while Grendel’s mother and the dragon are sympathetic mainly because they were provoked into being attacked over things they both had a deep affection for. Their actions make us question whether they are as evil as they seem.
Grendel is the embodiment of all that is evil and dark. He is a descendant of Cain and like Cain is an outcast of society. He is doomed to roam in the shadows. He is always outside looking inside. He is an outside threat to the order of society and all that is good. His whole existence is grounded solely in the moral perversion to hate good simply because it is good.
The origin of Beowulf remains a mystery, as both the poet and the year of composition has eluded scholars for centuries. Although "[it] is now widely believed that Beowulf is the work of a single poet who was Christian . . ." (preface, Heaney 29), I see Beowulf as a mosaic of many poets. In this paper, I will argue that with each new translation of this Old English epic, a new author of Beowulf is born. The twenty-first century poet Seamus Heaney, who translated the Beowulf on which this paper is based, injects aspects of his world into this ancient poem. Published in the year 2 000, the inconsistency of this most modern text reveals the messy masterpiece Beowulf is today. I believe that throughout the ages, Beowulf has been altered by each generation it touches. I will provide evidence that the Anglo-Saxon orators, the Christian monk recorders, and the modern-day translators have all contributed to both the conservation and change of Beowulf.