Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Themes in old english epic beowulf
Beowulf symbolism essay
Beowulf comparison to the monsters
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Themes in old english epic beowulf
Monsters run free in epic poems of centuries far past; horrific, villainous creatures of fantasy who illustrate all that is bad in the world and stand for the tribulations the epic hero much overcome. The Anglo-Saxon epic Beowulf is no different. Some are born of, and in turn give birth to legends, such as the fire-breathing dragon, while others are tied to the bible. In studies, Beowulf's monsters are explained and will continue to be analyzed as symbolic of countless different ideas. In relation to each other and the epic's hero, the monsters of Beowulf represent the ever-present flaws of humanity and the monstrous feelings or behaviors that over take the mind in a moment of weakness, leading to eventual downfall.
Like all monstrous creatures, Grendel is introduced as being unnatural, a demon, a “prowler through the dark” (86). As a demon, Grendel is of biblical origin, or perhaps was given the biblical genealogy of the House of Cain in a later christian re-adaptation of the “pagan” story. Being of the line of Cain, Grendel exhibits direct lineage in his mirroring of Cain's fatal downfall: jealousy. For having killed his own brother Abel out of pure jealous rage, Cain's clan was banished by the Creator, who “had outlawed /and condemned [his descendents] as outcasts” of society to reside only in the miserable company of other monsters (106-7). IN a world where the mead hall was the center of society and the source of both wealth and community, Grendel is left on the outskirts and unwelcome within the warm walls. For years, he lurked alone, hearing “the din of the loud banquet … in the hall” (88-9), pacing in the marshes night after night, forced to listen to the music, the stories, the laughter taunting him, until he ...
... middle of paper ...
... see before he dies, bidding Wiglaf to bring him his share, so he might feast his eyes one last time (2745-2750).
However, where as the monsters of the text are viewed as evil forces of man's downfall, Beowulf is honored in death. Perhaps instead of maintaining the christian influence of the soul being the sum of the actions and salvation being achievable through repentance alone, the anonymous writer aspires to the idea of a balance between the good and bad within a person. A pendulum of sorts swings betwixt the two, creating a belief system where, if one's goodness throughout their life outweighs their bad, they are good and honorable and free of the downfall of the monsters they have faced.
Works Cited
"Beowulf." The Norton Anthology of English Literature. Ed. Stephen Greenblatt and M. H. Abrams. 8th ed. Vol. 1. New York: W.W. Norton, 2006. 34-100. Print.
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.
Francis, Erik Max. Beowulf. From The Harvard Classics. Volume 49. P.F. Collier & Son, 1910. Etext version by Robin Katsuya-Corbet. Online. Internet. November 26, 1998. Available HTTP: http://www.alcyone.com/max/lit/beowulf/
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.
"Beowulf." U*X*L Encyclopedia of World Mythology. Vol. 1. Detroit: UXL, 2009. 177-182. Gale World History In Context. Web. 27 Sep. 2011.
Beowulf. Norton Anthology of World Masterpieces. Expanded Edition Volume 1. ED. Maynard Mack et al. New York: Norton, 1995. 1546-1613.
He is described as a monster, demon, and a fiend. Grendel has swift, hard claws, and enormous teeth that snatch the life out of his victims, which are numerous. This “shadow of death” not only kills; he drinks the blood of his prey. His forefather, Cain, was also known for this fiendish act. Just as Grendel is an outcast, so Cain was cast out of the Garden of Eden. To the Anglo-Saxons, the worst crime a person could commit was the crime of fratricide, the killing of one’s own brother. Their society and culture was structured around themes of brotherhood and kinship. The mead Hall, Herot, was a symbol of peace. It was a place where warriors gathered in a spirit of brotherhood and harmony to celebrate. Grendel was jealous and enraged by the festivities and the sound of laughter that he kept hearing while he was alone in his mere.
Crossley-Holland, Kevin, trans. Beowulf The Fight at Finnsburh, edited by Heather O’Donoghue. New York: Oxford University Press, 1999.
Beowulf. The Norton Anthology of English Literature, Volume A. Ed. Stephen Greenblatt. New York: W. W. Norton & Co., 2006. 34-100.
The epic poem, Beowulf, depicts the battles and victories of the Anglo-Saxon warrior Beowulf, over man-eating monsters. The noble defender, Beowulf, constantly fought monsters and beasts to rid the land of evil. The most significant of these monsters, Grendel, represents Beowulf's shadow, the Jungian archetype explored in the essay collection, Meeting the Shadow.
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.
Abrams, M.H., ed. Beowulf: The Norton Anthology of English Literature. New York: W.W. Norton & Company, Inc., 2001.
In Beowulf the concept that good and evil are constantly contending is one of the most central themes to the epic. The poet makes it expressly evident that good and evil cannot exist without the other, for there would be no way of determining which was which. The religious undertone in Beowulf that God is intervening on the side of good is apparent in many of the battles fought, allowing Beowulf to prevail where someone evil could not have. Literature has questioned, for centuries, why God would have created a creature such as Satan to cause and teach evil, and what purpose He had for human life. Beowulf stretches itself to answer this question by showing that good cannot be known without a present evil.
“Beowulf.” Trans. Suzanne Akbari. The Norton Anthology of World Literature. 3rd ed. Vol. B. New York: W.W. Norton, 2012. 112-82. Print.
We live in a world where creatures have abilities that can blow our minds, however we are ignorant of this. We live in a world where a constant power struggle is occurring between these secret species, a struggle that most human beings have no inclination of. We live in a world where people who know the truth are sworn to secrecy, and those proclaim this truth are considered crazy and locked away; to be sane is to be ignorant. Well, that is what I would love to be true. In actuality, I am fascinated with the topic of monsters; I love them all: lycanthropes, Frankenstein’s monster, witches, fae, necromancers, zombies, demons, mummies, and my favorite: vampires. This fetish has been manifested in the movies I view, the televisions shows I watch, and the books I read. When my obsession with reading is crossed with my obsession with monsters the result is a bookshelf containing more vampire novels than most people would consider healthy. I have discovered that every vampire novel varies vastly; no two books are ever alike. For example, the Twilight Series, the Anita Blake Series and the Vampire Chronicles Series have different legends and lore, different relationships between vampires and society, and different genres, theme, and purpose; this array of novels display most clearly the range of audience for vampire genre can cater.