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English analysis of British
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“The Dream of the Rood” is a prime example of Christian influence upon Anglo-Saxon heroism. It is a religious short story that recounts the crucifixion of Christ communicated from Christ’s rood to an unnamed visionary. The crucifixion of Christ is depicted as the ultimate act of heroism. However, it is via Anglo-Saxon tradition that Christian ideology manages to influence the definition and imagery of Anglo-Saxon heroism. In “The Dream of the Rood” Christ is an Anglo-Saxon hero. An Anglo-Saxon hero is valiant, strong or mighty and not frightened when in the face of death. An Anglo-Saxon hero can also be a savior to his people. In “The Dream of the Rood” Christ is valiant, strong and not frightened when confronted by death. Christ is also a savior. These topics represent Christianity’s influence on Anglo-Saxon heroism. Through symbolism, Christian principles influence Anglo-Saxon heroism and therefore ecclesiastics were able to manipulate Anglo-Saxons into believing that to be gallant is to be Christian. “The Dream of the Rood” is a paradigm for Christian influence upon Anglo-Saxon heroism.
An Anglo-Saxon hero is courageous and brave in battle. He is the leader of his army and he is their driving force, for ultimately, it his he who will have to fight for his people. In “The Dream of the Rood” Christ is valiant. He is illustrated as a young hero fighting to save his people from their enemy, their enemy being sin. In “The Dream of the Rood” “God himself, threw off His garments, determined and brave.” God is throwing off his clothes in preparation for his battle with death. God throwing off his clothes represented his courage and his readiness. He is not hesitant and does not back down from death. This is a quality that Anglo-Sax...
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...ads to the acceptance of Christianity as a religion by the Anglo-Saxon people. The Anglo-Saxon culture is influenced by Christianity because Anglo-Saxon heroism is influenced by Christianity, proving that heroes were the nucleus of Anglo-Saxon culture. Christ, who is able to conquer not only sin, but death as well, in his resurrection became the ultimate Anglo-Saxon hero. In “The Dream of the Rood” the visionary, after hearing the rood’s account of Christ’s crucifixion, renews his hope and faith, making him an example of the typical Anglo-Saxon, who listened to the story of Christ and is inspired by it, thinking that Christ is an Anglo-Saxon hero. He realizes his role in salvation history and tries to become one of God’s people. It is because of all these elements that “The Dream of the Rood” is an outstanding archetype of Christian influence on Anglo-Saxon heroism.
It will be the contention of this paper that much of Tolkien's unique vision was directly shaped by recurring images in the Catholic culture which shaped JRRT, and which are not shared by non-Catholics generally. The expression of these images in Lord of the Rings will then concern us.
Nearly everyone is familiar with the character of Christ. While understandings of Christ as a figure of faith may vary, he is universally recognized as a historical figure. The world knows that Christ was called “Son of God,” he called people to love, and he died a painful death on the cross. He has become such an important figure that images of him show up frequently in literature. Thomas Foster, author of How to Read Literature Like a Professor, outlines a wide range of characteristics common in Christ-like figures. In his list of descriptors, Foster suggests characters might be Christ figures if they have wounds reminiscent of the crucifixion, suffer in agony, or are self-sacrificing—and this is only the beginning of his list (126). Readers repeatedly identify Christ figures in literature, both because of the well-known characteristics Foster describes in his chapter on Christ figures and because readers find them through their own understandings. In Yu Hua’s
A building is ablaze and a crowd of people stare helplessly from the streets, listening to screams coming from within. A single person runs in to rescues whomever he or she can find. Whether or not that person emerges with a child in their arms, empty handed, or not at all, does nothing to alter our society’s perception of their heroism. Today’s society would classify such an action as heroic, regardless of outcome, for one reason: intentions. During Anglo-Saxton times the interpretation of such an act, based on the tale Beowulf, would not be so understanding of what was intended, but rather of the outcome. If one perished and failed in an attempt of such a heroic act words like weakness might arise. It is here that the clash of what a hero is occurs between the Anglo-Saxton tale Beowulf and John Gardner’s Grendel. Beowulf in Beowulf is a hero for he defeats evil and restores order to and for the common people. Unferth in Grendel however is unsuccessful in his campaign against evil, but like the man who emerges empty handed he is by no means any less of a hero. For heroism, as demonstrated in the Anglo-Saxton tale Beowulf, is altered in Gardner’s Grendel to convey the idea that intentions define a hero as opposed to actions.
Depicted is a scenario relatable to Beowulf’s actions. Kevlar is a military man who defends his people through battle and experiences events uncommon in an ordinary man or woman’s everyday life. One specific experience includes continuously fighting in dangerous battles to prevent people from more harm. Saving lives and defending his people while risking his own life is a large element of heroism. Kevlar is Joseph Campbell’s definition of a hero in Joseph Campbell and the Power of Myth by finding, achieving, or doing something greater than himself, in this case, the possible loss of his life to ensure his people 's safety. It is not easy to act on something such as Kevlar’s job, which leads to why he is perceived as a hero. But frequently
The clear definition of a hero is often open to interpretation and has never been clearly defined. In the translation of the epic poem Beowulf by Seamus Heaney, it is often debated whether the main character Beowulf is actually a hero or not. Beowulf displays hero-like characteristics through his bravery, loyalty, brute strength, confidence and protective nature. He is a crystal clear example of an Anglo-Saxon hero in his time period. In the present day he should be considered a hero as well. He displays heroism through his fights with Grendel, Grendel’s mother and the dragon while managing to protect his people and eventually sacrifice himself.
Heroes are found in every work of art. Whether it is in the television shows we watch, the movies we go to see, the poems and stories we learn about, the books we read, there is always someone or something defined as the hero of that piece. Is the hero always the good guy who defeats the evil? Or is it something more, something more meaningful. Not every story line has a good vs. evil and not every story has a defined l hero, but does that mean there is not heroism in those works? Heroism isn’t a list of actions or characteristics that someone or something could have. It is the morals behind every action, the attitude that defines the characteristics of the person; it is the person thinking about others before himself, the courage someone or something has to brace something difficult, the bravery of the hero when it comes face to face with a problem. In the readings Beowulf, Act of Courtly Love and The Wife of Bath from The Canterbury Tales heroism isn’t very present in all three. It shows itself more loudly then in some than others. Heroism is shown in different ways in all three readings.
There are many traits that are possessed by those who seek heroism. Whether it is in real life or in fiction, every hero desires these character traits in the past, present, and future. IN my opinion, the two traits that are most prominent in the poem Beowulf are bravery and goodness.
Pagan concepts are intertwined in this work, as is the nature of the time period. Fame was very important. Receiving status allowed one to prosper in this time and receive the best out of their life. Beowulf is enthralled with the idea of fame as he fights Grendel, but it is balanced out and reconciled with Christianity by his desire to protect his people. Vengeance was brought out when Beowulf tells Hrothgar to not grieve and that “It is always better to avenge dear ones than to indulge in mourning” (72 Simpson & David). Honor is disregarded when Beowulf’s men leave him to fight with the dragon. Wilgaf shames them and it can be inferred that they will be disregarded as warriors and nobles for their behavior. Protecting one’s master was essential during that time to receive food and shelter, in addition to having the Gods’ favor (Lawson). Christianity makes an appearance when it references the antagonist, Grendel, “a fiend out of hell” (43 Simpson & David) and the protagonist, Beowulf, whom the “Holy God, in His goodness, guided…to the West-Danes, to defend [Hrothgar and his subjects] from Grendel” (49 Simpson & David). Christianity was a prominent influence for authors of the Anglo-Saxon time period. The Christians had faith in God’s ability to determine their fate. If they lost a contest then God has decided they are not worthy of winning. Every day they will try to prove they are holy enough to have God’s grace and be saved from eternal damnation. The literature written was a reminder to the people to always do what is right and to avoid sinning. Because the only people who could write were priests, religion was added into stories when they were written and when previous works were transcribed. The presence of the church was ever present to ensure the obedience of the people. If all they were exposed to was religion that
Another way that an Anglo-Saxon warrior shows their love of glory is shown br Christopher Garcia: “A hero must be willing to die to achieve glory” (The Anglo-Saxon Hero). With this being said the warriors are to put everything on the line to achieve the ultimate amount of glory. Which is to die for one’s country or kingdom. These are just a few out of many ways Beowulf shows the Anglo-Saxon love of glory.
Literature all through history uses symbolism to portray different ideas, religions, and beliefs. Throughout Beowulf symbolism is used both to reinforce the importance of religion and to impress the values of the Anglo Saxons upon the reader.
The Chronicles of Narnia are veritably the most popular writings of C.S. Lewis. They are known as children’s fantasy literature, and have found favor in older students and adults alike, even many Christian theologians enjoy these stories from Lewis; for there are many spiritual truths that one can gleam from them, if familiar with the Bible. However, having said this, it is noteworthy to say that Lewis did not scribe these Chronicles for allegorical didactics of the Christian faith, but wrote them in such a well-knit fashion that young readers might understand Christian doctrine through captivating fantasy and thus gain an appreciation for it. With this in mind, and in the interest of this assignment, the purpose of this paper is an attempt to analyze one of the many doctrines of the Christian faith from The Lion, The Witch, And, The Wardrobe (LWW), namely, temptation and how Lewis illustrates it through an individual character, Edmund.
The image of Jesus nailed to a wooden cross by the palms of his hands and with a crown of thorns wrapped around his head is one that has transcended all time barriers. It has inclusive been replicated into figure form that is utilized in various ways but whose primary function is to serve as a constant reminder of the physical suffering endured by Jesus. In The Dream of the Rood however, the perception of Jesus Christ as not only the son of God and savior of mankind but also as a human with the capacity to feel pain, is subverted when through the perspective of a personified cross he is conveyed as a warrior in the midst of combat. The portrayal of Jesus in this way immediately evokes the image of an ideal stereotypical hero who is strong, courageous, and unrelenting in appearance. Nevertheless, it can be said that this type of hero is more inclined towards fantasy than it is based on reality because these idealized heroic figures have only ever truly existed in a fictional universe. The depiction of Jesus as a warrior thus, undermines forms of heroism that stem from explicit suffering that is not concealed but rather expressed by the individual.
... Religious Concept, with Special Reference to Medieval English Literature. East Lansing, MI: Michigan State College P, 1952.
The 8th century epic poem Beowulf illustrates a loss of community, cultural values and tradition. On the other hand, an elegiac passing of an extraordinary hero and the relationship between the themes of mortality and heroism are well discussed in Beowulf. Beowulf’s character exemplifies the Germanic and the Anglo-Saxon ideals of the hero: strong, fearless, bold, loyal, and stoic in the acceptance of fate. Despite his lack of humility, Beowulf was the definition of a hero in his own time by his demonstration of chivalry and his important roles in society.
Sometimes the warriors looked to the devil for help, which tells the reader Christianity was not the only religion practiced in the early centuries.