A common formula for the dragon-slaying myth is present among the descendants of the Proto-Indo European language. This formula first consists of a single male protagonist, typically of higher social status, that is almost always described as a “dragon slayer”, with a special weapon and a companion (Watkins 302, How to Kill a Dragon), and is specific in wording, by virtue of being spread via oral tradition (303). Secondly, in the myth, the dragon, usually many-headed, is described as either causing some great conflict or hoarding something of great value, in many cases both. Next, the protagonist is sent on a quest, either by command or through personal choice to battle against the dragon. Lastly, the protagonist defeats the dragon and recovers the items that had been previously hoarded.
This Proto-Indo European formula can be illustrated through the Russian myth of Dobrynya Nikitich and his encounter with a she-dragon. In the story, Dobrynya, a Bogatyr (knight of holy Russia), finds himself embroiled in a conflict with a she-dragon (Kennedy 170, European Myth & Legend). From this description it is already apparent that Dobrynya fits the PIE mold of a male protagonist of above average social standing. The author also notes that Dobrynya is “best known as a Dragon slayer” (170). This highlights PIE common description of the protagonist as a “slayer” as opposed to other linguistic options. Next, the she-dragon is described as wreaking havoc in the Russian capital of Kiev and capturing the favorite niece of the Russian prince, Vladimir Bright Sun (170). Here the conflict caused by the dragon is described and the Russian prince’s niece is mentioned as the object of value, hoarded by the dragon. After a three-day battle, Dobrynya eme...
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...er as well as a bringer of mead or soma to help the hero defeat the dragon. Indra’s companion, Trita, finishes the chain of direct custody from the Avesta to the Rigveda. In an early Veda, Trita is not the companion but the hero, fighting a dragon that is called merely “serpent”, which bears a direct connection to the Zend word for serpent: “Azhi” (Westengaard 83, The Journal of the Bombay Branch of the Royal Asiatic Society).
The spread of the dragon slaying myth via oral poetic tradition allows for a clear chain of custody to all PIE cultural descendants. While minor changes alter the myths slightly as they are passed down, the formula remain intact. Even in modern American culture to kill a dragon is to “slay” it and popular movies depict individual heroes taking on overwhelming evil forces. After thousands of years the dragon slaying myth is alive and well.
These detailed descriptions of a simple tattoo create a vivid image of seemingly mythical proportion. The words “neat lines” and “blue swirls” suggests that the setting of the scene is supernaturally created, as lightning strikes are seldom “neat” nor are ocean waves “blue” in reality. Yet, this supernatural setting provides a fitting backdrop, for the violence and struggle in the foreground. Serpents and dragons are certainly supernatural beings: both are associated with great power, violence and destruction. The word “twist” may describe the natural movement of the body of the serpent, but can also suggest that its body is twisted out of shape from great exertion or from sustained injuries.
The dragon is portrayed as the undefeatable evil. He is nearly invincible, breathes fire, and manages to fatally wound the ultimate hero of the poem. This makes him the ultimate evil Although Beowulf does defeat the dragon, the battle ends in a tie, since both sides perish, which shows the never ending balance between the two extremes: good and evil. The theme of loyalty is also explored here. When the battle between Beowulf and the dragon first begins, “[his] hand-picked troop/ broke ranks and ran for their lives” (1129). This is a common archetype that allows the hero to face the antagonist alone, all while having assistance during the journey leading up to the final battle. The author used this to emphasize the Anglo-Saxon belief of fate. Beowulf was supposed to face the dragon alone, thus his comrades had to disappear. The two ways to do this would have been to have Beowulf go alone, which would conflict with the belief of Warrior Culture, or portray his allies as cowards which would also help reinforce the Anglo Saxon values regarding courage. Thus by adding in the archetype of the cowardly allies, the author creates an emphasis on the important parts of Anglo-Saxon culture without relying on
accompany the frightened heroes or heroines as they descend into the dragon's lair; crane our necks
After fighting and winning many battles, Beowulf's life enters a new stage when he finally becomes king of his homeland, Geatland. Even in his old age, his code of honor still obligates him to fight against an evil, fiery dragon. For fifty years he has governed his kingdom well. While Beowulf is governing, the dragon "...kept watch over a hoard, a steep stone-barrow" (Norton 55). Under it lays a path concealed from the sight of men. Over centuries no one had disturbed the dragon’s kingdom until one day when a thief broke into the treasure, laid hand on a cup fretted with gold, which infuriated the dragon. "The fiery dragon had destroyed the people's stronghold, the land along the sea, the heart of the country" (Norton 57).
When the dragon awakes after three hundred years of sleep, he discovers that his cup has been stolen. The dragon, also known as the worm, fills with anger and rage. Even though he is so angry, he does like the idea of battle: “Yet he took joy in the thought of war, in the work of fighting” (Donaldson 40). The dragon cannot wait to ravage the land of the people where one man has stolen from him: “The hoard-guard waited restless until evening came; then the barrow-keeper was in rage: he would requite that precious drinking cup with vengeful fire” (Donaldson 40). The dragon destroys the land and kills everyone around. The dragon even destroys Beowulf’s home.
In his translation of The Saga of the Volsungs: the Norse Epic of Sigurd the Dragon Slayer, Jesse L. Byock compiles many versions of this famous Norse epic and creates a very important scholarly work. Of special importance is the introduction, which provides a central working background to base readings upon. There are several themes echoed throughout the translation that reflect accurately on this portion of history. Byock does a superb job of illustrating these important aspects in his work. While the tale Byock tells is a fairy-tale handed down by generations of families, within the reader can find tell-tale signs of important aspects of Norse culture. For instance, important aspects of family life and the role of men and women surface. Likewise, the importance of wealth and material possessions on the power and prestige of a king is also evident.
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’s life was truly epic struggle. The monsters he battled made it so. Grendel and the dragon, capable of crushing men physically, stood for evils that could just as easily crush men in spirit. These two beasts represented society’s greatest fears, as well as detriments, and Beowulf fearlessly took them on. Grendel taught the hero a valuable lesson about maintaining one’s humanity in a world dominated by the dogs of war. The dragon, showed Beowulf’s mortality, his imperfection, but the hero eradicates it nonetheless, saving his people from not only physical threat, but sin. Bringing in such spiritual and moral dimensions, these two beasts certainly give the story of Beowulf depth.
The brawl experienced by the epics central character Beowulf test his ethics his aptitude to prevail over sinister forces. All the way through its authoritative use of metaphors and illustration, Beowulf sketches a transparent difference between good and evil. Moreover good always prevails over evil. The ...
Dragons represent human greed but amplify this sin tenfold as this is a monstrous creature whose only interest is in gathering gold and hoarding it. Before Christianity rebranded dragons simply as a manifestation of Satan, they were the ultimate embodiment of power, ferocity, and mystery.
Dragons are very popular mythical beings because they are capable of flying, swimming, and walking on land. This makes a Dragons attack much easier because he can exploit the weaknesses of his victims by using earth’s natural elements earth, air, fire, and water. Dragons have sharp teeth and a tongue shaped like an arrow. These creatures can breathe fire, but some cultures believed they spit ice or another venomous substance. All a dragons power is in its long, scaly tail.
In the past weeks we have read “Beowulf, “by Daniel Donoghue. Beowulf is an old English epic poem which includes three important monsters, Grendel, Grendel’s Mother, and the Dragon. Each monster had a big part of the epic poem. Grendel was assumed to be killed by Beowulf, until Beowulf showed up at the palace and was told the monster attacking them was Grendel. Once Beowulf finally killed Grendel, his Mother appeared. However, at the very end the most important monster to me was the Dragon. The Dragon is the one that put an end to Beowulf’s life.
The dragon is one of the four divine beasts from Japanese mythology (the other three being the kirin, phoenix, and turtle). It is frequently the emblem of heroes and emperors.
Damrosch, David, and David Pike. The Longman Anthology of World Literature. The Ancient World. Volume A. Second Edition. New York: Pearson/Longman, 2009. Pgs. .656-691. Print.
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.