More handpicked essays just for you.
Beowulf importance in literature
The significance of beowulf answer 10marks
Beowulf importance in literature
Don’t take our word for it - see why 10 million students trust us with their essay needs.
The imagery involved in this small portion of Beowulf, helps to install a frightful ambience and forming a sense of dread. The poet develops a daunting atmosphere through the use of vivid imagery and the alliteration involved in the passage. The description of the creatures and other wild things hiding on the cliffs and roaming around, helps establish the danger of Beowulf’s quest. Furthermore, the use of alliteration especially in lines 1426, 1427, and 1429 further establish the harshness of the environment. The large amount of alliteration in the small passage calls for the reader’s attention to the hazardous surrounding. Finally the poet’s use of diction creates a dreadful type of tone. The usage of words such as “sea-dragons,” “monsters
slouching” and “serpents” helps create a sense of dread regarding Beowulf’s capabilities against these creatures and Grendel. The combining of the environment and tone creates an interesting reading of the passage.
In Tolkien’s lecture, “Beowulf: The monsters and the Critics,” he argues that Beowulf has been over analyzed for its historical content, and it is not being studied as a piece of art as it should be.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.
In the length of the poem, Beowulf goes from abandoned child to gallant warrior to King. This transformation, expressed in the tone and content of the poem, shows the importance of the relationship between lord and thane and expresses the ultimate value of that connection. From the difference in battle scenes to Beowulf’s speeches, it is clear that he has gone from a somewhat self-loving hero to a selfless king. Within this change he also goes from serving a lord to becoming a lord, and in that way the poem shows us the importance of both sides of the relationship.
In the Anglo-Saxon times, honor, bravery and loyalty were very important morals. Beowulf and Wiglaf showed loyalty in this poem by sticking to their word. Beowulf killed all the monsters and also risked his life. Wiglaf sticks by Beowulf side when he knew that his king were struggling to kill the dragon. The battles between the monsters and the clear descriptions give the poem a more vivid approach and gives the audience bold
Beowulf is a poem about strength and courage. This is illustrated in the eighth section of the story called “Beowulf and the Dragon.” A slave, a hero and a dragon play a big role in this section. The characters are well developed, as is the setup for the conclusion of the poem.
8. Based on Beowulfs opening address to Hrothgar my first impression is that he is very confident and perhaps even self obsessed. He brags about his success and his strength. He says “of my youth have been filled with glory” and also states “my people have said, the wisest, most knowing, and best of them, that was duty was to the Danes’ Great king. They have seen my strength for themselves, have watched me rise from the darkness of war, dripping with my enemies blood. I drove five great giants into chains, chased all of that race from the earth.” And also to continues to list all of his world changing achievements that he accomplished all on his own. To me personally, he comes off as self conceded and feels as if he is untouchable.
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.
Anonymous. “Beowulf.” Beowulf: A New Verse Translation. Seamus Heaney, trans. New York: W.W. Norton &Company Ltd. 2001. 2-213. Print.
The epic poem, Beowulf, coming from the years of 600 to 700 AD has been translated in many different styles. In these excerpts by Burton Raffel and Lucien Dean Pearson, provides a clear understanding of this epic poem. Reading the two different translations, Raffel tends to provide the reader with a better understanding of the evil nature of Grendel and the heroic characteristics of Beowulf.
There is not unanimity among Beowulf translators concerning all parts of the text, but there is little divergence from a single, uniform translation of the poem. Herein are discussed some passages which translators might show disagreement about because of the lack of clarity or missing fragments of text or abundance of synonyms or ambiguous referents.
Pride, gloating, and other flaunting of one’s achievements is quite common in the story of Beowulf. These prideful speeches have an irreplaceable purpose in the narrative of Beowulf. When reading this wonderful classic it is imperative to consider whether or not the reader should conclude that these fantastical feats are factual, why this prideful speech was included, what value these speeches had in the society of Beowulf and, is this exultant speech pattern still used in some forms today. Overall Beowulf has lofty language which makes it such a beautiful and surviving composition.
Wright, David. “The Digressions in Beowulf.” In Readings on Beowulf, edited by Stephen P. Thompson. San Diego: Greenhaven Press,1998.
“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.
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).
to have been composed between 700 and 750. "No one knows who composed Beowulf ,
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