Beowulf As A Representative Anglo Saxon POEM PDF

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Summary

Beowulf is the most well-known of the Anglo-Saxon texts we've discussed thus far. The epic is 3182 lines long and continues to garner critical acclaim. The work's popularity stems from its many mysteries: we still know very little about the poet, the time it was written, or the identity of its inten...

Description

BEOWULF AS A REPRESENTATIVE ANGLO SAXON POEM Beowulf is the most well-known of the Anglo-Saxon texts we've discussed thus far. The epic is 3182 lines long and continues to garner critical acclaim. The work's popularity stems from its many mysteries: we still know very little about the poet, the time it was written, or the identity of its intended audience. Similarly, scholars have struggled to pinpoint the precise nature of this massive work. Was it intended to glorify pagan heroism, or was it a condemnation of pre-Christian German society? Despite the fact that much is left to speculation, the text lives on in critical writings of the day. The poem can be found in the Cotton Vitellius A XV composite codex, which is now housed in the British Library in London. This is the third of the four major poetic codices from the Old English period, dating from the beginning or first quarter of the eleventh century. The present codex contains two manuscripts: the first contains four works of Old English prose: a copy of Alfred's translation of Augustine's Soliloquies, a translation of the "Gospel of Nicodemus," the prose "Solomon and Saturn," and a fragment of a life of Saint Quentin; the second manuscript, in addition to Beowulf, contains three other Old English prose works: an incomplete Life of St Christopher, Marvels of the East, This latter section is also referred to as the Beowulf manuscript or the Nowell codex, after the famous antiquarian Laurence Nowell. In the mid-16th century, he was apparently the owner. Sir Robert Cotton later purchased it. It was the 15th manuscript in Cotton's library, on the first shelf of a bookcase with a bust of Vitellius, the Roman Emperor. The manuscript survived the devastating fire at Ashburnham House in 1731, though its margins were scorched. Date of Composition There is no doubt that the poem was written at least two centuries before the manuscript that contains it. Scholars have proposed several dates for the poem's composition based on the various historical events mentioned by Beowulf. In his ten-volume work Historia Francorum, Gregory of Tours, a contemporary chronicler, claims that the battle in which

Hygelac died took place in 520 CE. The reference to Hygelac demonstrates that the Beowulf-poet was well aware of this historical fact, implying that the poem could not have been written before 520 CE. Again, the poem refers to various Scandinavian tribes that arrived and settled in England around the 5th century, including Danes, Swedes, Geats1, Frisians, Jutes, and others. The primary interaction between the Scandinavian or Norse2 tribes and the Celtic residents was not a happy one, and there is no reason to believe that a poem with such a Norse theme would be well received in a territory that saw the Norsemen as invaders. As a result, G. K. Anderson believes that "it is unlikely that any poem so Scandinavian in sympathy would have been written before the Danish invasion had at least begun." (Page 82) The Danish invasion began in the eighth century and peaked in the ninth and tenth centuries. They took Northumbria and Mercia first, i.e. the northern part of the island, and then gradually moved south. Because Beowulf was written in West Saxon dialect with a significant mixture of Anglian dialects (Mercian and Northumbrian), it was written during a period when the Danish influence was strong even in the southern part of England. However, the time of writing the text is not the same as the time it was originally composed. The formulaic pattern used in the poem suggests that it was written orally around 725 CE, during the heyday of bardic poetry in England. The poet must have Danish ancestors, live in Anglia, and write in an Anglian dialect. It was later copied by a cleric of West Saxon origin, who may have interpolated some passages to make it more appealing to newly Christianised readers. The two suggested dates, 520 and 725, represent a nearly two-century gap. You may find that improbable, but keep in mind that two centuries are far from sufficient for the development of an epic. In fact, the Beowulf sagas can be traced back to continental times when the tribes had not yet begun their exodus. The Structure of the Poem The epic poem is divided into two parts: Lines 1-2199 discuss Beowulf's arrival in Denmark from Geatland. He has come to Denmark in the hopes of defeating the monster Grendel, who has been terrorising the Danish king's court. Beowulf battles Grendel and

his mother, killing both of them. The first part concludes with a celebration of his achievement, followed by his departure from Denamrk and subsequent arrival in Geatland. The sequel begins fifty years later. Beowulf is now an old king who has successfully ruled Geatland for fifty years. A dragon is now threatening the safety of his kingdom, and Beowulf must fight him. Beowulf kills the dragon but is killed himself. Beowulf's funeral is described at the end of the poem. Such a hazy summary does not do the poem's scope and magnificence justice. It presents a vast network of many digressive passages that, when combined, provide a sense of the heroic society and tradition of the Old English society. Beowulf is more than just a hero's adventure story told in two loosely connected episodes; it is a glimpse of a way of life in which every decision and action is determined by his lifelong pursuit of lof and dom. The following materials are used in the text: There are direct references to the Old Testament in the Bible; legendary sagas, particularly Icelandic and Norse sagas; and historical materials. Beowulf, unlike contemporary non-Christian epics, does not discuss the pantheon of gods and goddesses; rather, it teaches the benefits of renunciation of earthly possessions, which, aside from having a definite Christian bearing, adds to the poem's predominant elegiac overtone. Scholars have struggled to determine the genre to which the poem belongs. We will now discuss the poem's significant digressions in order to gain a better understanding of the era it represents.

The Digressions The first set of digressions that we will read now are heroic legends and sagas of Germanic origin. Scyld Scefing, Sigemund the dragon slayer, Hama who stole the Brosings' necklace, the avaricious Heremond, Queen Modthryth, and others are all fictional or legendary characters. These characters serve as a foil to Beowulf, who is regarded as the rising hero of the Geatish kingdom. The second section of the poem deals with the history of the Danes under the Scylding dynasty and the causes of their downfall, as well as the history of Geatish wars until the final destruction of the Geats as a result of

the joint invasion of Franks and Swedes. In this section, Beowulf is portrayed as a renowned king who has successfully ruled for fifty years, and his inevitable decline is examined in light of historical narratives of fall and destruction. Unlike classical epics, which begin with an invocation to the muse, Beowulf begins with a brief section on the life and works of the legendary Scyld Scefing (or Shield Sheafson in some editions), who was instrumental in establishing the rule of law among the Danes and was succeeded by his able son Beow. The poet immediately moves on to describe Scefing's funeral, creating a kind of rondo pattern in the poem, as it would end with Beowulf's funeral, though he would not be followed by a son. The Scylding dynasty is described further, with the rise of Halfdane, Heorogar, and Halga, and a marriage alliance is formed between them and the Swedes when Halfdane's daughter marries Onela, Ongentheow's son. This alliance, however, would not be able to prevent the later war between the two tribes, which, following Hrothgar's death, would eventually destroy the Danish dynasty. In this context, Hrothgar is introduced as the proud heir to a powerful dynasty. The poet depicts him as an old king who once built the Heorot, the famous mead-hall that represents power and integrity in Heroic society. He has already ruled his kingdom for fifty years, and his situation parallels that of Beowulf in the opening of the second section, when the peace of his kingdom is threatened by a gold- hoarding dragon, just as Hrothgar's Heorot was threatened by Grendel and his dam. The text then moves on to Beowulf's arrival and exploits, as well as his success as a warrior. The poem's next digression occurs when, after killing Grendel, Beowulf is congratulated and a large feast is planned in his honour. The scop sings two songs: one about Sigemund, the dragon slayer, and another about Finland's war against the Danes. Sigemund Waesling is mentioned in both Icelandic and Norse sagas. You've already heard of him from the Neibelunglied saga. Sigemund, Sigfried's father, was the most wellknown monster-killer in Germanic history. He killed a dragon and took his treasure, but the treasure had a curse placed on him, resulting in the hero's death. The scop briefly mentions his exploits in his song, but the modern audience/reader would be familiar with

the entire storey, so this brief mention of Sigemund would enhance Beowulf's heroic stature as a monster killer while also allowing the informed audience to appreciate the tragic premonition. The mention of the Finnish war against the Danes brings to mind the blood feud and struggle within Anglo-Saxon society. The reference is to the 48-line heroic poem known as The Fight at Finnsburh. The poem exists on its own and may be related to a lost cycle about Hengest, who is mentioned by Bede as one of the Anglo-Saxon warlords who came to the island to save the Britons from the attack of the northern tribes. In Beowulf, the minstrel tells the storey as follows: Finn, the Frisian king, married the Danish princess Hideburh. Her brother Hnaef, along with his peers, most likely including Hengest, have come to visit Finnsburh and are staying in a separate guest hall. A fight breaks out between the two groups as a result of an old feud that was temporarily masked by the marriage alliance when the Finns attack the Danes. They both suffer heavy losses; Hnaef is killed, as is Finn's son. Hildeburh, the most afflicted, must prepare for two funeral pyres: one for her brother and one for her son. The Danes reunite under Hengest's leadership, and eventually kill Finn and destroy Finnsburh, while Hildeburh is carried back to Denmark. The digression in Beowulf has a tragic foreboding. We learn about a possible marriage alliance between Hrothgar's daughter Freawaru and Ingeld, a Heathobard leader, near the end of the first part to settle an old score. After returning to the Geatland, Beowulf informs his lord, Hygelac, about the proposed marriage and informs him that marriage alliances can never be a solution to the long-standing hatred between two tribes, and such marriages end in disaster. He would be supported by an informed audience or reader who is aware of the Finnsburh disaster. As a result, one can be certain of Hrothgar's kingdom's bleak future. The two main instances of digression in the second half of the poem introduce us to the feud between the Swedes or Scylfings (also spelled Shylfings) and the Geats. This digression at the start of the second chapter tells us about Beowulf's ascension to the throne and his devotion to Hygelac and his son. Even when Quees Hygd offered him the throne of Geatland following Hygelac's death,

Beowulf refused; instead, he served the young Heardred. This digressive passage, which follows the description of the dragon, serves two purposes: it demonstrates the hero's strength of character—he stands in stark contrast to the dragon's lust for power and wealth—and it also demonstrates his loyalty to his lord, which is the most important virtue of the heroic society. This passage, along with another narrated by Beowulf, recounts the long-standing conflict and hatred between the Swedes and the Geats, which was temporarily halted due to Beowulf's wisdom and prowess and will undoubtedly resume upon the hero's death. As a result, the tragic atmosphere is established, and the action that follows, involving Beowulf's death at the hands of the dragon, unfolds. As Wiglaf predicts in his final speech, his death will have tragic consequences, bringing an end to an entire dynasty or nation, just as Hector's death did for the Trojans. This tragic atmosphere and gloomy foreboding are necessary to emphasise the epic scope of the Old English heroic poem. The second group of digressive passages refers to the poem's Biblical allusions. We'll talk about them when we look at the poem's Christian influence. For the time being, consider the thematic significance of the digressive passages we've already discussed. The Symbolism of the Monsters The poem's fairy tale atmosphere is created by the monsters. Nonetheless, the monsters have symbolic meaning. They are characters from the heroic universe who represent the paraphernalia of common pagan fear: hobgoblins, trolls, elves, and so on. They are an externalisation of personal and institutional neuroses. They represent an evil that must be confronted and defeated. Grendel, for example, is the destroyer of the hall or everything good in the pagan universe. As a result, he is linked to Cain, the first man who killed his own brother out of envy. As a Cain4 descendant, he should destroy human solidarity and friendship (which is symbolised by Heorot), he is envious of the community life from which he is forever exiled, and this is why he must be killed by the hero. Beowulf's battle with Cain is easier than his encounter with his dam, because Grendel commits acts of violence against Hrothgar's men without being provoked, whereas his

dam has come to avenge her son's death. Because vengeance is regarded as honourable in heroic ethics, the poet bestows upon her greater strength and prowess: Grendel was killed without the use of a weapon; Beowulf simply ripped off his arms with his bare hands; but for his dam, he requires a magical sword. Its hilt is engraved with biblical Flood stories and runic inscriptions referring to its previous great owners. Beowulf's third and final battle is with the dragon, who kills him. The Norse sagas tell of Fafnir, the dragon, who was actually a giant hired by King Wotan to build the magnificent Valhalla castle. Instead of being compensated for their efforts, the dwarfs were tasked with retrieving the cursed treasure of Alberich, the prince of Nibelung. The two giants Fafnir and Fesolt find the gold, but the former kills his friend and transforms himself into a dragon to guard the treasure forever. Not only does the dragon represent a perverted desire for wealth, but his treasure also plays a role in instilling the same desire in others. They attempt to steal the treasure and are assassinated by the monster. The storey is told again in the poem, when someone broke into its lair and stole a gem-studded goblet. The sleeping dragon awakens and destroys people's homes. Beowulf recovers the treasure in his final battle, but he distributes it to his people, allowing him to rise above petty covetousness and maintain his moral quality, which is the epic hero's most valuable asset....