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An introduction to beowulf.

The long Old English heroic poem known to modern audiences as Beowulf is probably the most famous product of the rich literary tradition of Anglo-Saxon England (which flourished in the period c. 650-1100). The poem tells the story of Beowulf, a heroic warrior, and later king, of the Geats (a possibly mythical Scandinavian tribe). The events of the poem are set during the Germanic 'heroic age' - a period stretching from the fourth to the sixth century by modern reckoning but described by the poet simply as geardagas ('days of old').

During the course of the poem, the young Beowulf travels across the sea from his homeland in order to help the Danish King Hrothgar, whose people have suffered for twelve years at the hands (and teeth) of a man-shaped and man-eating creature known as Grendel. Having been graciously received by Hrothgar and promised great rewards, Beowulf awaits Grendel's coming by night in the royal hall Heorot. In a scene of great drama and suspense, the poet describes Grendel's approach out of the misty darkness, his sudden and violent entrance into the hall, and his ferocious hand-to-hand encounter with Beowulf. The hero is, of course, victorious, and the fight ends with Beowulf ripping off Grendel's arm at the socket and with Grendel fleeing back into the darkness, mortally wounded. The relief that this victory brings to the Danes is, however, short-lived, as the very next night Grendel's (unnamed and previously unmentioned) mother attacks the hall and kills one of Hrothgar's chief counsellors by way of revenge for her dead son. Once again, Beowulf is called into action, this time going on the offensive and descending through a mere into a subterranean cave-like hall to fight and ultimately kill this ferocious woman (described in the text as ides aglæcwif - 'a lady, a fearsome woman').

Beowulf's exploits amongst the Danes take up most of the first two-thirds of the 3,182 lines of the poem. In the remainder of the poem, Beowulf returns home to the Geats, where his hard-won glory is celebrated and rewarded by his uncle King Hygelac. Fifty years pass, and Beowulf, now an old man, is king of the Geats when his people are menaced by a fire-breathing dragon. Roused once more to heroic action, Beowulf leads an expedition to the dragon’s barrow, where he intends to fight the creature in single combat (as in the days of his youth and glory). The old king is, however, overmatched in his final battle. Seized by the neck in the dragon's mighty jaws, Beowulf is able to win victory only with the help of his young kinsman Wiglaf and at the cost of his own life. The poem ends in elegiac mood, as celebration of Beowulf's heroism mingles with lament for his death and with fearful predictions regarding the fate of his people.

Such a bare summary makes the plot and structure of the poem sound straightforward, but one of the distinctive characteristics of the artistry of Beowulf is the way in which the poet skilfully moves backwards and forwards along a linear narrative timeline, interweaving the main events of the poem with a plethora of inset and secondary narratives. Foreground and background merge in this consummate example of so-called 'interlace' structure, so that the exploits of Beowulf himself are inextricably immersed within a richer background of heroic legend. The success of this narrative technique is one of the many astounding features of the poem. Although many of the events and characters mentioned in Beowulf (including both Hrothgar and Hygelac) are more or less familiar from other early medieval written sources, Beowulf himself is not mentioned elsewhere. It seems likely that the narrative core of the poem was the invention of the Anglo-Saxon poet, part of whose achievement was to 'place' this new narrative material so seamlessly within the wider corpus of Germanic legendary history.

The individual responsible for this remarkable achievement has remained elusive. Beowulf survives in a single manuscript copy (now held in the British Library: Cotton MS Vitellius A.xv), probably produced around about the year 1000. Beyond this fact, however, the poem's origins are obscure. Like most English verse from this period, the poem is anonymous, and the approximate date of composition has long been a topic of (sometimes acrimonious) debate amongst scholars, with estimates ranging from the mid seventh to the early eleventh century. Faced with such a lack of solid evidence, we can deduce little about the circumstances in which the poem was produced. Like other surviving Old English poems (though to an even greater degree), the language of Beowulf is marked simultaneously by an astonishingly creative and poetic verbal inventiveness - particularly evident in the use of uniquely-occurring descriptive compound words - and by a layer of verbal formulas and 'type scenes' which recur both throughout the poem and throughout the surviving corpus of Old English poetry. These latter features, which may seem dangerously close to cliché for a modern audience, point to the ultimate origins of Old English poetry in an essentially pre-literate, oral, and performative tradition. It seems unlikely, however, that Beowulf is itself in any real sense an oral composition. Most scholars today would accept that the poem is (very largely if not entirely) the product of a single poetic vision, the work of a literate and Christian poet probably working within a monastic or courtly milieux.

That the poet was a Christian writing for a Christian audience is clear. Grendel, for example, is explained by the poet-narrator as a diabolical descendant of Cain, the first murderer, from whose off-spring, according to the Old Testament and to Judeo-Christian Apocrypha, arose the various races of giants. This contextualizing knowledge is not shared, however, by the characters who inhabit the heroic world of the poem. Looking back to the heroic age, the poet is looking back into the pre-Christian Germanic past of the Anglo-Saxon people. The assumed Christian perspective and beliefs of the poet and audience stand in uneasy juxtaposition to the ill-defined but definitely pre-Christian and fatalistic beliefs of the characters themselves. Beowulf, Hrothgar, and other actors in the poem often frame their behaviour in terms of a moral imperative that in many ways approximates the basic tenets of Christianity, but, ignorant of the teachings of Christ, their perspective is limited by the reach of human life on earth. According to Beowulf himself, fame amongst men is the best that can be hoped for a dead warrior:

'Ure æghwylc sceal ende gebidan worolde lifes; wyrce se þe mote domes ær deaþe; þæt bið drihtguman unlifgendum æfter selest.'

( Beowulf 1386-89, 'Each of us must await the end of life in the world. Let he who may achieve glory before death - that will afterwards be best for the dead warrior.')

The poignant irony of such a statement could not have been lost upon an audience for whom life in the world was merely a precursor to the eternal reward (or punishment) to be experienced in the world to come.

As an Old English poem, Beowulf is a unique and incomparable literary artefact - the only known surviving example of the efforts of a supreme master working within a mature and remarkably long-lived poetic tradition. Its superlative poetic qualities have been recognized by generations of modern readers, and there is increasing evidence to suggest that Beowulf was both widely known amongst and frequently imitated by other Anglo-Saxon poets whose work also survives. There are, to be sure, difficulties associated with the appreciation of the poem today. Most notably, modern readers must overcome the barrier caused by the language of the poem, recognizably English but a form of English in use a thousand years before our own time. But such barriers are far from insuperable, especially given the availability of many excellent and sympathetic modern translations. The effort is well-rewarded. We need not seek an excuse to read and study Beowulf today; the poem is its own best justification.

If reusing this resource please attribute as follows: An Introduction to Beowulf at http://writersinspire.org/content/introduction-beowulf by Daniel Thomas, licensed as Creative Commons BY-NC-SA (2.0 UK).

Ask LitCharts AI: The answer to your questions

Welcome to the LitCharts study guide on Anonymous's Beowulf . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

Beowulf: Introduction

Beowulf: plot summary, beowulf: detailed summary & analysis, beowulf: themes, beowulf: quotes, beowulf: characters, beowulf: symbols, beowulf: theme wheel, brief biography of anonymous.

Historical Context of Beowulf

Other books related to beowulf.

• Full Title: Beowulf
• When Published: Beowulf exists in a single damaged manuscript in the British Library. The manuscript was probably written in England in the early eleventh century, though the poem itself was probably first written down in the eighth century, and was passed on orally before that.
• Literary Period: Medieval; Anglo-Saxon
• Genre: Epic poem
• Setting: Northern Europe, especially Denmark and Sweden, around the sixth century
• Climax: Beowulf's final fight with a dragon
• Point of View: The unnamed speaker of the poem

Extra Credit for Beowulf

Old English Style. Beowulf is the longest poem written in Old English. Old English poetry uses alliterative meter, meaning that the stressed words in a line begin with the same sound. A line of Old English poetry has two halves, with a brief pause, called a caesura, in the middle of the line. The two halves of a line are linked by the alliteration (repetition of an initial consonant); at least three words in a line alliterate. Old English poetry also uses kennings , compressed metaphors like "heaven's candle" for the sun, or "whale's road" for the sea, or calling a woman married in an effort to gain peace a "peace weaver."

Beowulf Introduction

In a nutshell.

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Want more deets? We've also got a complete  Online Course  about  Beowulf , with three weeks worth of readings and activities to make sure you know your stuff.

Hwaet wé Gár-Dena in geár-dagum þéod-cyninga þrym gefrúnon

Um... what? Is that English ?

Short answer: yep, that's English.

Long answer: that's very old English . In fact those lines (from Beowulf, written sometime between the 8th and 11th centuries) make up the oldest existing poem written in English. It's written in Old English, the language spoken in Britain before the Norman Conquest in 1066—that is, before the extensive influence of French on the English we speak today.

Still, Beowulf has come to be recognized as the foundational epic of English and British culture, in much the same way that the Iliad is a foundational epic for ancient Greece.

Beowulf is a tough mix of Big Important Ideas that, like Old English language, might be unfamiliar to you at first. Want some examples? Your wish is our command:

• Wyrd , or fate. The idea is that your destiny is predetermined and you can't really change it. It's such a powerful force that sometimes in this poetry, it seems to be a stand-in for God.
• The death price . Beowulf is set during a time when warring tribes populated England and Scandinavia. Violence was a part of life, but it wasn't a free-for-all. If you killed somebody, their relatives might demand reparation (i.e., payback) in the form of wealth—or your life. 
• Christian and Pagan values, all mixed up. The Anglo-Saxon poetry we have today was originally composed orally (spoken) during a time when the Anglo-Saxons were still pagan. But it was written down after they became Christian. So you'll see things like magical runic inscriptions sitting side-by-side with prayers to the Christian God—or that not-quite-but-sorta-godlike wyrd we mentioned earlier.

But it's not all philosophizing about God and the price of death. Beowulf is an epic poem. That means it has the stuff that makes epic such a rollicking good time —heroes and monsters! swords! dragons!—while proudly displaying and reinforcing all of the values that were important in Anglo-Saxon culture—like keeping your promises, choosing your words wisely, and being loyal to your lord.

But it wouldn't be a classic work of literature if it followed all the rules. And that's why, while being an epic, it also questions a lot of the epic values: Is the death price a good system of justice? What are its pitfalls? What makes a good king? A hero? A monster?

Although it was written and recited in Britain, Beowulf is about characters in Scandinavia: Danish and Swedish warriors who battle fabulous monsters as well as each other. Why? Because the early Anglo-Saxons were the descendants of Germanic and Scandinavian tribes that invaded Britain beginning in the 5th Century. As a result, there was a lot of shared cultural background between the Anglo-Saxons and Scandinavians, and the Anglo-Saxons looked back to their relatives across the sea when they wanted to tell stories about their own past.

And that trend continues even now. Much like the Anglo-Saxons used Beowulf to look back at their forefather's history, people today use Beowulf to look back at Anglo-Saxon history.

Beowulf has captured the attention of scholars and audiences alike, becoming a keystone of English literary studies as well as the basis of several popular film and TV adaptations. J.R.R. Tolkien used many elements from Beowulf as inspiration for his famous  Lord of the Rings trilogy .

And, whether it's interpreted by critics or enjoyed as an adventure story, Beowulf has become one of the most important pieces of literature in English.

What is Beowulf About and Why Should I Care?

You know those helpful, chipper coffee cup adages that teach you how to live life to the fullest: "Look good, feel good," "Work hard, play hard"? Well, we've coined our own for Beowulf : "Read awesome, be awesome."

No, we're not going to teach you how to read in an awesome manner—go ahead and continue the act of reading however it suits you. In your pjs? Sure. In a bubble bath? Even better. There's actually no way to make reading any sexier that it already is.

But imagine if there were a book that was a page turner, a thrill a minute, full of gore and mayhem... and made you sound like the most impressively well-read person around.

There is. It's Beowulf.

Beowulf, a great and glorious hero arrives from over the sea, clad in a shirt of shining mail, ready to do barehanded battle with a demonic monster. And if that leaves you wanting more, Beowulf is ready to deliver. Once the demonic monster bites the dust, his bigger, badder, even more demonic mom arrives to avenge her son's death. But that's still not the climax. Just in case anyone doubted Beowulf's prowess at this point, a dragon shows up to test him to the limit. This isn't dry-as-dust literature that you fall asleep over; it's the kind of thing you pay twelve bucks to see while eating popcorn. (Although the recent Beowulf movie goes just a little bit off-script.) But here's the thing: Beowulf is also the oldest major work of literature in English. In fact, it's in such old English (technical name: "Old English") that it seems like a foreign language to us today, because our words have changed so much since it was written. It's a glimpse of an ancient Anglo-Saxon and Scandinavian culture.

But this history lesson isn't just names, dates, and agricultural innovations. Instead, it's gleaming golden armor, straining sinews, and wild drunken parties that go all night because everyone would rather tell stories about past glorious victories than think about the fact that they'll probably die horribly tomorrow. It's a brutal world, but one that offers the possibility of fame – and maybe even fortune, if you're lucky. In short, Beowulf is 100% dragons and demons and heroes and it'll make you seem improbably and stunningly well-read. After all, you will have read the first recorded epic poem written in English.

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W hy's T his F unny?

A Summary and Analysis of Beowulf

By Dr Oliver Tearle (Loughborough University)

What happens in Beowulf , the jewel in the crown of Anglo-Saxon poetry? The title of the poem is probably the most famous thing about it – that, and the fact that a monster named Grendel features at some point. But because the specific details of the story are not widely known, numerous misconceptions about the poem abound. When was Beowulf  written?

This is a matter of some conjecture, with guesses ranging anywhere between the eighth century and the first half of the eleventh century. Critics can’t even agree on what the first line of the poem means . In the following post, we offer a short summary of  Beowulf , and an introduction to its main themes.

Plot Summary

We’ll start with a brief summary of  Beowulf  before proceeding to some textual analysis and critical reading.  Beowulf is a classic ‘overcoming the monster’ story. Most people know that the poem documents the struggle of the title character in vanquishing a monster named Grendel.

But what is less well known is that Beowulf has to slay not one big monster, but three: after he has taken care of Grendel, the dead monster’s mother shows up, and she proves even more of a challenge for our hero (though ultimately Beowulf triumphs and wins the day).

The poem then ends with Beowulf, now in his twilight years, slaying a third monster (this time, a dragon), although this encounter proves his undoing, as he is fatally wounded in the battle. The poem ends with his subsequent death and ‘burial’ at sea.

But the poem doesn’t begin with Beowulf. It opens with an account of a Danish king named Hrothgar, who was the one responsible for building a great hall (named Heorot), a hall which is now being terrorised by the monstrous Grendel. Beowulf hears that Grendel is killing Hrothgar’s men at Heorot and so our hero departs from home to go and help rid Heorot of this monster.

Beowulf is from a different kingdom – the nearby Geatland, in modern-day Sweden – so we have one of the classic tropes of adventure narratives, that of the hero leaving home to go and vanquish some foe in a foreign land. Think of Bilbo Baggins leaving the Shire, or Frodo for that matter, in  The Hobbit  and  The Lord of the Rings (and, indeed, we’ll return to Tolkien shortly).

Beowulf and his men spend the night at Heorot and wait for Grendel to turn up. When the monster appears, Beowulf and his men attack the troll-like monster with their swords.

But the monster – which is described as resembling a troll – cannot be killed with a blade, as Beowulf soon realises. So he does what lesser men would fear to do: he wrestles the monster with his bare hands, eventually tearing off one of its arms. Grendel flees, eventually dying of his wound.

The next night, Grendel’s mother – angered by the attack on her son – turns up to wreak vengeance, and once again Beowulf finds himself having to roll up his sleeves and engage in fierce combat, which this time takes place in the underwater lair of the monster deep beneath the surface of a lake.

Although he has been given a strong sword (named Hrunting) by Unferth (a man who had previously doubted Beowulf – the sword is given as a token of friendship), Beowulf finds this sword useless against Grendel’s mother. (Immunity to swords evidently runs in the family.) But this time, hand-to-hand fighting, which had proved handy against Grendel, is equally useless.

Beowulf only succeeds in vanquishing the monster when he grabs a magic sword from the pile of treasure lying in the monster’s lair, and is able to behead the monster with the weapon.

Travelling deeper into the monster’s lair, Beowulf comes across the dying Grendel, and – armed with his new magic sword – decides to lop off the son’s head as well, for good measure. Both monsters have now been slain, and Beowulf is a hero.

Following his victory over the two monsters, Beowulf then returns to the water’s surface (at ‘noon’ – which, interestingly, when the poem was written, was actually three o’clock in the afternoon, or the ninth hour after dawn) before rejoining his men and journeying back to the hall for mead and rejoicing.

The poem then moves forward fifty years to Beowulf’s last fight, his run-in with the dragon (which has been angered by the theft of some of its treasure – shades of The Hobbit once more?). This fight results in one last victory for our great hero, followed by his own death from the mortal would inflicted by the poisoned horn of the beast (though presumably Beowulf was rather advanced in years by this point anyway).

The poem ends with Beowulf’s burial at sea, which is described in much detail – why this might be is discussed below. But this much constitutes a reasonably complete summary of the plot of  Beowulf . So, what about the context for the poem?

Facts about  Beowulf

Although it is celebrated nowadays as an important work of Anglo-Saxon – indeed, ‘English’ – literature, Beowulf was virtually unknown and forgotten about, amazingly, for nearly a thousand years. It was only rescued from obscurity in 1815, when an Icelandic-Danish scholar named Thorkelin printed an edition of the poem.

And although it is seen as the starting-point of great English literature – at many universities, it is still the earliest literary text studied as part of the literary canon – it is very different from other medieval poetry, such as that by Chaucer or Langland, who were writing many centuries later.

It is set in Denmark, has a Swedish hero, and – when read in the original Anglo-Saxon – seems almost more German than ‘English’. This is, of course, because Anglo-Saxon (i.e. the language of the Angles and Saxons from north Germany)  was  Old English (the two terms are used synonymously), and at the very latest the poem was written down some time in the early eleventh century, before 1066 and the Norman invasion, which would bring many French words into English and would pave the way for Middle English (or the English of the Middle Ages).

In ending with the tale of a dragon attempting to defend a mound of treasure, the poem prefigures not only the works of J. R. R. Tolkien (who, as well as being the author of The Hobbit and The Lord of the Rings , was also an influential Anglo-Saxon scholar who translated Beowulf   and wrote an important article on it   – of which more below) but also, more surprisingly, other poems like Lewis Carroll’s nonsense masterpiece, ‘Jabberwocky’ . It also looks back to Greek and Roman epics like Homer’s Odyssey and Virgil’s Aeneid .

Indeed, during the nineteenth and twentieth centuries many scholars endeavoured to show that the author of Beowulf had been influenced by these classical works, but, in summary, the truth appears to be far more interesting. Rather than directly drawing on the work of Homer and Virgil, the Beowulf poet simply seems to have hit upon the idea of using similar plot devices and character types.

This suggests that different cultures, in these old days of oral storytelling, utilised the same methods in very different works of literature, without having direct knowledge of each other. We can compare Beowulf , too, with the legend of King Arthur (which began to appear in written sources around the same time), specifically in terms of the magic sword which the hero of both stories uses in order to fulfil his quest.

These aspects seem to be hard-wired within us and to be integral parts of human nature: for instance, ideas of bravery and of triumphing over an evil, superhuman force.

This plot, as our brief summary of Beowulf above suggests, shares many of the typical elements of heroic narratives. Although the analogy might seem a little crude, the mechanics of the plot are not so far removed from, say, a James Bond or Indiana Jones film, or a fast-paced fantasy novel or superhero comic strip. The hero takes it upon himself to save the kingdom at immense personal risk to himself.

The foe he faces is no ordinary foe, and conventional weapons are powerless against it. Despite the odds being stacked against him, he manages to ‘overcome the monster’, to borrow Christopher Booker’s phrase for this type of narrative . But this action has consequences, and is in fact merely the prologue to a bigger conflict that must take place: that between Beowulf and Grendel’s mother.

This is why it is odd that the story of the poem is generally thought of as ‘Beowulf versus Grendel’. But this next conflict will prove even more difficult: as well as swords being useless, the strong sword (Hrunting) given to Beowulf by Unferth will also be powerless against Grendel’s mother. But hand-to-hand combat – which was deployed successfully in the vanquishing of Grendel – is also of no use now.

The odds continue to be stacked against our hero, the difficulties multiplying, the tension raised to an almost unbearable pitch. Can he still save the day, when everything he tries seems to be of no avail? Well, yes – though for a while the chances of Beowulf triumphing are looking less and less likely.

The final encounter, with the dragon years later, will prove the most difficult of all – and although he is successful and overcomes the monster, he will pay the ultimate price: victory will come at the cost of his own life.

This patterning of three – three monsters, each of which proves successively more of a challenge to the hero – is found in numerous adventure plots. To a greater or lesser extent, it can be seen in much modern fantasy fiction – such as that by Tolkien.

One thing that the basic overarching story or plot summary of  Beowulf makes clear is just how formative and archetypal it is, not just in heroic ‘English’ literature, but in fantasy literature, too.

Interpretations of  Beowulf

Talking of Tolkien, it was his influential 1936 essay, ‘Beowulf: The Monsters and the Critics’, which was really responsible for a shift in the way that people read Beowulf.  Rather than viewing it as a historical document, Tolkien urged, we should be reading and appreciating it as a work of poetry.   Tolkien also argued that the poem is not an ‘epic’ but an  elegy , ending as it does with the moving account of its hero’s funeral.

Tolkien also argues that Beowulf’s death following his combat with the dragon represents a fitting and more ‘elemental’ end for the hero, who had successfully vanquished the monster Grendel and Grendel’s mother (who, although not human, were nevertheless closer to man than a dragon).

The story is about overcoming an evil foe, only to have to give way to death at the end: even heroes must accept that they will not live forever, even if their names will. ‘Men must endure their going hence’, as Shakespeare has it in  King Lear (a line borrowed for C. S. Lewis’s tombstone).

But Beowulf’s life has been a life well lived because he stood up to evil and was victorious. And Grendel and his mother are ‘evil’ in the Christian sense of the word: the author of  Beowulf tells us that they were spawned from Cain (the first murderer in the Bible) when he was cast out of Eden. Grendel and his mother, then, are similarly outcasts, something that has been rejected by mainstream society and whose violence must be overcome. (For more on Tolkien, have a read of our five fascinating facts about him .)

Beowulf’s name, by the way, was long thought to mean ‘bee-wolf’, as in the two animals. The ‘bee’ theory appears unlikely, however – as does the idea that it is from the same root as our word ‘bear’, suggesting bearlike strength.

No, it turns out that the first part of Beowulf’s name is more probably related to a pre-Christian god named ‘Beow’. Beowulf has an almost divine strength, but also something primal and temporal, but just as valuable: the courage of a wolf.

If you enjoyed this brief summary of, and introduction to,  Beowulf , then you can learn more about the poem here  at the British Library website.

Further Reading

26 thoughts on “A Summary and Analysis of Beowulf”

Beowulf is indeed a fascinating work and I always look forward to introducing my students to this foundation of hero motifs. Beowulf, despite his tendency to boast a bit (isn’t that where we get kennings?), he was pretty much the perfect hero–intregrity, strong, clever, self-sacrificing.

Reblogged this on Willow's Corner and commented: We read a snippet of Beowulf in Jr. High School (the dragon part) and I’ve always found the story fascinating. I can’t quite read the Old English, but I love to read the different translations. And anyone who’s a Tolkien fan should read his essay.

I would argue that Grendel’s mother (who is interestingly only ever referred to as “the mother”) commits her acts of revenge out of grief, as well as anger. Also, Beowulf is most commonly described as an epic poem; the label makes its main character, Beowulf, an epic-hero. By virtue of being a hero, Beowulf is set-apart from the society presented in the heroic epic. However, in order to be recognized as heroic hero, Beowulf must participate in society in some meaningful way. Thus the character’s role is split and this binary role is portrayed in different ways depending on the translation of Beowulf. There are more than 85 translations of Beowulf, and each one is slightly biased in its interpretation. Nobel Laureate Seamus Heaney’s translation in particular equates Beowulf with the dragon, another “other” figure, in a way that is not replicated by the other translators to emphasize Beowulf’s role as a distinct hero. Since translation is a form of interpretation, I believe Heaney’s translation is particularly biased in thinking about Beowulf in the ancient Ango-Saxon tale and makes Beowulf a more complex character than the original tale describes, torn by his glorious role as epic hero and his duty to his people within a carefully constructed social structure. As the author of this post writes, the morals, tropes, and figures create a bases for understanding many other English works that were to follow, so it’s interesting to see how relatively young Britain works with this tale and interprets its own history.

Tolkien was also heavily influenced by the old Norse (Norwegian/Icelandic) prose Edda and Voluspa; this was where he found the names of his dwarves. In addition, the poem Havamal also speaks of how everyone must die, except a man’s reputation.

Reblogged this on F.T. McKinstry and commented: Some interesting thoughts here on a classic, with references to J.R.R. Tolkien’s take on it.

Reblogged this on Mistrz i Małgorzata .

Fantastic article, it was education and entertaining all at once. I definitely want to go read Tolkien’s essay.

I have often wondered why the Beowulf story was lost for so long. The Arthurian story was passed down for generations, but Beowulf and his bravery forgotten. I think it is because people could relate to, and thus embrace, the faults of Arthur over the heroism in Beowulf.

Reblogged this on Storey on a Story Blog and commented: This is a great commentary on the story of Beowulf. I wanted to share it with you all.

The poem actually begins with Scyld Sheffing’s funeral, and it ends with Beowulf’s. This is deliberate. The central section is the killing of the monsters. The pattern is the establishment of the house of the Geats, the rescue of the house of Heorot by destroyng the house of Grendel, and the end of the house of the Geats with Beowulf.

How utterly fascinating! I have a copy of Beowolf which I confess to my shame I’ve never read despite it being on my shelf for more than 30 years. I must make amends!

Interesting post (!) and it struck a chord (!) funnily enough with a podcast i was listening to yesterday made by a music blogger, who did a 20 minute podcast on the 12 bar blues https://goodmusicspeaks.wordpress.com/good-music-speaks-podcast-3/ . Which of course is heavily dependent on the rule of 3 – line A; repeat line A; variation/resolution. And funnily enough, listening to a Mozart piano concerto, the same pattern was in the phrases, with the third line, the variation, leading of course to a musical resolution /transformation which enables the lead on the the complete next stage – so, in this, there is Beowulf triumphs, Beowulf triumphs again, Beowulf triumphs but in this third phrase his ‘phrase’ resolves with transformation/death.

I guess the ‘rule of three’ is viscerally satisfying!

There’s an excellent film called ‘The Thirteenth Warrior’, in which an exiled Islamic poet joins a band of Vikings to defeat what appears to be a Beowulfian monster attacking a hall. The producers showed some respect for scholarship by including authentic details, for instance the rituals surrounding the ship burial of a Viking chief.

The film being referenced in the comment above by poetmcgonagall, is a film adaptation of Michael Crighton’s excellent ‘Eaters of the Dead’ which gives a facinating take on the Beowulf/Grendel legend. Pay particular attention to his treatment of the Dragon which is all the more horrifying for not being a giant lizard.

I’ve read Beowulf many times over the years (was introduced to the Old-English version back in High School) and you’ve provided an excellent summary.

“not so far removed from, say, a James Bond or Indiana Jones film, or a fast-paced fantasy novel or superhero comic strip” Yes–but also, surely, the Western? What this tells us, I think, is how deep-rooted is the human need for the idea of the stranger who rides (all right, comes by boat) into town, deals with the monster/fear/rich landowner/evil bandit who is terrorising the townfolk and rides out again. No?

Reblogged this on Blogging Beowulf and commented: A great post on one of my favorite works.

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Reblogged this on cjheries and commented: If, in my first year at Reading University in 1964/65, we had studied Beowulf instead of extracts from the Anglo-Saxon Chronicle (so dull!) maybe I should have stuck with reading English instead of switching to Philosophy and obtained a better class of degree than the Gentleman’s I ended up woth (a pass, just like T S Eliot).

I’ve just startd reading Seamus Heaney’s translation and I must say it’s easy to follow so far!

I’ve had the Heaney translation on my shelves for years, but your post has piqued my interest. It will be moved to my TBR pile. Thank you!

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Reblogged this on beocorgi and commented: Very Interesting. I never thought of Jabberwocky like that but now that its pointed out I can definitely see it

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• The Bard and The Bees

February 26

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The Ultimate Beginner’s Guide to Beowulf

Vikings, mead, and monsters, oh my! These are three cornerstone elements of the Old English masterpiece, Beowulf . 

A heroic epic poem , Beowulf blends fiction, legend, and aspects of old Scandinavian culture seamlessly within its 3,182 alliterative lines. 

Considered by many to be the first piece of English literature, Beowulf is one of the most important and most often translated works of Old English literature. 

The poem narrates the story of the Scandinavian hero Beowulf, the son of Ecgtheow and nephew of Hygelac, the king of the Geats. 

It tells of the exploits of Beowulf and his battles with two monsters and a dragon, to whom Beowulf finally succumbs at the end. 

Don’t be fooled though - Beowulf is much more than just mead and monsters.

While Beowulf celebrates the triumphs of an extraordinary man who performed great feats, it also mourns his tragic death and defeat.

The poem explores several different themes, ranging from glory to vanity, courage to cowardice, and triumph to loss.

I hope this article on Beowulf gets you curious enough to go ahead and explore this ancient masterpiece for yourself.

To keep it simple and uncomplicated, I have divided the article into different sections. Feel free to skip ahead to the section that most interests you.

Now, let’s dive into the world of monsters, mead, brave men, and dragons - the world of Beowulf !

Who Wrote Beowulf?

The original author of Beowulf is unknown. 

To the disappointment of many scholars, not much is known about who authored the poem. As time passed, the anonymous author came to be known as the " Beowulf poet".

What we do know, however, is that the Beowulf poet lived in what is now modern day England. 

He lived in an early Christian society; one which was still very close to its pagan Scandinavian roots. 

However, the Anglo-Saxons were beginning to distance themselves from their pagan past, and this is seen in some of the Beowulf passages that reveal slight Christian overtones.

The Beowulf poet was an Anglo-Saxon who felt quite at home in Scandinavian culture. However, his culture had recently embraced Christianity, and the poet lived during a time where these two cultures blended together.

When Was Beowulf Written?

There is not much evidence to conclusively put an exact date to Beowulf , though most scholars think that the poem was written around the year 750 AD. 

Guesses at the poem’s composition, however, range from the seventh to tenth centuries.

What can be said with certainty is that the events of Beowulf happen during the 500 years of the Anglo-Saxon age.

The references to real people, events, and places in the poem itself help narrow down the period in which it was penned. 

For instance, the poem mentions the great king Hygelac. He was a real king who died in 521 CE. There is also mention of the Battle of Ravenswood. This battle was fought in 510 CE.

History of the Beowulf Manuscript

In 1731, the only manuscript we have of Beowulf suffered damage in a fire. However, the majority of the manuscript survived, and is still quite reliable for today’s purposes of study and translation.

Until the end of the 18th century, this Old English poem remained untitled. It was only in the 19th century that scholars decided to refer to it by the name of its hero — Beowulf.

The Beowulf manuscript is now housed at the British Library. It is named after its earliest owner, the 16th-century scholar Lawrence Nowell, and is called the Nowell Codex .

It’s important to note that the Nowell Codex isn’t the original manuscript of Beowulf . The Nowell Codex is simply the earliest written-down version of Beowulf that we know of today.

The Historical Context of Beowulf

At the time Beowulf was conceived, there was very little literacy or even books to read. 

Before being set to paper, legends were recited and told by minstrels. They travelled from court to court and castle to castle.

Folk singers and musicians often served as the record keepers of history. Through their recitation and performances, minstrels not only entertained and influenced people, but also preserved their tribal histories. 

Beowulf , however, is more than just an oral history. 

The meter, wordplay, and other textual elements point to the fact that Beowulf was indeed written down and composed.

The author did, however, write the poem with oral recitation in mind. Beowulf was composed for performance, and was widely recited by minstrels at the time.

Though there is still no clue as to whether Beowulf himself was real or not (he most likely was not), many of the characters in the poem are real historical figures.

Characters like Hygelac, Hrothgar, Ongentheow, Haethcyn, and Onela are several people who actually existed in real life!

Structure of the Beowulf Poem

Beowulf was written in a unique structure. Some scholars divide it into three main sections, and others divide it into two.

In the three-section structure, each part revolves around Beowulf's battle with a different beast:

The first part centers on Beowulf’s fight with the monster Grendel. 

The second part covers Beowulf’s battle against Grendel's mother, who’s seeking revenge for her son’s death.

The third part focuses on Beowulf's struggle against a fiery dragon. He slays the monster to restore peace in his kingdom, but loses his life in the process. 

As mentioned earlier, however, some scholars prefer to divide the poem into two main sections. 

In this case, the first part centers on Beowulf’s time in Daneland (Denmark), where he fights both Grendel and Grendel’s mother. 

The second part takes place in Beowulf’s own kingdom, Geatland (a part of modern day Sweden). In this section, Beowulf returns from Daneland and eventually becomes king.

The poem then skips ahead 50 years, where an aged King Beowulf dies protecting his nation in a fight against the dragon.

This division of Beowulf into two main sections not only reflects the setting of the poem, but also the development of Beowulf’s character.

It’s essentially the difference between young and old Beowulf: The glory-seeking, adventurous young warrior, and the mature, responsible, and courageous king.

However you want to divide up Beowulf , it doesn’t matter. The poem is still a fantastic read, with stories of monsters, exciting battles, and courageous warriors throughout.

Summary of Beowulf

The story of Beowulf begins in Daneland, in modern day Denmark. There we learn that the kingdom of the Danes is in peril.

Heorot, the mead hall that the Danish king Hrothgar built for his subjects, is regularly attacked by a monster called Grendel . 

Not only does Grendel kill many of the kingdom's bravest men, but he also wreaks havoc in the lands around Heorot. The king’s warriors and soldiers continue to fight Grendel, but to no avail.

Grendel terrorizes the Danes and the land around Heorot for nearly twelve years. Eventually, in the faraway land of Geats, a warrior named Beowulf hears about Grendel and the terror he’s wrought on the Danes.

Beowulf decides to set sail to Denmark with a band of his chosen warriors and fight Grendel. Once there, Beowulf convinces King Hrothgar to give him a chance to slay the beast.

That night, as Beowulf and his men are sleeping in Heorot, Grendel attacks. 

A fierce battle ensues, but finally Beowulf succeeds in ripping the monster's arm off. Grendel flees from the hall and into the woods, where he bleeds to death. An evening of feasting and rejoicing then ensues.

Unfortunately, the celebration doesn’t last long. That night, Grendel's mother emerges from her lair and attacks the men in Heorot to avenge her son’s death.

She kills one of Beowulf’s men before fleeing the hall to escape to her cave. Beowulf eventually tracks her down and follows her into her underwater den. Another battle ensues, and Beowulf emerges triumphant.

There is festivity all around the kingdom. King Hrothgar praises Beowulf with warm and kind words. Beowulf and his men are given many gifts and prizes, and then set sail back home to Geatland.

Back in Geatland, King Hygelac receives Beowulf and his warriors with relief and praise. Some miscellaneous adventures are recounted, and then the poem skips ahead 50 years.

In this new Geatland, Beowulf is now king. He rules justly and is much loved by his subjects. But soon there is cause for worry.

A deadly dragon, awakened from its sleep by a treasure thief, is now destroying homes and wreaking havoc in Geatland.

The aged king Beowulf vows to fight and kill the dragon. He decides to go it alone, but brings men for backup just in case.

As the battle proceeds, Beowulf realizes he’s in trouble. The rest of his men get scared, and all but one abandon him. The one warrior who refuses to run away, Wiglaf, rushes to Beowulf’s aid and helps him slay the dragon.

Beowulf does kill the dragon, but not before receiving mortal wounds. Beowulf dies, Wiglaf laments his dead king, and that evening a funeral pyre is kindled.

The Geats, understanding their great protector is gone, cry for fear of the future, and the approaching destruction that other nations will bring upon them.

Beowulf Analysis

Beowulf is neither a complete work of fiction, nor is it fully factual.

The Beowulf poet cleverly picked real events and characters from history, and incorporated them into the world of the poem. This helped listeners identify with the poem and find some familiarity in it.

The character Beowulf himself, however, seems to be completely original.

The poem explores many aspects of Nordic warrior culture: glory , greed , leadership , virtue , courage , cowardice , and sacrifice .

On a psychological level , one can read Beowulf’s battles as an analogy for how we should deal with our own problems: If we do nothing, they will continue to attack and destroy us. 

The only way to defeat our problems is either to let them come to us (and fight them when they do), or to seek them out and destroy them ourselves.

On a broader societal level , Beowulf is about the importance of strength, honor, and virtue. It depicts how a society with strong, courageous, self-sacrificial leadership is able to thrive. 

It also condemns the cowardice of those who abandoned Beowulf during his greatest battle.

Beowulf’s death is better viewed as a selfless sacrifice than simply a tragic death. While his death is tragic, the real tragedy stems from the fact that the Geats lose a courageous warrior, strong protector, and just leader.

Best Translation of Beowulf

Since Beowulf was originally written in Old English, most modern readers have to experience the poem through translation.

Here are three of the most notable translations. Also included is a comparison of two radically different translation styles, so you can get a feel of just how much the text can change depending on which version you get.

J.R.R Tolkien’s Translation of Beowulf :

This is the one that started it all.

Before Tolkien, Beowulf was taught in universities simply to help students study Old English. It was never taught as a truly artistic work of literature.

Then came Tolkien, and everything changed. The professor was the first to suggest that Beowulf should be taken serious as a work of art and an epic poem.

Tolkien’s translation of Beowulf revolutionized not only the study of Beowulf , but also the study of Old English as a whole.

While Tolkien’s Beowulf translation more accurately conveys the literal meaning of the poem, it has been criticized for not conveying the full beauty of the poem.

Seamus Heaney’s translation, on the other hand, sacrifices some of the literal meaning in order to convey the art of the poem.

It’s worth noting that while Tolkien was certainly an expert in Old English, he wasn’t a huge fan of his own translation.

This is likely because he knew he did a good job conveying the literal meaning, but not the art of the poem.

Seamus Heaney’s Translation of Beowulf :

This is by far the go-to translation of Beowulf for most people today. The Irish poet managed to make Beowulf come alive in a way other translators hadn’t been able to do before.

More impressively, however, is how Heaney still maintained so much of the magic of the original poem’s language. The alliteration within lines, and other conventions of Old English poetry are kept intact.

Heaney succeeded not only in bringing the poem to life for a modern audience, but also in making readers feel connected to the Old English, Anglo-Saxon culture in which the poem was originally written.

If you’re looking for a translation of Beowulf to begin reading now, Seamus Heaney’s translation is the best one to start with. It’s the perfect intro for beginners.

Maria Dahvana Headley’s Translation of Beowulf :

No one will ever accuse this of being the most accurate or faithful translation out there, but surely it’s the most fun!

Headley’s translation of Beowulf brings the pompous and boastful character of the poem to life. Her translation of Old English into modern slang somehow (and rather amazingly) portrays the warrior culture of Beowulf’s time both vividly and amazingly. 

For example, compare her translation with Heaney’s. When Beowulf first introduces himself to King Hrothgar, Heaney’s translation reads:

So every elder and experienced councilman

among my people supported my resolve

to come here to you, King Hrothgar,

because all knew of my awesome strength.

They had seen me boltered in the blood of enemies

when I battled and bound five beasts,

raided a troll-nest and in the night-sea

slaughtered sea-brutes. I have suffered extremes

and avenged the Geats (their enemies brought it

upon themselves, I devastated them).

Maria Dahvana Headley’s translation, on the other hand, reads:

I'm the strongest and the boldest,

and the bravest and the best.

Yes: I mean — I may have bathed in

the blood of beasts,

netted five foul ogres at once,

smashed my way into a troll den

and come out swinging, gone

skinny-dipping in a sleeping sea

and made sashimi of some sea monsters.

Anyone who f***s with the Geats? Bro,

they have to f*** with me.

Yea, definitely not your “traditional” translation!

What Is the Best Translation of Beowulf?

Maria Headley’s translation is great if you’re looking for an engaging, contemporary voice that’s more of a page turner. However, it’s not always true to the original.

If you want a historic translation that accurately reflects the Old English the poem was written in, check out Tolkien’s version.

Lastly, if you want a translation that’s both faithful to the original text, and still poetically beautiful, then Seamus Heaney’s version is the one for you .

It’s the translation I recommend to all people new to Beowulf.

Why You Should Read Beowulf

Beowulf gives us incredible insight into the warrior culture of old Scandinavian and Anglo-Saxon Europe. If history interests you at all, Beowulf is a must-read.

However, Beowulf  is so much more than just an interesting look back at an extinct culture . 

As mentioned earlier, Beowulf explores the themes of glory , greed , leadership , virtue , courage , cowardice , and sacrifice . A close reading will bring all of these to the surface and provoke thoughtful reflection.

In addition, Beowulf is beautifully written. For those who know Old English, this is already evident.

Seamus Heaney’s translation tries to capture some of the same beauty and wordplay, but still falls short of the original.

However, even if you don’t know Old English, you can still appreciate the artistry of it. Just be sure to read the introduction where the author discusses the nature of Old English poetry, verse, meter, etc.

Lastly, Beowulf gives us some inspiration for our own lives - inspiration to be an adventurous leader, and courageous enough to slay the dragon.

For historical, thematic, and artistic reasons, Beowulf is still very much worth reading today.

Beowulf is more than just another monster story. It’s an epic of heroism, glory, pride, defeat, and tragedy .

Beowulf has been with us for over a thousand years. There’s a reason it sticks around still: something about it resonates with us deeply.

Whether you want to glimpse into a culture of ages past, study Old English, or get inspired to slay the monsters in your own life, Beowulf is for you.

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Beowulf essay

Beowulf is a beautiful tale of heroism that inspires the audience to live a heroic life without holding onto illusions and false hopes. No mortal is strong enough to win against death itself, but Beowulf has depicted how the human will can transcend and fight the battle against the worst of human fears. There are three evils that Beowulf personified: Physical, moral and metaphysical.

A descendant of Cain, Grendel is the most frightening personification of physical Evil. As the author put it, Grendel lives “in a hell not hell but Earth”. There is no actual description of Grendel and it invokes the darkness and the fear of that which is unknown to humans. Grendel is a hybrid of the worst kind. He is part human and part beast- living in the darkness- evil misfit, vicious and cruel, cannibalistic and vengeful. He has no morals and poses a physical threat to mankind. One man’s self-defense is destined in a fight against Grendel. He depicts evil as an omnipresent being and stalks all men by following them- unseen, hiding in the dark, never visible but always there. Evil is always insatiable, and there is no sin big enough. Beowulf represents all that is good in mankind, the strength and courage needed to involve Grendel in a one-to-one fight with his bare hands. Beowulf stands firm and Grendel pushes away from his powerful embrace and ultimately destroys himself.

Evil knows no end and Grendel’s mother; Heorot is the moral evil, and she attacks Beowulf the very next day. The Mosaic code, “an eye for an eye” has been depicted to perfection in this tale. Moral vengeance, the need to quench the thirst for revenge is what drives Grendel’s mother to fight. She only takes one life and then runs for her life from the hallways. There are the slight perverse twists of events, Beowulf bursts into her home, and she is waiting for him with a warm embrace. Now Beowulf is consumed with self-doubt and most of his men give up on his cause too. Now, he uses Grendel’s magic sword doused in his blood and is ultimately victorious. This victory is, in essence, Beowulf’s entry into adulthood. He now faces complex choices and decisions. The war wounds and the fact that Beowulf is a mere mortal have awakened a deep sense of righteousness in the king.

Finally, Beowulf faces the ultimate challenge and goes into battle against the dragon. It is a monster of epic proportions- one who is not a humanoid and is vicious and fearsome. The dragon personifies metaphysical evil. The physical power of this evil lies in the ability to set things on fire and to take flight at his will. It is the evil that men arouse by theft. Beowulf is no thief and has to protect and fight for the honor of his people. Old age knowledge has made him tired and slow and walked with his head held high into the last battle with knowledge that this will be his last. The rising and setting of the great human spirit, the contrast of age and the amalgam of wisdom and pride are what this tale hints at.

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Beowulf Essay

1. introduction.

Beowulf is the oldest epic written in English and the single existing copy of the writing dates from the 11th century. The author of Beowulf is unknown and largely believed to be passed down through oral tradition. The setting of the epic is the 6th century in what is now known as Denmark and southwest Sweden. The poem uses the word Scylding and references a tribe, the Scyldings, which is believed to be a reference to the Danes. Since the Danes were known to be great mead-drinkers, at the time there were likely many mead-halls, which were social gathering places. This epic was structured to entertain the people and help them endure hard times. The opening of the poem begins with a funeral of Scyld. His reign is described as a great one by the narrator and was followed by his ship burial. Scyld's son Beowulf II then rises to power, and later his son Beowulf becomes king of the Danes. This was known as a way to legitimize kingship by tracing one's descent back to a great man. Beowulf the king then faced a great task when a monster named Grendel, who was a descendant of Cain, began to attack the mead-hall built by Hrothgar, a friend of the king. This made the Danes very distraught and was seen as a great tragedy.

1.1. Background information

The protagonist Beowulf, a hero of the Geats, comes to the aid of Hrothgar, king of the Danes, whose great hall, Heorot, is plagued by the monster Grendel. The hero of the poem is Beowulf, a warrior who seeks out battles for his kind, glory and fame. Beowulf shows his strong desire for battle and glory by saying: "My lord Higlac might think less of me if I let my sword go where my feet were afraid to, if I hid behind some broad linden shield: my hands alone shall fight for me, struggle for life against the monster" (Heaney, 17). He believes that behaving in a cowardly manner like Iggthraw, one of his childhood friends, would be the worst thing he could do. This one sentence refers to the whole theme of the book, which is how honor is attained and preserved. The poet attempts to create a sense of how the world operated, such as the social customs, practices, the structure of the warrior and chieftain societies, and also tries to emulate the much talked about feats of warriors during these times. Beowulf, having been set in the olden English times, tries to write the poem with many elements such as tone, themes, and character commitment as closely to the Greek epics as possible. An important thematic element throughout the book is the role of the mead-hall in Anglo-Saxon society. This work serves as a connection to tell of the events and customs of that time and the modern world. In their world of darkness and fear, a mead-hall such as King Hrothgar's was a symbol of security. This is no better seen than in the problem he faces with Grendel; the fear of Heorot being taken away was the worst thoughts of Hrothgar and his people.

1.2. Thesis statement

At about 700 A.D., in the British Isles, an anonymous poet composed a great epic poem of 3183 lines derived from legends surrounding the name of a great Scandinavian warrior of the sixth century, one Beowulf. The setting of the epic is the sixth century in what is now known as Denmark and southwestern Sweden. The poem begins with a brief genealogy of the Danes. Scyld Shefing, founder of the Danish royal house, becomes a great king and then passes away. His son Beow, upon his death, becomes king. King Hrothgar then comes on the scene. Under his reign great prosperity is known to the Danes. An immense mead hall, where the king and his thanes could congregate, is built with the name Herot. This Herot is much like a modern-day lounge. But, some years after the hall is built, a monster known as Grendel is angered by the merriment that he hears coming from the hall. At night, he viciously attacks the hall and kills 30 thanes. This goes on for 12 years, during which the Danes are in great distress. With his subjects continually being attacked and killed, Hrothgar is helpless, the greatest humiliation a king at that time. Beow, remembering his past glory, decides to help Hrothgar and gains permission to do so. Beowulf, a young warrior in Geatland, a country in what is now southern Sweden, comes to the Scyldings' aid. He hears of the monster Grendel and he decides to travel to Denmark and free Herot of the monster. At this time, many of his thanes believe that this will be the last time they see Beowulf alive. This is significant giving that Beowulf is now fulfilling the stasis part of the hero cycle, which is the departure from his known land. For more detailed information concerning Beowulf and parts of the hero cycle, click on this link. With 14 chosen warriors, Beowulf sets sail for Denmark to rid the Danes of Grendel. Greeted by the coast watchman, Beowulf explains to him that he has come to rid the Danes of the great affliction of Grendel. He is allowed to pass and is given directions to Herot.

2. Analysis of Beowulf's Character

Beowulf is the protagonist of the Old English poem Beowulf, and he is the exemplification of the qualities that the writers of the time idealized in a saint. The striking hero demonstrates the fundamental qualities of an unbelievable legend: strength, physical make-up, bravery, and moral standards, fittingly. He was a man who embraced his standard convictions paying little heed to the condition. His wall of fortitude was unbreakable, and he was anxious to act in any case of what peril he expected to stand up to. From his childhood, he has consistently been a charming individual. After the battle with Grendel, it was clear that Beowulf was a man who was to lead his kin to significance in battle. On the contrary, Beowulf was not a good leader since he fought for useless reasons and was very horrifying to people who were faithful to him. He was, in any case, restlessly regarded, strong beyond all useful dormant limit, and all things considered valuable in any endeavor. This has given him a respectable name and a lot of regard, which was something that was inconceivably huge to the pioneers of every old world. Being a hero was very basic to an individual, as it would give him an all the more holding up reputation and higher regard among others. Most of the brave deeds Beowulf accomplishes in the wake of ascending to the position of ruler require unprecedented boldness or have a perilous perspective. His people were in an amazing need and were being deceived by a fire-breathing monster. Most elderly folks fled to the forests and protected themselves in the midst of the mountains. This was a situation where there was no chance of any achievement to be had. Beowulf, after much more experienced, had a yearning to cleanse his past wrongdoings and help out his family. The fundamental measure of initiative here is that he energized his companions and enlisted a social event of volunteers to help him. He puts his trust in God and believes that by using God's light emission daylight and his past night of dispute with the demon, he may accomplish victory.

2.1. Strength and bravery

As a young man, Beowulf fought in many battles and as a result showed his great character to everyone. He had a lot of courage, which was proven through the many ordeals and quests that he embarked on, including his battle with Grendel. He travelled far and wide to help the Danes, whom he had heard were suffering at the hands of Grendel. Only a person with sheer courage would take on such a formidable monster. Also, Beowulf was not daunted by the presence of Grendel, who to many mortals was an unbeatable force. Beowulf showed no fear towards Grendel. He prepared himself and his men in a way that would give them the best possible chance of defeating Grendel. His great strength was another reason that he was the great warrior that he was. At that time, there were very few, if any, who could boast the strength of thirty men as Beowulf could. His amazing feat of ripping Grendel's arm from its socket barehanded is just one example of his great strength. Beowulf was a hero unlike any other before him. He was unrivaled in his strength and courage. Courage was a theme well developed throughout the poem. A key point was shown when Beowulf fought his final battle with the dragon. Though Beowulf knew he had a very slim chance of survival when up against the dragon, he drew from his courage to fight for his people and finally the treasure that he had long desired. He showed that even in old age, he still had the brashness and impudence needed to repel a great calamity from his kingdom. His many years of rule had been seen as wise and successful, which led to him being a great old king. This old king still had a desire for adventure and danger, which is somewhere hidden in the heart of every hero.

2.2. Loyalty and honor

The second section of the essay will discuss Beowulf's loyalty and honor. His loyalty and honor appear throughout the poem. He embodies the highest ideals of his culture by being loyal to Hrothgar and to his own king. Beowulf's uncle is king of the Geats, so he is sent as an emissary to help rid the Danes of the evil Grendel. This is how he is loyal to Hrothgar. He is also, in a way, loyal to his own king by seeking to gain glory for the Geats for his uncle's honor. Beowulf's reward from Hrothgar for ridding the Danes of Grendel is a burden of treasure. This is an example of his loyalty and honor to the Danes. Hrothgar held a ceremony in Heorot to honor the memory of those who had died because of Grendel and to honor Beowulf for his bravery. During the ceremony, Hrothgar gives an amazing speech to Beowulf. He gives Beowulf some words of advice, tells him of a life-threatening situation when he was younger, and then tells Beowulf that he treats him as a son. Hrothgar fails to ask Beowulf to become king so he can retire, yet knows that it would be better for Denmark if Beowulf were king. He is planting a seed with Beowulf that could benefit them both. This act and this speech are the closest Beowulf has ever come to anointment. Hrothgar has always been a father-figure to Beowulf, and, being childless, Hrothgar would have liked nothing more than having Beowulf for a son.

2.3. Leadership qualities

It was believed that in the time that Beowulf was written, leadership was something that was passed down from father to son. Beowulf expresses a different sort of image about leadership with the three different rulers that are in this story. Beowulf was written in the Anglo-Saxon period and provided an important yet unspoken parallel to the current king. The story provides insight on how the hero Beowulf and his behaviors and actions while king can be used to reflect the kind of king Hrothgar was and how he treated his time as ruler. Beowulf as a young warrior was the model image of a powerful man with extraordinary abilities. He didn't need a title to define him as he was proclaimed before the Geats defeat the Danes, as the man among men (line 218). This would serve as a characteristic of a good leader. Unferth, a Dane with cowardly disdain towards Beowulf, reveals a bit about Beowulf's past accomplishments and tells of a swimming challenge against Brecca, which offers one of the earliest images of Beowulf before he undertakes his quest against Grendel. He was a fearless individual with an undying spirit to carry out such a dangerous feat. Life insurance was clearly non-existent at the time as Beowulf risks his life for no material reward to save the lives of others. He reigned as a powerful leader in his older days, having a king's treasure broader and more splendid than he who at any time in former time long in the goings of old sheltered it was the ruler's reparation (lines 474-7). With praising Beowulf as a good king, the narrator tells of his confrontation with the dragon, recounting what he felt was his choice to rid his people of lifelong trouble. Leadership does not always prove itself to be good. Such is the case with Heremod and Beowulf's foil image of what a good leader should be. Heremod was bred in misery, a man of slaughter who caused suffering and death to his own dear ones, too numerous to reckon, so it was his fate that no good king trusted him (lines 1718-20). The Danes had seen their own time of suffering like this last stage of their ruler's life. The reference to Heremod shows that there was regret for a time in which so many had difficulty while the king was not a good one. The Scylfingws sage then has contrasted Beowulf's patterned reign after Hygelac's death paired with Heremod's story of becoming a king.

3. Themes in Beowulf

A major theme in Beowulf is good vs. evil. This theme is stressed very much throughout the book in symbolism. Grendel represents evil and darkness. He is envious, resentful, and angry toward mankind. He represents evil because he comes from a family of demons that were banished by God and his clan. Grendel also lives in a hell-like place, whereas Heorot represents light and happiness. Heorot is located in the center of Herot Hall. It is the symbol of light because of all the wonderful things that take place inside of it. Grendel's hatred for Heorot and his interest in terrorizing and destroying it is from his envy of the life and joy the people inside of Heorot are experiencing. He envies the Danes because he is a descendant of Cain and is therefore damned by God. In laying out this familiar theme in Beowulf, the poet has unusually defied the confines of time and place by blending together the three confrontations between good and evil from the poem and constructing his theme around the framework of the Christian tenets. This is a way we can distinguish the poet's ideas with the original story. Beowulf's triumph over Grendel and his dam is described as a triumph of God over the dark. But it is a curious fact that Grendel himself has never been characterized as a servant of the evil one and from his actions and his accoutrement he appears to be an earth-bound creature more akin to a marauding Viking-berserker. This poet's introspective attitude towards his own religion has also made him bestow Grendel with human characteristics and actions as if to point out the relative frailty between the two sides. Which then in turn would leave us to say who really is the evil one here? Japanese novelist and scholar Tanaka Kinuyo points out that Grendel and his dam being both shadowy and super-human creatures are more often than not a personification of the two heroic antagonists' states of mind and that the poem tells of the ongoing struggle between these two states of mind in man's quest for maturity.

3.1. Good vs. Evil

The opposing force of good and evil is another example of balance in Beowulf. Grendel is the "dark" force; his action is simply not to do good. But Beowulf, as all epic heroes, is the embodiment of good. The poet makes this contrast very clear in his general description of the two realms. Fittingly, the epic takes place in an unsettled time of transition in which dogmatic pagan culture is giving way to Christian dogma. Beowulf himself in later parts of the poem, clearly indicates that the outcome of his struggles is the result of God's judgement. And so it seems that good always triumphs over evil in Beowulf. Like him, the heroes of old English can conquer the evil force(s) and make it possible for a better society, however their own gains are temporal and they no longer can take part in it. There are many patterns which the poet used to articulate this theme. The poem opens with an illustration of generational balance; in which Shield Sheafson is a promising example that gives hope of better future. In the Dane's rest after Grendel's death and in Beowulf's praise is a testimony that their battles were not in vain and there is a hero who can transform the affect of evil to good. Yet the eventual fate of destruction looms over all the fortifications and homes and blood of Herot for all is a testimony of transitory victories over dark forces.

3.2. Heroism and hero's journey

The next theme is that of heroism. Throughout the poem, Beowulf is presented as the perfect Anglo-Saxon hero. In line 381 of part two, it states that "win fame with his father" and this is exactly what Beowulf aims to do. Beowulf wishes to leave his mark on the world and be remembered fondly. This is the definition of the "ubermensch" – the over man – who was a great leader of men. In order to establish a name, a man of courage must function in a society much larger than himself. This idea mirrors that of Goethe's Faust although the methods which the two characters use to gain honor are completely different. Beowulf is unswervingly committed to the highest possible ideals and indubitably dedicates his life to attaining honor and greatness. He does not balk at the prospect of death for the realization of this goal. Beowulf's journey is a quest for greatness that is motivated by an over vigilant desire for glory. It is apparent that Beowulf is of noble birth because in order to be a hero, there is an expectation from Anglo-Saxon society that one must be born into the role. Beowulf's father Ecgtheow, who travels to Heorot in the beginning of the tale, was most likely a thane or a king, therefore making it so Beowulf must fulfill the inherited role of hero. An example of a scene where Beowulf displays heroism in a manner prescribed by his Anglo-Saxon culture is in part two when he makes the decision to fight Grendel with neither weapons nor armor. This exhibition is central to the essence of the hero in the Old English world. Weapons are not only a means to victory in an Anglo-Saxon battle; they are a source of pride and honor for the warrior who bears them. Since Grendel's raid has been a long standing source of shame and embarrassment for the Danes, Beowulf wishes to atone for it and therefore add to his own honor. No matter when or where, heroes will always go after great ups and downs and twists and turns in order to get what they want. Beowulf's unwavering pursuit of his goals is what separates him from other characters in the poem and makes him a clear embodiment of the hero figure. He is fixated on Grendel from the beginning and he never loses sight of what it is that he wants to achieve at the end of his long and difficult battle. Grendel is not merely an obstacle in the way of Heorot; he is emblematic of everything that is evil in the world and Beowulf knows that it is his duty to suppress that evil. Finally, in the twilight of his life, Beowulf will encounter another dragon and once again his attentiveness will be solely fixed on this obstacle. This is evidenced by the lines 2350-2355 in part two, just before Beowulf goes to seek out the dragon. Beowulf knows full well that the quest may cost him his life but he does not let that dissuade him. His sole aim in this endeavor is to protect his people from harm and this is the ultimate manifestation of the hero's role, to always be looking out for others.

3.3. Fate and destiny

In a thorough analysis of Beowulf, the Christian and pagan aspects of the epic are frequently referenced. Throughout the story, the people must depend on God for divine intervention and to seek out the truth. It is hard for the people to put their faith in a man who is seemingly doing the right thing in the eyes of God but seeking praise and selfish glory from others. There are juxtaposing fates ensues. Downfall doth darken him; death is his doom. The follow-up passage discusses the fate of a great hero, in this case, it was Beowulf. At the time of salvation, Beowulf was still boasting about his victory of slaying Grendel. He had already made his descent into hell. Hell's captive caught in the Devil's chains. Then the great king acquired an enemy. He brought forth cursing; Grendel on him avenged murder on the feud that he, earlier in his life, had begun against God. The general consensus is that Beowulf was too arrogant in boasting of his victory and believed he was untouchable by the forces of evil. His transgression was succumbing to the temptations of pride by desiring to be greater than he already was. He incorrectly assumed the pressure and reward were lifted. As always, the burden of pride was mixed with the cup of sorrow. This mistake left his people perilously unsafe and thus began action from the forces of evil to punish Beowulf. This can be related to many previous tragic heroes and their downfalls for having a fatal character flaw.

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Introduction

by Allegra Villarreal

An epic poem of 3,182 lines, Beowulf is regarded as one of (if not the) most important works of Old English literature. This poem is known from a single manuscript found in the Nowell Codex , and dated to 1,000 CE. It suffered damage in 1731, during the Cotton Library fire at Ashburham House where it had been stored; efforts to bind and restore it were made but in the process some letters were lost.  Thankfully, the original was transcribed long before, likely by two different monks, the latter of whom  is also thought to be the scribe of Judith (which may account for their similarities in writing style). This manuscript also includes accounts of saints’ lives and tales of travel to the Orient; while wildly different in terms of content, all the stories in the Nowell codex focus on heroes and monsters, good and evil. Beowulf , as a literary work, represents the culmination of an era of early English history; several decades after its transcription, the Normans would invade and bring with them new customs, language and forever transform English literature.

Story Summary

This story, while written in England, is set in Scandinavia and follows the exploits of a great warrior of the Geats, Beowulf. At the story’s open, he appears to the aid of the Danes and their king, Hrothgar, by slaying a monster known as Grendel who has been attacking the mead-hall of Heorot for years. In the aftermath, Grendel’s mother is enraged to the point of attacking the mead-hall herself; she too is ultimately killed by Beowulf. Victorious, he sails back to his homeland and becomes king of the Geats, reigning without significant incident for 50 years. In old age, Beowulf must again take up arms to defeat a dragon who hoards gems and shining weapons. Though he wins handedly, he is mortally wounded in the process and dies as a revered warrior king.

The story is often divided into three parts (each devoted to the slaying of a monster) and though it may seem that the focus here is on the exploits of battle, there are some deeper themes here. The first monster, Grendel, is identified as “one of Cain’s clan” – a monster that is also vaguely human, an outcast who is “spurned and joyless.” He envies the comradery of Hrothgar’s men, their closeness as a tribe. When he is killed, it is maternal anguish that motivates his unnamed mother to avenge the death of her son and when he enters the dragon’s lair, it is Beowulf who is called “invader” (Puchner 887). The line between monster and man is murkier than one might, at first, assume. Similarly, the ties of kinship and clan speak to the importance of communal life during this time as an antidote to solitude and protection against certain death. In many ways, this story explores what it means to be human, to be part of a collective, and, most importantly, what the nature of heroism truly is.

Historical Background

The story appears to be set in the sixth century, a time when the British Isles were first settled by Germanic tribes from the north. These tribes likely brought with them folktales and songs from their native lands which may have filtered their way, thematically and linguistically, into this tale. We date it to this time as it does feature historical figures (such as Beowulf’s lord, Hygelac, who died around 520) though there is no known historical figure called “Beowulf”  (Robinson 14).

The poem was recorded by Christian Anglo-Saxons, though it is set during a time period when the characters themselves would have held pagan beliefs. The Germanic warrior society presented shows the importance of hierarchy in that context, and while some scholars point to a particularly Christian or pagan reading of the text, what is certain is that there are only allusions to the Old Testament and Christ is never mentioned. Richard North, in discussing this ambiguity states: “As yet we are no closer to finding out why the first audience of  Beowulf  liked to hear stories about people routinely classified as damned. This question is pressing, given… that Anglo-Saxons saw the Danes as ‘heathens’ rather than as foreigners” (qtd. in “Beowulf”).

Literary Style

While it was written in 1000 CE, it likely has an older provenance through oral storytelling; those listening to the tale in the year 1,000 would have found its antiquated language strange and removed even in its own day. Written in a West Saxon dialect of Anglo-Saxon/Old English, the poem is most notable for its use of alliteration (repeated initial consonants), which is different from the French-inspired forms that would later dominate English poetry. The poem also consists of half lines, with two stressed words each, followed by a “caesura” or natural pause (Catlin). This lends a rhythm to the reading that is entirely different from other forms such as the iambic pentameter (which was also inherited from the French). An example can be found here as Justin A. Jackson, Professor of English, reads the opening lines.

Another standard feature of Anglo-Saxon (and Norse) writing is its use of kennings : a type of metaphor that signifies a person or thing by a characteristic or quality; examples from Beowulf include: “dwelling place” for residence, “earth hall” for burial mounds, “stout hearted” for bravery and “helmet bearer” for warrior (Paradine). This metaphoric language adds another level of meaning to a revered and often challenging text.

Works Cited

“Beowulf.” Wikipedia, The Free Encyclopedia. 24 Jan. 2019. Web. 29 Jan. 2019. https://en.wikipedia.org/wiki/Beowulf

Catlin, Sally. “Anglo-Saxon Alliterative Epics.” Vision: A Resource for Writers , 2002. http://fmwriters.com/Visionback/Issue9/poetry.htm

Paradine, Gerald. “Kennings.” Pace University , n.d. http://csis.pace.edu/grendel/projs991b/kenning.html

Puchner, Martin, ed. The Norton Anthology of World Literature . Norton, 2013.

Robinson, Bonnie J. and Getty, Laura, British Literature I: Middle Ages to the Eighteenth Century and Neoclassicism . English Open Textbooks, 2018. https://oer.galileo.usg.edu/english-textbooks/17

Discussion Questions

• While Beowulf is seen as an ideal character and hero, was there anything lacking in his character that makes him less honorable?
• Compare Beowulf to what we consider to be a hero in today’s society. How do they differ?
• Does the heroic code expressed in  Beowulf  conflict with a Christian sensibility?
• What is the status of gold and gift-giving in the poem? Who gives gifts, who receives them, and why? Are the modern concepts of wealth, payment, monetary worth and greed appropriate for the world of Beowulf?
• Can Beowulf’s journey be better described as an attempt to find oneself or to actually protect Herot, the Danes, and eventually his own life?

Further Resources

• A podcast covering the history, culture and literary value of Beowulf (from the “In Our Time” BBC series).
• An infographic depicting the intersection of Beowulf and our modern pop culture (in terms of monsters and dragons).
• An audiobook version of Beowulf Parts I & II.
• A video clip of plot summary and key themes/motifs by Thug Notes. Wisecrack. “Thug Notes: Beowulf.” Youtube.com . 24 Sept. 2013.

Reading: Beowulf

I. the life and death of scyld, ii. scyld’s successors–hrothgar’s great mead-hall, iii. grendal the murderer, iv. beowulf goes to hrothgar’s assistance, v. the geats reach heorot, vi. beowulf introduces himself at the palace, vii. hrothgar and beowulf, viii. hrothgar and beowulf– continued, ix. unferth taunts beowulf, x. beowulf silences unferth–glee is high, xi. all sleep save one, xii. grendal and beowulf, xiii. grendel is vanquished, xiv: rejoicing of the danes, xv. hrothgar’s gratitude, xvi. hrothgar lavishes gifts upon his deliverer, xvii: banquet (continued) — the scop’s song of finn and hnaef, xviii. the finn episode (continued)–the banquet continues, xix. bewoulf receives further honor, xx. the mother of grendel, xxi. hrothgar’s account of the monsters, xxii. beowulf seeks grendel’s mother, xxiii. beowulf’s fight with grendel’s mother, xxiv. beowulf is double-conqueror, xxv. beowulf brings his tropies–hrothgar’s gratitude, xxvi. hrothgar moralizes.–rest after labor, xxvi. sorrow at parting., xxviii. the homeward journey.–the two queens, xxix. beowulf and higelac., xxx. beowulf narrates his adventures to higelac., xxxi. gift-giving is mutual., xxxii. the hoard and the dragon., xxxiii. brave though aged–reminiscences, xiv. beowulf seeks the dragon.–beowulf’s reminiscences., xxxv. reminiscences (continued).–beowulf’s last battle, xxxvi. wiglaf the trusty.–beowulf is deserted by friends and by sword., xxxvii. the fatal struggle.–beowulf’s last moments, xxxviii. wiglaf plunders the dragon’s den.–beowulf’s death., xxxix. the dead foes.–wiglaf’s bitter taunts., xl. the messenger of death., xli. the messenger’s retrospect., xlii. wiglaf’s sad story.–the hoard carried off., xliii. the burning of beowulf..

Source Text: 

Hall, Leslie, trans. Beowulf: An Anglo-Saxon Poem . D.C. Heath & Co. Publishers, 1892, licensed under no known copyright.

An Open Companion to Early British Literature Copyright © 2019 by Allegra Villarreal is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License , except where otherwise noted.

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A Classical Teacher's Journal

Beowulf #1: introduction.

Beowulf is hard, Shakespeare hard. Both take a lot of time and attention to understand what is really being said. But when it comes to Shakespeare, that effort is rewarded with something akin to gold. With Beowulf, however, it feels a little more like unearthing a fossil. You know you found something valuable, even priceless, but it’s hard to know exactly what.

As the oldest surviving epic poem in the English language, Old English really, and with an oral tradition dating back to the fifth or sixth century, it feels worlds away from today. In fact, we knew nothing of this story until 1731 when it was found amidst the wreckage of a fire. Tucked away on some back shelf of Ashburnham House in London, who knows how long it would have remained hidden if not for that fire.

Since then, scholars have translated and transliterated Beowulf dozens of times. For an eager student, going through the stylistic differences and tonal shifts of each would be fascinating, if not fun. But for many, just reading one of these translations would feel tiresome.

Now, I’m not judging one way or the other. I like this stuff. As a seventh grade teacher, I also like giving my students a work that will immediately pull them in. That’s why I was so excited when I found Ian Serraillier’s version, Beowulf the Warrior . It’s a faithful text, written as much for a child as an adult, complete with blank verse, and full of literary elements. To return to our previous fossil analogy, it reads more like the dragon than the dragon’s bones.

Better still, it sounds like the dragon!

True to the oral tradition from which it came, Serraillier’s retelling makes a hauntingly beautiful read-aloud . Its primordial pulse paints my students’ faces with fascination and suspense when we read something like:

“Tricked of his treasure, angrily he prowled

Over the headland, sniffing the ground, devouring

The track of his enemy—but none could he find. At nightfall,

When the daystar was darkened, the candle of the world snuffed out,

Revengeful, riotous with rage, he went forth in flame,

Breathing out ruin, snorting hurricane.”

And just like that, the whole class begins to wonder if dragons really did exist!

Beowulf is more than fantasy, however. It is also a window into the past, showcasing what people of the early Middle Ages valued, believed, and loved. This includes not only the Scandinavian and Germanic peoples of Europe who were the focus of the tale, but also the Anglo-Saxons who eventually claimed the story as part of their cultural heritage.

Whatever your interest in Beowulf —anthropological, literary, or just plain old fun—this blog series has something for you. You’ll meet our title character, his three beastly foes, and a few other important figures. We’ll also analyze the plot and a number of significant motifs. Here is the line-up:

I. Characters

II. The Fight with Grendel

III. The Fight with Grendel’s Mother

IV. The Fight with the Fire Dragon

Whether you read Serraillier’s retelling or one of the originals, I hope this series helps transport you to the world of Beowulf and unlock its mysterious beauty.

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An Introduction to Beowulf : Language and Poetics

• Resources & Preparation
• Instructional Plan
• Related Resources

This lesson provides an introduction to the language and poetics of the epic poem Beowulf . Although this lesson assumes students will read Beowulf in translation, it introduces students to the poem's original Old English and explains the relationship between Old, Middle, and Modern English. Students are introduced to the five characters in the Old English alphabet that are no longer used in Modern English. As a class, they translate a short, simple phrase from Old English, and then listen to a passage from the poem being read in Old English. Next, students are introduced to some poetic devices important to Beowulf . They learn about alliteration by reading an excerpt from W. H. Auden's modern English poem “The Age of Anxiety,” then listen for alliteration in the Old English version of a passage from Beowulf . Finally, students explore the poetic functions of kennings, compounds, and formulas in Beowulf .

Featured Resources

Beowulf : Language and Poetics Quick Reference Sheet : This reproducible provides information about the difference between Old, Middle, and Modern English, as well as poetic devices found in Beowulf . Literary Guide: Beowulf : This online tool can serve as an introduction to Beowulf , presenting information about the poem's significance as well as an overview of the story.

From Theory to Practice

Gillis argues that when we teach literature we often don't do so without teaching its background, its historical, philosophical, and environmental context. When teaching literature in translation, he argues, if we fail to consider the original language and stylistic features of that piece, then we have not taught all the background necessary for our students to have a full understanding of that literary work, even if we are not experts in that language. The purpose behind introducing students to the original language and style will foreground for them that they are reading a translation, which at its best can only give us "an inkling" of the original work. Further Reading

Common Core Standards

This resource has been aligned to the Common Core State Standards for states in which they have been adopted. If a state does not appear in the drop-down, CCSS alignments are forthcoming.

State Standards

This lesson has been aligned to standards in the following states. If a state does not appear in the drop-down, standard alignments are not currently available for that state.

NCTE/IRA National Standards for the English Language Arts

• 1. Students read a wide range of print and nonprint texts to build an understanding of texts, of themselves, and of the cultures of the United States and the world; to acquire new information; to respond to the needs and demands of society and the workplace; and for personal fulfillment. Among these texts are fiction and nonfiction, classic and contemporary works.
• 2. Students read a wide range of literature from many periods in many genres to build an understanding of the many dimensions (e.g., philosophical, ethical, aesthetic) of human experience.
• 3. Students apply a wide range of strategies to comprehend, interpret, evaluate, and appreciate texts. They draw on their prior experience, their interactions with other readers and writers, their knowledge of word meaning and of other texts, their word identification strategies, and their understanding of textual features (e.g., sound-letter correspondence, sentence structure, context, graphics).
• 6. Students apply knowledge of language structure, language conventions (e.g., spelling and punctuation), media techniques, figurative language, and genre to create, critique, and discuss print and nonprint texts.
• 9. Students develop an understanding of and respect for diversity in language use, patterns, and dialects across cultures, ethnic groups, geographic regions, and social roles.
• 11. Students participate as knowledgeable, reflective, creative, and critical members of a variety of literacy communities.
• 12. Students use spoken, written, and visual language to accomplish their own purposes (e.g., for learning, enjoyment, persuasion, and the exchange of information).
• Beowulf : Language and Poetics Quick Reference Sheet  
• Old English Beowulf Passage Handout  
• Modern English Beowulf Passage Handout  
• Excerpt from “The Age of Anxiety" by W.H. Auden

Preparation

• Review the lesson and decide which elements you wish to use.  
• Review the Beowulf : Language and Poetics Quick Reference Sheet .  
• Print out for each student a copy of each handout you wish to use.  
• For more background information on Beowulf see Beowulf : A Study Guide  
• Test the Literary Guide: Beowulf on your computers to familiarize yourself with the tool.

Student Objectives

Students will

• be introduced to Old English, the language of Beowulf.  
• know the relationship between Old English and Modern English.  
• learn about alliteration and alliterative verse.  
• understand kennings, a poetic device common to Old English poetry, and how they are used in Beowulf.

Session One: Introducing Old English

• If desired, use the Literary Guide: Beowulf to introduce the poem. The Overview outlines basic information about the poem.  
• Using the Quick Reference Sheet as a guide, explain that English is divided into three periods.  
• Introduce students to the unfamiliar letters used in the Old English alphabet. Use the Language section of the Literary Guide: Beowulf to discuss the five characters in the Old English alphabet that are no longer used in Modern English.  
• You may want to write the letters on the board and/or show them the first page of Beowulf . In case they ask, the manuscript dates to about 1000 CE and was damaged in a fire, which is why the top and right hand side of the page are badly damaged. The entire Old English alphabet is available in section 16.2 of The Electronic Introduction to Old English .  
• If you would like to spend a few minutes illustrating the changes between Old English and Modern English, write “Þæt wæs god cyning.” on the board, explain to the class how to pronounce the various sounds, and see if they can translate the sentence into Modern English. If you want to provide an example of how Chaucer might write that sentence, you can add “That wes good king,” “That wes goode king,” and/or “That wes god king” to the board after the class has translated the Old English sentence.  
• If you would like the class to hear some of Beowulf in the original Old English, pass out the Old English Beowulf Passage Handout and have the class go to  https://www.beowulfresources.com/ . While the students can listen to and see four Beowulf passages at this site, the handout covers lines 1–11 of the prologue. Note: while now is a logical time to listen to Beowulf read in Old English, your students may get more out of listening to the poem if you introduce alliteration and alliterative verse to them first (see below). You may also wish to distribute the Modern English Beowulf Passage Handout which provides a translation of the passage.

Session Two: The Poetics of Beowulf

• Using the Quick Reference Sheet as a guide, explain alliteration. You may wish to begin illustrating alliteration by using tongue-twisters as examples. The excerpt from W. H. Auden’s poem “The Age of Anxiety” and the Old English Beowulf Passage Handout can be used for further examples.  
• Once your students understand the concept of alliteration, pass out the excerpt from W. H. Auden’s poem “The Age of Anxiety” if you have not done so already.  
• Show the example of alliteration in the Poetics section of the Literary Guide: Beowulf .  
• Using the Quick Reference Sheet as a guide and the Auden poem , explain the basics of Old English alliterative verse. (Do not work through the whole Auden poem if you wish the students to work on the assignment alone or in groups.)  
• Once your class seems to have an understanding of alliterative verse, you may wish to turn to the Old English Beowulf Passage Handout , listen to the poem (see number 4 in the first session), and identify the alliteration and meter of the first 16 lines of Beowulf .  

Example: The Old English for Spear-Danes is Gar-Dena. If you look at the Old English Beowulf Passage Handout , you will see that gar (spear) alliterates and that the alliterative meter needs a G-word here. And, if you are familiar with the poem, you will know that Danes are compounded with many words: Ring-Danes, East-Danes, North-Danes, South-Danes, West-Danes, Bright-Danes. As this is the case, it would be simple enough to suggest that the meter requires the use of gar in this compound for metrical purposes, and, sometimes, this is the reason for the use of a particular word or compounding. However, it is worth noting that this passage is about the Dane’s conquests against their neighbors. It would seem then that the use of gar (spear) in this formulaic compound was not only to meet the needs of the alliterative meter, but also to foreground the Danes as an aggressive tribe. Here in the first line of the poem we find meter, poetic flourish, and theme all coming together in the poem’s first use of compounding.

• Either as homework or in class, ask your students to identify the stresses and alliteration in the Auden poem . You may also ask them to do the same with the Old English Beowulf Passage Handout . If you ask them to work with the Old English passage, give them the URL for audio files and suggest they listen to each section before marking the passage.  
• If your translation maintains compounding and kennings, select some good passages and ask your students to identify the compounds and kennings and explain their function.
• Formulas: Review the formula section of the Beowulf : Language and Poetics Quick Reference Sheet and The Electronic Introduction to Old English section on formulas (14.3) and have students look for formulas as they read Beowulf .  
• Variation: Review the variation section of the Beowulf : Language and Poetics Quick Reference Sheet and The Electronic Introduction to Old English section on variation (14.2) and have students look for variation as they read Beowulf .  
• Follow this lesson with the ReadWriteThink lesson, Reading Literature in Translation: Beowulf as a Case Study .

Student Assessment / Reflections

Session One

• Observe your students as you work through and discuss Old English and its relationship to Modern English. Do they seem interested and engaged with the discussion? Do their comments and questions demonstrate a growing understanding of the material?  
• If you plan on giving quizzes or exams which cover Beowulf , consider including questions on some of this material. If you plan on doing so, let your students know this as you introduce the material to them.

Session Two

• Observe your students as you work through and discuss the poetics of Beowulf and Old English alliterative verse. Do they seem interested and engaged with the discussion? Do their comments and questions demonstrate a growing understanding of the material?  
• Either informally discuss Auden poem after your students have completed them, or, alternatively, collect and grade them.  
• If you asked your students to identify and explain compounding or kennings in the poem, have them share their findings with the class, or, alternatively, collect and grade their work.
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Students focus on the figurative language in Heaney's poem, "Digging," and discuss the speaker's attitude, and how metaphor, simile, and image contribute to the poem.

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Beowulf Study Guide

Beowulf is the most ancient text in Old English that has been preserved till nowadays. Scientists still wrestle over many questions related to the manuscript. Did a single author write it? Why was the next unnamed? What is its literary value?

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This Beowulf Study Guide prepared by Custom-Writing.org experts answers some of these questions and gives clues to a better understanding of the story of Beowulf.

Beowulf Key Facts

Beowulf study guide: articles.

The poem’s summary

If you need to quickly figure out the intricacies of the poem’s plot, this page will be helpful. It contains Beowulf plot overview, a timeline, and chapter summaries.

Character analysis  

This article on Beowulf characters analyses Beowulf, Grendel, Hrothgar, Grendel’s mother, Unferth, and minor characters of the famous epic poem.

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Themes of Beowulf  

Want to learn more about themes in Beowulf ? Chech this article then. Christianity, hospitality, loyalty, bravery – all the poem’s themes are described here.

Symbolism & literary analysis  

Is Beowulf an epic? Where does it take place? Find all the answers in this article. It focuses on the poem’s symbols, metaphors, setting, genre, etc.

Essay topics and examples  

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If you need to write a Beowulf essay, check the collection we’ve prepared. It contains Beowulf essay samples as well as a list of the topics and prompts.

Beowulf Q&A  

Looking for questions and answers about the epic poem? On this page, you’ll find the answers to the most pressing questions about Beowulf. Enjoy!

Beowulf Historical Context

The plot is set between the 5th and the 8th century . That is why it was also a historical text for its creator, who lived several centuries later. The historical background of the poem (for instance, the construction of Heorot) helped scientists define the time frame and the location when and where the events took place.

In 2013, archaeologists found the ruins of Heorot. The excavations were carried out in Lejre, Denmark, some 20 miles from Copenhagen.

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The poem is swinging from the pagan to Christian traditions and back. It is another confirmation of the timing assumptions of scholars. Beowulf could be composed long before the manuscript we know. It could be an orally transmitted legend that was later written down to be preserved as a legacy. The manuscript writer lived when the Christian religion grew stronger. Pagan rites and views of life faded away.

For this reason, we should read Beowulf in the context of hundreds of years that contributed to its creation. For example, the wrath of Grendel is a multilayered symbol. In the 5 th century, it meant unknown and illogical evil that threatened everyone who went too far from their settlement. In the 11 th century, it was already the symbol of the Biblical devil .

The handwriting analysis shows that two English monks composed the text at the beginning of the 11th century.

The manuscript is in the British Museum . It is among the most translated texts in human history because its themes and issues are eternal. Medieval people enjoyed the heroism, honor, and loyalty of the main hero. Modern readers also find the characters relatable, and the theme of good and evil is topical now as never before.

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Looking for Beowulf summary and analysis? Need to quickly figure out the intricacies of the poem’s plot? You’re in the right place! In the article prepared by our experts, you’ll find Beowulf plot overview, an illustrated timeline, as well as chapter summaries of the classic tale. 📊 Beowulf Plot Overview ...

Is Beowulf a hero? ️Where is he from? How he dies? Find all the answers in this article on Beowulf characters prepared by Custom-Writing.org experts. Grendel, Hrothgar, Grendel’s mother, Unferth, and others are described below. There is also a Beowulf character map that presents the main characters and their connections. ...

The themes and motifs of the poem indicate which models of behavior were favored and criticized in the Middle Ages. Generosity, loyalty, strength, heroism, and courage made up a respected personality. On the contrary, envy, greed, betrayal, and cowardice characterized a negative character. The unknown author looks for these motifs...

Beowulf is the first text written in Old English. The described events date back to the 6th century, but the manuscript appeared between the 8th and 11th century AD. It explains why the poem needs a translation to Modern English for an unprepared reader to understand it. Moreover, some literary...

This epic poem is the oldest known written artifact in Old English. It reveals the life, traditions, and culture of the people who lived a millennium ago. At the same time, Beowulf presents such archetypes as loyalty, courage, generosity, hospitality, honor, and heroism. We can relate to these moral categories...

Beowulf is an epic poem by an unknown author. It was written between the 8th and 11th centuries, but the plot describes the events that date back to 500 AD. The original text is in Old English, so the general public studies the poem in a translation. This selection by...

Beowulf was too arrogant to admit he was too old for a hero’s role in the battle with the dragon. He wanted to achieve another feat and receive fame. He felt his death was near, but it did not stop him. After all, dying in a battle was the best...

The poem Beowulf and the novel Grendel have a similar plot. Both literary works characterize Grendel in the same way, with minor differences. In the poem, he is an angry man-eating creature with primitive human traits. In the novel, he is lonely and miserable. His inner world is emotionally complicated....

In Beowulf, the Anglo-Saxon culture manifests itself in gift-giving, hospitality, feasts and celebrations, and the mixture of Pagan and Christian traditions. Such notions as lords, thanes, and warrior tribes were also typical for this culture. In the Anglo-Saxon culture, any achievement in a battle had to be rewarded. There were...

Beowulf was too old for the battle with the dragon. He sensed his death was soon. But he was a king, and kings are responsible for their people. The dragon attacked their homes, so Beowulf had to eliminate it. Besides, in Anglo-Saxon culture, dying in a battle was considered the...

At the time when Beowulf was written, and even more so when the described events took place, there was no such a country like Denmark. Beowulf took fifteen chosen companions with him to fight a man-eating monster who threatened the Danish tribe. There were several reasons why he decided to...

Apart from some other conflicts that mainly fall under the category “Person Vs. Person,” the central conflict is “Person Vs. Supernatural.” Accordingly, the poem describes three battles of Beowulf: with Grendel, his mother, and the dragon. All of them are evil supernatural creatures that kill people and threaten their mead-halls....

The epic poem tells the life story of a Geatish hero, his feats, and achievements. He sails to the land of the Danes to help them fight Grendel, a monster who ate people. This storyline is enframed with the lineage of the Danish kings and other historical or fictional events...

Beowulf came to fight the dragon with eleven warriors. Ten of them betrayed him in fear, but Wiglaf stayed. The two of them opposed the fire-breathing creature. When Beowulf’s sword broke, Wiglaf stabbed the dragon in its stomach. It gave the hero time to take out his knife, which he...

Grendel, the first monster that appears in the poem, came to Heorot by night. At that moment, Beowulf pretended he was asleep. Here the hero played the role of a sleeping monster whose lair was disturbed. He can defeat a monster only by acting like a monster. Grendel and his...

Grendel’s mother killed Aeschere, Hrothgar’s favorite thane. This loss was too personal to leave it unrevenged. He asked Beowulf to battle Grendel’s mother to bring an end to the monstrous breed. Besides, the hero was the only person Hrothgar believed was strong enough for the task. The next night after...

Beowulf takes place in Scandinavia around the 6th century AD. The Geats and the Scyldings (or Danes) were real tribal groups. They lived on the territory of modern southern Sweden and Denmark, respectively. We may suppose that Beowulf crossed the Baltic Sea. Still, it is impossible to define the exact...

Beowulf is one of the first epic heroes that can be found in ancient literature. His brave and noble character helps him defeat evil monsters that killed the Danes and Geats. Beowulf is strong and loyal to his kings. He does everything possible to improve the life of the people...

The battle with Grendel finishes when Beowulf tears off his arm, and the monster runs away to die in the swamps. But Grendel’s mother was driven by vengeance. By night, she penetrated Heorot. She took away Hrothgar’s best advisor and Grendel’s hand. Later Beowulf found the advisor’s head near the...

In the battle with the dragon, Beowulf acts as a protagonist. He is the character with whom readers identify themselves. The dragon is the antagonist. It opposes Beowulf and kills him. A protagonist and an antagonist are antonyms. These opposing forces create a conflict in a story and move the...

Traditionally, epic literature is formed as a long and narrative poem. It also has such literary devices as kennings and rich imagery. Epic poems do not have a rhyme in the sense of modern poetry. Instead, their unique form is achieved by alliteration and rhythm. An indispensable criterion is the...

Unferth is one of the warriors under Hrothgar’s rule. Unferth questioned Beowulf’s ability to defeat Grendel because once Beowulf failed in a swimming competition. Unferth was jealous of the hero’s strength, bravery, and the way the king accepted him. This feeling highlights the difference between these two characters. When Beowulf...

When Hygelac died, Queen Hygd offered Beowulf to take the throne as Heardred, her son, was too young to rule the Geats. Beowulf refused but promised to serve the young king till his dying day. But Heardred was killed in a battle. Then Beowulf became the King of the Geats...

Unferth gave Hrunting to Beowulf as an infallible legendary sword that survived many battles. But when Beowulf fought Grendel’s mother, his sword could not penetrate her armored skin. It even did not scratch her. For this reason, Beowulf had to put aside this weapon and use the giant sword from...

Beowulf comes to help Hrothgar because the king helped Beowulf’s father once a long time ago. The heroic code dictated Beowulf to be loyal to the benefactors of his family. He had to repay for the good deed. Moreover, Beowulf strived for fame, and killing Grendel would bring him glory....

Beowulf fights Grendel’s mother in her deep underwater lair. It is located in a building with a high arch. An ancient sword made by giants hangs on the wall as if waiting for Beowulf to use it. All of these objects and details bear symbolic meaning. Many epic heroes had...

Heorot is a mead-hall and a critical location in Beowulf. The hall is situated in Denmark. It serves as a seat of rule for Hrothgar, a legendary Danish king. He built the hall to celebrate victories and protect his people from any invaders. So, the attack on Heorot was the...

The heroic code required equal terms in a battle for warriors. Beowulf knew that Grendel’s only weapon was his hands. For this reason, the warrior took off his armor and put away his sword. He caught Grendel by his hand and tore it off. The monster died from this mortal...

Beowulf killed Grendel’s mother using a sword he found in her cave. It was an ancient sword forged by giants, Cain’s descendants, like Grendel and his mother. When Beowulf killed the mother and decapitated Grendel, the sword melted away because of the mother’s poisonous blood. In that battle, Beowulf went...

When the night came, and Beowulf was getting ready for the battle, he took off all of his armor. He also put away the sword to fight Grendel barehanded. He motivated it by the fact that the monster was unarmed, so that they would be equal. Besides, Beowulf relied on...

Rising action features the conflicts and challenges of the characters in a fictional plot. The story escalates when all the characters start experiencing various negative things. In Beowulf, rising action takes place between Grendel’s attack on the mead-hall and Beowulf’s battle with Grendel’s mother. The latter marks the climax of...

Hrothgar plays a father figure in Beowulf’s life, and their relationship is full of mutual respect and loyalty. These two words represent the message the author wanted to convey by describing these two characters’ communication. In the end, Beowulf becomes a wise king, just as Hrothgar was. The heroic code...

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Craig R. Davis, Smith College

• Published: 01 July 2014
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Beowulf is a narrative meditation in traditional Old English alliterative verse on the origins of violence in human affairs; it was included in the Nowell Codex, an ethnographic miscellany compiled around the year 1000 on the most exotic peoples in space and time known to the Anglo-Saxons. No one knows when, where, by whom, or for whom this poem was first composed during the previous half millennium, but it was likely preserved, copied, or created at the court of King Alfred in the 890s. The hero confronts three monsters who personify forces that tear apart human communities and bring them to ruin: Grendel, who displays the power of entrenched tribal chauvinism; his mother, who reveals the source of such hatred in wounded love of kind; and the dragon, who embodies a more generalized principle of negative eventuality— wyrd —which renders all human efforts, even those of the noble hero, compromised and ultimately self-defeating.

The Poem and Its Manuscript 1

Beowulf is a narrative meditation in Old English verse on the origins of violence in human affairs and the capacity of both political institutions and individual leaders to control it. The poet’s prognosis is not good. He tells the story of a young prince who travels from his homeland in southern Sweden to help the old Danish King Hrothgar confront a troll-like revenant named Grendel, who has been terrorizing the royal hall of Heorot at night for some twelve years. Beowulf kills Grendel with his bare hands, ripping off his arm as the creature runs howling into the night. The next night Grendel’s mother, a smaller but equally dangerous monster, returns to take revenge. Beowulf then hunts down Grendel’s mother in her lair below the bottom of a haunted lake; he is almost overcome but resurfaces beyond hope with Grendel’s head as a trophy and the hilt of the ancient sword with which he dispatched the she-ogre. He then returns home to his uncle Hygelac, king of the Geats, and eventually assumes the throne himself, ruling his people peacefully for half a century before he, too, is suddenly confronted in old age by a menace from within his own kingdom. This time the menace is a dragon aroused by the theft of a single cup from its hoard. This “heathen gold” (line 2276b) is the accumulated wealth of a lost race, secreted a thousand years before by its last survivor. Beowulf seeks out this third monster, manages to kill it with the help of his young kinsman Wiglaf, but steps only paces away before succumbing himself. The dying king rejoices in his last moments of life over the treasure he has won for his people, but they fear the future without him. Three characters in the poem prophesy the imminent destruction of the Geats once their enemies learn of Beowulf’s death: Wiglaf (lines 2884–2890a), the messenger he sends back to the Geatish army (lines 2999–3027), and a Geatish woman who mourns by the old king’s funeral pyre, anticipating

cruel invasions, many murderous slaughters, terror of troops, humiliation [probably meaning rape], and enslavement. (lines 3153–3155a)

These eventualities were not far off the mark, the poet affirms in his understated style: The Geatish messenger “did not much lie / in his words or the deeds” he predicted (lines 3029b-3030a). But the Beowulf poet never tells us exactly what happened to his hero’s people in the end except to suggest that they are no more, obliterated long since by their enemies or driven into exile, victims of what we would nowadays call genocide or ethnic cleansing. The poem ends with the burial of Beowulf’s ashes in a mound overlooking the sea, along with rest of the dragon’s hoard. “There it still lies,” the poet remarks, “just as useless to men as it was before” (line 3168).

The 3,182 verses of Beowulf are in a form of highly allusive alliterative poetry that appears wherever Germanic languages have first been recorded in writing, beginning around 400 ce with the runic inscription on a gold horn from Gallehus, Denmark, suggesting that this oral tradition had developed in prehistoric times among various speakers of Common Germanic on the Continent. The poem was copied by two anonymous scribes into its single surviving manuscript—the Nowell Codex of London, British Library, Cotton Vitellius A.xv—in some southern English monastery around the year 1000. No one knows when, where, by whom, or for whom this poem was originally composed during the previous half millennium, whether it reflects ancient legendary traditions brought to the former Roman diocese of Britannia by immigrants from northwestern Germany and Jutland during the fifth and sixth centuries or later literary art inspired by biblical, classical, or possibly even Scandinavian models, these last introduced to Britain by Danish Vikings during the ninth century. Serious scholars have proposed virtually every period and kingdom of Anglo-Saxon England, from the transmarine migration across the North Sea—before the Anglo-Saxons had even converted to Christianity or learned to read and write the Latin alphabet—through the middle of the eleventh century, that is, after the time most experts in paleography would date the copying of the Nowell Codex. None of these suggestions has ever won scholarly consensus or even a plurality of agreement, although fashions for earlier or later dating have come and gone. We have a better date for the creation of the Homeric poems on the Aegean island of Chios, ca. 700 bce, than we do for Beowulf in Britain over 1,200 years later.

Nor do we know how many copies of the poem lie between the archetype or first written version of Beowulf and the manuscript in which it has been preserved in the late West Saxon dialect of its last copying. Anglo-Saxon scribes routinely but inconsistently updated the language of their exemplar—the text of the poem from which they were copying—so that whenever we have two texts of a vernacular poem to compare, we can see that many of the lines have been altered or adapted in some way. But scribes often simply made mistakes as well—some obvious, others less clearly so. Much of Beowulf scholarship is devoted to determining and construing the words of the text the Cotton Vitellius scribes had before them. Some scholars are conservative when it comes to prioritizing the extant words and letters that appear in the surviving codex; others are more comfortable with emending that text on paleographic, philological, or even metrical and thematic grounds to offer what they believe to be a more plausible version. Either way, the Cotton Vitellius scribes’ mistakes and misprisions, especially their repeated misreadings of particular letters in their exemplar, suggest that this prior version had been reproduced in a scribal hand unfamiliar to them, probably Anglo-Saxon set miniscule, which had gone out of use about a century or so earlier. 2 In addition, this copy of the poem from sometime before ca. 900, apparently in the early West Saxon dialect of Old English, must have contained a number of linguistic and metrical archaisms shared by much earlier times and places in Anglo-Saxon England. These may be verbal fossils of a version first written down in seventh- or eighth-century Northumbria, Mercia, or East Anglia or, conversely, they may simply represent an older-fashioned koiné or regionally hybrid poetic language that continued to be cultivated for this elevated register of traditional verse in the courts and monasteries of a later period. One third of the surviving corpus of Old English poetry is of this secular heroic sort, but it shares many features of imagery and specialized diction with another third, which is mainly hagiographical in content, and also with a final third that, like parts of Beowulf itself, retells stories from the Bible in a way dramatized by Bede’s reported miracle of the seventh-century Northumbrian herdsman who was inspired to compose the first known poem in the English language, Cædmon’s Hymn , on God’s creation of middangeard “the middle enclosure, the world of human habitation” at the beginning of time. 3

The two Cotton Vitellius scribes copied Beowulf into a manuscript collection comprising another Old English poem about the ancient Hebrew heroine Judith and three prose texts translated from Latin into the vernacular: The Passion of St. Christopher, The Wonders of the East , and The Letter of Alexander the Great to Aristotle . In 1953 Kenneth Sisam called this collection a liber de diversis monstris, anglice, or “book of various monsters, in English,” 4 even though two of the texts— The Passion of St. Christopher and Judith —lack any explicit reference to physical monstrosity per se. The saint is a very large man, however, apparently “twelve fathoms” tall from the equivalent length of the iron bench to which his persecutors bind him (lines 9–10). 5 In the Latin source from which this partially incomplete text has been adapted, St. Christopher is said to live among the man-eating cynocephali of Samos and is himself “dog-headed,” though human and true-believing in his heart. 6 Judith beheads a drunken sexual predator, the Assyrian general Holofernes, who, though human in outward form, is a monster on the inside, described as “the devil’s spawn” (line 61b) and “the hideous assailant” (line 75a), the same kind of language used to describe the giant cannibal Grendel in Beowulf . 7

The miscellany in which Beowulf has been preserved could thus be called more accurately a liber de diversis populis, anglice , or “book of various peoples in English,” a compilation of sensational ethnographic exotica on the most distant peoples in space and time known to the Anglo-Saxons, many of whom were familiar from earlier Greco-Roman accounts of such races: giants, cannibals, dog-headed men, and other Homodubii , as they are called in The Wonders of the East, †æt beoƒ twi-men “that is, maybe-people” (line 32), living among water-monsters, fiery-eyed beasts, poisonous serpents, dragons, and other strange creatures at the extremities of the known world. 8   Beowulf itself begins in geardagum —“in the old days” (line 1b)—of the ancient North and tells of even earlier times and peoples stretching all the way back to the primal murder of Genesis 4 to explain the division of the human race into warring tribes, one of which, the monstrous descendents of Cain, were banished by God to the waste places of the earth, literally “marginalized” from the rest of humanity for their ancestor’s sin. And it is the song sung by Hrothgar’s scop , or “bard,” in Heorot about God’s creation of divine order in the world—“a bright fair field surrounded by water” (line 93)—reminiscent of Cædmon’s Hymn , that so infuriates Grendel, who has been driven out with all his kind into the “land of the monster-race” (line 104b), in his case, the fens and moors, the “wolf-slopes” and “windy headlands” (line 1358), that edge the northern ocean.

Beowulf thus offers an Anglo-Saxon supplement to biblical and classical accounts of the beginnings of human life on earth and the various peoples who have occupied its northern reaches. The poem is similarly concerned to describe the subsequent course of human events there in moral and spiritual terms, though deeply inflected by the world view and value system with which many of these old legends had been imbued during their previous retellings in pagan times. Especially significant in this regard is the influence of wyrd , a general principle of negative eventuality or cosmic entropy, sometimes translated neutrally as “fate” but more often connoting a less happy sense of “(bad) luck” or even “doom.” The term is an old one, with cognates in Old High German, Old Saxon, and Old Norse, apparently the nominalized past participle of a verb that appears in Old English as weorƒan , “to happen, come about, turn out.” Wyrd is both what has “happened” in the past and a predictable “result” or inevitable “outcome” in the future that can be fled or resisted but never permanently escaped. We can have no real doubt that the poet of Beowulf was a baptized Roman Catholic Christian, probably literate in English if not in Latin as well, quite possibly in religious orders, but so familiar with the pre-Christian tradition of vernacular poetry that he could comfortably replicate its oral artistry and elegiac themes to invoke a whole world of antique northern legendry. In fact, he does so in an even more expansive and ambitious way than appears in the shorter heroic lays he gives to poet characters in his poem, probably a more accurate reflection of the scope of such traditional narratives in actual performance. These are the formal songs of the Fight at Finnsburg performed by a royal scop in Heorot (lines 1063–1159a) and a more extemporaneous celebration of Beowulf’s slaying of Grendel by one of Hrothgar’s retainers on horseback:

At times a thegn of the king, a man laden with song, mindful of lays, he who remembered a vast multitude of old stories, found fresh words bound truly together; thoughtfully the man began to recount the adventure of Beowulf and deftly to weave an apt tale, varying his expressions. (lines 867b-874a)

If Beowulf is the product of such oral-formulaic composition in public performance, its written form must be the result of a special dictation over several sittings, perhaps the “self-dictation” by a poet who could read and write, instead of the direct transcription of a single event. Yet the complex plotting and self-conscious craftsmanship of this much longer poem—its piquing internal parallelisms and neatly calculated word chimes over many hundreds of lines, its command of both Christian learning and native lore, its restless and incomplete reflection on the meaning of the events it dramatizes—suggest that the poet of Beowulf , at his desk,was rather imagining an oral performance.

Unfortunately his poem seems to have flopped in its own day, if not with its immediate patrons at least with ensuing generations of Anglo-Saxon readers. 9 Except for the two Cotton Vitellius scribes, we have no known audience or readership of Beowulf whose political interests, social identity, religious profession, or historical circumstances might help us to parse more precisely the poet’s likely intentions. Tom Shippey places the composition of Beowulf in the time of Eddius Stephanus, a Northumbrian Latin author who knew all about the Merovingian Franks mentioned in the poem and wrote his Life of Wilfrid at Ripon, North Yorkshire, in the second decade of the eighth century. 10 Shippey thus reasserts a once dominant view that Beowulf should be dated to the “age of Bede” (ca. 673–735) in Northumbria. He traces the historical setting of the poem, based on a reference to Hygelac’s raid in the sixth-century History of the Franks by Gregory of Tours, to authentic oral memories of the reign of King Theudebert I, who died in 548, suggesting that “for Scandinavia in the Age of Migrations [ Beowulf ] could be the nearest thing to a contemporary document that we possess,” one that supplements but never seriously contradicts the bits of information we can gather from Frankish or Anglo-Saxon sources written in Latin. 11 R. D. Fulk would concur with this earlier dating on the basis of the conservative prosody of the poem, putting it on metrical and linguistic grounds to before the year 750, if composed south of the Humber, or before 850, if in the pre-Viking kingdom of Northumbria. 12 John D. Niles and Marijane Osborn believe the poet may have modeled Heorot on the large tenth-century halls recently excavated at Lejre at the head of Roskilde Fjord on the island of Zealand, a site traditionally associated with the Skjöldungar , the legendary Scylding kings of Denmark. 13 And Roberta Frank sees the influence of Norse skaldic poetry on Beowulf , plus a certain archaizing reinvention of the pre-Christian past extrapolated by the poet from his knowledge of contemporary pagan Vikings. 14 Kevin Kiernan puts the poem well into the eleventh century from the condition of its manuscript, which he believes consists of two originally separate poems joined together by a scribe or scribes around the year 1016, the advent of the rule in England of King Cnut of Denmark. 15

For my part, I suspect that the poem may have passed in some form through the court of King Alfred at Winchester in the later ninth century, since we know of only two Anglo-Saxons by name who were interested in the kind of old ethnic lore contained in Beowulf : (1) King Alfred, who traced his paternal ancestry back to the Danish king Scyld Scefing celebrated in the opening lines of the poem, 16 and (2) his mother Osburh, who was a Jutish princess from the Isle of Wight, a people rationalized as Scandinavian Geats in the Old English translation of Bede’s Ecclesiastical History of the English People , preserved in a manuscript contemporary with the end of Alfred’s reign in 899. 17 According to the king’s Welsh bishop Asser, Osburh promised to give a book of vernacular poetry to whomever of her sons could first learn its contents. 18 Alfred won. We would love to know what was in that book, of course, quite possibly some stirring tales that Osburh wished her West Saxon boys to know about their putative maternal forebears, the heroic predecessors of the “Geatish” kings of Wight. It may even have contained a version of Beowulf itself or of some similar verse legends about the ancient Geatish royals—Hrethel, Herebeald, Hæthcyn, Hygelac, Heardred—that went into its composition to be combined there with traditions of the early Danish kings brought to England by Scaldingi earlier in the ninth century, that is, Vikings who claimed Scylding heritage, 19 some of whom settled the Danelaw after 878 under King Alfred’s new godson Guthrum, king of the East Angles.

Later in life, Alfred assembled a team of scholars to translate into English those Latin works he felt most important for his people to know, very likely including some or all of the ethnographic works included in the Nowell Codex with a verse rendering of the Old Testament book of Judith , the namesake of the king’s Frankish stepmother and sister-in-law, Queen Judith of Flanders. King Alfred’s court at Winchester in the 890s was a veritable hotbed of dynastic speculation and learned inquiry. It is there and then that I believe we should look for the immediate manuscript precursor of a poem that memorializes Geats and Danes in their northern homelands. Whenever Beowulf was first composed in Anglo-Saxon England—in whatever kingdom and in whatever form—this inquisitive monarch would have found it of compelling personal interest. He had motive, means, and opportunity to sponsor the preservation, perhaps even the original composition, of a poem honoring the two ancestral peoples from whom he was proud to descend on both his mother’s and his father’s sides. 20

But we cannot know for sure. All we know is that a version of the poem in Alfred’s early West Saxon dialect of Old English from sometime before the year of his death in 899 seems to have found its way into a nearby southern English monastery during the following century. There Beowulf lay buried in its obscure codex for more than five hundred years, unread and soon virtually unreadable, until King Henry VIII nationalized the monasteries in the sixteenth century, after which it emerged among antiquarian book collectors before coming within inches of being destroyed by fire in 1731. It is scorched and crumbling around its edges, from which at least 2,000 letters have been lost since the end of the eighteenth century. The text of this damaged poem would itself seem to exemplify the fate it depicts for all human achievements.

Yet, since the time Beowulf was first translated (badly, into Latin) in 1815 and then presented in a more reliable scholarly edition in 1832, the power of its language, the starkness of its imagery, the subtlety of its thought, and the poignancy of its sad, brave view of life have inspired as many scholarly studies, at least until recently, as the combined tragedies of Shakespeare. It is the first great poem in English and, after centuries of silence of its own, speaks for generations of mute speakers of that language. It is perhaps the single most expressive statement of the imaginative world of northern Europe during the centuries that followed the fall of Rome, at least among those barbarian nobles who formed the first ruling elites in postimperial lowland Britain. But even so, Beowulf raises as many questions as it answers, leaving its readers in bemused uncertainty about the poet’s purpose and final characterization of his hero, creating a vertigo of moral ambiguity that stands in sharp contrast to its hero’s own quick confidence and decisive action. It is remarkable that this long-forgotten and poorly understood poem should finally have come into its own only at the beginning of the twenty-first century, emerging from its cloistered manuscript in the nineteenth and from anthologies for students in the twentieth to find itself even more compelling to translators, poets, scholars, writers, filmmakers, graphic artists, musical composers, and other interpreters than at any other time of its existence on earth. 21

In addition, the recent revolution of postmodern literary theory has opened up many new approaches to the interpretation of this old poem, transcending former debates about whether it is essentially a Christian work or a pagan one, whether it is the product of monastic literary culture or an ancient oral heritage, and whether its hero is to be seen as a doomed heathen warlord or a Christian role model, even a self-sacrificial figure of Christ. As we will see, current discussions of the meaning of Beowulf (or its conscientious lack thereof in certain deconstructive analyses) revive and reframe these scholarly controversies in ways that naturally reflect our own historical moment and cultural preoccupations. Many critics in recent years, for instance, have found sympathy not so much for the martial hero as for the monsters he kills, especially Grendel and his mother, who are felt to have been unfairly “Othered” or “abjectified” by the human characters in the poem, 22 providing painful examples of the way we demonize those who are different from us, especially those whom we have conquered, colonized, enslaved, supplanted, or otherwise abused, never more so than in our rewriting of their histories from our own triumphalist perspective.

But for virtually all interpreters, the meaning of the monsters lies at the very heart of the Beowulf poet’s project. Their character and significance has continued to exercise scholars ever since J.R.R. Tolkien’s famous defense of them in his 1936 British Academy address, “ Beowulf : The Monsters and the Critics,” certainly the most provocative and influential reading of the poem to date. 23 Tolkien had hoped to restore these creatures to their rightful place in our appreciation of the poem, to counter earlier dismissals of the monster fights as puerile fantasies that the poet had inappropriately placed in the center of his poem’s attention, relegating the more weighty matters of ancient northern history to its periphery. To the contrary, Tolkien argues, the monsters make the poem. Beowulf is not demeaned but dignified by the dire antagonists he must face: Grendel as a young hero at the beginning of his career, the dragon as an old king at its end. These monsters represent forces beyond all human understanding and control, powers inimical to human civilization and social order. They can be held off ane hwile (“for a while”) (line 1762a), as Hrothgar says in his reflections on his own life that he shares with Beowulf, but not forever, not even for very long, even by the most courageous and determined of heroes.

The structure of Beowulf is simpler, Tolkien suggests, than the three monster fights into which it is divided. It recounts the rise and fall of a noble life, interweaving the hero’s adventures with countless other half told tales of similar, though often much less edifying struggles between human individuals and groups. Some of these episodes are recounted at considerable length by the poet in his own voice or by characters within his poem, but more often they are simply adduced by the slimmest and most cryptic of allusions, so that we often have a hard time reconstructing the backstory that would clarify the point of the reference. And these obscurely glimpsed episodes of legendary history only ramify with increasing intensity during the final third of the poem, significantly retarding the climax of Beowulf’s encounter with the dragon. He himself falls into a memory-riddled funk moments before calling out the chthonic worm, brooding obsessively on the sad and morally confusing deaths of his royal kinsmen before him. The general function of these ancillary tales and their thematic thrust in particular instances continues to bedevil Beowulf scholars, but they are clearly intended to contextualize our understanding of the hero’s fights with the monsters. And these creatures themselves are described in such suggestive language and juxtaposed to human characters in such striking ways that we begin to suspect that the poet is using them not only to challenge his hero but also to reflect upon his own motivations and those of other human figures in the poem. The poet’s relentless apposition of monsters and humans makes us wonder whether his hero and the other good characters are somehow complicit in their own demise, driven and distracted by the very demons they had hoped to exorcize from their own society.

The poet of Beowulf at first presents Grendel as a kind of evil spirit: he is “a fiend in hell” (line 101a), a “grim ghost” (line 102a), “the enemy of mankind” (line 164b)—this last an epithet used to describe Satan in Old English biblical poems. Yet he names this character after a creature familiar from Anglo-Saxon folklore, a grendel , a marsh or boundary troll, whom the poet further rationalizes not as a fallen angel but as a mortal human renegade:

a terrible haunter of the borderlands, one who held the moors, the fens and fastnesses; this unhappy man inhabited the land of the monster-race for quite a while after the Creator had condemned him among the race of Cain—the eternal Lord avenged that killing in which he slew Abel; [Cain] had no joy in that feud, for the Maker banished him far from mankind for his crime. From him sprang all misbegotten creatures, etins and elves and ogres, and also the giants who strove against God for a long time; he paid them their reward for that. (lines 103–114)

This last is an allusion to the great Flood of Genesis 6 from which the Beowulf poet imagines some of the wicked giants surviving amphibiously in their watery refuges.

But none of the human characters in the poem knows any of this. Grendel’s malice is inexplicable to them. Nor do they know what provokes his attack upon the newly built royal hall in which he spitefully joins Hrothgar’s thegns uninvited at their feast, killing and eating thirty of them instead. But we know, because the poet tells us: It was the sweet song of the scop singing of divine order in the world, plus the sound of mirth among former enemies to whom the tough but generous Scylding monarchs have brought peace and amity. The Beowulf poet’s sympathies are plainly royalist. Of Hrothgar’s great grandfather Scyld, his judgment is famously terse but emphatic: “That was a good king!” (line 11b). There is no trace of condolence for the various tribal chieftains who were crushed and despoiled by Scyld, or intimidated into submission, local warlords from whom the upstart king wrested their mead benches, symbols of the autonomy with which they had once feasted their own followers in their own mead halls. Even in pagan times the Christian God promotes broad national monarchy and the political stability it brings. He sends Scyld an heir precisely because “he had seen the wicked violence / they once suffered for so long without a king” (lines 14b‒16a).

But it was not to last. The moment Hrothgar finishes building Heorot, the poet alludes to its imminent destruction—not by monsters, but by humans:

The hall towered tall, high and horn-gabled; it was waiting for waves of battle, the flame of hatred; nor would it be too long before sword-hate between father- and son-in-law had to awaken from murderous strife. (lines 81b‒85)

We learn the details later. Heorot will be burned to the ground by Ingeld, future husband of Hrothgar’s daughter Freawaru, tribal king of the Heathobards in northern Germany, with whom the great king Hrothgar hopes to make peace through this marriage alliance despite the fact that the Danes themselves have killed Ingeld’s father Froda in the process of building their empire. Hrothgar hopes that Ingeld will be seduced to forget his grief and humiliation with this advantageous match, but he will not succeed. Beowulf is made shrewdly to foresee the failure of the good king’s plans when he reports back to his uncle Hygelac in Geatland. He can just imagine the barely suppressed resentment of the Heathobard warriors as they observe their family heirlooms dangling from their enemies’ sword belts. It will not take much to reignite Ingeld’s animosity, the hero surmises, “even though the bride be good” (line 2031b). With a narrative trick he uses time and again, the Beowulf poet scarcely finishes building the royal hall in our minds’ eyes before he erases it forever in the most aggressive and totalizing way. 25 It will be consumed by the fire of renewed hostility between intimately related folk before it is even rescued from its earlier haunting by an enemy inspired by similar ethnic animosity. Grendel wants no sibb , no “peace” or “kinship,” “with anyone of the Danish host, / would not relax his mortal hatred, negotiate a settlement” (lines 154b‒156). Grendel foreshadows in monstrous caricature the angry spirit that will well up in the breast of the all too predictable human king.

The poet uses flame as a symbol of hatred and its power to destroy. Fire burns everywhere in this dark poem. It burns on the water of the monsters’ mere, “a hateful marvel” (line 1365b). It flashes in Grendel’s eyes—“an unlovely gleam, most like a flame” (line 727). It burns uncle and nephew lying side by side on their pyre in the Finnsburg lay (lines 1107–1124) after the Frisian king Finn has plotted vengeance against his brother-in-law Hnæf for nearly two decades under the pretense of a happy marriage to the Danish princess Hildeburh. It is no wonder the Beowulf poet makes Grendel a direct descendent of Cain, the perpetrator, he implies, of the real original sin of mankind, 26 a view shared by other Old English poets. That of Maxims I says:

Feuding came to mankind from the instant earth swallowed Abel’s blood. That was no one-day deed of strife. From it the drops of malice splashed far and wide, great evil among men and hate-stirred strife among many peoples. Cain slew his own brother, but did not keep killing to himself. From then on it was seen that everywhere constant strife destroyed men. (lines 192–198a) 27

Or the poet of Genesis A , using a different image:

From that stem afterwards, ever longer the stronger, grew hateful and furious fruit. The shoots of violence spread far and wide among the tribes of men. The branches of evil, hard and sharp, pricked the sons of men. They still do. From that broad blade every injury began to blossom. Not without cause can we weep over this story, this slaughter-grim result [ wyrd ]. (lines 988b‒997a) 28

Grendel embodies our violent human heritage in its most hideous, characteristic, and predictable form; his cannibalism incarnates a system of human interaction that incessantly devours the lives of men.

Grendel’s Mother 29

Paul Acker has observed an interesting irony about Tolkien’s classic defense of the monsters of Beowulf , especially with regard to Grendel’s mother—that is, he completely ignores her. 30 Tolkien apparently did not respond to this character with the same critical approval he gave the other two monsters. He did not find the hero similarly enhanced by his encounter with her. Why not? Why did Tolkien not recognize in Grendel’s mother a menace of comparable significance to that which he found in Grendel and the dragon? Is she a mere redundancy, a storyteller’s trick, used to scare the audience with a sudden new threat once they think the real danger has passed?

I would suggest that Grendel’s mother’s reiteration of her son’s violence is part of the poet’s point, reflecting his further thoughts on the irrepressibility of the violence these monsters represent and its ultimate origin. The attack by Grendel’s mother is surprising in several ways, partly in her character as a female but also as the mother of her monstrous son. Who would have thought that man-eating fen trolls had fretful moms waiting for them back in their lairs? And the poet slyly remarks that it was only a girl monster who came to Heorot that second night, one whose threat was weaker than her son’s to the extent that “a woman’s strength” and “a female’s fighting power” is less than that

of an armed man when forged sword, beaten by hammers, the blood-stained blade with its mighty edges, cleaves boar-crests on helmets. (lines 1282b–1287)

Well, a woman’s strength and fighting power do not sound too terribly dangerous compared with that kind of hard, weaponized masculine force.

But the poet is only teasing us. Grendel may have burst headlong into Heorot “like a man,” but his mother proves to be the far wilier and more formidable opponent. She is difficult for Beowulf even to find among the many hazards at the bottom of her mere; she is slippery, quick, and clever as she reverses his grip on her shoulder (or hair), flips him under her, and draws her long knife. She almost gets him, too, and would certainly have done for Beowulf if Almighty God himself had not intervened at that very moment in one of the most explicit intrusions of divine agency in the entire poem:

Then the son of Ecgtheow would have perished under the broad earth, the champion of the Geats, if his war-shirt had not given him help, the hard battle-net—and holy God. The wise Lord, ruler of the heavens, gave him victory in battle; he decided it rightly, easily, when [Beowulf] stood up again. (lines 1550–1556)

In addition, when we compare her motivation to Grendel’s indiscriminate rapacity or the dragon’s blind possessiveness, Grendel’s mother is the most intelligent and rational of the three monsters in Beowulf . She leaves her lair for one very specific reason: to avenge her son. Her behavior has both intellectual clarity and a certain moral rigor: She scrupulously exacts a life for a life, according to the strict rules of the old lex talionis (Exodus 21: 24). Andy Orchard suggests that we should see her as the “wronged” party in this exchange, 31 and Alfred Bammesberger agrees that Grendel’s mother is “legally entitled to avenge” Grendel because a foreign stranger, to whom her people have never done any harm, has just killed her only son. 32 At the very least, the poet has given this monster a moral and emotional claim upon our sympathies that provokes one of the poem’s most potently ambivalent moments, since a mother’s outraged love for her mutilated child is a feeling that everyone in the audience of Beowulf —Anglo-Saxon, modern, or postmodern—can be expected immediately to recognize and understand. We know exactly how this mother—any mother—would feel. So the introduction of Grendel’s mother creates a point of intimate but repellent contact between the monsters of the poem and the humans of its audience that the poet contrives to confuse or complicate our perception of the evil these creatures are supposed to represent and their apparent Otherness from our own conscious values. Grendel’s mother is not an utterly alien Other.

And the logic of the revenge imperative she illustrates is also obvious, a principle of retaliation known to scholars of feud (perhaps a bit euphemistically) as “self-help justice,” a pattern of axiomatic reciprocity between rival groups—both positive and negative—whose conventional protocols function as a kind of organic constitution in stateless societies or those with weakly institutionalized law enforcement. 33 The system is supposed to minimize violence by channeling it through a limited number of expendable actors who must follow the rules of the feud, thus promoting a broader political balance and cohesion between competing clans or factions. However, the poet of Beowulf has already shown that any deterrent, equalizing, or cohesive purpose to a system of mutual exchange had long since broken down in Denmark. There is no “peace in the feud” between humans and monsters, since Grendel evinces no fear at all of retaliation from the Danes as a restraint upon his behavior and rejoices in the one-sided violence he is able to inflict on them. In fact, the Beowulf poet troubles to show us that even when a thoroughly just vengeance is taken upon this tihtbysig “crime-laden” man, a hardened criminal or repeat offender, violence does not settle the matter at all but simply provokes an immediate retaliation on the part of the perpetrator’s aggrieved kin.

Grendel’s mother drags off Æschere, Hrothgar’s oldest and most beloved retainer, the one surviving thegn who, as a young man, used to fight shoulder-to-shoulder with his lord as they defended each other’s heads in battle (lines 1325–1328a). His loss is specially and bitterly mourned, even after all the other deaths suffered by the Danes. The poet invents the vicious beheading of this character at the hands of Grendel’s mother in order to create a particular thematic opportunity. It gives him a chance to lament, in his own voice, the system of reciprocal violence that Grendel’s mother incarnates in her actions and intent: “that was not a good exchange / that on both sides they had to pay with the lives of their loved ones” (lines 1304b–1306a), he says, with remarkable compunction for the feelings of a deadly she troll. But this way, he suggests, both sides will always lose those they love the most.

The Beowulf poet uses Grendel’s mother to imagine with greater emotional clarity and intellectual precision the source of such self-consuming violence between groups. It is primordial love, he realizes, that is the bottomless wellspring of human hatred. We hate so hard because we love so much and so protectively those whom we see as moral appendages of own persons, a mother especially, since her physical connection to her offspring is so obvious and tangible. Families are the same. We are sprung from their bodies, bone of their bone, flesh of their flesh. Wounded love of kind is thus the indefatigable engine of violence in human affairs. C. R. Hallpike, writing of the hill clans of Papua New Guinea, concludes that certain patterns of familial affection and group identity simply make “a high level of conflict both permanent and inescapable.” 34 The Beowulf poet agrees: He uses the image of a perfectly natural but monstrous mother’s love to convey the power and predictability of the impulse for revenge, the inevitability of the violence it constantly engenders. And rather than leave us merely appalled at this conclusion, within seventy lines the poet troubles to associate his own noble hero with this very same reaction: “Do not mourn, old man,” Beowulf reassures the grieving Hrothgar: “it is better for a man / to avenge his friend than to mourn much” (lines 1384b–1385). We best express our love not through sorrow but through more violence. Let’s kill one of theirs, we’ll feel better. And the old king leaps for joy, thanking God, when he learns of his young friend’s determination (lines 1397–1398).

This embrace of the revenge imperative by the good people in the poem is no temporary or adventitious association, adduced at this particular point simply to motivate Beowulf’s next adventure. Even on the last day of his life on earth, when as an old king, the hero pauses to reflect before entering the path down to the dragon’s barrow, he rejoices not in having killed Grendel and his mother for Hrothgar. What Beowulf is most proud of is that his beloved uncle Hygelac had never needed to seek among other peoples a warrior worse than him to fight their enemies. He remained loyal to the end and personally succeeded in avenging the king’s death on that battlefield in Frisia by crushing the life out of his Frankish counterpart, the human champion Dæghrefn, with his own bare hands (lines 2501–2508). This gloating memory is what gives Beowulf the final gumption to call out the dragon a few moments later. And we might recall that the Geats’ attack upon the Franks, in which Hygelac was killed, is said three times by the poet to have been an unprovoked plundering raid, structurally analogous, one might say, to Grendel’s random depredation of Danes: “ Wyrd took him / when for pride [Hygelac] asked for trouble, for a fight among the Frisians” (lines 1205b–1207a; cf. 2490–2508a, and 2910b–2921). This observation puts our hero in a position precisely parallel to that of Grendel’s mother, in that he avenges the slaying of a close kinsman who has already put himself in the wrong by killing first. The Franks, like the Danes, were just trying to defend themselves from a wanton aggressor, only to suffer further loss of life at the hands of their attacker’s aggrieved kin: Beowulf in this case, Grendel’s mother in the other.

What is interesting here is that the poet has demonized in Grendel’s mother the same attitude he honors in his hero. And there are other moments in the poem where we feel the same thrill of revenge. I am thinking in particular of the relief created by the scop of the Finnsburg lay when, after that awful winter in Frisia where the Danish leader has been forced to swear allegiance to his lord’s slayer Finn, Hunlaf’s son finally puts the sword into Hengest’s lap. A satisfying moment of revenge—when Dæghrefn’s ribs crack in Beowulf’s bear hug or his windpipe collapses in the hero’s great grip—is a memory the old king cherishes to his dying day. This murderous pang of grief turned joy in the moment of revenge is the still point in the turning world of Beowulf , a satisfaction shared both by the Geatish prince and by Grendel’s mother.

But do we need go so far as to conclude that Beowulf himself becomes a monster by killing monsters, that he musters such force of inhuman rage and vengefulness, of arrogance and “us-ism,” that he takes on the character of the enemies he overcomes rather than the human beings he tries to protect? 35 Beowulf is not a monster, the poet reminds us. He is a really nice man. When he dies, the Geats mourn him from the bottom of their hearts:

They said he was of kings in the world the mildest of men and the most courteous, kindest to his people and most eager for their regard. (lines 3180–3182)

Much f this esteem comes from the fact that Beowulf never killed a kinsman, a blessing for which he thanks God (lines 2739b–2743a) and a rarity among Germanic princes, historical or legendary. But neither did Beowulf let his kinsmen lie unavenged, even when they were stupidly, wickedly, disastrously in the wrong. Beowulf does not become a monster by killing monsters: The monsters of Beowulf become human by killing humans. It’s what we do. It comes naturally to us, especially when someone harms our loved ones.

The Dragon 36

It may feel better to avenge one’s friend than to mourn much, but it does not bring him back (in the old cliché), nor does it seem to make things much better for anyone in the long run. Even the vengeance Beowulf takes upon the dragon for burning down his hall is just as self-destructive as the dragon’s own retaliation for the violation of its “hall” in the earth. They both get their revenge, of course, but lose their lives in the process. Like Grendel’s mother, Beowulf enjoys a momentary triumph, but blood is pulsing from the bite-wound in his neck, poison working in his breast, his face scorched by flames and caustic venom. Our damaged and disfigured hero is now something of a monster himself, exulting (almost pathetically) in the wealth he has won for his people, not realizing that it is worthless to them without him. Swedes and Franks and other enemies will all remember the many injuries Geats have done them in the past, including some big ones by Beowulf himself. This is not at all a good exchange, that on all sides everyone ends up paying with the lives of their loved ones, the hero of the poem just like everybody else.

Unlike Grendel and his mother, however, the dragon is not a humanoid monster. It is supercultural and therefore ultimately insuperable, 37 an earthly analogue of the great world serpent that the god Thor will kill on the last day, stepping, just like Beowulf, only paces away to his own death. Both god and hero try to defend their people from this existential threat, but their own great strength redounds upon them: It is the shock of Thor’s hammer blow that blasts all human life from earth, not the Midgard serpent. 38 Beowulf only breaks his good sword on the dragon’s hard skull, his final “victory,” leaving his people more vulnerable to their enemies than before. These are not ironies for the Beowulf poet. They are simply wyrd —the way things have always “turned out”—for all heroes, all monsters, all creatures on earth. “ Wyrd has swept away / all of my kinsmen to their predestined end,” the hero says: “I must follow them” (lines 2814b-2816). Despite his many references to the Christian God, then, whose presence is so palpable in the earlier parts of his poem, the poet of Beowulf chooses to end his story the old-fashioned way, a choice that may help explain why his work never achieved the kind of cultural authority in Christian Anglo-Saxon England enjoyed by other epics of comparable depth and artistry, which express for their societies a clearer sense of divine purpose, national mission, dynastic legitimacy, or folk character. Instead, Beowulf slipped away into the corners of English literary culture, quietly awaiting its revival in our own post-Christian, postmodern, less confident age.

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1 The standard edition is Klaeber’s   “ Beowulf” and the “Fight at Finnsburg , ” 4th ed., by R. D. Fulk , Robert E. Bjork , and John D. Niles (Toronto: University of Toronto Press, 2008) . For a version of this edition with prose translation, plus the texts and translations of other works included in the same codex and a related fragment, see The   “ Beowulf” Manuscript: The Complete Texts and “The Fight at Finnsburg ,” ed. and trans. R. D. Fulk (Cambridge, MA: Harvard University Press, 2010) . Translations of poetry are my own, but I have been guided by Fulk in rendering key words and phrases in Judith and the prose texts of the Nowell Codex, as noted below.

2 Michael Lapidge , “The Archetype of Beowulf ,” Anglo-Saxon England 29 (2000): 5–41 ; qualified by Craig R. Davis in “An Ethnic Dating of Beowulf ,” Anglo-Saxon England 35 (2006): 111–129, at p. 112.

3 Cædmon’s Hymn, in Three Northumbrian Poems , rev. ed. A. H. Smith (Exeter, UK: University of Exeter Press, 1978) , line 7a.

4 Studies in the History of Old English Literature (Oxford, UK: Clarendon Press, 1953), p. 96 . Cf. Craig R. Davis , “The Geats of Beowulf ,” in The Dating of “Beowulf”: A Reassessment , ed. Leonard Neidorf (Cambridge, UK: Boydell and Brewer, forthcoming 2014) , from which the following comments have been adapted.

5 The Passion of Saint Christopher , in The “Beowulf” Manuscript , ed. and trans. Fulk , pp. 1–13 .

6 An Old English Martyrology , ed. and trans. George Herzfeld , Early English Text Society o.s. 116 (London: Kegan Paul, Trench, and Trübner, 1900), pp. 67–69.

7 Judith , in The “Beowulf” Manuscript , ed. and trans. Fulk , pp. 297–323 .

8 The Wonders of the East , in The “Beowulf” Manuscript , ed. and trans. Fulk , pp. 15–31 . Cf. The Landmark Herodotus: The Histories , ed. Robert B. Strassler , trans. Andrea L. Purvis (New York: Random House, 2007).

9 Craig R. Davis , “Redundant Ethnogenesis in Beowulf ,” The Heroic Age 5 (2001). Available at: http://www.mun.ca/mst/heroicage/issues/5/Davis1.html

10 “The Merov(ich)ingian Again: damnatio memoriae and the usus scholarum,” in Latin Learning and English Lore: Studies in Anglo-Saxon Literature for Michael Lapidge , ed. Katherine O’Brien O’Keeffe and Andy Orchard (Toronto: University of Toronto Press, 2005), vol. 1, pp. 389–406.

11 Afterword in “Beowulf” and Lejre , ed. John D. Niles and Marijane Osborn (Tempe, AZ: ACMRS, 2007): 469–79, at p. 470.

12 A History of Old English Meter (Philadelphia: University of Pennsylvania Press, 1992), pp. 348–392. Cf. “Dates, Origins, Influences, Genre,” in the Introduction to Klaeber’s “Beowulf” , pp. clxii‒clxxxviii, at clxv‒clxvii.

“Beowulf”’ and Lejre (2007) .

14 “Skaldic Verse and the Date of Beowulf,” in The Dating of ‘Beowulf’ , ed. Colin Chase (Toronto: University of Toronto Press, 1981): 123–139 , and “The Beowulf Poet’s Sense of History,” in Beowulf , ed. Harold Bloom (rpt. New York: Chelsea House, 1987): 51–61.

15 “Beowulf” and the “Beowulf” Manuscript , rev. ed. (Ann Arbor: University of Michigan Press, 1996) . Cf. his Electronic ‘Beowulf’ 3.0 (London: British Library, 2011) , DVD.

16 Anglo-Saxon Chronicle , rev. trans. ed. Dorothy Whitelock , et al. (London: Eyre and Spottiswoode, 1961) , sub anno 855 (for 857).

17 Bede’s “Ecclesiastical History of the English People” , ed. and trans. B. Colgrave and R. Mynors (Oxford: Clarendon Press, 1969) , bk. 1, chap. 15, and bk. 4, chap. 16; The Old English Version of Bede’s “Ecclesiastical History of the English People ,” ed. T. Miller , 2 vols. (London: Early English Text Society, 1959–1963) , vol. I, bk. 1, chap. 12; and vol. II, bk. 4, chap. 18.

18 Asser’s “Life of King Alfred,” ed. W. H. Stevenson (Oxford, UK: Clarendon Press, 1904) , chap. 23.

19 Historia de Sancto Cuthberto: A History of Saint Cuthbert and a Record of his Patrimony , ed. Ted Johnson South (Woodbridge/Rochester: D. S. Brewer, 2002) , chaps. 7 and 11.

Davis, “An Ethnic Dating,” p. 129.

For instance, four film versions have appeared in recent years: Graham Baker’s Beowulf (1999), John McTiernan and Michael Crichton’s 13th Warrior (1999), Sturla Gunnarson’s Beowulf and Grendel (2005), and Robert Zemeckis’s Beowulf (2007) . In addition, poet Seamus Heaney first published his acclaimed and controversial rendering in 1999 (London: Faber and Faber), which has subsequently appeared in different editions by Norton in New York, plus many other translations and adaptations of the poem in several languages and various media.

22 For instance, Renée R. Trilling , “Beyond Abjection: The Problem with Grendel’s Mother Again,” Parergon 24.1 (2007): 1–20.

Proceedings of the British Academy 22 (1936) : 245–295.

24 Cf. my earlier study, “The Exorcism of Grendel,” chap. 5 of ‘Beowulf’ and the Demise of Germanic Legend in England (New York: Garland, 1996) .

25 Cf. Helen T. Bennett , “The Postmodern Hall in Beowulf : Endings Embedded in Beginnings,” The Heroic Age 12 (2009). Available at: http://www.mun.ca/mst/heroicage/issues/12/ba.php

26 Edward B. Irving, Jr ., Rereading ‘Beowulf’ (Philadelphia: University of Pennsylvania Press, 1989), p. 138 . Cf. H. J. Hodges , “Cain’s Fratricide: Original Violence as ‘Original Sin’ in Beowulf ,” Medieval and Early Modern English Studies 15.1 (2007): 31–56.

27 George Philip Krapp and Elliot Van Kirk Dobbie , eds., The Exeter Book (New York: Columbia University Press, 1936), p. 163.

28 George Philip Krapp , ed., The Junius Manuscript (New York: Columbia University Press, 1931), p. 32.

29 The following comments are adapted from my recent essay, “A Mother from Hell: Love and Vengeance in Beowulf ,” in Vox Germanica: Essays in Germanic Languages and Literature in Honor of James E. Cathey , ed. Stephen J. Harris , Michael Moynihan , and Sherrill Harbison (Tempe, AZ: ACMRS, 2012): 187–198.

30 “Horror and the Maternal in Beowulf ,” PMLA 21 (2006): 702–716 .

31 A Critical Companion to “Beowulf” (Cambridge, UK: D. S. Brewer, 2003), p. 187.

32 “Old English cuƒe folme in Beowulf , Line 1303A,” Neophilologus 89.4 (2005): 625–627, at p. 626 .

33 Cf. Jacob Black-Michaud , Cohesive Force: Feud in the Mediterranean and the Middle East (New York: St. Martin’s, 1975) ; Christopher Boehm , Blood Revenge: The Anthropology of Feuding in Montenegro and Other Tribal Societies (Philadelphia: University of Pennsylvania Press, 1987) ; Max Gluckman , “Peace in the Feud,” Past and Present 8 (1955): 1–14 , and his Politics, Law and Ritual in Tribal Society (Oxford, UK: Blackwell, 1965) .

34 Bloodshed and Vengeance in the Papuan Mountains: The Generation of Conflict in Tauade Society (Oxford, UK: Clarendon Press, 1977), p. vii.

35 For instance, Manish Sharma , “Metalepsis and Monstrosity: The Boundaries of Narrative Structure in Beowulf ,” Studies in Philology 102.3 (2005): 247–279 ; and Susan M. Kim , “‘As I Once Did with Grendel’: Boasting and Nostalgia in Beowulf ,” Modern Philology 103.1 (2005): 4–27.

Cf. “ Wyrd and the World-Serpent,” chap. 7 of my “ Beowulf” and the Demise (1996) .

Davis, “Beowulf”and the Demise , p. xi.

38 Völuspá , ed. Sigurƒur Nordal , trans. B. S. Benedikz and John McKinnell (Durham, NC: Durham and St. Andrews Medieval Texts, 1980) , stanza 56.

This list includes studies chosen for their contribution to the present essay and continuing promise for future study of the poem.

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75 Beowulf Essay Topics

Beowulf, penned at the dawn of the 11th century, stands as a cornerstone of Old English literature. This epic poem, extending over 3,000 lines and unfolding across the war-torn landscapes of ancient Scandinavia, offers a rich tapestry of themes and stylistic nuances that continue to fascinate scholars and students alike. When tasked with an essay on Beowulf, selecting an engaging topic is paramount. This article delves into potential subjects for your paper and provides guidance on choosing one that resonates with you.

Table of Contents

Tips for Choosing an Optimal Beowulf Essay Topic

Opting for a topic that genuinely piques your interest rather than a seemingly easy one can significantly enhance the quality of your research and writing. Here’s how you can make an informed choice:

• Personal Interest: Engage with topics that intrigue you, encouraging deeper thought and thorough research.
• Uniqueness: While you don’t have to select an obscure subject, strive for a fresh perspective in your discussion, ensuring your essay stands out.
• Scope: Narrow down broad topics to specific aspects, providing a clear direction for your essay and making it more manageable.

Inspiring Beowulf Essay Topics

Consider exploring various dimensions of the poem through topics such as:

• The societal roles of women in Beowulf.
• The effect of digression in enhancing the narrative.
• The relationship between warriors and lordship.
• The portrayal of traditional society within the epic.
• Character development throughout the poem.
• Lessons derived from the tales of Siegmund and Finn.
• The theme of male dominance in Beowulf.
• The significance of Hrothgar’s sermon in understanding the author’s viewpoint.
• The central role of the mead hall in the community.
• An in-depth analysis of Grendel’s character.
• Beowulf’s virtues and flaws.
• A detailed review of the epic battle between Beowulf and Grendel.
• Major themes and moral lessons in the story.
• The eternal clash of good vs. evil as depicted in the poem.
• An evaluation of Beowulf’s heroism.
• Parallels between Beowulf and the biblical Cain.
• The influence of religion in Beowulf’s world.
• The importance of lineage and ancestry in one’s self-esteem.
• Beowulf’s leadership qualities or lack thereof.
• Perspectives on treasure and material wealth within the poem.

Symbolism and Motifs in Beowulf

• The role of dragons in ancient literature and Beowulf.
• The significance of the mead hall and community bonding.
• Water’s symbolic role in Beowulf’s challenges and battles.
• The representation of light and darkness in the poem.
• The importance of armor and shields in the poem.

Historical and Cultural Context

• Beowulf’s relationship with historical Scandinavian events.
• How Beowulf reflects Anglo-Saxon values and beliefs.
• Paganism vs. Christianity in Beowulf.
• The societal structure and its influence on the narrative.
• The depiction of funeral rites and their significance.

Character Analyses

• Unferth’s role and contrast with Beowulf.
• The depiction of women: Wealhtheow and Grendel’s mother.
• King Hrothgar’s leadership vs. Beowulf’s heroism.
• The significance of Wiglaf and the idea of loyalty.
• Analyzing Aeschere’s importance to Hrothgar and the story.

Narrative Techniques and Literary Devices

• The role of the scop (bard) in Beowulf.
• The use of kennings and their impact on imagery.
• Alliteration and its rhythmic role in Beowulf.
• The function of epic similes in the poem.
• The influence of oral tradition on the narrative style.

Themes and Philosophies

• The concept of fate (wyrd) in Beowulf.
• The price of pride and its consequences.
• The exploration of mortality and legacy.
• The balance between courage and recklessness.
• Revenge as a driving force in Beowulf.

Comparative Analyses

• Beowulf and modern superheroes: parallels and contrasts.
• Comparing Beowulf to other epics like “The Iliad” or “Gilgamesh”.
• Beowulf and the Norse sagas: similarities and differences.
• The idea of the monstrous in Beowulf vs. other literature.
• Beowulf’s influence on Tolkien’s “The Lord of the Rings”.

Broader Perspectives

• Beowulf’s relevance in the 21st century.
• The challenges and merits of translating Beowulf.
• How adaptations (like movies or novels) have interpreted Beowulf.
• The depiction of heroism in Beowulf vs. modern culture.
• The ethics and values presented in Beowulf and their applicability today.

In-depth Explorations

• The importance of loyalty and kinship in the poem.
• The nature of evil: Analyzing Grendel and his lineage.
• The concept of legacy in Beowulf’s final act.
• The depiction of aging and its impact on heroism.
• The influence of external forces, like God or fate, on characters’ decisions.

Beowulf’s Battles

• A detailed look into Beowulf’s battle with the dragon.
• Strategy and might: The takedown of Grendel.
• Psychological warfare: Beowulf vs. Grendel’s mother.
• The consequences and aftermath of each of Beowulf’s battles.
• The role of supernatural vs. human strength in Beowulf’s combat scenes.

Creative Angles for Your Beowulf Essay

Dive into the poem’s depths by examining:

• The symbolism of gold and its reflection on societal values.
• The heroic ideals embodied by characters.
• The significance of weaponry and its portrayal of strength and honor.
• Gender roles and equality in Beowulf’s era.
• The portrayal of leadership and its impact on society.
• Beowulf’s enduring strength and prowess in his later years.
• The cultural and societal norms depicted in the poem.
• The integration and importance of religious motifs.
• A critique of the society within Beowulf, highlighting admirable and disdainful attributes.
• The exploration of fictional elements within the historical context of the poem.

Concluding Thoughts on Beowulf Essay Topics

Whether you encounter Beowulf in high school or college, crafting an essay on this epic can seem daunting. However, with a topic that strikes a chord with you and a unique angle, your essay can resonate deeply and intellectually. Should you find yourself struggling, remember that professional help is just a click away. Submit an order form, and receive a top-notch, plagiarism-free essay, complete with proper citations and adherence to your guidelines.

Home — Essay Samples — Literature — Poems — Beowulf

Essays on Beowulf

Beowulf essay topic examples.

Find a variety of essay topics, introduction paragraph examples, and conclusion paragraph examples for different essay types. Your choice of topic can greatly impact the quality and depth of your essay, so choose wisely!

Argumentative Essays

Argumentative essays require you to analyze and present arguments related to the epic poem. Here are some topic examples:

• 1. Debate whether Beowulf is a typical epic hero or a unique character.
• 2. Argue whether the monsters in the poem symbolize inner human struggles or external threats.

Example Introduction Paragraph for an Argumentative Essay: The epic poem Beowulf introduces us to a hero of unparalleled strength and valor. This essay explores the character of Beowulf, examining whether he adheres to the conventional traits of an epic hero or represents a distinctive figure in the realm of heroic literature.

Example Conclusion Paragraph for an Argumentative Essay: In conclusion, the analysis of Beowulf's character challenges our understanding of epic heroes. Whether he is a classic archetype or a unique creation, Beowulf continues to captivate readers with his timeless heroism. As we ponder his legacy, we are reminded that heroism takes on various forms, transcending the boundaries of time and culture.

Compare and Contrast Essays

Compare and contrast essays enable you to examine similarities and differences within the epic or between it and other literary works. Consider these topics:

• 1. Compare and contrast the character traits of Beowulf and Achilles from Homer's The Iliad .
• 2. Analyze the similarities and differences between the epic battles in Beowulf and Tolkien's The Lord of the Rings .

Example Introduction Paragraph for a Compare and Contrast Essay: The characters of Beowulf and Achilles occupy a special place in the pantheon of literary heroes. This essay embarks on a journey to compare and contrast these iconic figures, exploring the traits that make them heroic and the differences that set them apart.

Example Conclusion Paragraph for a Compare and Contrast Essay: In conclusion, the comparison and contrast of Beowulf and Achilles offer insights into the multifaceted nature of heroism in literature. While they share certain heroic qualities, their distinct characteristics reflect the diversity of hero archetypes across different cultural narratives.

Descriptive Essays

Descriptive essays allow you to vividly depict settings, characters, or events within the epic poem. Here are some topic ideas:

• 1. Describe the grandeur of Heorot, King Hrothgar's hall, in detail.
• 2. Paint a detailed portrait of Grendel, focusing on his physical appearance and monstrous nature.

Example Introduction Paragraph for a Descriptive Essay: Heorot, the grand mead hall of King Hrothgar, stands as a majestic centerpiece in the world of Beowulf . This essay embarks on a descriptive journey to capture the splendor and significance of Heorot, immersing the reader in the heart of the poem's setting.

Example Conclusion Paragraph for a Descriptive Essay: In conclusion, the descriptive portrayal of Heorot in Beowulf not only serves as a setting but also symbolizes the ideals of camaraderie and culture. Through this exploration, we are reminded of the enduring power of place and atmosphere in storytelling.

Persuasive Essays

Persuasive essays involve arguing a point of view related to the epic poem. Consider these persuasive topics:

• 1. Persuade your readers that Beowulf's battles against monsters symbolize the eternal struggle between good and evil.
• 2. Argue for or against the idea that Beowulf is not just a hero but also a symbol of leadership and sacrifice.

Example Introduction Paragraph for a Persuasive Essay: The epic battles fought by Beowulf against monstrous foes transcend mere physical combat. This persuasive essay asserts that these confrontations symbolize a timeless battle between the forces of good and evil, shedding light on the broader moral landscape of the poem.

Example Conclusion Paragraph for a Persuasive Essay: In conclusion, the persuasive argument regarding the symbolic nature of Beowulf's battles underscores the epic's enduring relevance as a moral and philosophical exploration. As we contemplate the allegorical dimensions of his feats, we are encouraged to reflect on the eternal struggle between righteousness and malevolence in our own lives.

Narrative Essays

Narrative essays offer you the opportunity to tell a story or share personal experiences related to the themes of the epic. Explore these narrative essay topics:

• 1. Narrate a personal experience where you faced a formidable challenge and drew inspiration from Beowulf's character.
• 2. Imagine yourself as a character in the world of Beowulf and recount your adventures alongside the hero.

Example Introduction Paragraph for a Narrative Essay: In the tapestry of our lives, we often encounter challenges that test our mettle. This narrative essay explores a personal experience where I confronted a daunting challenge and drew inspiration from the indomitable spirit of Beowulf, a character of enduring heroism.

Example Conclusion Paragraph for a Narrative Essay: In conclusion, the narrative of my personal journey, inspired by the heroism of Beowulf, reminds us that courage and determination are virtues that transcend time and place. As we reflect on our own heroic moments, we are encouraged to embrace the hero within each of us.

Comparing and Contrasting Beowulf: The Epic Poem and The Movie Adaptation

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Beowulf by Burton Raffel Poem Analysis

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The Characteristics of a Hero in The Anglo-saxon Epic Beowulf

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The Code of Honor, Courage, and The Dreadful Female Character in The World of Beowulf

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Disputed (c. 700 - 1000 AD), first printed edition by Thorklelin (1815); Author is unknown

Old English Epic Poem; Epic Heroic Writing

Beowulf, Hygelac, Hrothgar, Wealhþeow, Hrothulf, Æschere, Unferth, Grendel, Grendel's mother, Wiglaf, Hildeburh

It mixes together various fictional, legendary, and fiction elements that relate to 7th century epics

Heroism, competition, faith, monsters, honor, deeds of valour, and the battles

It is a reflection of strength and coming at impossible missions by showing how supernatural powers and faith can defeat the monsters

It tells a story about Beowulf who is considered a hero of the Geats who comes to help Hrothgar, the Danish king. His great hall is affected by the monster called Grendel. As Beowulf kills Grendel without any weapon, he has to start with another mission to prove his strength.

Beowulf represents the longest poem written in Old English with entire action related to Scandinavia. It does not mention the British Isles even once although it is exactly where Old English has been in use. The original manuscript of Beowulf was damaged on October 23, 1731 because of a fire. The original manuscript of Beowulf was damaged on October 23, 1731 because of a fire. As the heroic poem, Beowulf implements 36 different words that all stand for "heroism", "heroic", or "hero" because of the various dialects that represented Old English. Some scholars believe that Beowulf could be influenced by Homer since it shares similar structure and the epic element of the famous Iliad. The author of Jurassic Park (Michael Crichton) even made a bet whether he could use Beowulf as a foundation for something entertaining and accessible. It was his Eaters of the Dead novel that was published in 1976. When Beowulf manuscript has been discovered, archeologists were convinced that they have found the remains of the famous Heorot Hall, which has been concluded by reading the epic.

“It is always better to avenge dear ones than to indulge in mourning. For every one of us, living in this world means waiting for our end. Let whoever can win glory before death. When a warrior is gone, that will be his best and only bulwark.” “Behaviour that's admired is the path to power among people everywhere.” “Anyone with gumption and a sharp mind will take the measure of two things: what's said and what's done.” “And a young prince must be prudent like that, giving freely while his father lives so that afterwards, in age when fighting starts steadfast companions will stand by him and hold the line.” “Death is not easily escaped, try it who will; but every living soul among the children of men dwelling upon the earth goeth of necessity unto his destined place, where the body, fast in its narrow bed, sleepeth after feast.”

The main purpose of The Beowulf is to tell a heroic story and entertain the readers since the epic poem must offer an inspiring storytelling. Since it relates to the late sixth and seventh century with the Scandinavian influences, it represents an oral tradition that has been written down. It is an important aspect for linguists and those who want to study heroic literary representations.

As the famous Old English epic, Beowulf represents a rare heritage in terms of oral word comprehension and a linguistic structure that tells an epic story. It can be useful not only for those who study Linguistics or English literature because it also brings up the topics of courage, dedication, faith, and the responsibilities that come along with power. Some essay topics that deal with Beowulf focus on the socio-cultural aspect of relations in this important epic. Since it deals with Scandinavia, some cultural traits are studied through the lens of the Western society by comparing things to anything from the Civil War in the United States to modern society.

1. Brady, C. (1982). ‘Warriors’ in Beowulf: an analysis of the nominal compounds and an evaluation of the poet's use of them. Anglo-Saxon England, 11, 199-246. (https://www.cambridge.org/core/journals/anglo-saxon-england/article/warriors-in-beowulf-an-analysis-of-the-nominal-compounds-and-an-evaluation-of-the-poets-use-of-them/DE8DA47FADF469024BFEB16994E9B342) 2. Hughes, G. (1977). Beowulf, unferth and hrunting: An interpretation. English Studies, 58(5), 385-395. (https://www.tandfonline.com/doi/abs/10.1080/00138387708597845?journalCode=nest20) 3. Hume, K. (1975). The Theme and Structure of" Beowulf". Studies in Philology, 72(1), 1-27. (https://www.jstor.org/stable/4173860) 4. Mohigul, M., & Nargiza, T. (2022). STYLISTIC AND LINGUOPOETIC ANALYSIS OF EPIC POEM “BEOWULF”. Involta Scientific Journal, 1(13), 20-24. (https://involta.uz/index.php/iv/article/view/367) 5. Bjork, R. E. (1994). Speech as gift in Beowulf. Speculum, 69(4), 993-1022. (https://www.journals.uchicago.edu/doi/abs/10.1017/S0038713400030177?journalCode=spc) 6. Wiersma, S. M. (1961). A LINGUISTIC ANALYSIS OF WORDS REFERRING TO MONSTERS IN" BEOWULF.". The University of Wisconsin-Madison. (https://www.proquest.com/openview/583ab51711089bcbe64f79c8c32325af/1?pq-origsite=gscholar&cbl=18750&diss=y) 7. Leyerle, J. (1967). The interlace structure of Beowulf. University of Toronto Quarterly, 37(1), 1-17. (https://www.utpjournals.press/doi/abs/10.3138/utq.37.1.1) 8. Earl, J. W. (2022). Thinking About ‘Beowulf’. In Thinking About ‘Beowulf’. Stanford University Press. (https://www.degruyter.com/document/doi/10.1515/9781503621701/html?lang=en)

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