Wednesday, August 5, 2015

What makes a good king, according to "Beowulf"?

        While Beowulf tends to be acclaimed as the greatest warrior and protector of his people, this is not a simple claim to make. In order to fully understand his accomplishments and reputation, we analyze what it means to be a king in “Beowulf” by using the other kings’ lives as examples of how to behave and how not to behave properly. 
        Inheritance, strength, wealth, generosity, and legacies are all imperative to being the best king. Who is the best, who is the worst, and where does our hero fall amongst his peers? Let’s find out, on “Words About Words”: 

What makes a good king, according to Beowulf

        Beowulf is a 3,185 lined poem constructed in the alliterative verse Old English style, copied down by two scribes on a manuscript over a thousand years ago, and continues to be studied today. Throughout the ages since this story’s first conception, kings have come and gone as nations have risen and fallen, both in literature and in real life. And so, understanding how we can critique and honor kings in Beowulf may allow more profound insight into larger issues of kingship. 
        We will examine here kings as being those leaders who rule over a group of established peoples within the Beowulf poem, and we can analyze kingship as a whole through how these various kings behave while in power. We include Hengest even though he is not explicitly referred to as a “king” by the poem, because nonetheless he does rule over his people while kept captive in Finn’s hall. Headred counts as well because even though he is not in power for very long, he fights whole-heartedly against invaders in order to defend Geatland’s honor. 
        And perhaps less obviously, we will also look at the unnamed character referred to here as “the lone survivor”, whose people owned the treasure that the dragon finds and takes over many years later. Although the poem does not explicitly name or identify his people, the lone survivor is a leader by default because he is the last one of them to die. The lone survivor being characterized as a king—the primarily leader of his people—simply because he is the last one left alive is similar to how Beowulf names Wiglaf as representative of the Waegmundings clan because he is its last living member. 
        While Beowulf is often acclaimed and beloved for its monsters against which the main protagonist must face three trials in order to achieve fame and glory, here we focus rather upon the relations between human figures featured in the poem. In contrast, it can be argued that Grendel and Grendel’s mother rule over the swamp marshes and the other pond serpents lurking near their lair. And it can be said that the dragon rules over the mountain under which he sleeps and the gold he hoards. Nonetheless, for the purposes of this discussion here, we focus on the human kings because in doing so we may argue the proper criteria by which kings can be judged and remembered according to human traditions and expectations. 
        There are many possible criteria by which we may judge kings, but there are a few key ways in which kings can and should behave according to Beowulf that need to be highlighted when analyzing their ranking in relation to their peers. Kings can be judged by how much wealth they possess, partially because one needs to have treasure in order to distribute treasure and also because the amount of treasure one has is a symbol of wealth and prosperity in itself. A king must possess strength in order to be battle-worthy; to have followers and to be able to lead those followers successfully into battle. A king can either be introduced by or remembered for their reputation, which can be alluded to through the identities of their fathers, what they have inherited from their forebears, and for what previous accomplishments prior to their kingship they are known for. It is better to be remembered badly than to not be remembered at all, as we will see when examining Heremod’s legacy. 
        Not only must a king have gold, but he must know how to use it, and so rulers can be judged based upon how they deal and give out wealth: how much, to whom, and to what result their distributing decisions come to. Not only must a king be able and willing to fight, but they can be judged based upon how effectively they protect their people against threats. These threats can either come internally from strife occurring within the nation or externally from invaders entering the country, and danger can stem from men fighting other men or when monsters terrorize the land. And finally, a king is only as memorable as how well his legacy is remembered. A legacy is what they leave behind for us to analyze, whether that be remaining wealth, stability of their nation, suitable heirs, or a lasting reputation. 
        We need to take into account how much we know about their rule due to how much Beowulf reveals about their story. Beowulf the character is often so celebrated because we know about his life more than any other figure, and Hrothgar is so often pitted against him because he is the second most known ruler. It is important to note that this discussion is not necessarily “anti-Beowulf” because we seek not to belittle or strike him down, but to think objectively about his representation as “the best of kings of that time and place”. Beowulf has the power of the protagonist because historically, interpretations and adaptations have long been leaning in his favor, beginning with titling this poem Beowulf
        The manuscript itself is not specifically named by the scribes, and theoretically it could be named other things, including but not limited to: Fall of the Geats, Of Heroes and Monsters, Monstersbane, Honoring Kinship, Heorot!, Hwaet…, The Good King, or even The Vampire of the Fens. We would be reading and analyzing a very different poem if it had been primarily presenting Sigemund’s story instead, with a “Beowulf-interlude” interjecting somewhere in between events. 
Therefore, here we will only judge rulers based on what we specifically know about the nature of their reign from textual context. If we do not know how a particular king died, then we cannot judge their death (Scyld, for instance), but rather only the actions they performed leading up to the moment of their passing. 
        Up to line 52, the poem recounts the story of Scyld, who arrived as a “foundling to start with” (line 7), but as an adult established the Danish royal family. In the beginning, “There was Scyld Sheafson, scourge of many tribes,/a wrecker of mead-benches, rampaging among foes./This terror of the hall-troops had come far” (lines 4 – 6). Scyld fathers a famous son (line 18), named Beow who is possibly Beowulf’s namesake, thus elevating his status within the poem by association. “Scyld was still thriving when his time came/and he crossed over into the Lord’s keeping./His warrior band… stretched their beloved lord in his boat,/laid out by the mast, amidships,/the great ring-giver. Far-fetched treasures/were piled upon him, and precious gear” (lines 26 – 37). 
        And so, we know that Scyld had a lot of wealth if his retainers were able to send him off so extravagantly. He had incredible strength and used that power to build a reputation for himself. And by leaving people honoring his death, a famous son, and the Danish royal line behind, he leaves an admirable legacy in his wake. However, we do not know exactly how he distributes that wealth to his people, or how protective he could have been of his people; no one seems to dare to challenge his strength, but we do not get specific textual evidence saying so. 
        Beow is that famous son Scyld leaves behind and follows in his father’s footsteps as an early Danish king. In time, “Beow’s name was known throughout the north” (lines 18 – 19). In his father’s absence, “it fell to Beow to keep the forts./He was well regarded and ruled the Danes for a long time after his father took leave/of his life on earth” (lines 53 – 56). We do not know how wealthy he was or how strong he was, but he did have a high reputation throughout many lands. No one seems to have troubled the Danes during his reign, so we do not know how he would have handled threats to his throne, but his legacy lives on in his reputation and his son Halfdane. 
        Halfdane is king of the Danes as Beow’s son, and in turn fathers Heorogar, Halga, a daughter, and Hrothgar, the last of whom is one of the better-known kings in the poem. Beow’s son is remembered as “the great Halfdane, [who] held sway/for as long as he lived, their elder and warlord./He was four times a father, this fighter prince” (lines 57 – 59). Again, we do not know how wealthy or how great of a ring-giver Halfdane was, but he was an excellent fighter and protector of his people. His legacy is best remembered for the tales of his children. 
        Heorogar, as eldest, assumes the throne first after his father passes away. Hrothgar himself will admit later that, “Heorogar,/my older brother and the better man,/also a son of Halfdane’s” (lines 467 – 469). Heorogar had war-gear that he kept to himself for a long time but never gave to his son, so it goes to Hrothgar who later passes it on to Beowulf for his noble deeds. And so, Heorogar has a reputation as being a better man than his younger brother Hrothgar. But although he had excellent war-gear that presumably used and was worth passing on as a gift to others, he fails to bestow that upon his son. Heorogar seems to have had potential, but he does not rule for as long or as well as some of his ancestors before the crown passes on to his younger counterpart Hrothgar. 
        Hrothgar is defined many times throughout the poem in reference to his father, such as, “Halfdane’s son” (lines 191, 268, 345, 1019). The situations surrounding his reign are described by how “fortunes of war favored Hrothgar./Friends and kinsmen flocked to his ranks,/young followers, a force that grew/to be a mighty army. So his mind turned/to hall building” (lines 64 – 68). It is after the construction of Heorot that Hrothgar’s people are plagued with Grendel and then Grendel’s mother until Beowulf is able to exterminate them both. Despite the twelve years during which Grendel has been terrorizing the hall, however, a messenger still describes Hrothgar to Beowulf as “our noble king,/our dear lord, friend of the Danes,/the giver of rings” (lines 351 – 353). He has wealth and distributes glorious treasure many times throughout the poem. While he was very strong and battle worthy in his youth, he is old and unable to defeat Grendel at the time of Beowulf’s coming. His reputation is both defined by his inheritance from his forebears, his accomplishments earlier on in life, and in the three children he brings into the world. While he has been criticized on multiple occasions throughout the generations of readers following the Beowulf manuscript due to his ineptitude as a protector of his people against Grendel, we will see that perhaps he is still better than some of his peers to come. 
        Beowulf comes by sea from Geatland to aid Hrothgar’s people, which was ruled originally according to this poem by King Hrethel. King of the Geats, father of Hygelac, and Beowulf’s maternal grandfather, Hrethel is responsible for giving Beowulf to Hygelac (line 454) as a retainer. Beowulf says that, “King Hrethel kept me and took care of me,/was openhanded, behaved like a kinsman./While I was his ward, he treated me no worse/as a wean about the place than one of his own boys” (2430 – 2433), indicating that he must have been wealthy enough and generous enough to take on foster children. Despite his good intentions, however, he does not leave behind a stable nation because “hostilities broke out when Hrethel died” (line 2474). Hrethel’s legacy includes the strife his death causes, but also the four children (Herebeald, Haethcyn, Hygelac, and a daughter) he leaves behind. 
        The poem mentions Hygelac as king of the Geats, so not much is known about the other brothers. It is Ongentheow, then king of the Swedes, who “at Ravenswood Ongentheow/slaughtered Haethcyn, Hrethel’s son,/when the Geat people in their arrogance/first attacked the fierce Shylfings” (lines 2924 – 2927). Then when Hygelac comes back in retaliation, “Ongentheow withdrew to higher ground” (line 2951). The new leader Hygelac is pitted directly against the more experienced ruler Ongentheow, and Haethcyn’s brother is judged as the better leader because his opponent “had no confidence/that he could hold out against that horde of seamen,/defend his wife and the ones he loved/from the shock of the attack” (lines 2953 – 2956). “There in his gray hairs, Ongentheow/was cornered, ringed around with swords./And it came to pass that the king’s fate/was in Eofer’s hands, and in his alone” (lines 2961 – 2964). We therefore see here how the Swedish king Ongentheow is unable to defend his loved ones against foreign attack, and he is shamed in battle by being beaten by one of Hygelac’s young retainers (Eofer) instead of the fellow king himself. 
        Ongentheow is remembered through the legacy of his son, Onela, who survives the battle with Hygelac to take his place as king of the Swedes. He marries Hrothgar’s younger sister (line 62) as part of an alliance, thus connecting his honor with that of the Danes. And when Onela gets Weohstan to kill the young Eanmund for him, “Onela returns the weapons to [Weohstan], rewarded [him]/with Eanmund’s war-gear” (lines 2616 – 2618). Because Weohstan killed King Onela’s nephew Eanmund, he might have expected retribution from a less dysfunctional family. But the Swedish royal family is already embroiled in a deadly power struggle, so to say that Onela “ignored the blood-feud” (line 2618) is deeply ironic: he rewards Weohstan for removing a rival claimant to the throne. We see Onela acquiring a good marriage-match and rewarding those who loyally follow him, but because he betrays his nephews in order to assume the throne, he is one of the worst kings as presented in Beowulf
        Hygelac, in contrast, is seen in a much more positive light, and not only because he is able to defeat Ongentheow in battle. He is referenced in relation to his father before him as “Hrethel’s son” (lines 1485, 1846, 2358, 2993). However, Hygelac’s ill-fated raid later in life is mentioned several times in Beowulf, such as, “Hygelac, king of the Geats, was killed/in Friesland” (lines 2356 – 2357), and his untimely demise leads to further strain upon his nation. On a side note, Beowulf seems partially disloyal when he leaves against Hygelac’s wishes to help purge Hrothgar’s Heorot of its monster; and yet Beowulf then honors Hygelac greatly by returning with treasure. Hygelac does not seem to have the foresight that Beowulf should go on this adventure to help the Danes, but he possesses the wisdom enough to recognize and celebrate Beowulf’s achievements upon his safe return. And so in Hygelac, we have a young, generous, battle-worthy king who is wise to an extent and leaves two children (Heardred and a daughter) behind. 
        Before moving further down the Geat-ish family tree, let us turn across to examine Hygelac’s sister’s husband, Ecgtheow. He is the father of Beowulf, who remembers him by how, “In his day, my father was a famous man,/a noble warrior-lord named Ecgtheow./He outlasted many a long winter/and went on his way. All over the world/men wise in counsel continue to remember him” (lines 262 – 266). This wide renown harkens back to Beow’s characterization, but Ecgtheow seems more battle-worthy than we know of Beow’s behavior. And when Hrothgar says, “Hrethel the Geat gave Ecgtheow/his daughter in marriage” (lines 373 – 374), it suggests that this was an honorable match, thus uplifting Ecgtheow’s worth because he is tied to both Hygelac and Hrethel through this marriage-pact. 
        Now we can return to Hygelac’s children and how their legacies contribute to the fate of the Geat-ish nation. Headred, son of Hygelac, next becomes king of the Geats. After Hygelac is killed in the raid on Frisia, his son Headred becomes king of the Geats. The Swedish (or Shylfing) king Onela later invades and kills Headred, after which Beowulf becomes king. Following the battle in which Hygelac dies, “there was no way the weakened nation/could get Beowulf to give in and agree/to be elevated over Headred as his lord/or to undertake the office of kingship” (lines 2373 – 2376). He gets the loyal support of Beowulf instead of being usurped, and if Beowulf is as great as the poem professes him to be, then his loyalty is worth at least thirty thanes. When Headred rules, he tries to be a kind and generous figure, but instead “his hospitality/ was mortally rewarded with wounds from a sword./Headred lay slaughtered” (lines 2385 – 2387) by the Swedes. During the battle, “the shelter of Headred’s shield proved useless/against the force aggression of the Shylfings” (lines 2202 – 2203). Headred tries to be a good king, but ultimately he is not battle strong enough to protect his people, and so due to having a short lived reign we do not know how rich or generous he could have been. His legacy lives not on in children or a long lasting reputation, but in Beowulf who follows to take his place. 
        Beowulf, the often-acclaimed hero of the poem, similarly named, becomes king of the Geats after Headred’s battle-death. He is often introduced as, “Beowulf, Ecgtheow’s son” (lines 529, 631, 1473, 1999, 2398); a man who is often defined by the reputation of his father. Beowulf makes a name for himself worthy of remembrance, in addition to his father’s inherited reputation, by competing bravely against Breca in the open ocean, defeating Grendel and then Grendel’s mother, reigning for fifty prosperous and protective years, and defeating the dragon with the aid of his companion Wiglaf. Although he fathers no children, Beowulf names Wiglaf as his heir. He is wealthy and gives out that wealth because of the gear he gives the twelve retainers who join him to find the dragon’s lair, and then again when he gives the dragon horde to his people. He is battle worthy because of the sea fishes and monsters he has slain, and the terrestrial battles between men in which he has participated, and he is revered even in dying by dragon’s fire because he faced said beasty head on despite his old age. 
        After Beowulf mortally wounds Grendel, Hrothgar offers him advise on being an admired ruler by using the king Heremod as a counter-example. Heremod starts off as an admirable Danish hero but becomes a vicious, miserly king who alienated his own people over the years. Although “King Heremod’s prowess declined/and his campaigns slowed down” (lines 900 – 901) can also describe how Hrothgar slows down his fighting career, a decline that leads to the building of Heorot, Hrothgar and Heremod behave significantly different in their retirement. “The waves of [Heremod’s] grief/had beaten him down, made him a burden,/a source of anxiety to his own nobles” (lines 903 – 905), and as a result “evil entered into Heremod” (line 914). “His rise in the world brought little joy/to the Danish people, only death and destruction,” because “he vented his rage on men he caroused with,/killed his own comrades, a pariah king/who cut himself off from his own kind,/even though Almighty God had made him/eminent and powerful and marked him from the start/for a happy life. But a change happened,/he grew bloodthirsty, gave no more rings/to honor the Danes. He suffered in the end/for having plagued his people for so long:/his life lost happiness” (lines 1711 – 1722). Heremod is utilized by the narrative as an example of a bad king that Beowulf should avoid becoming. And although they do not feature more than once, kinsmen of a Danish king, “Ecqwela’s sons” (line 1710) are mentioned in order to describe how Heremod mistreats his people. Because we are partially judged by how well we treat others, Heremod is what can happen to a kingly figure when he no longer acts like one. He stops protecting his people, denies them treasure, and even kills those men closest to him; he is one of the worst leaders mentioned in Beowulf
        During the time between Beowulf’s battle with Grendel and that with his mother, a celebration takes place and the tale commonly known as “the Finn episode” is told. Finn was a king of the Frisians, and “the saga of Finn and his sons” (line 1067) tells how “war carried away Finn’s troop of thanes/all but a few” (lines 1080 – 1081). According to the customs of social order, “Finn, son of Folcwald,/should honor the Danes, bestow with an even/hand to Hengest and Hengest’s men/the wrought-gold rings, bounty to match/the measure he gave/his own Frisians” (lines 1089 – 1093), and indeed “Finn swore/openly, solemnly, that the battle survivors/would be guaranteed honor and status” (lines 1096 – 1098). But Finn betrayed the inherent trust between host and guest, killing Hnaef, chief of the Danes and his own brother-in-law. “Hnaef, king of the Danes, met death” (line 1069) during a fierce attack in Friesland. The next ruler by default, Hengest is forced to winter in Finn’s house. “Hengest stayed,/lived out that whole resentful, blood-sullen/winter with Finn, homesick and helpless” (lines 1128 – 1130), and as a result another battle broke out between Hengest’s and Finn’s men. “Thus blood was spilled, the gallant Finn/slain in his home” (lines 1146 – 1147), and therefore “the brutal ambush, the fate they had suffered,/all blamed on Finn” (lines 1149 – 1150) by both his enemies and his own people. Finn’s treasure goes to his murderers after his death when “Finn was cut down,/the queen brought away and everything/the Scyldings could find inside Finn’s walls—/the Frisian king’s gold collars and gemstones—/swept off to the ship” (lines 1152 – 1155). Although Finn has great strength and wealth, he betrays guests in his hall, and this ultimately leads to his own death and the deaths of many of his people. In the end, his treasure and wife are taken away by her kinsmen, and Finn has no legacy, therefore perhaps outmatching Heremod as Beowulf’s worst king. 
        After defeating Grendel, Beowulf is awarded renown jewelry that were once owned by a goddess and then a king named Eormenric. This king of the East Goths had profound wealth, and “there was no hoard like it since Hama snatched/the Brosings’ neck-chain and bore it away/with its gems and settings to his shining fort,/away from Eormenric’s wiles and hatred” (lines 1197 – 1200). The treasures presented to Beowulf after defeating Grendel are compared to a legendary necklace once worn by the goddess Freyja in Germanic legend, which later comes into the possession of Eormenric, whom legends portray as a treacherous tyrant. What could this comparison to a wealthy tyrant reveal about Beowulf’s future kingship? Perhaps Beowulf’s rewards are greater than Eormenric’s because not only did he acquire fine treasure, but he did so honorably. 
        Our “lone survivor” has possession of that gold Beowulf gives his people before the dragon does what dragons do: hoarding said treasure. The lone survivor buries his people in a fresh barrow mound and “into it the keeper of the hoard had carried/all the goods and golden ware/worth preserving” (lines 2244 – 2246). With his parting words, he says, “My own people/have been ruined by war; one by one/they went down to death, looked their last/on sweet life in the hall. I am left with nobody/to bear a sword or to burnish plated goblets,/put a sheen on the cup. The companies have departed” (lines 2249 – 2254). “And so he mourned as he moved about the world,/deserted and alone, lamenting his unhappiness/day and night, until death’s flood/brimmed up in his heart” (lines 2267 – 2270). 
        This lone survivor, long before Beowulf’s time, buries his people with all of the gold they possess, giving them everything that he possibly can, and then wanders the world alone. He physically leaves them behind, which could be criticized to an extent until we remember that he has nothing else to give them and thus can no longer take care of them. The lone survivor does his best and hides the gold from the world for hundreds of years, so technically the treasure is in his people’s possession for that long of a time period, making his gold-giving more permanent than all of his king-peers. 
        When Beowulf seeks the dragon’s treasure, he brings his close companion Wiglaf along with him. This loyal retainer, this last of the Waegmundings, is first introduced by name as “Wiglaf, a son of Weohstan’s,/a well-regarded Shylfing warrior” (lines 2602 – 2603). Wiglaf is said to be a Swede (“Shylfing", line 2603) and a Waegmunding (line 2607), which is also Beowulf’s family among the Geats. There is no problem with this dual identity if, for example, the family shifted allegiance at some point or if a marriage united families from two different tribes. If anything, it makes his actions to stick by Beowulf against the dragon even more honorable because he is less socially obligated to aid him than the retainers who flee into the trees. Wiglaf berates these cowards, saying that, “I remember that time when mead was flowing,/how we pledged loyalty to our lord in the hall… I would rather my body were robed in the same/burning blaze as my gold-giver’s body/than go back home bearing arms” (lines 2633 – 2653). He fulfills Beowulf’s last wishes and fetches gold from the dragon horde for him to gaze upon. When the cowards return, they find “Wiglaf, sitting worn out,/a comrade shoulder to shoulder with his lord,/trying in vain to bring him round with water” (lines 2852 – 2854). And when a messenger is sent to alert the rest of Geatland to the situation at hand, it is told how, “Wiglaf sits/at Beowulf’s side, the son of Weohstan,/the living warrior watching by the dead,/keeping vigil, holding a wake/for the loved and the loathed” (lines 2906 – 2910). Although Wiglaf’s is a special case because we readers do not get to experience his reign and so cannot judge him as fully as some of the others, he is perhaps a close favorite after Offa and Beowulf because he has so much potential based on his honorable character. 
        Of course, there is an imbalance of threats between many of the kings being discussed that needs to be taken into account when pitting them against one another, especially with Beowulf’s case. Hrothgar fails to defeat Grendel, but apart from his reign, no other kings mentioned in the poem are faced with monsters like Beowulf himself is. Perhaps this could be one of the ways in which we explain how Beowulf and Hrothgar have previously been compared and contrasted in relation to one another more so than other kings present in the text. 
        In addition, recognizing that the Beowulf manuscript and all of the scholarly discussions (editions, emendations, translations, articles, etc.) and consumerist digressions (adaptations, movies, board games, video games, etc.) are a part of the combined Beowulf & Beowulf legacy also complicates the ways in which we can quantify the degrees of differences of Beowulf’s reign in relation to his peers within the text. While the other kings are included in full-length translations, a vast majority are not even mentioned in the loose adaptations the general public often encounters. Are the directors and writers of said adaptations deciding which kings are more important in Beowulf, or are we consumers when we watch Robert Zemecki’s Beowulf (2007) instead of reading the original text? Perhaps it is a little bit of both, making us all accountable for these kings’ ongoing legacy, or lack thereof. 
        How much weight can be given to the manuscript’s intentions of Beowulf as being the best king in that time period? A foil to our default hero can be seen in Offa of the Angles, who is described as “the hero king” (line 1943) and who “was honored/far and wide for his generous ways,/his fighting spirit and his farseeing/defense of his homeland” (lines 1957 - 1960). Although not much else is said about them, Offa’s closest family members are important enough to mention when it is said how “from [Offa] there sprang Eomer,/Garmun’s grandson, kinsman of Hemming,/his warriors’ mainstay and master of the field (lines 1960 - 1962). While the poem ends with describing Beowulf’s death, burial, and how his people mourn him, Offa is still described earlier as being “the best king, it has been said,/between the two seas or anywhere else/on the face of the earth” (lines 1954 – 1957). 
        All that we know of Offa from the poem are good things. He is a hero with a renown father, son, and kinsman. He is known throughout the lands during his time as a fighting man and great defender of his people. But how can the same text profess two “best” kings, when the word “best” itself necessitates only one individual as being capable to hold such a position? Perhaps we would read Offa as being the best king in Beowulf if good old Cotton’s library fire had destroyed everything in the manuscript after line 1960. 
        It remains significant that Beowulf is the most renown king from this tale today, though we cannot forget the contributions other kings have made to their reigns as told in Beowulf. The main protagonist seems to be among the best kings portrayed here, but he does not outshine other kings nearly as much as the poem’s title may suggest. Monster-slaying aside (because not monster-slaying cannot be held against those kings who never get the chance to prove themselves worthy of monster-slaying), Scyld, Offa, and Wiglaf can be judged as just as or nearly as great a king as Beowulf himself is. 

References: 

Heaney, Seamus (Translator), and Daniel Donoghue (Editor). 2002. Beowulf: A Verse Translation. A Norton Critical Edition. W. W. Norton & Company. Print. 

        Who is your favorite king in “Beowulf”? Who is your least favorite? If we were looking at the monsters as rulers of their subjects, treasures, etc. how would you rank the monsters against one another, and why? 
        Now that we have examined how the ways in which a king leads his life defines how well he is remembered and revered, we shall look at what the various battle-deaths in “Beowulf” have to teach us about why we die what is worth dying for. Stay tuned, on “Words About Words”. 


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Tuesday, August 4, 2015

Praise & Blame in "Beowulf"

        When discussing who we should praise and who we should blame for the course of events that take place in “Beowulf”, we are obligated to first look to the giant in the hall: the poem’s hero himself. And so, here we think about how Beowulf can be acclaimed and criticized for key turning points in the narrative. Can he be held responsible for the strife that befalls his kingdom after his demise? Let us see… 

Beowulf: Who should we Praise, and Who should we Blame? 

        When studying Beowulf, we must recognize that the poet sometimes guides readers to praise certain characters for their actions and behavior at the expense of how other characters are presented in the poem. This can be seen in lines 351 – 353 when the poem reads, “our noble king,/our dear lord, friend of the Danes,/the giver of rings” (Heaney, pp. 11) in reference to Hrothgar despite his arguable ineptitude as an effective protector of his people. Furthermore, when translators of the manuscript down through the ages continuously title the poem Beowulf after its primary hero, similarly named, modern readers are predisposed to favor Beowulf’s actions over other complimentary figures in the narrative. 
        We can dispute this preconceived notion of Beowulf’s character by analyzing two key moments of his heroic career within the context of the poem. While he is often celebrated, and rightly so, for his monster slaying skills, he is perhaps less exceptional when dealing with men that are younger than him. We can approach this chronologically by first examining how Beowulf handles Headred’s claim to the Geatish throne. 
        After Hygelac dies in battle during his raid on Frisia, Onela of that land drives his nephews Eanmund and Eadgils into exile. “They are given refuge by Hygelac’s son Headred, who has succeeded his father. Onela invades Geatland and kills Headred” (Heaney, pp. 95). Headred tries to help these young men of similar standing and status to his own, who have been wrongfully treated by their own kinsmen, and is attacked as a result. Furthermore, Headred is young himself and inexperienced in battle, and despite Beowulf’s promises earlier on to help protect his king, he fails to fulfill that boast. Like when Grendel’s mother attacks Heorot after Beowulf kills her son, Beowulf seems to be nowhere to be found when Headred is attacked. Beowulf, although he may have been able to defeat Onela’s army if he had been initially crowned king, only becomes such after Headred dies and he given the Geatish throne by default. 
        While Beowulf cannot be held completely responsible for Headred’s death, his negligence as a battle retainer may be a key factor in the young king’s premature death. Similarly, Beowulf can also be partially blamed for the fall of his people towards the conclusion of the poem. He does not name Wiglaf heir to the throne until he is on his deathbed due to dragon fire, implying that during his long and glorious fifty-year reign Beowulf fails to mention anyone else to take his place. This is more significant than another king making a similar decision because Beowulf is the only reason Geatland is not currently being attacked by outsiders during the times previous to the dragon’s awakening. As a messenger explains in lines 3001 – 3005, those foreign invaders “will cross our borders/and attack in force when they find out/that Beowulf is dead. In days gone by/when our warriors fell and we were undefended,/he kept our coffers and our kingdom safe” (Heaney, pp. 74). While Beowulf has kept his people safe during his reign, he has failed to ensure that they can be properly protected after he is gone. He leaves no children behind, and although Wiglaf’s bravery assures readers that he is the best man that Geatland can offer after Beowulf dies, at the very least there is a lack of foresight to Beowulf’s behavior when he’s king beyond the knowledge of his own peril leading up to the dragon battle. 
         And so, while we can recognize the worthy deeds Beowulf has accomplished in order to acclaim fame and glory throughout his namesake poem, in order to fully understand his character we must also reconcile with his less noble actions. By examining Beowulf’s protagonist as both praise-worthy and blame-worthy, we can open up this chain of analysis to other characters featured in this poem as well. Perhaps even the young Headred and the brave Wiglaf can be held accountable for some of the hardships that possibly stem from their behavior in the world of Beowulf; only further critical and in-depth discussion on how we can judge these characters will tell. 

References: 

Heaney, Seamus (Translator), and Daniel Donoghue (Editor). 2002. Beowulf: A Verse Translation. A Norton Critical Edition. W. W. Norton & Company. Print.

        Now that we have highlighted some of the ways in which Beowulf can be both a quality and poor leader of his people, we can open the discussion to the many other examples of leadership to be found within the same text. Next time, we will analyze the kings in “Beowulf” based on what we know from textual evidence, and thus judge them justly as either good or bad kings by perspectively taking their character objectively. Stay tuned, on “Words About Words”. 


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Monday, August 3, 2015

Why Beowulf may not be fame-worthy

Beowulf concludes with the assertion that its hero was “most eager for fame” (line 3182). Which moments in Beowulf’s life are not fame-worthy? 

        Beowulf is a classic epic which has survived for over a thousand years in an original Old English copy, but since then it has been translated into many other languages down through the generations of history. Its main character and hero, in whose honor the manuscript has been titled, is often proclaimed as a “hardy” (line 1963) and “glorious man” (line 2189) “of high courage” (line 1888). Indeed, there is no surprise why audiences have celebrated this figure as the most deserving of praise, for the text itself characterizes him as “of mankind the strongest of might/in those days of this life,/noble and mighty” (lines 196 - 198). Although his early accomplishments are numerous and impressive, including such acts as defeating Grendel and Grendel’s mother, however, there are some discrepancies in his behavior once he becomes king of the Geats that must be accounted for. Only then, may we truly be able to understand the hero of Beowulf
         Beowulf is crowned king after his lord and younger cousin Headred is slain for housing the fugitive brothers Eadgils and Eanmund when their super uncle Onela drives them from their homeland. As a young leader who could have easily been replaced by more powerful kinsmen if his retainers had not remained loyal, it is not surprising that Headred would be sympathetic to these exiles’ predicament. As a result, however, Onela ambushes Headred for this act of hospitality, kills him and then retreats from whence he came. Because Beowulf is now the next in line for the Geat-ish throne that yet lives, it is by this sequence of events that he is offered—and this time accepts—the responsibilities as crown-bearer for his people. 
        As the newest leader and closest kinsman to the deceased, Beowulf has a social responsibility to speak revenge against Onela for Headred’s murder. This system of retribution and loyalty is alluded to when Hrothgar says, “For past favors, my friend Beowulf,/and for old deeds, you have sought us out” (lines 457 - 458), implying that our hero does not travel to purge Heorot of its Grendel-problem out of charity, but rather to return a favor Hrothgar once did for Beowulf’s father Ecgtheow. Now, according to the customs of his society that have previously been established in the poem, Beowulf is obliged to avenge his lord Headred’s death by attacking Onela. When the warrior Beowulf defeats Grendel and then Grendel’s mother for Hrothgar, and later on explains that he has accomplished these feats “to show good will. Still all my joys/are fixed on you [Hygelac] alone” (lines 2149 - 2150), he not only demonstrates that he is aware of this system of governance, but also that he is willingly capable of excelling within these societal expectations. 
        It is therefore highly uncharacteristic when Beowulf—instead of attacking Onela directly in battle—this new king of the Geats instead, “befriended Eadgils/the wretched exile; across the open sea/he gave support to the sons of Ohthere/with warriors and weapons” (lines 2392 - 2395). While Beowulf aids Eadgils’ cause by sending him men and arms, a campaign that is ultimately successful in defeating Onela, our hero does not personally charge into battle. Why, when confronted with this of all adventures, does he not venture headlong into the task as he would have previously done so readily? What is restraining him? 
        Beowulf is often renown within general public knowledge as the great monster-slayer of this poem. He battles merefixa (translated from O.E. as “sea-fishes” (line 549)) when separated from Breca, mortally wounds Grendel, and defeated Grendel’s mother. It is not as though becoming king marks the end of his fighting career (as it may have done for Hrothgar), for many years after this sequence of events, when Beowulf is an old man, he does not hesitate to face the terrorizing dragon by himself.* 
        And it is important to note that Beowulf is not only known for his monster-slaying actions within the poem. It should not be Onela’s humanity that keeps Beowulf from that particular battle, for Beowulf has experience as a valued thane in wars among men in addition to those between men and beasts. Soon after his grandfather king Hershel passes away in old age, “there was strife between Swedes and Geats” (line 2472), and Beowulf with “friends and kinsmen got revenge for those/feuds and evils” (lines 2479 - 2480). Our hero has “paid in battle for the precious treasures” (line 2490) Hygelac awarded him. Therefore, what is it that refrains him from traveling across the sea to encounter Onela? There are a few possibilities that we shall examine here. 
        The first is that perhaps by aiding Eadgils in carrying out the revenge-act instead of doing so himself, Beowulf is continuing to abide by his previous lord’s final wishes. Our hero has proven himself loyal to Hygelac’s son in the past, because instead of taking Headred’s placee as leader of the Geats when the boy was still too young to rule by himself, Beowulf promises to advise and protect him as he grows older. It is then with one of his few acts as king that Headred offers Eadgils and Eanmund help in their plight when he needn’t to, a situation that is unresolved at the time of Headred’s death. And so, when Beowulf sends Eadgils warriors and weapons, he is extending Headred’s hospitable hand from beyond the funeral pyre. While neither Geat-ish king defeats the super uncle himself, Headred gives the brothers shelter so that they may temporarily escape assassination and Beowulf gives their people the military resources necessary for reclaiming what is rightfully Eadgils’, thereby indirectly restoring order for these allies. When he does not interfere directly here, Beowulf thus begins his kingship by following in his predecessor’s footsteps. This solidifies Beowulf’s right to the throne by easing the transition between Headred’s rule and his own, which can be interpreted as highly honorable and thus a wiser decision than hunting after Onela himself. 
        As a side note, it may have been advantageous to allow the young heirs to reclaiming their birthright on their own for political reasons. When Beowulf sends men and arms to aid Eadgils in his endeavors, he helps the cause without threatening the youth’s claim on the victorious outcome. In the ancient Anglo-Saxon society depicted in Beowulf, the commander of an army is awarded credit for all important deaths that occur during battle; a system that is demonstrated in the poem when Hygelac is said to have killed Ongentheow when his retainer Eomer is the one who actually swings the death-blow. With this in mind, Beowulf could have taken credit for Onela’s death if he had accompanied his army across the sea and commanded them into battle. Instead, by lending men to Eadgils’ efforts, Beowulf allows Eadgils the fame and title of victor (and perhaps saving himself from immediate danger should they have been unsuccessful). 
        We can infer that Beowulf’s help would have ensured positive international relations between Eadgils’ kingdom and his own. However, there is not much textual evidence supporting the interworking of Beowulf’s reign apart from “he held it well/for fifty winters—he was then a wise king,/old guardian of his homeland—until/in the dark nights a dragon began his reign” (lines 2208 - 2211). So, we do not know for sure if Eadgils keeps in touch with Beowulf after they settle down in their own lands. Nonetheless, there are no accounts or insertions alluding to strife ever occurring between Beowulf’s and Eadgils’ respective peoples, which in Beowulf is always a good sign. Our hero’s reign is a peaceful one, until the awakening of the dragon that is, and how he handles relations with Eadgils may very well contribute significantly to such peace. 
        The second most probably reason for Beowulf’s decision to remain on his own lands is that, especially as a new leader of his nation, he is required to stay within the borders of his kingdom in order to keep his people safe. While there is essentially zero character interiority given to us by the poet to explain Beowulf’s actions, the worst events and/or attacks always seem to take place in Beowulf when the leader of the effected group is physically absent from the location where said action occurs. For instance, because Grendel slaughters whoever is in the hall when he attacks, in order to survive twelve years’ worth of onslaught, Hrothgar must be absent from Heorot each night. Due to Beowulf’s success in keeping Grendel from fleeing uninjured, the poem implies that Grendel’s mother is able to escape Heorot unharmed the following night because Beowulf sleeps for that night elsewhere when she attacks. In addition, when the dragon burn down Beowulf’s buildings, our hero is again abiding somewhere safely unseen. And finally, Hygelac perishes while on a greed-driven raid in another land, hinting that if he had remained home he might have lived longer. 
        Regardless of whether or not our hero is aware of this phenomenon, Beowulf’s location is important to the safety of his people. This is such the case that with “the death of their lord” (line 3149) are certain of “hard days ahead,/the times of slaughter, the host’s terror,/harm and captivity” (lines 3153 - 3155). Indeed, his subjects lament his passing in part because “now this folk may expect/a time of trouble, when… the fall of our king/becomes widespread news” (lines 2910 - 2913). And so, by offering Eadgils aid but remaining behind himself, Beowulf is able to function both as a generous benefactor for the youth and as a successful protector of his own people. 
        In a classic Beowulf style, the layers of reasoning which underly Beowulf’s inaction during the Eadgils-Onela conflict is complicated further when we take into account his relationship with Wiglaf. While Wiglaf does not play into the poem’s action until he helps our hero slay the dragon, they have an implied history of at least knowing one another due to their similar tribe affiliations as both being half-Swede and half-Waegmunding. It is through background material as provided by Joseph Black’s The Broadview Anthology of British Literature, Volume I: The Medieval Period that the connections between Beowulf’s relations with Wiglaf and those with the Swedish brothers are better illuminated. It is “Weohstan, father of Wiglaf, [who] kills Eanmund on behalf of Onela” (Black, pp. 92). In order to avenge Eanmund’s death Eadgils must kill Wiglaf, but because the last of the Waegmundings dwells in Beowulf’s kingdom and under his protection, “during Beowulf’s fifty-year reign, the death of Eanmund is unavenged” (pp. 92). If Beowulf had gone with Eadgils to reclaim his throne from his uncle Onela, and if he had encountered Weohstan on the battlefield or brought Wiglaf along, our hero might have been forced to either betray his guests or his kinsmen. Remaining behind in his own lands allows Beowulf to appease both sides while he lives, thus safely abiding by the rules of honor and duty so vital to his cultural identity.** 
        Because it is previously established that ”loyalty to one’s lord was supposed to outweigh the claims of blood-relation” (pp. 54, footnote 1), the fact that Beowulf stands with Wiglaf in the end is a powerful statement. While Beowulf’s choice of inaction in this dispute may be not fame-worthy within his world, through a modern viewpoint he might be. When Wiglaf tells our hero that he is “the last survivor of our lineage” (line 2813), he implies that he and Beowulf are closer in lineage to one another than to anyone else they know, including the many Geats and Danes whom Beowulf has aided in his lifetime. By forsaking the government and society’s customs and expectations, he upholds the values of kinship and friendship above all else. And, perhaps more impressively, he gets away with it throughout his fifty-year reign with seemingly zero opposition. 
        And so in conclusion, we have interpreted many possibilities that can explain why Beowulf remains at home during the Eadgils-Onela conflict. Perhaps he is acting on Headred’s behalf or in his own best political interests. Maybe he has to stay behind in order to properly protect his subjects and kinsmen, either from monsters within or from armies without. These motivations are each sound in their own way, and multiple explanations could be working simultaneously here, or there could be a better reason lurking somewhere unrealized. Either way, we can only know more and be more confident in our knowledge regarding such complexities with each deeper dive into the fathoms of the Beowulf world. I eagerly await the next one. 

*Note #1: While indeed our hero is only able to defeat said dragon with the help of his retainer Wiglaf, Beowulf is fully aware of the peril and yet willingly goes into battle alone, thus securing our respect for his courage during those moments in his life. 

**Note #2: This level of complexity also reminds me of Sir Gawain’s predicament in Sir Gawain and the Green Knight when he must maintain the Queen’s confidences while also remaining honest in the King’s presence. Stay tuned, as I am looking forward to when we get to discuss this Middle English poem later on. 

References: 

Black, J. et al. (Editors). 2009. The Broadview Anthology of British Literature, Volume I: The Medieval Period, Second Edition. Broadview Press. Print.

Fulk, R. D. et al. (Editors). 2008. Klaeber’s Beowulf: Fourth Edition. University of Toronto Press. Print.

        We have dissected here possible explanations for one of Beowulf’s first acts as king, which is curious because it appears to differ from how he behaves previously within his poem. However, he is not the only king who makes praise-worthy, and perhaps less praise-worthy, decisions. Next time, on “Words About Words”, we will analyze who we can praise for the positive accomplishments and who we can blame for the negative outcomes in “Beowulf”. 
        Until then, do you agree with these reasonings behind why Beowulf offers Eadgils military aid instead of defeating Onela solo? If not, then why not? And if you can think of any other possibilities for this seemingly uncharacteristic behavior for our hero, what are they? 


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Friday, July 31, 2015

Female Gender Roles in "Beowulf" (through Fitt 23)

        Last time on “Words About Words”, we discussed how Grendel’s appearance and behavior within “Beowulf” compared to the various ways in which his character has been adapted for public audiences over the years. In this post, I would like to touch upon how the female characters in “Beowulf” are described and depicted in the text, and I would like for us to utilize our findings in order to interpret what their roles are in the poem and the historical background. 
        Out of the seventy-five named persons who are mentioned in our thousand year old copy of the “Beowulf” poem, only five of those persons are female. Consequentially, there is a lot of textual evidence supporting how kings, warriors, and men in general are expected to act within this ancient Anglo-Saxon society. It is because there are so few women in this poem, and even fewer women with names, that it is difficult to generalize or at the very least definitively analyze their functional purposes in this tale. With these difficulties in mind, let us try our best to understand how women are perceived by others, and how they behave independently, within this Anglo-Saxon text. 

Women Gender Roles Through Fitt 23 of Beowulf 

        Beowulf is a lengthy Anglo-Saxon poem that survives copied down in a single Old English manuscript, similarly named. And while there are many characters functioning within the multiple layers of narrative throughout the poem, the roles of female characters are discussed specifically here. Because there are a lot fewer women than men in Beowulf, and even fewer of those are granted individual names, how they are expected to behave in the world this poem creates is complicated when compared to how they actually behave within the narrative. 
        In Beowulf up through Fitt 23, only two of the women who are mentioned are actually mentioned by name. One of these is “Wealtheow” (line 612), “Hrothgar’s queen” (line 613), whose naming may indicate her importance as a speaking character within the predominating timeline of action in the poem. The other is “Hildeburh” (line 1071), Hnaef’s sister and Finn’s queen (lines 1152 - 1153), who functions as a sympathetic character in what is commonly known as ‘the Finn episode’: a story told within the main narrative during the interlude between Grendel’s defeat and his mother’s revenge. 
        The other women mentioned through Fitt 23 are not given individual names, but are simply referred to by their primary titles, such as “Ecgtheow’s wife” (line ), “Onela’s queen” (line 62), and “Grendel’s mother” (line 1258). This lack of individualization forces the audience to associate these characters primarily through their relationship with the male closest to them in their lives. This can either be as wife, mother, or even daughter when Hrothgar introduces Beowulf’s mother as the “only daughter” (line 375) of Hrethel. Sometimes, men are also similarly associated with those men closest to them, such as Hrothgar being described as “lord of the Scyldings” (line 147) and Beowulf being “a good man among the Geats” (line 195), but these titles are secondary to—not substitutes for—their individual names. 
        Men of high position are often praised with the phrase, “That was a good king!” (line 11), such as “Scyld Sheifing” (line 4), “Hrothgar” (line 61), or later on even “Beowulf” (line 343) himself, and groups of peoples such as “the Danes” (line 170) and “the Geats” (line 603) can be defined by the phrase, “that was a good troop” (line 1250). In contrast, however, when women such as Hildeburh are described using a similar sentence structure, they are defined with phrases like, “she was a sad lady” (line 1075). By characterizing Hildeburh in this way, is the poem saying that she is a sad woman instead of being a good woman, or that to be a sad woman is to be a good woman? Either way, this seems to be the most important aspect of Hildeburh’s character, which is justified as “not without cause did she mourn fate’s decrees” (line 1076); torn between a feud with her brother on one side and her son on the other, she therefore is unable to avenge their deaths because she is technically bound to and against both sides. 
        If expressions of grief are imperative to what it means to be a good woman in the world of Beowulf, then how do we reconcile these notions of womanhood when men grieve intensely? Hrethel, a king discussed later on in the poem and who was Beowulf’s foster-father, is consumed by his sorrow when his son Herebeald is shot dead in a hunting accident, and the kind king retreats into himself. “Then with the sorrow which befell him too sorely,/[Hrethel] gave up man’s joys” (lines 2468 - 2469), and as a consequence “there is no harp-music,/no laughter in the court, as there long had been before” (lines 2458 - 2459). The poem here appears to judge Hrethel’s leadership negatively because he lets his overwhelming grief disrupt his kingly duties, so much so that very soon after his own passing terrible “strife between Swedes and Geats” (line 2472) takes place. If grief and mourning is a stereotypically womanly role in the world of Beowulf—but one that can impair a man’s ability to behave properly—then what does this say about Hrothgar’s intense mourning over his men who are taken by Grendel and then Grendel’s mother? The poem’s hero offers advise on the matter when he says, “It is always better to avenge one’s friend than to mourn overmuch” (lines 1384 - 1385). Could this ‘grieving overmuch’ be a criticism of Hrothgar’s kingship, if he weeps womanly instead of fighting the creatures that have been threatening his hall? Beowulf shows more sympathy with Hrethel's case because he could not seek retribution for his son’s death, whereas Hrothgar seems to be choosing to mourn instead to trying to seek out Grendel’s mother in revenge. 
        While the men in Beowulf typically act as rulers, warriors, protectors of their people, and distributors of treasure, women primarily function as wives or mothers. But there are some instances where they can also become cup-bearers at feasts and treasure-givers to successful warriors. Does Wealtheow take on a more kingly role when she distributes treasure to Beowulf and his men, or is Hrothgar more womanly by not fighting his own battles? If each of their functional shifts in character is equal within the Beowulf society, then perhaps they are made equals by these shifts. In other words, if Wealtheow increases in masculinity to the same extent as Hrothgar decreases in masculinity, then they would stabilize onto the same level of leadership. 
        However, Hrothgar engages in a lot more inaction than Wealtheow does in giving treasure. Hrothgar retires from his fighting career, builds Heorot, does not fight Grendel himself for twelve years, and then weeps over his dead men who are ripped apart by these monsters he has been unable to either appease or eradicate. And although technically Wealtheow could have been giving treasure to previous men during those twelve years before Beowulf arrives, within the narrative of the poem we only see her up through Fitt 23 distributing treasure during one feast when she awards Beowulf and his men for their defeat of Grendel. 
        As far as we can tell, Wealtheow decides to give out the treasure by herself, and thus expresses her own agency, an act which branches away from previously established gender norms. This is a shift from her prior function as cup-bearer during earlier feasts. In contrast, if this is instead Hrothgar outsourcing his duties as treasure-giver to his wife, as we have seen him do when outsourcing his fighting duties to foreign Geats, then this could be a further criticism of his rule. But because we have no contextual evidence of Hrothgar ordering Wealtheow to give out the treasure that he previously would have awarded, we must assume that she freely chooses to engage in such activities on her own. 
        And although none of the other characters object to her actions, it may be significant that this change occurs after Hrothgar’s authority is usurped not only by Grendel but then by Grendel’s mother as well. Wealtheow could be in a way essentially taking control of Heorot herself by taking on more of Hrothgar’s usual duties, or perhaps this could be Wealtheow recognizing Beowulf’s hold on Heorot as an heir as a result of his success against ‘the monsters’. 
        It is difficult to pinpoint Wealtheow’s exact role in the Beowulf society because we do not get many opinions regarding her bahavior from the other characters or even the poet himself. Whenever Hrothgar makes a speech, either Beowulf or another retainer always responds, even if they have nothing new to particularly add to the conversation aside from agreeing with what Hrothgar has already professed. And yet, whenever Wealtheow makes speeches before the hall, no one replies, not even once. Is this silence an indication that Wealtheow’s speeches are ignored, or are they taken more seriously than the other speeches? Because there is no commentary by either the poet or from other historical sources on whether or not subjects were allowed to speak directly to their lord’s wife, we cannot know exactly what their lack of responses is supposed to be interpreted. 
        While whether or not she is taken seriously as an orator is still under debate, it is clear by how Wealtheow’s person is described that her appearance is objectified more than those of her male counterparts are. She is imagined as being more “gold-adorned” (line 640) as opposed to wearing objects that happen to be gold. Although Beowulf and his men wear helmets decorated with gold and boar designs, they nonetheless seem more fluid in their outfits. Beowulf chooses to take off his armor when fighting Grendel, and then puts on more armor when going to fight Grendel’s mother. When preparing for bed on the night that Grendel’s mother attacks Heorot, the men have their armor, helmets, and weapons nearby, but they are not wearing them constantly. In contrast, Wealtheow is always clothed and “ring-adorned” (line 623). Her character as a result is associated more closely to her garments, and they thus seem to define her more so than armor does the men of the poem. Wealtheow is more objectified the more she is associated with the inanimate treasure within Hrothgar’s possession than any of the men are to their spoils of war. While it may be a stretch to conclude that she is objectified because she is a woman, these aspects of her character cannot be ignored. Because there are so few women in Beowulf, and even fewer that are named by or speak within the main narrative, every aspect of how these women appear and function here is imperative to our understanding of Anglo-Saxon femininity. 
        This is not to say that an individual’s importance is necessarily tied to the specificity by which one is named, however. Far from it, because although Grendel’s mother is not awarded an individual name, she is a key figure within the narrative, so much so that some would say she is even more important to Beowulf than the dragon our hero perishes by in the end. 
        Even though she is not named, she is a more formidable opponent for Beowulf than Grendel ever was. Instead of being caught in the hall (though Beowulf’s absence from said hall at the time of her attack may have had something to do with that), she escapes from Heorot unharmed, thus forcing our hero to leave Hrothgar’s community to travel into the terrifying mere in order to fight her. In addition to having the home field advantage when encountering the Geat, she also seems to be stronger than Grendel because of how she is able to drag Beowulf further into her lair swiftly enough in order to prevent him from using his weapons properly. And even in close combat, we the audience get the sense that if the giant-sword among her treasure horde had not been within reach of Beowulf’s arm, he would have been done for and the subsequent Beowulf poem would have been a lot shorter. 
        Grendel’s mother seeks revenge, thereby engaging in the societal conventions of a feud, which places herself on the same level as Hrothgar, and Grendel on the same level as Hrothgar’s man Aeschere. This, in addition to her possession of treasure and a weapon when fighting Beowulf, humanizes her more than Grendel ever is. We do not know what she has been doing for the past twelve years, but this is not saying much because we also do not know what Hrothgar has been doing for the past twelve years (apart from not fighting Grendel himself, that is). Presumably, Grendel’s mother has been living in her lair in the mere, ruling over the sea monsters living around her, and only engages in the feud when the Danes mortally injure Grendel. Indeed, the Danes appear to completely forget her existence until she attacks Heorot, and only then do they deem her important enough to mention to Beowulf. 
        When our hero succeeds in killing Grendel’s mother by chopping off her head in one fell swoop, he seems more enraged by the presence of Grendel’s corpse than by the presence of Grendel’s mother’s corpse. Although Grendel’s mother was more of an immediate threat to his life, Beowulf is more preoccupied with getting Grendel’s head back to Heorot. Is this due to the fact that Grendel was the monster to get away from his grasp, and returning his severed head to the hall completes his previous boast? Or is Grendel’s mother so unimportant and overlooked by him as an adversary, that as soon as she is eliminated, she is forgotten? 
        Grendel’s mother is not only forgotten by Beowulf, but by the poet as well by not being mentioned ever again after her death. This could be a slight against her monstrosity, her gender, or perhaps even her lineage, for whenever Cain’s sires are described, they are said to have been born “forth by him”. However, his sexual partners are never mentioned. And so, either Cain begins his damned line through asexual reproduction such as fission or budding, or his sexual partners are not worth mentioning. Although Grendel’s mother appears to be human, or at least more obviously a humanoid female than not to the men in Heorot, we do not know the type of creatures Cain and his heirs bred with to give rise to giants, ogres, Grendel’s mother, and Grendel. 
        The roles that women play in the Beowulf poem and Anglo-Saxon society at large has only begun to be studied. With each new case, the functions women have in this Anglo-Saxon poem grows increasingly complicated. Because women are few and far between, although they are important characters within the narrative of the poem, it is difficult to generalize how they are expected to behave in this society in comparison with how they actually behave within the poem. They continue to be a fascinating aspect of Beowulf’s character arch and the world of Beowulf

References: 

Black, J. et al. (Editors). 2009. The Broadview Anthology of British Literature, Volume I: The Medieval Period, Second Edition. Broadview Press. Print.

Fulk, R. D. et al. (Editors). 2008. Klaeber’s Beowulf: Fourth Edition. University of Toronto Press. Print. 

        Because the original assignment for this piece was to study women gender roles in “Beowulf” through only Fitt 23, I have not analyzed how women function throughout the poem’s entirety. If any of you are interested in reading what I discover about the other women featured in the text, just let me know, and I will write a follow-up post. 

        Next time, we will discuss how perhaps “Beowulf”’s hero is not as great as his poem professes, and then later on we will think about who we should praise and who we should blame for the events that occur within the narrative. Until then, keep reading & writing! 


Tuesday, July 28, 2015

"Beowulf"'s Grendel: Adapting Through the Ages

        Aside from Beowulf himself, the second most recognized name in the “Beowulf” poem is Grendel, the first of three “monsters” that our hero defeats during the span of his tale. Grendel is introduced even before Beowulf is, and in fact his terrorization of Heorot is what brings Beowulf into the action of the poem. And so, Grendel is the initial conflict that initiates the plot line, and that which first tests Beowulf’s character for us audiences. 
        In this blog post, I would like to focus on how the poem describes Grendel (in translation; I do not expect anyone to be fluent in Old English here), and then compare those descriptions to how he has been depicted in artistic and pop culture adaptations. How has Grendel’s public image shifted over time? Do varying adaptations take away from the character of Grendel, or do they add to his importance within the poem simply because we have been putting a face to his figure for so long? Let’s take a look… 

Beowulf (lines 1 – 189): Describing Grendel 

        In Seamus Heaney’s Beowulf: A Verse Translation, the beast known as Grendel is first described as “a powerful demon, a prowler through the dark” (line 86). Later on, other ways in which he is characterized include “a fiend out of hell” (line 100), “this grim demon” (line 102), “the God-cursed brute” (line 121), “the hall-watcher” (line 142), “that dark death-shadow” (line 160), and one of “these reavers from hell” (line 163). Although there is not a lot of physical clues as to how tall he is, what his skin color is, or whether or not he has hair, etc. there is actually some key information we can interpret from the deeds he is able to accomplish. 
        He is able to hear Hrothgar’s celebration all the way from the distant moors, so perhaps he has sensitive hearing. Also, when he attacks Heorot “he grabbed thirty men… and rushed to his lair… blundering back with the butchered corpses” (lines 122 – 125). Assuming this is true, Grendel needs to have hands or claws to grab people with, large and strong enough arms to carry thirty men, legs to walk back to the marshes on, and a quiet enough mode of behaving to not wake everyone else in the community that night. More light is shed later on as people “were hunted down by that dark death-shadow/who lurked and swooped in the long nights” (lines 160 – 161). Whether he is a naturally nocturnal creature or not we do not know, but his revenge only occurs at night, which may be just the hours during which he is usually active or he is intelligent enough to realize that it is safer to attack Hrothgar’s men when they are sleeping. In order to be a “dark death-shadow” (line 160), perhaps Grendel is dark skinned, and in order to “swoop in the long nights” (line 161), perhaps he is surprisingly swift paced for a beast of his inevitable size. 
        Therefore, although the actual words describing Grendel’s appearance are vague, we can still deduce important information regarding his physique through how he behaves and what he is able to achieve. The Beowulf poet gives us a lot of clues as to how he should look like, but because there are no direct descriptors about his particular physique, there is a lot of room for interpretation that artists and enthusiasts alike seem to have taken to heart down through the ages. 

Beowulf’s Grendel & Our Grendel: Adaptations through the Ages 

FIGURES 1 - 6: Grendel in Film  

        Figure 1: Here is a screenshot from the movie Beowulf (1999) by Graham Baker. Vincent Hammond portrayed Grendel, who in this adaptation is a post-apocalyptic demon. We can see his claws and gaping, almost smiling, mouth. He is somewhat humanoid, but seems to be covered in scales, with a ridged forehead and bald skull. His blurred approach adds to the sci-fi spooky intentions of this film adaptation. 

        Figure 2: This is a screenshot of Ingvar Eggert Sigurdsson as a giant troll-like Grendel in the movie Beowulf & Grendel (2005). His hairy limbs, lolling jaw, and protruding brow suggest a primitive existence outside the normative postures of civilization, and yet his form and attire are distinctly human. The Grendel in this film seeks revenge because he has been wronged against due to his ‘outsider’ appearances; he is not an outcast because he has done bad things.  

        Figure 3: Here we get a completely CGI Grendel as portrayed by Crispin Glover in Robert Zemeckis’s movie, Beowulf (2007). Again, we have mostly-human formed Grendel who is larger than any human present in the story, but this time he is missing most of his flesh. This adaptation also attempts to explain why the Grendel character can hear the goings-on of Heorot from far away in the mere by giving him external and highly sensitive ear-drums, making this depiction more of a giant upset child throwing a tantrum each night simply because he wants some peace and  quiet. 

        Figure 4: This is an animated adaptation of Grendel, from the Grendel Grendel Grendel (1981) animated film based on the John Gardner novel, Grendel (1971). Grendel is voiced by Peter Ustinov, and like the Gardner novel, this film is from Grendel’s perspective. Because Grendel is the protagonist here, and because an animated film is by genre (especially during the decade in which it was made) geared towards a younger audience, he is not scary. We sympathize with this version more readily because, although he is large and green with a long toothed snout, he has a small mouth and expressive eyes and a sad slump to his design.  

        Figure 5: In The13th Warrior (1999) film, the Grendel antagonist figure is a part of a fictional enemy race called “The Wendol”, and a chief of that race is pictured here. While clearly human in basic appearance, the Grendel counterparts in this film are separated from the protagonists by wearing furs, horns and teeth of other animals, warrior paint, and brandishing clubs. While the Grendel of Figure 2 engaged in a Neanderthal impression that is not offensive because the last real-life comparative died out thousands of years ago, this depiction could interpreted as racist because this “monstrous” figure from an ancient tale is portrayed as a member of a tribal culture, indeed a “race” within the very movie, that is deemed other simply because it is from an alternative culture that is seen in the film as primitive, dangerous, and deserving of elimination. There are social issues with this interpretation of what it is to be a monster, because there are similar cultures to this day that include items such as animal skins, horns, bear teeth, and body paint as vital indicators of identity. And yet, it is nonetheless important to be included as an example of how Beowulf’s Grendel has changed through our portrayals of him in popular media throughout time and via different mediums. 

        Figure 6: This is a screenshot of ‘the Morwen' from the film Outlander (2009). This four-legged Grendel depiction is less like the Grendel from the original poem, and more of what a hybrid between Beowulf’s dragon and Grendel, with a dash of Godzilla thrown in, may look like. With his scales, flared nostrils, drooping maw, and flames trickling his lumbering form, this creature seems more akin to the stock of Satan, or at least a Balrog of Morgoth (I am thinking of Peter Jackson’s adaptation as featured in The Lord of the Rings: The Fellowship of the Ring film here) than to any somewhat-human Grendel being. It is important to note that Grendel adaptations appear more monstrous the more a particular adaptor seems to want to make him more  monstrous. It is the man who makes the monster, and not the other way around. 

FIGURES 7 & 8: Grendel in Television 

        Figure 7: In the television series Once Upon A Time in Wonderland, Grendel is a man who has been disfigured by the Red Queen and has been reduced to function as a henchmen figure. While taller and stronger than many other men, he is still a man, albeit with a quizzical confused expression and the exaggerated brow that stereotypically is supposed to convey primitive simpleness. While the Grendel of Figure 5 may be construed as offensive to peoples deriving from tribal civilizations, this depiction could be interpreted as offensive to persons discriminated against due to mental disabilities. The Grendel figure we find here appears more like a Fezzik from The Princess Bride (1987) or a Hodor from the Game of Thrones television series character, rather than one deserving of the fright and revenge found in Beowulf’s Heorot.  

        Figure 8: Beowulf interacts with the world of science fiction when a holographic version of the tale comes to life and a photonic version of Grendel holds crew members hostage in the television series Star Trek Voyager. We see that instead of embodying the deepest darkness in the middle of the night, as in the original poem, here Grendel is a dynamic globular form of light. The show attempts to explain these inconsistencies by having its Hrothgar character say that no one had seen the original battle because Beowulf insisted on facing the intruder alone. While Beowulf did fight Grendel alone in the  poem, his accompanying kinsmen were in Heorot at the same time and thus acting as witnesses to the battle, but nonetheless we have an interesting adaptation here. 

FIGURES 9 - 13: Grendel in Comics 

        
        Figure 9: Grendel here is a masked identity that allows the protagonist from Matt Wagner’s Grendel comics to take on New York City’s organized crime. Rather than an individual character, ‘Grendel’ is reduced to a title, a symbol of systematic revenge, ensuring the hero’s enemies that he will come after them night after night until Heorot (which is the streets of NYC here) is purged of its wrongdoers. While the figure called Grendel is the protagonist in this adaptation, this comic book series uses the dichotomy of good versus evil as found in the Beowulf poem to individualize its plot line from similar version found in a number of other superhero comics (especially those also place in the New York metropolitan area).  

        


        Figure 10: Here is Grendel and Beowulf fighting in Garith Hinds’s Beowulf comic books. Grendel is humanoid in shape, but he is the closest resemblance of what perhaps a goblin- or ogre-based depiction that we have encountered thus far. He is larger than the average man, has a protruding stomach—perhaps engorged with the Geats’ flesh—and a humped back which our hero is utilizing to his advantage in order to gain leverage. While perhaps he does not look big nor strong enough to carry off thirty thanes, when compared to some of the other adaptations, this Grendel interpretation is pretty good. 




        


        Figure 11: Here is the battle between Beowulf and Grendel as adapted in the 1984 Beowulf comic book by Jerry Bingham. I am not sure what the swirling tendrils of blackness are that curl away from his body, but this is also an improvement on some of the Grendel adaptations we have thus far encountered. This tall, strong, bipedal figure engages with the tones of ambiguous darkness as Grendel travels through the night back and forth from the mere to Heorot in the Beowulf poem. 










        Figure 12: This is the cover art for Issue 1: The Curse of Hrothgar from the DC comic Beowulf: Dragon Slayer (1975). The colors included here are bright, perhaps to reflect the flashy genre of the comic art form, but nonetheless it results in an unrealistic and unfounded coloring of our Grendel character. However, we can still analyze how this Grendel is portrayed by how it interacts with the other elements on the cover. The blues and greens of the humans’ outfits, their exposed skin, and their flowing hair make them more similar to one another than to Grendel, thus isolating our subject from the human social structure of this image. It is also noteworthy that Grendel’s coloring more similarly reflects the title of the story than anything else a part of the artwork found here, thus making our Grendel character inseparable from the story from hence he came. 




        Figure 13: Here is a frame-shot of ‘Grendell' as he appears in a few  issues of Marvel Comics’ Thor series. As in the original poem, he is larger than our hero and is indeed missing an arm, but he is still very much alive, wields a giant battle-hammer, and is wearing armor. His pointy ears and square head give him a goblin-like appearance, but instead of an animalistic effect such as in Figure 9, the forward lunging of his stance, the narrowing white eyes, the barring teeth, and the dark reds and shadows of his figure all combine to lend this Grendell a demonic, malicious advance. 



FIGURES 14 - 21: Grendel in Video Games 

        Figure 14: Adaptations of Beowulf’s Grendel character have also made their way into the video game industry. For instance, in the artificial life program Creatures, one of the breeds is called ‘Grendels’. Here, although this depiction has sharp teeth and claws and red eyes, he is not very scary, due to his unrealistic proportions, stocky body, short limbs, drooping puppy-like ears, and oversized head and facial features. In addition, the light colored hair sprouting from his head contributes to the innocent, infantile impression of this creature. It is  important to keep in mind that those adaptations that are supposed to be frightening very rarely have hair or fur of any kind on them. After all, why would you be afraid of a Grendel you can cuddle, or at least groom? 
        
        Figure 15: The Monster Sprite ‘Grendels’ of the video game Dragon Quest have a more comical villain tone, as though a warthog, Bowser, and the Sultan’s guards from Aladdin got sucked up and spat out by Harvest Moon: Another Wonderful Life’s cheese maker machine. The brighter the colors, the less scary these adaptations seem to be. And although this depiction sports armor and weaponry of a vaguely Oriental nature, there is no fear evoked in an audience viewing this image. We should keep in mind that the less-scary versions of the Grendel character may be designed as such due to the intention to be consumed by younger audiences.  

        Figure 16: This is an image of the Grendel creature featured in the Vision of Zosimos: Chaos Omen video game. On the mooring.com website, this foe is described as “a fierce opponent, not to be crossed lightly”. Although this style of video game design makes this Grendel more deserving of the Word of Warcraft universe than an ancient Anglo-Saxon society, I appreciate the effort to engage in Grendel’s physical disability after one arm is ripped from his side in the original poem, by having this depiction bear an uneven limb distribution. 



        Figure 17 a.: This image is of a lower level Grendel character from the online Wizards 101 video game. Again, this Grendel cannot be take too seriously because it was created for a children’s online gaming community. In addition, this initial appearance clearly takes more inspiration from the Cornish Pixies or House Elves creatures found in the Harry Potter and the Chamber of Secrets (2002) film than any of the evidence from the original Beowulf text. 



        Figure 17 b.: “Grendels" in Wizards 101 are unique from other adaptations, because they can change over the course of the game. Featured here is a Witch Doctor level evolution. There is a hint that this depiction may have some sort of satchel hanging at the side of his waist, a pouch that the Beowulf Grendel may or may not have  had (the jury is still out on that one, as there are inconsistencies in different accounts of Grendel’s fight with Beowulf given within the poem), but other than that and its vaguely humanoid basis, I see no resemblance between this adaptation and the original. 
        I do find it interesting, however, that there are multiple evolutions to this Grendel. Like how Figure 6 seems to combine multiple creatures (Grendel and the dragon) from the poem into one being in order to make the adaptation more engaging, this “layering” of opponents here within the same identity could be building upon the storytelling archetypal trope of having the hero encounter three challenges of increasing difficulty. But instead, as the player character increases his own skill set of abilities, stamina, and armor, so too does his adversary grow into a more formidable opponent. It truly is evolution at play, albeit on a highly accelerated scale and through a short-living medium. 

        Figure 18: This video game Grendel is a four legged monster opponent from Final Fantasy VIII. In the game, this Grendel was originally a boss monster, which could reflect how in Beowulf, Grendel is a figure renown for his deeds and Beowulf must travel to and prepare for their one-on-one battle. When his function within the game shifts to an incidental opponent, however, this may reflect the Grendel character’s more animal and innocent nature, perhaps what he was like before the feud with Heorot began. Regardless of how we interpret his function as an adversary within the video game and how it could mirror his standing within the poem, the Grendel here is a four-legged lizard type of creature with a pointy powerful tail, scrapping talons, long blue tongue, narrow skull, and horns sprouting from the sides of his head.  

        Figure 19: In the video game Skies of Arcadia, we see here a looming, lanky, round-edged, two-legged and slime green Grendel boss opponent. This adaptation takes on the humanoid implications of the Beowulf text, while embracing his otherworldly effects in giving his hands less fingers and unrealistic proportions to his limbs. The most noticeable difference here is the lack of a defined head, as instead there are two knobs at either end of a gapping whole where a human comparative model’s neck would begin.  

        Figure 20: This lumbering bear-shaped type of machine Grendel figure (called “GRNDL-1” within the world of the game) from Too Human alternates between four-legged and two-legged advances as it attacks the player. While this adversary would be best suited among the rocks of Mars in the video game Destiny than associating with our Anglo-Saxon tale, it is noteworthy as an example of the many ways in which our Grendel character has been changed and re-appropriated over time. 

        Figure 21 a.: Gren (short for Grendel) is a character from The Wolf Among Us by Telltale  Games. In this adaptation, he can magically disguise himself as a normal human, featured here. Until he turns into his alternative monstrous identity, no one knows that he can do so, and so he freely moves undetected amongst his prey during daylight hours. Reasons for why Grendel only attacks Heorot at night in Beowulf have long been disputed, and this game brings up an interesting possibility that perhaps Grendel only attacks at night because he is only a monster at night. There are accounts of men turning into beasts in old tales, such as in the Old Norse poems where Fafnir is cursed by his greed for hoarded treasure and turns into a dragon (which is then mimicked by C.S. Lewis in his Chronicles of Narnia: Voyage of the Dawn Treader), but at the time of Beowulf’s construction there are no accounts of beasts transforming back into their original human forms. While this is an interesting notion to keep in mind, Grendel is mentioned to be an ancient being who has dwelled in the mere long before Heorot was built, and there are no accounts in Beowulf of a man disappearing without a trace after Grendel is killed. And so, Beowulf’s Grendel has most likely existed as a single identity throughout his lifetime.  

        Figure 21 b.: Gren can transform himself at will into a giant white figure known as Grendel in The Wolf Among Us. Here, we see that the monster version is a large Tim Burton’s Boogeyman meets an albino Slenderman type of being. The fact that he chooses to be in this form and to attack certain individuals emphasizes tones of premeditated intent to harm. This function ignores the implications of animalistic innocence and justifications to his systematic behavior of attack as represented in the Beowulf poem. 

FIGURES 22 & 23: Grendel in (non-Beowulf) Literature 

        Figure 22: This is the cover design for John Gardner’s acclaimed novel adaptation of the tale, here titled Grendel and featuring its protagonist expressing his wailing woe. In what looks to be a barren field in front of a burning Heorot, the squirrel-eared and chipmunk-cheeked Grendel dwells in solitude. While he appears to have black lips, and certainly has rows of sharp teeth, his closed eyelids and round nose—those features which in our  image are closest upwards towards the sky—are those which are distinctly human. Gardner’s Grendel has potential to be scary and vengeful in certain situations and at certain angles, but also in just as many situations and at just as many angles, this creature can be sympathized. Gardner truly has earned the awards his novel has received, I must say. 



        Figure 23: This is a photograph I took of the cover art accompanying my copy of Robert Nye’s young adult novella adaptation, Beowulf: A New Telling. Although Grendel is in the foreground, the riches-adorned hero is that which is shrouded in light as he rides his white horse into Grendel’s mere. Bats (creatures which are not mentioned anywhere in the original Anglo-Saxon poem) are Grendel’s companions here as he slumps lazily within his blood-infused aquatic abode. While the lack of horns or spikes coupled with his rounded features may allow him to appear more sympathetic, his pointed ears, scaly hide, exposed nostrils, and jagged teeth beg otherwise. The over-simplification of the original tale as told by Nye aside, the cover art for this edition as accomplished Grendel’s duality quite nicely. 



FIGURES 24 & 25: Grendel in Fan Art 

        Figure 24: I found this example of fan art on www.kaaziel.deviantart.com, and it is titled “Grendel” by Kaaziel. This is a pointy-eared, horned and spiked, toothy, drooling, and green-scaled Grendel adaptation. Although we do not receive a full-body view of this depiction, from the large head versus its comparatively narrower shoulders, we can assume that this adaptation is most likely much slimmer than some of the others we have seen. This is a hint at the numerous fans of interpreting Beowulf’s Grendel that currently exist, and emphasizes how I have barely begun to study the numerous ways in which his ambiguous nature can be perceived. 


        Figure 25: And last, but hopefully not least, we include a photograph of my fan art adaptation of Beowulf’s Grendel, also titled “Grendel” and which was last modified on January 20, 2015. I included him chowing down on some danes in order to portray a concept of scale, as he must be large enough to carry off thirty members of his prey as well as nimble enough to wedge his way through the front doors of Heorot. I was going for something closer to the Cave Trolls of Moria than to the Balrogs of Morgoth on a spectrum of evil, both ends of which can be seen in Peter Jackson’s The Lord of the Rings: The Fellowship of the Ring (2001) film. I included a loincloth for modesty’s sake, as there is still debate whether or not Grendel would actually have worn any clothes at all. The spots and splashes on green scattered about his body, and especially adorning his back and shoulders, is meant to represent possibilities of swampy slime or growing moss sticking to his hide as he lives a semi-aquatic lifestyle in the mere. 


Beowulf’s Grendel vs. Our Grendel: Which is Better, and Why? 

        How the original audiences of the Beowulf tale imagined the Grendel character and how we may imagine him today may be very different, and yet they might not. From evidence found within the poem, we know that Grendel should be dark, tall, good at hearing, with lumbering steps, claws, and swift yet stealthy. He is either a nocturnal being or one who chooses to attack sleeping thanes by night, he probably has sharp teeth with which to devour his meals, and he might carry a pouch tied around his waist. If we take this into account, and glance back through our examples above, we may notice that a majority of these adaptations adhere to the descriptions given by the Beowulf text. 
        It is not surprising that the closest interpretations (see Figures 2, 3, 10, 11, 22, 23, & 25) are those which profess to be either adapting the entire story, or taking inspiration from the poem itself. This does not mean that we should disregard those Grendel characters which are not derived from the original text, for all ‘Grendels’ contribute in their own way to the longevity of Beowulf’s tale and its relevance to our daily lives. It is only by recognizing and understanding how Grendel has changed in the past that we may fully embrace how he continues to change as we move into the future. 

        How do you imagine Beowulf’s Grendel while you are reading the poem, and does it differ from how you typically imagine him when you are alone? How similar is your adaptation to—or how much does it deviate from—the other examples we have touched upon above? Has this blog post changed the ways in which you usually perceive this dynamic and renown creature? 
        As always, any questions and/or comments regarding the content of this literary blog are welcome. While I look forward to watching Outlander (2009), playing The Wolf Among Us, and re-reading John Gardner’s Grendel someday, I have not experienced all of the examples that I have used above, and as such I ask forgiveness for any mistakes I may have made in describing them to you. If mistakes are pointed out to me and verified, however, I shall gladly amend them as soon as possible. 


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