An Elegy for a Hero: Beowulf in Context

Brothers,

Alas, we have discussed much in regard to themes in Beowulf: a little existentialism, a little journey, a little crossing the threshold, a little divine illumination, a little pride, a little humility, a little Christianity, a little mysticism, a little alchemy...you know the deal.

That said, pick a theme and write a substantive, well-developed essay in which you delve into a theme of your choice. Below you will find an example of an essay on the theme of "duality" which I wrote as a model for your own writing. Despite the elevated language I use, I think it provides a decent explanation of how to go about developing your own essay on a theme in Beowulf.

• This assignment is due in class on Monday, October 15.
• It is to be typed, double-spaced, in 12 pt. Times New Roman font
• Your format for header and title should follow the format I have set for you below
• Remember that, when quoting lines from the text, you want to transition into the quotation with--not whackness--but SMOOTHNESS.
  
• Find a flow and stick with it.
  
• Also, notice the parenthetical style of documentation: each line break of the epic poem Beowulf that I quote is marked by a slash; the lines are noted using "ii" and then the numbers.
  
• Remember, the parentheses go AFTER the quote.
  
• Remember, the period goes AFTER the parenthesis.
  

Br. Rob Peach
Br. Rob Peach
ENG 141.04,05
October 2007

An Elegy for a Hero:
Beowulf in context

Thesis statement/introductory paragraph:
(From the get-go, I cite the work and imply the outline of the discussion that ensues in the body paragraphs):

The Anglo-Saxon classic, Beowulf, is an epic that, in both theme and literary technique, harkens back to the stuff of German folk-lore which so influenced British culture of the eighth century. The theme of vengeance is central to this elegiac work of poetry that relies on the deep significance of kinship, and the moral obligation to avenge the life of a slain friend. In this case, the hero Beowulf intercedes on behalf of the Danes he has come to save from the sinful monsters and descendants of Cain: Grendel and his mother. The story suggests that this code of vengeance, otherwise known as wergild (i.e. man-price), is seemingly futile (i.e. pointless), perpetuating an unending cycle of violence that results not in victory, but in death. However, in Beowulf’s dual role as violent aggressor and temperate savior, the end is not death, but redemption.

Body, Part 1
(defining some key terms before segueing into historical context and so on):

Before delving into the theme and ironical nature of the text, it would befit us to consider the general nature of Beowulf as both epic and elegy. In other words, we must define the meaning of epic and elegy, keeping in mind their implications for the theme of vengeance and cyclical violence.

On Beowulf’s hands hang the fate of an entire nation of Danes, best demonstrated by his declaration of God-willed war against the agent of evil, Grendel. After claiming that he has come to “purge all evil from [Herot],” (i 261), he boastfully—yet not without some humble resignation to his own mortality—states: “…my hands / Alone shall fight for me, struggle for life / Against the monster. God must decide / Who will be give to death’s cold grip” (ii 267-69). Hinged upon such a statement as a door to its frame is the epic nature of this poem, centered as it is on a quasi-divine figure such as Beowulf; his adventure to slay the beast constitutes the long narrative verse and serious subject matter of a typical heroic epic.

In the end, this quasi-divine figure is eulogized; he is given his formal farewell in true elegiac style by which the noble life of this mortal man is lauded while his death is lamented. Despite his gigantically heroic stature, Beowulf’s life fades like a passing shadow, signifying the centerpiece of elegy: change, loss, and transience. Beowulf’s life becomes but a story told by other great men, brave Geats telling “their sorrow, telling stories / Of their dead king and his greatness, his glory, Praising him for heroic deeds, for a life / As noble as his name…Crying that not better king had ever / Lived, no prince so mild, no man / So open to his people, so deserving of praise” (ii 858-69).

It is this same man who, though mild, though seemingly ordained by God to save his people from evil, slays a deadly beast in a spirit of hellish vengeance. Such paradox, irony, and duality most certainly deserves further exploration, an investigation set against an historical backdrop of both pre-Christian pagan traditions and the Christian faith itself.

Body, Part 2
(setting up the historical background of the text, while incorporating some summary of the text):

Parts of Beowulf resound with pre-Christian (pagan) and Christian undertones. Though rooted in Germanic mythology and folklore, the tale’s gradual incorporation of Christocentric elements stems from its transliteration from oral to written form, concurrent with the development of the Christian tradition as preserved in monasteries in England after the Franco-Norman invasion. It was, in fact, the Christian church that allowed much of the Germanic literary tradition to survive in written form. Consequently, Beowulf fulfills the need for a national epic in England, representing its national origin.

Meanwhile, it upholds certain ideals relative to the Christian tradition that is not necessarily or overtly subsumed by ecclesiastical authority at the point the epic was written in the 11^th century. That said, it seems that Beowulf focuses on the role of God—not the institutional Church—in man’s life as it is God’s will that controls man’s destiny. At the heart of man’s fate is a deeply religious experience that is integral to his understanding of God’s role in human history. This is most blatantly apparent in Beowulf’s will to rid the Danes of the monster, Grendel, who has consistently terrorized Hrothgar’s courts. Beowulf undertakes his mission as though ordained by God to exact vengeance upon the demonic beast, Grendel: a descendent of his biblical predecessor, Cain.

Body, Part 3 and so on
(getting to the meat of the matter: demonstrate the irony of Beowulf’s dual nature as man of violence; man of peace, using examples from the text, some summary, and some reference to outside research. Notice how each paragraph begins with a claim that is backed up by evidence. Notice, also, the use of transitional phrases to begin a new thought that continues upon one previously developed):

But like the “universal man” he represents, Beowulf is more complex than the “goody-goody” hero as seen in the seeming dualities of this multi-dimensional protagonist. Beowulf is a man fueled by dual forces that are not mutually exclusive but different nonetheless: God and kinsmen; vainglory and humility; honor and riches. It is difficult, at times, to determine the sincerity of his actions based off of the conflicting aims of his ventures. For instance, we are introduced to Beowulf as a warrior who has been ordained by God to fight evil, a force represented by Grendel, who is a descendant of Cain and a manifestation of the demonic forces that possessed a brother to kill his kin (ii 380-83). Yet by the same token, Beowulf boasts of his “awesome strength” perhaps indicating that this quest to alleviate the Danes of their suffering (at the hands, or claws of a monster) is more of a personal quest than one inspired by divine forces—a journey to uphold the reputation of his strength and the strength of his reputation as a man of “great triumphs” (ii 409-416).

Yet Beowulf is not excessively proud, either. Rather, he accepts the possibility that he may very well die by confronting Grendel in hand-to-hand combat, exhibiting his humility in light of the force with which we must all reckon and thereby perish: death, “which is not easily escaped from by anyone: all of us with souls, earth-dwellers and children of men, must make our way to a destination already ordained where the body, after the banqueting, sleeps on its deathbed” (ii 1001-1007). Beowulf is no exception to this rule and he knows it, which again, is a mark of humility on his part. But then if he has to die, he is determined to die honorably. Thus, he will die fighting—an act on behalf of a people scorned, and a testament to honor. He proves his loyalty to both God and kinsmen (the Danes as represented by Hrothgar), by standing up to the challenge of defeating Grendel and his mother in battle. Beowulf undoubtedly displays this same resignation to fight and die with honor in defeating the Dragon with the help of his faithful younger companion (and literary parallel), Wiglaf.

Extended/Extensive Conclusion
(here, I come to make some final statements with some textual back-up to assert the final claim that Beowulf is a man of integrity, making the parallel between him and Christ more definitive. Notice the use of conclusive words such as “ultimately” and transitional words such as “though”):

Ultimately, Beowulf is a man of mixed motives, and that’s okay. His agenda is clear and even consistent despite the variety of reasons he has for “going into battle.” Whether he is working for personal or spiritual glory, honor, vengeance, material wealth, or by necessity—as the Norton editors suggest with regard to his fight against the winged fire-breather—Beowulf is a benevolent man and hero. Through his actions, we see that “the truth is clear: Almighty God rules over mankind and always has” be it for better of for worse (ii 700-202). Beowulf, as ruler and warrior, is symbolic of such power and wisdom, though he is himself subject to the God who rules him. Through Beowulf’s adventurous deeds we can understand better what it means to live for a calling that demands much of us in this life in the way of personal suffering—a cause that is essentially much greater than the sum of our own existence. And so, we can say with the poet that: “Past and present, God’s will prevails. Hence understanding is always best and a prudent mind. Whoever remains for long here in this earthly life will enjoy and endure more than enough” (ii 1055-1061).

Though a man of great strength in pursuit of glory through violent revenge, Beowulf is essentially gentle and kind. Thus Beowulf takes on the perceived “goodness” of Christ, whose ultimate self-sacrifice was a fundamentally violent way to exact vengeance upon the evil of original sin as represented in the epic by Grendel. Beowulf, too, is self-sacrificing in his actions and a male symbol of divine authority, referencing a monotheistic God as he follows through with his epic mission. Beowulf is a type of Christ whose blood redemption ends an ongoing cycle of violence that presents itself not only in the form of a sub-human (Grendel), but also in the form of a fire-breathing dragon at the story’s end.

By his kindness and generosity, Beowulf ultimately takes on the role of the “prince of peace.” With specific focus on man’s personal relationship with God as he contends with the forces of nature that are ultimately out of his control, the story of Beowulf exemplifies the commonplace belief in God’s omnipotence and the punishment of hell. It recreates a religious myth that greatly parallels the central myth of the Christian tradition regarding a different hero: Jesus Christ.