thesis statement beowulf

75 Beowulf Essay Topics

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

Table of Contents

Tips for Choosing an Optimal Beowulf Essay Topic

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

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

Inspiring Beowulf Essay Topics

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

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

Symbolism and Motifs in Beowulf

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

Historical and Cultural Context

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

Character Analyses

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

Narrative Techniques and Literary Devices

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

Themes and Philosophies

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

Comparative Analyses

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

Broader Perspectives

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

In-depth Explorations

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

Beowulf’s Battles

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

Creative Angles for Your Beowulf Essay

Dive into the poem’s depths by examining:

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

Concluding Thoughts on Beowulf Essay Topics

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

Beowulf, the Hero of the Epic Poem Essay

Introduction.

Beowulf epitomized the persona of an epic hero. An epic hero is one with attributes that others do not possess. Some of these traits are; selflessness, wisdom and physical strength. Wisdom in Beowulf’s life is evident in his journey to Denmark and his reign over the Geats. His physical strength is apparent in the way he battles Grendel’s mother as well as mythical creatures. Selflessness was manifested in the way he interacted with his countrymen. Beowulf has these three traits of wisdom, selflessness, and strength, which help him lead his people and fight battles with monsters.

Evidence That Supports Beowulf as a Hero

This character’s physical prowess was undisputed as he possessed enough physical strength to fight with mystical creatures and be victorious. Beowulf prepared for battle with Grendel after arriving in Denmark and traveling to Herot. While in Herot, he managed to instantly seize Grendel; this was a thing that no man had ever accomplished (307). Beowulf’s bravery is portrayed in events where he performed things that no other man would dare to do. Beowulf believed that God was in control, so this made him brave and allowed him to draw courage from God. He could face battles without fear or hesitation because he believed he had no control over his death. In one scene, while fighting with Grendel, he lay down patiently so that he could wait for his adversary; he proved his bravery by seizing him (295 & 296). Also, Beowulf jumped into the lake and sunk in pursuit of Grendel’s mother. At this time, all he had in his mind were the battles he was going to engage in and win (307 & 308). While fighting the dragon, Wiglaf and Beowulf were left by their allies but that did not make Beowulf retreat as he continued with the battle.

Wisdom is another trait that he possesses. He was a wise man because he chose to become a boat captain when sailing to Denmark. Beowulf leads his fellow Geats on this long journey, and they safely arrive in Denmark. While fighting with Grandel, Beowulf is seen to have powerful fighting ability and strategy for combat. He pretended to be asleep so that he could apply an element of surprise against Grendel; a move that gave him an upper hand in the fight. There is also an instance where Beowulf is dragged into the she-witch lair. Here, he was smart enough to realize that the weapons he had were not effective and therefore, he had to think quickly. He saw a giant’s sword hanging on the wall and picked it. He used this sword to chop off Grandel’s mother’s head and automatically won the battle. The fights that Beowulf encountered gave him the wisdom to lead his people efficiently as the ruler of Geatland.

Beowulf is considered an epic hero because he is brave, wise and selfless. Beowulf shows all these traits in the battles he fought. Beowulf displayed selflessness by sharing the treasure with his people instead of keeping it to himself. Beowulf protected his culture until he died. The Geats lost their culture after the death of this hero.

Beowulf’s life is proof that he is truly an epic hero. The poem Beowulf was a reflection of the wisdom, selflessness, and strength that characterize such persons. He was wise in his leadership over the Geats and selfless when handling material wealth. The character’s strength shone during battles with difficult adversaries. Beowulf typified these qualities without looking forced or unnatural.

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IvyPanda. (2023, November 2). Beowulf, the Hero of the Epic Poem. https://ivypanda.com/essays/beowulf-the-hero-of-the-epic-poem/

"Beowulf, the Hero of the Epic Poem." IvyPanda , 2 Nov. 2023, ivypanda.com/essays/beowulf-the-hero-of-the-epic-poem/.

IvyPanda . (2023) 'Beowulf, the Hero of the Epic Poem'. 2 November.

IvyPanda . 2023. "Beowulf, the Hero of the Epic Poem." November 2, 2023. https://ivypanda.com/essays/beowulf-the-hero-of-the-epic-poem/.

1. IvyPanda . "Beowulf, the Hero of the Epic Poem." November 2, 2023. https://ivypanda.com/essays/beowulf-the-hero-of-the-epic-poem/.

Bibliography

IvyPanda . "Beowulf, the Hero of the Epic Poem." November 2, 2023. https://ivypanda.com/essays/beowulf-the-hero-of-the-epic-poem/.

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Beowulf Themes

Themes are overarching ideas and beliefs that the writers express in their texts including poetry, fiction , and plays. These recurring ideas become very important when readers interpret their understanding of the literature to apply or compare various incidents or things. Beowulf has themes that surpass cultures and races. Some of the major themes of Beowulf have been discussed below. The quotations given in the thematic ideas are borrowed from Beowulf translated by Seamus Heaney.

Themes in Beowulf

Heroic Code

The theme of the heroic code of chivalry is the leading theme of Beowulf. The honorable behavior and manners have dominated the Anglo-Saxon culture. Courage , bravery and the will to fight were considered basic norms of that heroic code. Beowulf sticks to these norms from the very beginning as he comes across the Danes. He fights against Grendel and kills him after pledging that he will “settle the outcome in single combat.” These words resonate again when he goes to find Grendel’s mother. When he is older, he proves his bravery again when fighting the last enemy, the dragon. He becomes a dragon slayer but at the cost of his own life. Wiglaf, his young companion pays tribute to him saying, “vowed you would never let your name and fame / be dimmed while you lived.” This heroic code lasts until Beowulf’s death.

Good against Evil

Good against evil is another major theme of this classic English epic . Epics mostly used to demonstrate the themes of good and evil, encouraging future generations to be virtuous. The good is demonstrated through the characters of Hrothgar and Beowulf, and the evil can be seen through the three antagonists Grendel, his mother, and the dragon. Good traits are connected with the ideas of glory, loyalty, honesty and heroic feats. Hrothgar shows generosity and fairness in his rule, while Beowulf shows bravery, courage, and wisdom when fighting Grendel, his mother, and the dragon. Grendel and his mother’s actions of killing the Danes must be considered evil.

The epic of Beowulf demonstrates the true characters of warriors. During the war and on the battlefield it is crucial for every soldier to be loyal to their country and comrades. Loyalty is one of the central themes of this epic poem and also shows through the conflict between two major characters; Unferth and Beowulf. Beowulf’s loyalty to King Hrothgar is due to the refuge and help the King extended to his father. Unferth, on the other hand, taunts Beowulf and proves disloyal companion to the king until he knows the truth. During the battle with the dragon, Wiglaf proves his loyalty as he stands by Beowulf throughout the fight against while the other warriors flee the scene in terror.

Bravery is another element of medieval chivalry and theme of the epic, Beowulf. Beowulf, himself, is an epitome of bravery and courage as he visits the Danes and offers his services to King Hrothgar. He displays confidence when telling the royal guards on the border that his father “was a famous man.” He further adds, “We come in good faith” to prove his bravery and to help the king. Then he demonstrates his bravery when fighting Grendel and also goes under the lake to kill his mother. He finally locks horns with the dragon despite knowing that these are his last days.

Revenge can also be considered as one of the major themes of the epic of Beowulf. Beowulf, though, comes to help the King Hrothgar, he, in fact, wants to take revenge for the death of the Danes killed by Grendel. Grendel’s killing spree is also to take revenge because the Danes singing disturbs his peace. Moreover, Grendel’s mother seeks revenge against them for the brutal death of her son. Beowulf, in his old age, heads to seek revenge against the dragon because of its senseless killings. Surprisingly, the dragon’s madness is revenge for the lost cup. Blind revenge ruled that period and was part of the medieval culture.

Generosity is another theme and the life-affirming value shown in Beowulf. The first sign of generosity comes from the King Hrothgar who gives refuge to Ecgheow, Beowulf’s father when he is at war with his enemy tribes. Then Beowulf comes to pay back that generosity by saving the Danes from the wrath of Grendel and his mother’s vengeance. The queen herself accepts this generosity of Beowulf and praises him. Beowulf’s rule is also filled with generous acts of rewarding his thanes. He also proves his love and generosity by defending the people from the dragon.

Hospitality

Hospitality is a minor theme of this epic. King Hrothgar extended his hospitality to Beowulf’s father and offered him refuge. Beowulf expresses his gratitude to King Hrothgar as he enjoys his hospitality. His words “Here we have been welcomed / and thoroughly entertained. You have treated us well” show his joy. Later, Beowulf also repays the hospitality by putting his life in danger for King Hrothgar and other Danes when fighting Grendel.

Denying Defeat

The epic of Beowulf shows that heroes of the medieval period do not accept defeat. They are trained to win even at the cost of their own death. Beowulf wins two battles against Grendel and his mother, and the third victory costs him his life. Despite his death, he doesn’t display cowardice or retreats while fighting the dragon. That is why the Geats remember him after his death as the king “kindest to his people and keenest to win fame.” The defeat is considered an act of shame during the medieval time. Hence, this is one of the reasons that denying defeat is minor and yet prominent themes of the epic.

Despite winning fights and battles, heroes face death. Beowulf, too, faces death during the battle with dragon though he kills it. Beowulf’s death becomes legendary, as he passes all the responsibility to Wiglaf. However, during Wiglaf’s era, the kingdom of the Geats sees its end due to the onslaughts of other tribes and nations. Therefore, death not only means the end of life but also an end to an era or a kingdom.

Ruler’s Obligation

The ruler must keep his people safe and rule justly. The two most important examples of this theme are King Hrothgar and Beowulf. Both are very popular among their people. Hrothgar felt obligated to entertain his Danes, so he builds the mead-hall where all Danes can enjoy and sing. Beowulf took responsibility for the safety of all the Geats’ tribes for several years. His obligation to costs his life when he fights the dragon. Hence, rulers at any periods or position are obligated to protect their people.

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Craig R. Davis, Smith College

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

The Poem and Its Manuscript 1

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Grendel’s Mother 29

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Dragon 36

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“Beowulf”’ and Lejre (2007) .

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

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

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

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

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

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

Davis, “An Ethnic Dating,” p. 129.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Beowulf Analysis

Beowulf is the first text written in Old English. The described events date back to the 6 th century, but the manuscript appeared between the 8 th and 11 th century AD. It explains why the poem needs a translation to Modern English for an unprepared reader to understand it. Moreover, some literary devices sound “strange” for a contemporary ear. But it does not make the poem less valuable from a theoretical point of view.

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Is Beowulf an epic? Where does Beowulf take place? Find all the answers on this Beowulf analysis page! This article by Custom-Writing.org experts explores the context, style, and figurative language in Beowulf . The symbolism of the opening lines and some Biblical allusions will open the deep meaning of the poem. Finally, you will learn why Beowulf is so important for understanding medieval history.

📜 Is Beowulf an Epic?

Figurative language, foreshadowing.

• Biblical Allusions
• Opening Lines Analysis

🔗 References

Beowulf is an epic poem because the protagonist is a hero who travels to prove his strength in battles against demons and beasts. The narration starts “in the middle of things,” which is typical for ancient epics. It is not a lyric poem, although some scholars classify it as an elegy.

🦄 Beowulf Symbols

The most important symbols in Beowulf are Heorot (Horthgar’s hall) and Beowulf’s sword.

Heorot (Hrothgar’s Hall)

In Beowulf , Heorot is the seat of the Danish government and the residence of the king’s warriors. Hrothgar built it as the largest mead-hall ever known. It serves as a symbol of human culture and civilization, as well as the king’s power. In short, it represents everything positive in Beowulf.

In due time it happened Early ’mong men, that ’twas finished entirely, The greatest of hall-buildings; Heorot he named it The hall is completed, and is called Heort, or Heorot. Who wide-reaching word-sway wielded ’mong earlmen. Beowulf , part 2

Hrothgar’s hall is bright and warm. People use it to celebrate happy events, sing songs, and share food. Here the scop sings his songs about the past kings and heroes. This activity preserves the values and history of society. Meanwhile, the mead-hall contrasts with the darkness of Grendel ’s swamps. This juxtaposition underlines how critical it is to unite.

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Beowulf’s Sword

Throughout the poem , Beowulf uses 4 swords:

• The first is his own sword . It defeats the sea monsters , showing the superhuman strength of the hero.
• The second is Hrunting , which failed to pierce Grendel’s mother. Unferth lent it to Beowulf before the battle. The sword represents Unferth’s unwillingness to fight for his people, as he could have used it himself. Even provided that the gift was sincere, the blade is associated with moral weakness. That is why it was useless in battle.
• Beowulf found the third sword in Grendel’s mother’s hoard . The weapon was made by giants (who were Cain ’s descendants like Grendel and his mother). This relation means that evil can be defeated only with evil. Besides, the giant sword melted to the hilt when Beowulf decapitated Grendel’s corpse. Thus, the monster is dead, so no weapon is needed anymore.
• Nægling is supposedly the sword of Hrethel given to Beowulf by Hygelac. The hero uses this fourth sword against the dragon in his last battle . Beowulf is too strong, so the weapon falls into two parts. The sword symbolizes that real power does not require any additional objects.

🏰 Beowulf Setting

Where does beowulf take place.

The epic poem takes place in Scandinavia , in the territory of modern Denmark and Sweden. Geatland was where Beowulf came from. The Geats lived in the south of today’s Sweden. Hrothgar and his mead-hall Heorot were located on the Danish island, Sjaelland . However, the descriptions of the landscape in the poem are fictional. Most likely, the poet never visited Scandinavia.

When Does Beowulf Take Place?

Based on the descriptions from the text, scholars have found that some of the characters of the poem lived in the 6 th century. The tribal groups of Scyldings and Geats really existed around 500 AD. So, Hrothgar, Wiglaf, and Hygelac could have been historical figures. Besides, the feud of Geats and Swedes was a real fact.

Anglo-Saxon Culture in Beowulf

The Anglo-Saxons were Germanic tribes that migrated to Great Britain from the continent. They lived on the island between 450 and 1066 AD. Anglo-Saxon society was divided into working men, churchmen, and warriors. They were pagans and believed in lucky charms that protected them from evil spirits and illnesses.

Loyalty, bravery, duty, and honor were the critical Anglo-Saxon values in Beowulf . Warriors were the most respected people. They lived according to the code of conduct, and cowardice meant “a life of disgrace,” as the poem claims.

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Death is more pleasant To every earlman than infamous life is! Beowulf , part 39

The main characters of Beowulf were role models for the Anglo-Saxons. The protagonist was “The mildest of men and the gentlest, kindest to his people, and most eager for fame.” In combination with strength and bravery , it made him a perfect hero. 

The custom of wergild in Beowulf is an important tradition. People could pay for injuries or death they caused to be rehabilitated. For instance, Grendel refused to pay wergild to Hrothgar.

In conclusion, Beowulf is an instructive poem that showed people the difference between good vs. evil. It answered the moral questions of gratitude, hospitality, courage, and selflessness.

📝 Beowulf Literary Analysis

A metaphor is a description of one thing as if it was something different. For this comparison, an author does not use the words “like” or “as.” Otherwise, it would be a simile .

• “He crept inside a narrow crack in the rock…Teeth tore at him as he wriggled along.” In this passage, the metaphor is created by comparing the rocky cave walls to teeth.
• “Twelve winters of grief for Hrothgar, king of the Danes, sorrow heaped at his door by hell-forged hands.” Here the narrator speaks about Grendel, comparing his hands to metal objects forged in hell.
• The line “That shepherd of evil, guardian of crime” compares Grendel to a shepherd or a guardian of malicious actions. By the way, the words “evil” and “crime” are used as personification because only living creatures require a shepherd or a guardian.

These poetic devices communicate a message beyond the literal meaning of the words. The following types of figurative language can be found in Beowulf.

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• Alliteration is created by the repetition of first consonants in successive words. It is a traditional device in oral storytelling. The ear-pleasing effect makes it easier to perceive and memorize information. E.g., “He b ound to the b ank then the b road- b osomed vessel.”
• Personification arises when an animal or object is endowed with human characteristics. E.g., “vengeful creatures, seated to banquet at bottom of sea,” which means the sea monsters.
• Onomatopoeia means words, the pronunciation of which is similar to the sounds they describe. E.g., “The dragon roared with anger.”
• A simile compares objects, people, or phenomena, using the words “like” or “as.” E.g., “His anger clouded the hearts of men like smoke .”
• Hyperbole is a literary exaggeration. E.g., Beowulf is “ the mightiest man on Earth,” which is surely an overstatement.

The imagery appears when an author uses words that address the reader’s senses. Below you can find examples of imagery in Beowulf .

• “The only sound was the roaring sea, the freezing waves.” “Fastened those claws in his fists till they cracked .” These lines appeal to the sense of hearing. The sounds transmit the reader inside the text, creating real-time experiences.
• “Sorrow heaped at his door.” The word “heaped” creates a visual picture of sorrow. Metaphors often represent visual imagery, like in this case.

Almost all events in Beowulf are foreshadowed . Many of them are predicted right before they happen. For the first readers (or listeners) of the poem, foreshadowing did not equal “a spoiler,” as we know it now. Medieval people were familiar with the described events and characters. That is why foreshadowing emphasizes the inevitability of fate, which is one of the poem’s central themes .

For example, the lines “He was sad at heart, unsettled yet ready, sensing his death” foreshadow Beowulf’s death. He knows that he is too old, but still, he wants to try and win. The reader is warned that this might be the last battle, and the protagonist might die.

Kennings in Beowulf

A kenning is a literary device traditional for Anglo-Saxon and Norse poetry. The definition of this stylistic device is a group of two words describing an object instead of a single-word noun. It is a “compressed metaphor.” For example, “whale-road” in Beowulf represents the sea. Kennings make the reader a part of the story, creating a visual experience.

The poem is full of kennings: “horse of the sea,” “sea monster’s home,” “ocean stallion,” “wave skimmer,” “sword’s dew,” “Midnight Stalker,” “Bone Crusher,” “sky-plague,” to name a few. Approximately one-third of Beowulf consists of kennings. The protagonist is rarely called by name. Instead, the narrator names him “The Geatish hero,” “Chief of the Strangers,” “the Lord of the Seamen,” and “the Son of Ecgtheow.” These phrases help us to visualize the character and make him memorable.

Biblical Allusions in Beowulf

An allusion is a reference to events, people, or things that are well-known to the reader. A medieval reader of Beowulf would find many more allusions in the text than we can. Most of the described events, including the kings’ deaths of scop’s stories, were familiar to the first readers.

But some allusions are identifiable for us as well. The poem recalls or hints at several Biblical stories, including the death of Christ , Cain and Abel , the ten commandments , and the Great Flood .

Some pagan traditions also allude to the Bible. In the Book of Exodus, God tells people through Moses not to have other gods before him. This passage represents the author’s disapproval of Paganism: “Sometimes they sacrificed to the old stone gods… hoping for Hell’s support, the Devil’s guidance.”

What do Opening Lines of Beowulf Mean?

In Beowulf, the opening lines tell us a legendary tale of the first great Danish king, Shield Sheafson. His heroic deeds set the mood or the entire poem. Sheafson was an orphan found in the sea but grew to become the terror of all the other tribes. Then the author describes his pompous funeral. The king was put in a ship full of treasures and set out to the sea.

The narrator draws a genealogical tree from Shield Sheafson to Hrothgar, who eventually becomes the King of the Danes. Thus, the text starts by explaining the Hrothgar’s noble and heroic ancestry. This lineage justifies Beowulf’s loyalty and desire to assist a great king in defeating the evil.

The opening lines introduce the heroic code as the central theme of the poem.

Thank you for reading this article! If you need help with formulating a thesis for your paper on Beowulf, try our thesis statement generator . If you are looking for an essay idea on the play, you might want to take a look at the essay topics collection . Any questions left? Check the QA section ! 

• Symbolism in Beowulf | Symbols, Importance & Examples
• Where is Beowulf set? What’s the significance of that setting?
• The History Behind Beowulf
• Beowulf – World History Encyclopedia
• Beowulf – The Three Evil and Powerful Monsters | Great Works
• Beowulf | Figurative Language, Analysis & Examples
• Grendel as a Personification of Evil in “Beowulf” Poem
• “Beowulf”: Cultural Elements of the Anglo-Saxon Piece of Literature
• Beowulf, The National Epic of the Anglo-Saxons
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Beowulf is the most ancient text in Old English that has been preserved till nowadays. Scientists still wrestle over many questions related to the manuscript. Did a single author write it? Why was the next unnamed? What is its literary value? This Beowulf Study Guide prepared by Custom-Writing.org experts answers...

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Beowulf Good vs. Evil

Reading the poem ‘Beowulf’, many ideas, related to the forces of good fighting those of evil, are present within its structure and within its events. The main character in this story is Beowulf who stands for all that is good in a epic battle against Grendel, the monster, who represents evil, death, and pure darkness. “They called him Grendel, a demon grim / Haunting the fen-lands, holding the moors / Ranging the wastes, where the wretched Wight / Made his lair with the monster kin” (61-64).

In a way, the reader can understand that the poem is simply the reflection of an idea that is old as man himself: God and the devil, one against the other. The poet attempts to explain an idea regarding the powers of good and evil within each one of us, the two powers are not only opposite to one another, but also in an endless fight between them. Beowulf is the one who is able to do good and to perform what is of good nature and to help others without thinking of himself. The poem highlights the idea that evil can cleanse the world of evil.

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Gendel, on the other hand, along with his mother, and the dragon are those desiring to cause harm (and effectively causing that harm) to people. Beowulf was the only one who decided to save those people who were in need, he went to save the people in other lands and to fight a monster that was causing them the suffering and that was capable of destroying any human being in a few seconds. He chose to risk his life in the face of that monster for the good of the others; this is why we find certain reference to him, such as the Prince of goodness; “the peerless hero, the honored prince” (89).

He was the chosen one to save and protect the world from evil. Beowulf declares himself as the good fighter when he informs King Hrothgar that he wants to kill Grendel. Beowulf says “With hand-grip only I'll grapple with Grendel / Foe against foe I'll fight to the death / And the one who is taken must trust to God's grace / If death shall call me, he'll carry away” (342-345). Here, Beowulf declares that he will slay the evil creature and that he is not afraid of death because he is fighting for a good cause against a dark enemy.

Grendel, as a symbol of evil, attempts to destroy all people and all things around him. Grendel moves in the dark, in a way to show that he is the dark messenger of evil, before to go to the land of Heorot looking for the warriors. When he finds them, he seizes thirty of the men during their sleep, and then kills them all. The next night, Grendall tries to do the same again; the poem explains how he was determined to commit more crimes because one for him was never enough and because one act of evil is far less than what he desired.

He kills everyone simply because he enjoys taking the life of someone, and this is another indication to that fact that the fight was not only between two sides, but between moral and immoral, good and bad, and between darkness and light. Grendel’s main purpose was to enter the land and to eliminate everything that represented the joy and happiness that were one of the qualities of that land’s people. Gendel’s home is portrayed to represent hell, in many ways, and he is described to be the offspring of slime in which he lived in always.

Then, After he becomes the king of Geatland, he demonstrates his great skills and agility for a good cause when he pledges to slay the fire dragon. Beowulf, as the story goes, pledged to kill the dragon, which has caused a trouble and misery to many of the king’s people. The selfless actions put forward by Beowulf prove many aspects of the hero’s characteristics in what concerns goodness and love of justice.

Another case is evident in the following action of Beowulf: “The she-wolf bore / The ring-prince down through the watery depths / To her den at the bottom; nor could Beowulf draw / His blade for battle, though brave his mood” (1001-1004). The side of Goodness is also portrayed by the ability of the hero to eleminate the evil and cleanse the land of Heorot. Not only that, but by destroying both Grendel and his mother, Beowulf has purified the hall of Hrothgar of all evils. The fight is between good and evil because it is stated by Beowulf when he announced that he would rid Heorot of evil.

Beowulf says, “That I may alone with my loyal earls / With this hardy company, cleanse Hart Hall / I have heard that the demon in proud disdain / Spurns all weapons; and I too scorn / May Hygelac's heart have joy of the deed / To bear my sword, or sheltering shield / Or yellow buckler, to battle the fiend” (355-341). The great skill of the good hero must be able to purify the land of the evils left by Grendel. Before Grendall was killed, we find that his previous evil actions and killings allowed hatred hate to triumph.

Another evil quality that the good hero should be aware of is pride; in the poem, we find the king Hrothgar warning Beowulf of such a quality: He gives him advices that will make goodness remain with him: “I wish you wealth to your heart's content / In your days of glory be good to my sons! / Here each hero is true to other / Gentle of spirit, loyal to lord / Friendly thanes and a folk united” (784-788). Other indications concerning the side representing good can be found in different parts of the poem. The poem ‘Beowulf’ clearly describes many elements related to the values that society treasured and believed in.

The first value was the courage and bravery that are declared by the same person who claims to have them; this is clear in the statement of Beowulf himself when he said: “I count it true that I had more courage, more strength in swimming than any other man” (508-509). Then comes altruism when Beowulf decides to fight the monster without his sword just to be able to save the others: “With hand-grip only I'll grapple with foe against foe I'll fight to the death, and the one who is taken must trust to God's grace” (342-344).

In this last statement, we can find another value which is the strength of the belief in fate in the culture of that society. Another value was that honor comes as result of someone's actions and good doing during his life, while in Christianity, for example, honor and glory can only be received in the life after death. In another element that can be contested according to today’s values is that Beowulf represented a warrior culture which stated that it was better to get revenge than to grieve those who died: “Sorrow not, brave one!

Better for man to avenge a friend than much to mourn: All men must die; let him who may Win glory ere death” (896-899). One of the most important factors that are clear is the great value that was placed in kinship. Those who are considered related through family were of a certain importance and closeness that if one of them was killed, it should become a duty for his relatives to vindicate his death and punish the perpetrator. Other values of Beowulf’s society are loyalty, honesty, justice, and generosity.

Even though Beowulf and Achilles had many common heroic qualities such as courage and strength, there were many differences between them. To understand the differences we must take a closer look at the motivations of each of them; Achilles was a great warrior that sought glory and fame through revenge, social status and through the pursuit of power, while Beowulf sought glory through a different path; his main concern was to save and protect his people and his soldiers. Achilles was capable of anything to reach his goals, while Beowulf followed his higher values in all cases; those values were loyalty, pride and courtesy.

The evil character presented by the story is the typical one that possesses tremendous powers and that has the most horrendous of looks. It is the one that can be found in many ancient stories (and in some cases, many fairytales) that aim at giving a clear image of evil and of its deeds and of its objectives, which are mostly to cause harm and pain to everyone around him. The evil character, in this story, has no further goals to obtain through the killing and the terror caused, because those means are the same as the ends.

While the good character, Beowulf, is pure and courageous. He is willing to do anything to prevent any more harm and to stop the evil forces that are working in the world around him. He chooses to kill the monster, not because of the joy of killing, but to save the people and the city. And he does not choose to do so because he wants to be considered a hero, but because he is really a hero who does not expect anything in return for his actions. The confrontation, as portrayed throughout the poem, is the one that is mentioned in different stories (in some cases, religious stories).

Evil, no matter how powerful and no matter how fearless, will have to face the powers of good and only the chosen one, who has all the required physical and mental tools, will be able to stop and defeat the powers of evil and to purify the world and will bring justice, love and happiness. In his attempt to give us a clear idea of the various factors related to the fight between good and evil, the poet manages to describe the whole story in a way that can be used in any time and for any culture; because this specific fight is always valid.

The dreams and aspirations of people are the same as they have never changed, and most probably, they will never change: To be able to have a peaceful life, to be able to offer good life to their children, and to be able to have justice and equality. Beowulf is simply the hero that everyone wishes to have in order to realize those dreams and aspirations. Reference Beowulf. Translated by Charles Kennedy. Retrieved July 7, 2006 from the world wide web: http://www. wise. k12. va. us/dlp/English/beowolf. htm

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• How to Write a Thesis Statement | 4 Steps & Examples

How to Write a Thesis Statement | 4 Steps & Examples

Published on January 11, 2019 by Shona McCombes . Revised on August 15, 2023 by Eoghan Ryan.

A thesis statement is a sentence that sums up the central point of your paper or essay . It usually comes near the end of your introduction .

Your thesis will look a bit different depending on the type of essay you’re writing. But the thesis statement should always clearly state the main idea you want to get across. Everything else in your essay should relate back to this idea.

You can write your thesis statement by following four simple steps:

• Start with a question
• Write your initial answer
• Develop your answer
• Refine your thesis statement

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Table of contents

What is a thesis statement, placement of the thesis statement, step 1: start with a question, step 2: write your initial answer, step 3: develop your answer, step 4: refine your thesis statement, types of thesis statements, other interesting articles, frequently asked questions about thesis statements.

A thesis statement summarizes the central points of your essay. It is a signpost telling the reader what the essay will argue and why.

The best thesis statements are:

• Concise: A good thesis statement is short and sweet—don’t use more words than necessary. State your point clearly and directly in one or two sentences.
• Contentious: Your thesis shouldn’t be a simple statement of fact that everyone already knows. A good thesis statement is a claim that requires further evidence or analysis to back it up.
• Coherent: Everything mentioned in your thesis statement must be supported and explained in the rest of your paper.

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The thesis statement generally appears at the end of your essay introduction or research paper introduction .

The spread of the internet has had a world-changing effect, not least on the world of education. The use of the internet in academic contexts and among young people more generally is hotly debated. For many who did not grow up with this technology, its effects seem alarming and potentially harmful. This concern, while understandable, is misguided. The negatives of internet use are outweighed by its many benefits for education: the internet facilitates easier access to information, exposure to different perspectives, and a flexible learning environment for both students and teachers.

You should come up with an initial thesis, sometimes called a working thesis , early in the writing process . As soon as you’ve decided on your essay topic , you need to work out what you want to say about it—a clear thesis will give your essay direction and structure.

You might already have a question in your assignment, but if not, try to come up with your own. What would you like to find out or decide about your topic?

For example, you might ask:

After some initial research, you can formulate a tentative answer to this question. At this stage it can be simple, and it should guide the research process and writing process .

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Now you need to consider why this is your answer and how you will convince your reader to agree with you. As you read more about your topic and begin writing, your answer should get more detailed.

In your essay about the internet and education, the thesis states your position and sketches out the key arguments you’ll use to support it.

The negatives of internet use are outweighed by its many benefits for education because it facilitates easier access to information.

In your essay about braille, the thesis statement summarizes the key historical development that you’ll explain.

The invention of braille in the 19th century transformed the lives of blind people, allowing them to participate more actively in public life.

A strong thesis statement should tell the reader:

• Why you hold this position
• What they’ll learn from your essay
• The key points of your argument or narrative

The final thesis statement doesn’t just state your position, but summarizes your overall argument or the entire topic you’re going to explain. To strengthen a weak thesis statement, it can help to consider the broader context of your topic.

These examples are more specific and show that you’ll explore your topic in depth.

Your thesis statement should match the goals of your essay, which vary depending on the type of essay you’re writing:

• In an argumentative essay , your thesis statement should take a strong position. Your aim in the essay is to convince your reader of this thesis based on evidence and logical reasoning.
• In an expository essay , you’ll aim to explain the facts of a topic or process. Your thesis statement doesn’t have to include a strong opinion in this case, but it should clearly state the central point you want to make, and mention the key elements you’ll explain.

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

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A thesis statement is a sentence that sums up the central point of your paper or essay . Everything else you write should relate to this key idea.

The thesis statement is essential in any academic essay or research paper for two main reasons:

• It gives your writing direction and focus.
• It gives the reader a concise summary of your main point.

Without a clear thesis statement, an essay can end up rambling and unfocused, leaving your reader unsure of exactly what you want to say.

Follow these four steps to come up with a thesis statement :

• Ask a question about your topic .
• Write your initial answer.
• Develop your answer by including reasons.
• Refine your answer, adding more detail and nuance.

The thesis statement should be placed at the end of your essay introduction .

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McCombes, S. (2023, August 15). How to Write a Thesis Statement | 4 Steps & Examples. Scribbr. Retrieved March 18, 2024, from https://www.scribbr.com/academic-essay/thesis-statement/

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Thesis Statement For Beowulf

My thesis statement would have to be in the film gaiman Beowulf we watched, Beowulf gains honor the he never really had. But he had gained redemption he gained it when he died. Beowulf had killed grendel, grendel's mother was very upset that he had killed her son and she wanted a new son as she told beowulf “ give me a new son My Lord,” from there they must of had a son together. I think that Beowulf gains honor that he never really had while battling the dragon and when he died, that night beowulf and the dragon had got into the battle from there on Beowulf had protected his wife who was about to get fire spit on her by the dragon, she felt really scared and he hung onto the tail of the dragon and he saved her. He had tried to kill

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ethics, is great warrior, and is very loyal to his master. Beowulf is also rewarded for his deeds

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that will stick forever, loyalty, courage, and bravery. Now today, older traits are still being withheld but they are portrayed within diverse types of heroes. Loyalty, courage and bravery are with“Whether ancient or modern, the distinctive characteristic of the heroic figure… ‘Is willing to risk death.’” (acculturated.com) Heroes are willing to face the fear of constant violent death and embrace fate to have inner peace or exceptional value within themselves. The model hero in ancient times was the type to kill and conquer just to be remembered whereas today, things have shimmered down. Beowulf’s effectiveness as a modern-day hero has taught us something that will stick forever, loyalty, courage, and bravery.

Beowulf: the Story of a Dual Ordeal Essay

Beowulf faces the internal conflicts, self concern and betrayal, when he is much older and king. Even though he was much older he decided to battle a fire dragon because he was his people’s hero. Though Beowulf had helped so many people when he was young and strong, none of his comrades came to help him. Instead, they ran for their lives. “And only one of them remained, stood there, miserable, remembering as a good man must, what kinship should mean.” (Beowulf 43) Beowulf and his one comrade, Wiglaf, kill the dragon, but Beowulf is injured and soon dies. The last internal conflict Beowulf has before he dies is the betrayal of his people.

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A way Beowulf demonstrates his heroism is the way he stays true to the Geats by honoring them. Before

How Is Beowulf And Grendel Alike

Beowulf is an old Anglo-Saxon story of a terrifying monster Grendel, Grendel travels to the Danes mead hall Heorot and while the danes expect it least he attacks killing countless men purely for the joys of doing so. Hrothgar king of the Danes calls for a warrior to fight this unruly beast. After 12 long years of grendel attacking Hrothgar's calls are answered and the great warrior Beowulf comes to kill Grendel. Beowulf travels to the land of the Danes from across the seas and in the first night he kills Grendel. Sadly for Beowulf Grendel has a mother that now seeks revenge for her son's death and Beowulf is asked to kill Grendel’s mother as well. Beowulf goes to where Grendel’s mother is staying and battled her to the death , Beowulf wins

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Beowulf, the defender of Hrothgar and Heorot, exhibits far more complicated (and less sincere) shades of revenge than the Grendel’s mother. At the end of the day, Beowulf’s goal is to become the preeminent warrior in all the land. In his society, the only way to gain such widespread celebrity is through courageous and self-endangering acts. Beowulf masks these deeds with a façade of seeking revenge; he supposedly comes to Heorot to save the Danes from Grendel’s terror, but his true motives lie in becoming a hero. His reward is not the pride of doing a good deed; Beowulf is rewarded with lavish and expensive gifts.

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“No better king had ever lived, no prince so mild, no man so open to his people, so deserving of praise.” This is an ultimate description of the heroic events of Beowulf, an old Anglo-Saxon poem about a warrior who battles and destroys three horrifying monsters. Although written long ago, the emotions expressed within this work, emotions of bravery, valor, and ethics still speak to us centuries later. The anonymous author of the poem convinces us through the masterful use of various literary elements that emphasize its meaning and message. Conflict, imagery and setting are three literary elements that contribute to the effectiveness of the poem.

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“There are two sides to every issue: one side is right and the other is wrong, but the middle is always evil.” – Ayn Rand. To fully understand the complex world and culture of the Anglo-Saxons, one must examine the only form of historical evidence available – texts. One particular great work from this time period is often underrated and overshadowed in modern society by many other ancient works such as Iliad or Oedipus Rex. The epic poem, Beowulf, was sung by multiple unknown Anglo-Saxon poets four centuries before the Norman Conquest. The theme of good versus evil was constantly reappearing throughout the storyline, the portrayal of evil and its downfall initially shaped the poem’s plot, and illustrates an alien presence; something that

Essay about Beowulf The King

• 1 Works Cited

Many readers of the poem Beowulf may find it difficult to distinguish the 'good' kings from the rest – indeed, almost every man who holds a throne in the epic is named at one point or another to be 'good'. By examining the ideals of the time period as identified by the 'heroic code', it becomes clearer that a truly 'good' king is one who generously distributes treasure and weaponry to deserving retainers to honour courage and strength displayed in battle and to encourage the defense of the kingdom (Intro). When Beowulf ascends the throne of the Geats, the heroic traits of courage and strength for which he was so highly praised as a warrior do not serve well in making him a good king. Indeed, by exhibiting the traits of a thane, that is, by

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4. Write a short paragraph about something from the class reading that reflects Anglo Saxon culture and/or belief

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Beowulf: A New Telling is a book for people that need reassurance that light will overcome darkness and that we need to accept that we have some darkness inside of us, then our weaknesses can become our strengths. Beowulf has to face many faces of evil, including Grendel, the cruel slimy creature who murders Beowulf’s friends and She, the wife of Cain and malicious monster that lives at the bottom of a pool of blood. He becomes king of Geats and is famous all throughout the land.

Beowulf As An Epic Hero Essay

Every epic hero possesses certain heroic characteristics. Beowulf, like other epic heroes, possesses the following heroic qualities: epic heroes are superhuman types of beings. They have a noble birth and show great bravery. They display great intelligence and resourcefulness. They have a reverence for G-d and for the values of their society. They are dominant male figures and suffer severe pain, but in the end, they conquer evil (Vivone 9/27/99). In addition to Beowulf’s heroic qualities, he is very strong. Beowulf was said to have “the strength of thirty [men] in his mighty handgrip” (Bloom 11). Early proof of Beowulf’s extraordinary strength is evidenced by his dismemberment of Grendel’s limb, the fight in the cave under water, and the

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What are the challenges of the Anglo-Saxon life, that Beowulf faces? The strongest competitors Beowulf faced were Grendel, Grendel’s mother, and the dragon.

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In the epic poem, Beowulf, translated by Seamus Heaney, it is said, "Behavior that's admired is the path to power among people" (Beowulf 5). That being stated, it is very apparent throughout the entirety of the story. The main character, Beowulf, quickly comes to a position of power once defeating multiple atrocities and executing numerous heroic deeds. The people in the city admire Beowulf and abide to his ways; but once offered kingship, he declines. Throughout the epic poem, it is obvious that Beowulf would rather be a hero than a king because of the individual representation that comes with it, the rewards, and the self-reliant aspect.

An Analytical Essay: The Epic Of Beowulf

An epic is a long, narrative poem that encompasses a hero or a heroine who is usually involved in an amazing battle between two forces. It includes forces that are not of the human world such as demons, angels, gods, and spirits. The epic of Beowulf is about a hero with superhuman strength that defeats the demon who torments the soldiers of the kingdom. In The Rape of the Lock, the heroine Belinda has a piece of her hair cut and stolen from her and the major battle is trying to get her lock of hair

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Tips and Examples for Writing Thesis Statements

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This resource provides tips for creating a thesis statement and examples of different types of thesis statements.

Tips for Writing Your Thesis Statement

1. Determine what kind of paper you are writing:

• An analytical paper breaks down an issue or an idea into its component parts, evaluates the issue or idea, and presents this breakdown and evaluation to the audience.
• An expository (explanatory) paper explains something to the audience.
• An argumentative paper makes a claim about a topic and justifies this claim with specific evidence. The claim could be an opinion, a policy proposal, an evaluation, a cause-and-effect statement, or an interpretation. The goal of the argumentative paper is to convince the audience that the claim is true based on the evidence provided.

If you are writing a text that does not fall under these three categories (e.g., a narrative), a thesis statement somewhere in the first paragraph could still be helpful to your reader.

2. Your thesis statement should be specific—it should cover only what you will discuss in your paper and should be supported with specific evidence.

3. The thesis statement usually appears at the end of the first paragraph of a paper.

4. Your topic may change as you write, so you may need to revise your thesis statement to reflect exactly what you have discussed in the paper.

Thesis Statement Examples

Example of an analytical thesis statement:

The paper that follows should:

• Explain the analysis of the college admission process
• Explain the challenge facing admissions counselors

Example of an expository (explanatory) thesis statement:

• Explain how students spend their time studying, attending class, and socializing with peers

Example of an argumentative thesis statement:

• Present an argument and give evidence to support the claim that students should pursue community projects before entering college