Grendel is the original villain in Beowulf, and, given that he is described physically as a monster, one assumes that he is monstrous. He is described as "the evil creature, grim and hungry" (Breeden)
For the killing of Abel The Eternal Lord had exacted a price: Cain got no good from committing that murder Because the Almighty made him anathema And out of the curse of his exile there sprang Ogres and elves and evil phantoms And the giants too who strove with God Time and again until He gave them their reward. (Heaney 9) The author of Beowulf is here placing Grendel's origins at a time before Noah's flood, and likening him to Cain in the Book of Genesis
He offers eloquent prayers to a higher power, addressing himself to the "Father Almighty" or the "Wielder of All." Were those the prayers of a pagan who used phrases the Christians subsequently appropriated? or, did the poem's author intend to see Beowulf as a Christian Ur-hero, symbolically refulgent with Christian virtues" (Yeager) Interesting though Vis and Ramin share some characteristics with Hellenistic romances written around the same period, it doesn't share much with Beowulf because the latter is not a romance per se
An important argument to be made in terms of the structure of the poem is that in fact, the poem depicts certain moments in the life of the hero; therefore the structure cannot be complex as there are several culminating moments throughout the poem, in accordance with the plot that is taking place at the time. Therefore, as mentioned by Harold Bloom who presents Tolkien's point-of-view, "in its simplest terms it is a contrasted description of two moments in a great life, rising and setting; an elaboration of the ancient and intensely moving contrast between youth and age, first achievement and final death (Bloom, 2008) Therefore, it is difficult for that time to have a complex structure, especially as the subject is relatively simple
Editors and translators agree in taking the term wea-ltafe, which occurs twice in this passage (1084 and 1098), as referring in the first instance to the thanes of Finn and in the second to the follower .sof Hengest, though the employment of this striking phrase within the space of a few lines to designate both the opposing parties must be regarded as confusing" (Brown) This not only provides confusion for the interpretation and translation of the poem but also for the actual context and flow of events
Thus, although the work is written in Old English, there are several scholars that point out Latin influences in the language. More precisely, "Klaeber for example has shown the obligations of Beowulf to the Aeneid and Rankin has convincingly shown that a large portions of the old English kennings are translations or paraphrases of expressions in Scripture or Medieval Latin poetry" (Cook)
Robert Denis Fulk presents the woman in Beowulf as being correlated with that of the Anglo Saxon society. Thus, "the role of woman in Beowulf, as in Anglo Saxon society, primarily depends upon peace making either biologically through her marital ties with foreign kings as a peace pledge or mother of sons, or socially and psychologically as a cup passing and peace weaving queen within a hall" (Fulk, 1991)
According to most scholars, Beowulf is the exquisite example of oral poetry. (Niles)
" Should the interpretation be for the first option, it would imply in the respective context a certain custom that would afterwards point to a specific cultural influence. However, should the correct option be the second one, there would be a discussion on the burial of simply the head, rather than the entire body (Mezger) Another example is related to the way in which words are pronounced
" Therefore, it is critical that sub-creator apply his rules consistently -- otherwise, the reader will be jerked back to this reality. Part of the disdain for fantastic literature comes from the fact that the "secondary world" is so hard to achieve-most fantastic worlds come out half-baked" ( (Milner)
Still the rhyme is thoroughly analyzed for any potential matching to an already invented system of rhythm and alliterations. A perfect example in the amplitude of the discussion of the rhyme in Beowulf is presented by Raymond Past who argues on the complex nature of the rhyme and of the lack of compromise between the scholars (Past)
Although the poem revolves around the idea of the brave warrior in the fight against his demons, the feminine presence is also of great importance. There are three sets of women type identified in the poem (Porter): the women as hostesses, as peace waver and the woman as a monster
In reference to this point, there are certain analogies that are created in the poem which are not valid in terms of the historical perspective in which the poem is sent. Thus, Christine Rauer argues that there is a "disproportion between the suggested sources and analogues that can certainly be observed in the case of Beowulf where no sources have consensually been established, whereas a vast range of analogues has been linked to the poem" (Rauer, 2000)
Noted basically to be a pagan poem, Beowulf, albeit, also embodies Christian allusions. (Beowulf) Although the name "Jesus" is omitted in Beorulf, numerous references to God, based on the Old Testament, are cited
In the battle that follows both Beowulf and the dragon are slain. The poem ends with a tribute to Beowulf's bravery, goodness, gentleness, and generosity (Serriallier)
This action is done in the defense of his people and for the continuation of their way of living. It is a demonstration of leadership based on virtue and faith (Stitt)
A leader is willing to forfeit his life, take on challenges, and act in ways that often contributes to his people and the world. Beowulf is an example of the qualities a leader must possess according to this code (Yaguexta)
King Hrothgar's great mead hall, Heorot, and Grendel's watery lair can be seen as examples of good and godly vs. evil and pagan (Niles)
However, Dorothy Carr Porter writes that "Read within the context of the society presented in the text, it is clear that the women are central and important to the poem as a whole." She argues that when read carefully, Beowulf presents the female characters as women central both to the story itself and within the society presented in the poem, and far from "marginal, excluded figures," as Overing puts it (Carr Porter 2001)
They do not welcome visitors into their homes. They are hostile hostesses, "using the sword to rid their halls of intruders or unwanted "hall-guests" (Chance 1986)