Beowulf Character Map
The Geats were Beowulf’s clan – a seafaring tribe residing in the south of Sweden. As the poem suggests, the Geats appear to have been conquered and disappeared into history. The seafaring Geats appear to be the invading `Danes’ of whom Gregory of Tours writes concerning an attack by Chlochilaicus (Hygelac) against the Franks in 520. Later they were connected to the Gautar people who were eventually subjugated by the Swedes in territory inland of Sweden.
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Given this history, F.R. Klaeber speculates that Beowulf himself was born in about the year 495. He defeats Grendel and his mother to save Hroðgar’s kingdom in 515. Following Hygelac’s raid in 520, he eventually becomes king of the Geats when Heardred was killed in 533. Fifty years after that, the poem says that Beowulf is killed by the dragon, but few scholars are willing to commit to any specific date.
The Geats are referred to as the Geatas, Guð-Geatas (War-), the Sæ-Geatas (Sea-), and the Weder-Geatas (Weather-).
THOUGH IT IS OFTEN VIEWED both as the archetypal Anglo-Saxon literary work and as a cornerstone of modern literature, Beowulf has a peculiar history that complicates both its historical and its canonical position in English literature. By the time the story of Beowulf was composed by an unknown Anglo-Saxon poet around 700 A. D. , much of its material had been in circulation in oral narrative for many years. The Anglo-Saxon and Scandinavian peoples had invaded the island of Britain and settled there several hundred years earlier, bringing with them several closely related Germanic languages that would evolve into Old English.
Elements of the Beowulf story—including its setting and characters—date back to the period before the migration. The action of the poem takes place around 500 A. D. Many of the characters in the poem—the Swedish and Danish royal family members, for example—correspond to actual historical figures. Originally pagan warriors, the Anglo-Saxon and Scandinavian invaders experienced a large-scale conversion to Christianity at the end of the sixth century. Though still an old pagan story, Beowulf thus came to be told by a Christian poet.
The Beowulf poet is often at pains to attribute Christian thoughts and motives to his characters, who frequently behave in distinctly un-Christian ways. The Beowulf that we read today is therefore probably quite unlike the Beowulf with which the first Anglo-Saxon audiences were familiar. The element of religious tension is quite common in Christian Anglo-Saxon writings (The Dream of the Rood, for example), but the combination of a pagan story with a Christian narrator is fairly unusual.
The plot of the poem concerns Scandinavian culture, but much of the poem’s narrative intervention reveals that the poet’s culture was somewhat different from that of his ancestors, and that of his characters as well. The world that Beowulf depicts and the heroic code of honor that defines much of the story is a relic of pre–Anglo-Saxon culture. The story is set in Scandinavia, before the migration. Though it is a traditional story—part of a Germanic oral tradition—the poem as we have it is thought to be the work of a single poet.
It was composed in England (not in Scandinavia) and is historical in its perspective, recording the values and culture of a bygone era. Many of those values, including the heroic code, were still operative to some degree in when the poem was written. These values had evolved to some extent in the intervening centuries and were continuing to change. In the Scandinavian world of the story, tiny tribes of people rally around strong kings, who protect their people from danger—especially from confrontations with other tribes.
The warrior culture that results from this early feudal arrangement is extremely important, both to the story and to our understanding of Saxon civilization. Strong kings demand bravery and loyalty from their warriors, whom they repay with treasures won in war. Mead-halls such as Heorot in Beowulf were places where warriors would gather in the presence of their lord to drink, boast, tell stories, and receive gifts. Although these mead-halls offered sanctuary, the early Middle Ages were a dangerous time, and the paranoid sense of foreboding and doom that uns throughout Beowulf evidences the constant fear of invasion that plagued Scandinavian society. Only a single manuscript of Beowulf survived the Anglo-Saxon era. For many centuries, the manuscript was all but forgotten, and, in the 1700s, it was nearly destroyed in a fire. It was not until the nineteenth century that widespread interest in the document emerged among scholars and translators of Old English. For the first hundred years of Beowulf’s prominence, interest in the poem was primarily historical—the text was viewed as a source of information about the Anglo-Saxon era. It was not until 1936, when the Oxford scholar J.
R. R. Tolkien (who later wrote The Hobbit and The Lord of the Rings, works heavily influenced by Beowulf) published a groundbreaking paper entitled “Beowulf: The Monsters and the Critics” that the manuscript gained recognition as a serious work of art. Beowulf is now widely taught and is often presented as the first important work of English literature, creating the impression that Beowulf is in some way the source of the English canon. But because it was not widely read until the 1800s and not widely regarded as an important artwork until the 1900s, Beowulf has had little direct impact on the development of English poetry.
In fact, Chaucer, Shakespeare, Marlowe, Pope, Shelley, Keats, and most other important English writers before the 1930s had little or no knowledge of the epic. It was not until the mid-to-late twentieth century that Beowulf began to influence writers, and, since then, it has had a marked impact on the work of many important novelists and poets, including W. H. Auden, Geoffrey Hill, Ted Hughes, and Seamus Heaney, the 1995 recipient of the Nobel Prize in Literature, whose recent translation of the epic is the edition used for this SparkNote.
Old English Poetry Beowulf is often referred to as the first important work of literature in English, even though it was written in Old English, an ancient form of the language that slowly evolved into the English now spoken. Compared to modern English, Old English is heavily Germanic, with little influence from Latin or French. As English history developed, after the French Normans conquered the Anglo-Saxons in 1066, Old English was gradually broadened by offerings from those languages. Thus modern English is derived from a number of sources.
As a result, its vocabulary is rich with synonyms. The word kingly, for instance, descends from the Anglo-Saxon word cyning, meaning “king,” while the synonym royal comes from a French word and the synonymregal from a Latin word. Fortunately, most students encountering Beowulf read it in a form translated into modern English. Still, a familiarity with the rudiments of Anglo-Saxon poetry enables a deeper understanding of the Beowulf text. Old English poetry is highly formal, but its form is quite unlike anything in modern English.
Each line of Old English poetry is divided into two halves, separated by a caesura, or pause, and is often represented by a gap on the page, as the following example demonstrates: Setton him to heafdon hilde-randas. . . .
Because Anglo-Saxon poetry existed in oral tradition long before it was written down, the verse form contains complicated rules for alliteration designed to help scops, or poets, remember the many thousands of lines they were required to know by heart. Each of the two halves of an Anglo-Saxon line contains two stressed syllables, and an alliterative pattern must be carried over across the caesura.
Any of the stressed syllables may alliterate except the last syllable; so the first and second syllables may alliterate with the third together, or the first and third may alliterate alone, or the second and third may alliterate alone. For instance: Lade ne letton. Leoht eastan com. Lade, letton, leoht, and eastan are the four stressed words. In addition to these rules, Old English poetry often features a distinctive set of rhetorical devices. The most common of these is the kenning, used throughout Beowulf.
A kenning is a short metaphorical description of a thing used in place of the thing’s name; thus a ship might be called a “sea-rider,” or a king a “ring-giver. ” Some translations employ kennings almost as frequently as they appear in the original. Others moderate the use of kennings in deference to a modern sensibility. But the Old English version of the epic is full of them, and they are perhaps the most important rhetorical device present in Old English poetry.
KING HROTHGAR OF DENMARK, a descendant of the great king Shield Sheafson, enjoys a prosperous and successful reign. He builds a great mead-hall, called Heorot, where his warriors can gather to drink, receive gifts from their lord, and listen to stories sung by the scops, or bards. But the jubilant noise from Heorot angers Grendel, a horrible demon who lives in the swamplands of Hrothgar’s kingdom. Grendel terrorizes the Danes every night, killing them and defeating their efforts to fight back. The Danes suffer many years of fear, danger, and death at the hands of Grendel. Eventually, however, a young Geatish warrior named Beowulf hears of Hrothgar’s plight.
Inspired by the challenge, Beowulf sails to Denmark with a small company of men, determined to defeat Grendel. Hrothgar, who had once done a great favor for Beowulf’s father Ecgtheow, accepts Beowulf’s offer to fight Grendel and holds a feast in the hero’s honor. During the feast, an envious Dane named Unferth taunts Beowulf and accuses him of being unworthy of his reputation. Beowulf responds with a boastful description of some of his past accomplishments. His confidence cheers the Danish warriors, and the feast lasts merrily into the night. At last, however, Grendel arrives.
Beowulf fights him unarmed, proving himself stronger than the demon, who is terrified. As Grendel struggles to escape, Beowulf tears the monster’s arm off. Mortally wounded, Grendel slinks back into the swamp to die. The severed arm is hung high in the mead-hall as a trophy of victory. Overjoyed, Hrothgar showers Beowulf with gifts and treasure at a feast in his honor. Songs are sung in praise of Beowulf, and the celebration lasts late into the night. But another threat is approaching. Grendel’s mother, a swamp-hag who lives in a desolate lake, comes to Heorot seeking revenge for her son’s death.
She murders Aeschere, one of Hrothgar’s most trusted advisers, before slinking away. To avenge Aeschere’s death, the company travels to the murky swamp, where Beowulf dives into the water and fights Grendel’s mother in her underwater lair. He kills her with a sword forged for a giant, then, finding Grendel’s corpse, decapitates it and brings the head as a prize to Hrothgar. The Danish countryside is now purged of its treacherous monsters. The Danes are again overjoyed, and Beowulf’s fame spreads across the kingdom. Beowulf departs after a sorrowful goodbye to Hrothgar, who has treated him like a son.
He returns to Geatland, where he and his men are reunited with their king and queen, Hygelac and Hygd, to whom Beowulf recounts his adventures in Denmark. Beowulf then hands over most of his treasure to Hygelac, who, in turn, rewards him. In time, Hygelac is killed in a war against the Shylfings, and, after Hygelac’s son dies, Beowulf ascends to the throne of the Geats. He rules wisely for fifty years, bringing prosperity to Geatland. When Beowulf is an old man, however, a thief disturbs a barrow, or mound, where a great dragon lies guarding a horde of treasure.
Enraged, the dragon emerges from the barrow and begins unleashing fiery destruction upon the Geats. Sensing his own death approaching, Beowulf goes to fight the dragon. With the aid of Wiglaf, he succeeds in killing the beast, but at a heavy cost. The dragon bites Beowulf in the neck, and its fiery venom kills him moments after their encounter. The Geats fear that their enemies will attack them now that Beowulf is dead. According to Beowulf’s wishes, they burn their departed king’s body on a huge funeral pyre and then bury him with a massive treasure in a barrow overlooking the sea. Principal Characters
Beowulf – The protagonist of the epic, Beowulf is a Geatish hero who fights the monster Grendel, Grendel’s mother, and a fire-breathing dragon. Beowulf’s boasts and encounters reveal him to be the strongest, ablest warrior around. In his youth, he personifies all of the best values of the heroic culture. In his old age, he proves a wise and effective ruler. Read an in-depth analysis of Beowulf. King Hrothgar – The king of the Danes. Hrothgar enjoys military success and prosperity until Grendel terrorizes his realm. A wise and aged ruler, Hrothgar represents a different kind of leadership from that exhibited by the youthful warrior Beowulf.
He is a father figure to Beowulf and a model for the kind of king that Beowulf becomes. Grendel – A demon descended from Cain, Grendel preys on Hrothgar’s warriors in the king’s mead-hall, Heorot. Because his ruthless and miserable existence is part of the retribution exacted by God for Cain’s murder of Abel, Grendel fits solidly within the ethos of vengeance that governs the world of the poem. Read an in-depth analysis of Grendel. Grendel’s mother – An unnamed swamp-hag, Grendel’s mother seems to possess fewer human qualities than Grendel, although her terrorization of Heorot is explained by her desire for vengeance—a human motivation.
The dragon – An ancient, powerful serpent, the dragon guards a horde of treasure in a hidden mound. Beowulf’s fight with the dragon constitutes the third and final part of the epic. Other Danes Shield Sheafson – The legendary Danish king from whom Hrothgar is descended, Shield Sheafson is the mythical founder who inaugurates a long line of Danish rulers and embodies the Danish tribe’s highest values of heroism and leadership. The poem opens with a brief account of his rise from orphan to warrior-king, concluding, “That was one good king” (11).
Beow – The second king listed in the genealogy of Danish rulers with which the poem begins. Beow is the son of Shield Sheafson and father of Halfdane. The narrator presents Beow as a gift from God to a people in need of a leader. He exemplifies the maxim, “Behavior that’s admired / is the path to power among people everywhere” (24–25). Read an in-depth analysis of Beow. Halfdane – The father of Hrothgar, Heorogar, Halga, and an unnamed daughter who married a king of the Swedes, Halfdane succeeded Beow as ruler of the Danes. Wealhtheow – Hrothgar’s wife, the gracious queen of the Danes.
Unferth – A Danish warrior who is jealous of Beowulf, Unferth is unable or unwilling to fight Grendel, thus proving himself inferior to Beowulf. Read an in-depth analysis of Unferth. Hrethric – Hrothgar’s elder son, Hrethric stands to inherit the Danish throne, but Hrethric’s older cousin Hrothulf will prevent him from doing so. Beowulf offers to support the youngster’s prospect of becoming king by hosting him in Geatland and giving him guidance. Hrothmund – The second son of Hrothgar. Hrothulf – Hrothgar’s nephew, Hrothulf betrays and usurps his cousin, Hrethic, the rightful heir to the Danish throne.
Hrothulf’s treachery contrasts with Beowulf’s loyalty to Hygelac in helping his son to the throne. Aeschere – Hrothgar’s trusted adviser. Other Geats Hygelac – Beowulf’s uncle, king of the Geats, and husband of Hygd. Hygelac heartily welcomes Beowulf back from Denmark. Hygd – Hygelac’s wife, the young, beautiful, and intelligent queen of the Geats. Hygd is contrasted with Queen Modthryth. Wiglaf – A young kinsman and retainer of Beowulf who helps him in the fight against the dragon while all of the other warriors run away.
Wiglaf adheres to the heroic code better than Beowulf’s other retainers, thereby proving himself a suitable successor to Beowulf. Read an in-depth analysis of Wiglaf. Ecgtheow – Beowulf’s father, Hygelac’s brother-in-law, and Hrothgar’s friend. Ecgtheow is dead by the time the story begins, but he lives on through the noble reputation that he made for himself during his life and in his dutiful son’s remembrances. King Hrethel – The Geatish king who took Beowulf in as a ward after the death of Ecgtheow, Beowulf’s father. Breca – Beowulf’s childhood friend, whom he defeated in a swimming match.
Unferth alludes to the story of their contest, and Beowulf then relates it in detail. Other Figures Mentioned Sigemund – A figure from Norse mythology, famous for slaying a dragon. Sigemund’s story is told in praise of Beowulf and foreshadows Beowulf’s encounter with the dragon. King Heremod – An evil king of legend. The scop, or bard, at Heorot discusses King Heremod as a figure who contrasts greatly with Beowulf. Queen Modthryth – A wicked queen of legend who punishes anyone who looks at her the wrong way. Modthryth’s story is told in order to contrast her cruelty with Hygd’s gentle and reasonable behavior.
Analysis of Major Characters Beowulf Beowulf exemplifies the traits of the perfect hero. The poem explores his heroism in two separate phases—youth and age—and through three separate and increasingly difficult conflicts—with Grendel, Grendel’s mother, and the dragon. Although we can view these three encounters as expressions of the heroic code, there is perhaps a clearer division between Beowulf’s youthful heroism as an unfettered warrior and his mature heroism as a reliable king. These two phases of his life, separated by fifty years, correspond to two ifferent models of virtue, and much of the moral reflection in the story centers on differentiating these two models and on showing how Beowulf makes the transition from one to the other. In his youth, Beowulf is a great warrior, characterized predominantly by his feats of strength and courage, including his fabled swimming match against Breca. He also perfectly embodies the manners and values dictated by the Germanic heroic code, including loyalty, courtesy, and pride. His defeat of Grendel and Grendel’s mother validates his reputation for bravery and establishes him fully as a hero.
In first part of the poem, Beowulf matures little, as he possesses heroic qualities in abundance from the start. Having purged Denmark of its plagues and established himself as a hero, however, he is ready to enter into a new phase of his life. Hrothgar, who becomes a mentor and father figure to the young warrior, begins to deliver advice about how to act as a wise ruler. Though Beowulf does not become king for many years, his exemplary career as a warrior has served in part to prepare him for his ascension to the throne.
The second part of the story, set in Geatland, skips over the middle of Beowulf’s career and focuses on the very end of his life. Through a series of retrospectives, however, we recover much of what happens during this gap and therefore are able to see how Beowulf comports himself as both a warrior and a king. The period following Hygelac’s death is an important transitional moment for Beowulf. Instead of rushing for the throne himself, as Hrothulf does in Denmark, he supports Hygelac’s son, the rightful heir. With this gesture of loyalty and respect for the throne, he proves himself worthy of kingship.
In the final episode—the encounter with the dragon—the poet reflects further on how the responsibilities of a king, who must act for the good of the people and not just for his own glory, differ from those of the heroic warrior. In light of these meditations, Beowulf’s moral status becomes somewhat ambiguous at the poem’s end. Though he is deservedly celebrated as a great hero and leader, his last courageous fight is also somewhat rash. The poem suggests that, by sacrificing himself, Beowulf unnecessarily leaves his people without a king, exposing them to danger from other tribes.
To understand Beowulf’s death strictly as a personal failure, however, is to neglect the overwhelming emphasis given to fate in this last portion of the poem. The conflict with the dragon has an aura of inevitability about it. Rather than a conscious choice, the battle can also be interpreted as a matter in which Beowulf has very little choice or free will at all. Additionally, it is hard to blame him for acting according to the dictates of his warrior culture. Grendel Likely the poem’s most memorable creation, Grendel is one of the three monsters that Beowulf battles.
His nature is ambiguous. Though he has many animal attributes and a grotesque, monstrous appearance, he seems to be guided by vaguely human emotions and impulses, and he shows more of an interior life than one might expect. Exiled to the swamplands outside the boundaries of human society, Grendel is an outcast who seems to long to be reinstated. The poet hints that behind Grendel’s aggression against the Danes lies loneliness and jealousy. By lineage, Grendel is a member of “Cain’s clan, whom the creator had outlawed / and condemned as outcasts. ” (106–107).
He is thus descended from a figure who epitomizes resentment and malice. While the poet somewhat sympathetically suggests that Grendel’s deep bitterness about being excluded from the revelry in the mead-hall owes, in part, to his accursed status, he also points out that Grendel is “[m]alignant by nature” and that he has “never show[n] remorse” (137). Hrothgar Hrothgar, the aged ruler of the Danes who accepts Beowulf’s help in the first part of the story, aids Beowulf’s development into maturity. Hrothgar is a relatively static character, a force of stability in the social realm.
Although he is as solidly rooted in the heroic code as Beowulf is, his old age and his experience with both good and ill fortune have caused him to develop a more reflective attitude toward heroism than Beowulf possesses. He is aware of both the privileges and the dangers of power, and he warns his young protege not to give in to pride and always to remember that blessings may turn to grief. Hrothgar’s meditations on heroism and leadership, which take into account a hero’s entire life span rather than just his valiant youth, reveal the contrast between youth and old age that forms the turning point in Beowulf’s own development.
Unferth Unferth’s challenge to Beowulf’s honor differentiates him from Beowulf and helps to reveal some of the subtleties of the heroic code that the warriors must follow. Unferth is presented as a lesser man, a foil for the near-perfect Beowulf. (A foil is a character whose traits contrast with and thereby accentuate those of another character. ) The bitterness of Unferth’s chiding of Beowulf about his swimming match with Breca clearly reflects his jealousy of the attention that Beowulf receives.
It probably also stems from his shame at being unable to protect Heorot himself—he is clearly not the sort of great warrior whom legend will remember. While boasting is a proper and acceptable form of self-assertion, Unferth’s harsh words show that it ought not to be bitter or disparaging of others. Rather than heroism, Unferth’s blustering reveals pride and resentment. Later, Unferth’s gift of his sword for Beowulf’s fight against Grendel’s mother heals Unferth’s breach of hospitality, but it does little to improve his heroic status.
Unlike Beowulf, Unferth is clearly afraid to fight the monster himself. Wiglaf Wiglaf, one of Beowulf’s kinsmen and thanes, is the only warrior brave enough to help the hero in his fight against the dragon. Wiglaf conforms perfectly to the heroic code in that he is willing to die attempting to defeat the opponent and, more importantly, to save his lord. In this regard, Wiglaf appears as a reflection of the young Beowulf in the first part of the story—a warrior who is strong, fearless, valiant, and loyal.
He embodies Beowulf’s statement from the early scenes of the poem that it is always better to act than to grieve. Wiglaf thus represents the next generation of heroism and the future of the kingdom. His bravery and solid bearing provide the single glint of optimism in the final part of the story, which, for the most part, is dominated by a tone of despair at what the future holds. Themes, Motifs & Symbols Themes Themes are the fundamental and often universal ideas explored in a literary work. The Importance of Establishing Identity
As Beowulf is essentially a record of heroic deeds, the concept of identity—of which the two principal components are ancestral heritage and individual reputation—is clearly central to the poem. The opening passages introduce the reader to a world in which every male figure is known as his father’s son. Characters in the poem are unable to talk about their identity or even introduce themselves without referring to family lineage. This concern with family history is so prominent because of the poem’s emphasis on kinship bonds.
Characters take pride in ancestors who have acted valiantly, and they attempt to live up to the same standards as those ancestors. While heritage may provide models for behavior and help to establish identity—as with the line of Danish kings discussed early on—a good reputation is the key to solidifying and augmenting one’s identity. For example, Shield Sheafson, the legendary originator of the Danish royal line, was orphaned; because he was in a sense fatherless, valiant deeds were the only means by which he could construct an identity for himself.
While Beowulf’s pagan warrior culture seems not to have a concept of the afterlife, it sees fame as a way of ensuring that an individual’s memory will continue on after death—an understandable preoccupation in a world where death seems always to be knocking at the door. Tensions Between the Heroic Code and Other Value Systems Much of Beowulf is devoted to articulating and illustrating the Germanic heroic code, which values strength, courage, and loyalty in warriors; hospitality, generosity, and political skill in kings; ceremoniousness in women; and good reputation in all people.
Traditional and much respected, this code is vital to warrior societies as a means of understanding their relationships to the world and the menaces lurking beyond their boundaries. All of the characters’ moral judgments stem from the code’s mandates. Thus individual actions can be seen only as either conforming to or violating the code. The poem highlights the code’s points of tension by recounting situations that expose its internal contradictions in values. The poem contains several stories that concern divided loyalties, situations for which the code offers no practical guidance about how to act.
For example, the poet relates that the Danish Hildeburh marries the Frisian king. When, in the war between the Danes and the Frisians, both her Danish brother and her Frisian son are killed, Hildeburh is left doubly grieved. The code is also often in tension with the values of medieval Christianity. While the code maintains that honor is gained during life through deeds, Christianity asserts that glory lies in the afterlife. Similarly, while the warrior culture dictates that it is always better to retaliate than to mourn, Christian doctrine advocates a peaceful, forgiving attitude toward one’s enemies.
Throughout the poem, the poet strains to accommodate these two sets of values. Though he is Christian, he cannot (and does not seem to want to) deny the fundamental pagan values of the story. The Difference Between a Good Warrior and a Good King Over the course of the poem, Beowulf matures from a valiant combatant into a wise leader. His transition demonstrates that a differing set of values accompanies each of his two roles. The difference between these two sets of values manifests itself early on in the outlooks of Beowulf and King Hrothgar.
Whereas the youthful Beowulf, having nothing to lose, desires personal glory, the aged Hrothgar, having much to lose, seeks protection for his people. Though these two outlooks are somewhat oppositional, each character acts as society dictates he should given his particular role in society. While the values of the warrior become clear through Beowulf’s example throughout the poem, only in the poem’s more didactic moments are the responsibilities of a king to his people discussed. The heroic code requires that a king reward the loyal service of his warriors with gifts and praise.
It also holds that he must provide them with protection and the sanctuary of a lavish mead-hall. Hrothgar’s speeches, in particular, emphasize the value of creating stability in a precarious and chaotic world. He also speaks at length about the king’s role in diplomacy, both with his own warriors and with other tribes. Beowulf’s own tenure as king elaborates on many of the same points. His transition from warrior to king, and, in particular, his final battle with the dragon, rehash the dichotomy between the duties of a heroic warrior and those of a heroic king.
In the eyes of several of the Geats, Beowulf’s bold encounter with the dragon is morally ambiguous because it dooms them to a kingless state in which they remain vulnerable to attack by their enemies. Yet Beowulf also demonstrates the sort of restraint proper to kings when, earlier in his life, he refrains from usurping Hygelac’s throne, choosing instead to uphold the line of succession by supporting the appointment of Hygelac’s son. But since all of these pagan kings were great warriors in their youth, the tension between these two important roles seems inevitable and ultimately irreconcilable. Motifs
Motifs are recurring structures, contrasts, or literary devices that can help to develop and inform the text’s major themes. Monsters In Christian medieval culture, monster was the word that referred to birth defects, which were always understood as an ominous sign from God—a sign of transgression or of bad things to come. In keeping with this idea, the monsters that Beowulf must fight in this Old English poem shape the poem’s plot and seem to represent an inhuman or alien presence in society that must be exorcised for the society’s safety. They are all outsiders, existing beyond the boundaries of human realms.
Grendel’s and his mother’s encroachment upon human society—they wreak havoc in Heorot—forces Beowulf to kill the two beasts for order to be restored. To many readers, the three monsters that Beowulf slays all seem to have a symbolic or allegorical meaning. For instance, since Grendel is descended from the biblical figure Cain, who slew his own brother, Grendel often has been understood to represent the evil in Scandinavian society of marauding and killing others. A traditional figure of medieval folklore and a common Christian symbol of sin, the dragon may represent an external malice that must be conquered to prove a hero’s goodness.
Because Beowulf’s encounter with the dragon ends in mutual destruction, the dragon may also be interpreted as a symbolic representation of the inevitable encounter with death itself. The Oral Tradition Intimately connected to the theme of the importance of establishing one’s identity is the oral tradition, which preserves the lessons and lineages of the past, and helps to spread reputations. Indeed, in a culture that has little interaction with writing, only the spoken word can allow individuals to learn about others and make their own stories known.
This emphasis on oral communication explains the prevalence of bards’ tales (such as the Heorot scop’s relating of the Finnsburg episode) and warriors’ boastings (such as Beowulf’s telling of the Breca story). From a broader perspective, Beowulf itself contributes to the tradition of oral celebration of cultural heroes. Like Homer’s Iliad and Odyssey, Beowulf was passed on orally over many generations before being written down. The Mead-Hall The poem contains two examples of mead-halls: Hrothgar’s great hall of Heorot, in Denmark, and Hygelac’s hall in Geatland.
Both function as important cultural institutions that provide light and warmth, food and drink, and singing and revelry. Historically, the mead-hall represented a safe haven for warriors returning from battle, a small zone of refuge within a dangerous and precarious external world that continuously offered the threat of attack by neighboring peoples. The mead-hall was also a place of community, where traditions were preserved, loyalty was rewarded, and, perhaps most important, stories were told and reputations were spread. Symbols
Symbols are objects, characters, figures, or colors used to represent abstract ideas or concepts. Because ritual behaviors and tokens of loyalty are so central to pagan Germanic culture, most of the objects mentioned in Beowulf have symbolic status not just for the readers but also for the characters in the poem. The Golden Torque The collar or necklace that Wealhtheow gives Beowulf is a symbol of the bond of loyalty between her people and Beowulf—and, by extension, the Geats. Its status as a symbolic object is renewed when we learn that Hygelac died in battle wearing it, furthering the ideas of kinship and continuity.
The Banquet The great banquet at Heorot after the defeat of Grendel represents the restoration of order and harmony to the Danish people. The preparation involves the rebuilding of the damaged mead-hall, which, in conjunction with the banquet itself, symbolizes the rebirth of the community. The speeches and giving of gifts, essential components of this society’s interactions, contribute as well to the sense of wholeness renewed. Summary So. The Spear-Danes in days gone by and the kings who ruled them had courage and greatness. See Important Quotations Explained) The narrator opens the poem with a discussion of Shield Sheafson, a great king of the ancient Danes and the founder of their royal line. He began life as a foundling (an infant abandoned by his parents) but quickly rose to be strong and powerful. All of the clans had to pay him tribute, and, when he died, he was honored with an elaborate funeral ceremony. His body was put into a boat, covered with treasures and armor, and cast off to sea. Shield Sheafson’s life ended as it began, with him cast adrift on the water.
Sheafson’s son, the renowned Beow, inherited the kingdom after his father’s death. In time, Beow too passed away and Halfdane, his son, became king. After Halfdane, Hrothgar stepped forward to rule the Danes. Under Hrothgar, the kingdom prospered and enjoyed great military success, and Hrothgar decided to construct a monument to his success—a mead-hall where he would distribute booty to his retainers. The hall was called Heorot, and there the men gathered with their lord to drink mead, a beerlike beverage, and listen to the songs of the bards. For a time, the kingdom enjoyed peace and prosperity.
But, one night, Grendel, a demon descended from Cain (who, according to the Bible, slew his brother Abel), emerged from the swampy lowlands, to listen to the nightly entertainment at Heorot. The bards’ songs about God’s creation of the earth angered the monster. Once the men in the mead-hall fell asleep, Grendel lumbered inside and slaughtered thirty men. Hrothgar’s warriors were powerless against him. The following night, Grendel struck again, and he has continued to wreak havoc on the Danes for twelve years. He has taken over Heorot, and Hrothgar and his men remain unable to challenge him.
They make offerings at pagan shrines in hopes of harming Grendel, but their efforts are fruitless. The Danes endure constant terror, and their suffering is so extreme that the news of it travels far and wide. At this time, Beowulf, nephew of the Geatish king Hygelac, is the greatest hero in the world. He lives in Geatland, a realm not far from Denmark, in what is now southern Sweden. When Beowulf hears tales of the destruction wrought by Grendel, he decides to travel to the land of the Danes and help Hrothgar defeat the demon. He voyages across the sea with fourteen of his bravest warriors until he reaches Hrothgar’s kingdom.
Seeing that the newcomers are dressed in armor and carrying shields and other equipment for combat, the watchman who guards the Danish coast stops Beowulf and his crew and demands to know their business. He admits that he has never seen outsiders come ashore so fearlessly and guesses that Beowulf is a noble hero. Beowulf explains that he is the son of Ecgtheow and owes his loyalty to Hygelac. He says that he has heard about the monster wreaking havoc on the Danes and has come to help Hrothgar. The watchman gives his consent and tells Beowulf that he believes his story.
He tells the Geats to follow him, mentioning that he will order one of the Danes to watch Beowulf’s ship for him. Analysis Behaviour that’s admired is the path to power among people everywhere. (See Important Quotations Explained) It is not surprising that Beowulf begins with a tribute to the ancestry of King Hrothgar, since within the warrior culture that the poem depicts, patriarchal lineage is an extremely important component of one’s identity. Characters are regularly named as the sons of their fathers—Beowulf, for example, is often referred to as “Ecgtheow’s son. Patriarchal history anchors the story in a linear time frame that stretches forward and backward through the generations. In light of the great importance of familial lineage in this culture, it is interesting that Shield Sheafson, who inaugurates the Danish royal line, is an orphan—he is both founder and “foundling. ” The reader has the sense that if this ordinary personage had not been fatherless, of unknown lineage, the story could have no definitive starting point. We later learn that Beowulf was also left fatherless at a young age. The delineation of a heroic code is one of the most important preoccupations of the poem.
In this first section, some of the central tenets of this code become apparent. In the story of Sheafson in the poem’s opening lines, the poet offers a sketch of the life of a successful hero. Sheafson’s greatness is measured by the number of clans that he conquers. As the defeated have to pay him tribute, it is clear that strength leads to the acquisition of treasure and gold. In the world of the poem, warriors are bound to their lords by ties of deep loyalty, which the lords maintain through their protection of their warriors and also through ritualized gestures of generosity, or gift-giving.
Because their king is powerful, Sheafson’s warriors receive treasure. A hero is therefore defined, in part, by his ability to help his community by performing heroic deeds and by doling out heroic sums of treasure. Because Sheafson receives so much booty from his conquests, the poet says of him, “That was one good king” (11). Hrothgar is likewise presented as a good leader, because he erects the mead-hall Heorot for his men. Another major aspect of the heroic code in Beowulf is eloquence in speech. Beowulf is imposing not only because of his physical presence but also because of his powerful oratorical skill.
Speech and poetry were extremely important among the Anglo-Saxons and Scandinavians, as they often are in civilizations that rely on oral narratives to preserve history and myth (characters in Homer’s Iliad are also judged by how they speak). Beowulf’s boastful demeanor as he declares his intention to slay the monster is not an indication of undue vanity but rather a customary part of heroic behavior. The watchman’s reply that [a]nyone with gumption and a sharp mind will take the measure of two things: what’s said and what’s done follows logically from Beowulf’s value of eloquence.
In the -watchman’s eyes, brave words must be backed up by brave deeds (287–289). A well-won reputation ensures that a warrior will become a part of history, of the social fabric of his culture, as the inclusion of the story of Sheafson in the poem immediately reminds us. Throughout the epic, fame is presented as a bulwark against the oblivion of death, which lurks everywhere in the poem and casts a sobering pall over even the most shining acts of heroism. The description of Sheafson’s funeral foreshadows the poem’s final scene, which depicts the funeral of another heroic king.
The tales of heroism that unfold in the intervening lines are thus framed, like life itself, within the envelope of death. The sea acts as another important and ever-present boundary in Beowulf; the sea-burial with which the poem begins helps to establish the inexorable margins of life in the story. Lines 301-709 Summary The watchman guides Beowulf and his men from the coast to the mead-hall, Heorot, where he takes his leave. A herald named Wulfgar, who is renowned for his wisdom, stops Beowulf and asks him to state his business with Hrothgar. Beowulf introduces himself and requests to speak to the king.
Wulfgar, impressed with the group’s appearance and bearing, takes Beowulf’s message immediately to Hrothgar. Hrothgar tells Wulfgar that he remembers Beowulf from when he was a young boy and recalls his friendship with Beowulf’s father, Ecgtheow. He says that he has heard tales of Beowulf’s great prowess—one story holds that the Geat has the strength of thirty men in each of his hands—and hopes that Beowulf has come to help the Danes against Grendel. He orders Wulfgar to welcome the Geats to Denmark. Beowulf comes before Hrothgar, whom he greets solemnly.
Beowulf recounts some of his past glories and offers to fight Grendel unarmed. Hrothgar recounts a feud during which Beowulf’s father killed Heatholaf, a member of the Wulfing tribe. Hrothgar sent treasure to the Wulfings to mend the feud, and Beowulf’s father pledged his allegiance to Hrothgar. Hrothgar then accepts Beowulf’s offer to fight Grendel, though he warns him that many heroes have died in the mead-hall trying to battle the monster. He invites the Geats to sit and enjoy a feast in Heorot with the Danish warriors. At the feast, a Dane named Unferth, envious of his kinsmen’s admiration of Beowulf, begins to taunt the Geat.
He claims that Beowulf once lost a swimming match against Breca and that Beowulf will meet with defeat for a second time when he faces Grendel in the mead-hall. Unruffled, Beowulf accuses Unferth of drunkenness and describes his own version of what happened in the swimming match. Carrying swords to defend themselves against sea monsters, he and Breca had struggled in icy waters for five days and five nights when suddenly Beowulf found himself pulled under by a monster. After slaying the monster and eight other sea beasts, Beowulf was washed ashore on the coast of Finland.
Beowulf notes that neither Unferth nor Breca could have survived such an adventure and mocks Unferth by pointing out his obvious helplessness against Grendel. Beowulf’s confidence cheers the whole hall, and soon the warriors are laughing and drinking happily. Wealhtheow, wife of Hrothgar and queen of the Danes, enters with the ceremonial goblet, which she offers to everyone in the room. She thanks God for sending Beowulf to fight Grendel, and Beowulf replies with a formal boast, stating that he will either distinguish himself with a heroic deed or die in the mead-hall.
Pleased, Wealhtheow takes her seat next to Hrothgar. When night falls, the Danes leave the hall to Beowulf and his men. Beowulf lays aside his weapons and removes his armor, restating his intention to fight Grendel unarmed. He says that he considers himself to be as dangerous as Grendel. Beowulf lies down to wait, while his fearful men lie awake, doubting that any of them will live to see morning. In the dark night outside the hall, Grendel approaches stealthily, creeping toward the small band of Geats. Analysis
The two digressions in this section—Hrothgar’s story of his former association with Beowulf’s father and Beowulf’s story of his swimming match against Breca—help to shed light on the main story by refining the reader’s understanding of the Germanic heroic code of values. In Hrothgar’s story of his previous association with Beowulf’s father, we learn that there is a history of obligation between these two families. This anecdote explains the concept of the wergild, or “death-price,” a set price that one pays, as Hrothgar did on Ecgtheow’s behalf, to compensate the kin of anyone a warrior has killed.
Paying the price of a man’s life is the only way to keep the cycle of vengeance that characterizes a feud from continuing indefinitely. Such a payment replaces the volley of violent retaliation with an exchange of obligation. Thus Beowulf is at Heorot both to avenge the death of so many Danes at the hands of Grendel and also to discharge his father’s debt to Hrothgar. Interestingly, up until this point of the poem, Beowulf’s decision to come to Hrothgar’s aid has been described by the narrator as a heroic act of Beowulf’s own deciding rather than an act of obligation or a payment of debt.
When Beowulf explains his visit to the Danish coast guard, he again presents his journey as one made of his own free will. He doesn’t respond directly to Hrothgar’s story about Ecgtheow, perhaps wanting to bolster his claim that he has come seeking the monster of his own volition, not because he owes Hrothgar on behalf of his father. The second digression, Beowulf’s account of his swimming match against his childhood companion Breca, comes when Unferth challenges Beowulf’s heroic status.
As there were no witnesses to Beowulf’s exploits, his story cannot be corroborated. Beowulf can respond only with a series of elaborate boasts about his doings to preserve his honor. Throughout Beowulf, boasting is presented as a key component of one’s reputation, a valid way to assert one’s position in a hierarchy determined by deeds of valor. Beowulf’s boasting, which especially pleases Wealhtheow, actually increases his honor and raises the level of expectations—for both those around him and the reader—as to how he will fare in the impending battle with Grendel.
But such boasting is a delicate social operation, and this scene helps to clarify the difference between proper and petulant boastfulness. Feeling upstaged by Beowulf, Unferth calls Beowulf’s exploits foolhardy and accuses him of vanity. But it is Unferth himself who is guilty of vanity, since he is jealous of Beowulf. Etiquette dictates that it is inappropriate for Unferth to attempt to dishonor a guest; once he does, however, Beowulf’s retaliation is appropriate and even necessary to maintain his reputation. Hrothgar’s behavior, by contrast, is more dignified.
He acknowledges that there is a certain “humiliation” in the fact that the Danes cannot solve their own problems, but he does not allow this disgrace to make him resentful of the superior warrior who has come to help (although one can argue that his assertion that Beowulf owes him on behalf of Ecgtheow helps him lessen his embarrassment at having to ask for help). Reading closely, we find that the story that Beowulf tells is communalist in spite of its boastful tone. He depicts the culture of competition in which he and Breca were raised as fraternal and respectful, not vain and obsessive as Unferth would have it.
Though he makes a sharp stab at Unferth when he points out his ineffectuality against Grendel, Beowulf ends his oration with a beautiful image of restored peace and happiness for his hosts, the Danes. Beowulf’s correction thus not only better represents the true values of the society but also illustrates the proper way to tell a story. His story is more in keeping with the values of the code of honor than is Unferth’s bitter speech. Lines 710-1007 Summary Gleefully imagining the destruction that he will wreak, Grendel bursts into Heorot.
He tears the door from its hinges with his bare hands and immediately devours a Geatish warrior while Beowulf carefully observes. When Grendel reaches out to snatch up Beowulf, he is stunned to find his arm gripped with greater strength than he knew possible. Terrified like a cornered animal, Grendel longs to run back to the safety of the swamplands. He tries to escape, but Beowulf wrestles him down. The combatants crash around the hall, rattling the walls and smashing the mead-benches. Grendel begins to shriek in pain and fear; the sound terrifies all who hear it.
Beowulf’s men heroically hack at the demon as Beowulf fights with him, but no weapon on earth is capable of harming Grendel. Beowulf summons even greater strength and rips Grendel’s arm completely out of its socket. Fatally wounded, Grendel slinks back to his swampy home to die. Back in the mead-hall, Beowulf holds up his gory trophy in triumph. He proudly hangs the arm high on the wall of Heorot as proof of his victory. The following morning, the Danish warriors are amazed at Beowulf’s accomplishment. They race around on horseback in celebration, following the tracks of Grendel’s retreat to the marshes.
Beowulf’s renown begins to spread rapidly. A Danish bard sings Beowulf’s story to honor him and also recites the story of Sigemund, a great hero who slew a terrible dragon. The dragon was the guardian of a treasure hoard, which Sigemund won by slaying the dragon. The bard also sings of, and contrasts Beowulf with, Heremod, an evil Danish king who turned against his own people. Hrothgar enters the mead-hall to see the trophy. He thanks God for finally granting him relief from Grendel. He then praises Beowulf, promises him lavish rewards, and says that he has adopted the warrior in his heart as a son.
Beowulf receives Hrothgar’s gratitude with modesty, expressing disappointment that he did not kill Grendel in the hall so that all could have seen the demon’s corpse. The narrator mentions that the trophy arm, which seems to be made of “barbed steel,” has disproved Unferth’s claims of Beowulf’s weakness. Order is restored in Heorot, and all the Danes begin to repair the great hall, which has been almost completely destroyed. Analysis Beowulf is divided into three main parts, each of which centers on the hero’s struggle against a particular monster—first Grendel, then Grendel’s mother, then the dragon.
In Beowulf’s bloody battle against Grendel, the first part of the story reaches its climax. The poet chooses to relate much of this struggle from Grendel’s perspective rather than from Beowulf’s, emphasizing the fear and pain that Beowulf inflicts upon the demon. This narrative technique makes Beowulf seem even more godlike; he seems to be an unstoppable heroic force. Throughout the fight, Beowulf is treated as more than human. He shows himself stronger and more powerful than even the monstrous Grendel, and he seems completely invulnerable.
It is never entirely clear what kind of being Grendel actually is—he is described as a demon, fiend, spirit, and stranger (in the Middle Ages, the word monster was used to describe birth defects; Grendel is later referred to as “an unnatural birth” ). In any case, he seems to be a horrific beast, a large and distorted creature of vaguely human shape. His supernatural monstrousness makes Beowulf’s conquest of him all the more impressive. Many readers believe that each of the three monsters in the book has a symbolic or allegorical significance.
The narrator seems to present Grendel as a representation of evil in the abstract. He can also, however, be interpreted as an evil force lurking within the Danish society itself. The theological implications of his descent from Cain support such an interpretation. The Old Testament relates how God punished Cain for his murder of his brother Abel by cursing him to wander. Grendel, too, is cursed and wanders, “haunting the marches, marauding round the heath / and the desolate fens” (103–104). The “marches” are the borders, and in Old English Grendel is called a “mearc-stapa,” or border-stepper (103).
The poet’s culture finds the borders of society threatening, and Grendel is presented as an outsider who has penetrated the boundaries. Since Hrothgar, like Grendel, established himself by conquering his neighbors, some critics see the marauding Grendel as the embodiment of the society’s own sin come back to haunt it. The nature of his abode—a swampy, dark, womblike landscape—supports this interpretation. He seems to be an incarnation of evil created by the human conscience. Furthermore, it is important to note that Grendel and Beowulf forego weapons to engage in ferocious hand-to-hand combat.
This clash is not a mere battle in a culture dominated by warfare but rather a more personal, primal conflict between equal, opposite forces. The Beowulf poet’s description of the scop, or bard, who sings Beowulf’s praises after the defeat of Grendel shows that he clearly values good workmanship, both in objects and in poetry. The narrator emphasizes the craftsmanship of the bard’s “well-fashioned lines,” just as he tends to dwell on the skill with which weapons and armor are forged. The bard’s stories of Sigemund and Heremod reflect on the greatness of Beowulf by comparison and contrast, respectively.
The Sigemund episode relates a familiar story from Norse mythology, which foreshadows Beowulf’s fight with the dragon in the third part of the epic. The evil king Heremod, who fails to fulfill the responsibilities of a lord to his people, represents Beowulf’s opposite. By comparing Beowulf to a king, the scop anticipates Beowulf’s destiny for the throne in Geatland. Heremod also serves as a foil for Hrothgar. Hrothgar’s speech on the morning after the combat attributes Beowulf’s victory to God without detracting from Beowulf’s personal glory.
He feels himself to be bound in a “new connection” with Beowulf by this great act of service. His appreciation and dedication to Beowulf are manifest in his promises that Beowulf will have the honors and rewards that are the appropriate recompenses for faithful service to a powerful lord. Unlike Heremod, Hrothgar represents the dutiful ruler in every way. Consequently, the Danes’ loyalty to Hrothgar doesn’t abate even when they are celebrating and revering Beowulf: “there was no laying of blame on their lord, / the noble Hrothgar; he was a good king” (861–862).
Lines 1008-1250 Summary Hrothgar hosts a great banquet in honor of Beowulf. He bestows upon him weapons, armor, treasure, and eight of his finest horses. He then presents Beowulf’s men with rewards and compensates the Geats with gold for the Geatish warrior that Grendel killed. After the gifts have been distributed, the king’s scop comes forward to sing the saga of Finn, which begins with the Danes losing a bloody battle to Finn, the king of the Frisians, a neighbor tribe to the Danes. The Danish leader, Hnaef, is killed in the combat. Recognizing their defeat, the Danes trike a truce with the Frisians and agree to live with them separately but under common rule and equal treatment. Hildeburh, a Danish princess who is married to Finn, is doubly grieved by the outcome of the battle: she orders that the corpses of her brother, the Danish leader Hnaef, and her son, a Frisian warrior, be burned on the same bier. The Danes, homesick and bitter, pass a long winter with the Frisians. When spring comes, they rise against their enemies. Finn is then defeated and slain, and his widow, Hildeburh, is returned to Denmark.
When the scop finishes recounting the saga, Wealhtheow enters, wearing a gold crown, and praises her children, Hrethric and Hrothmund. She says that when Hrothgar dies, she is certain that the children will be treated well by their older cousin, Hrothulf, until they come of age. She expresses her hope that Beowulf too will act as a friend to them and offer them protection and guidance. She presents Beowulf with a torque (a collar or necklace) of gold and a suit of mail armor, asking again that he guide her sons and treat them kindly.
That night, the warriors sleep in Heorot, unaware that a new danger lurks in the darkness outside the hall. Analysis The bard’s tale of the conflict between the Danes and the Frisians—the Finnsburg episode, as this poem-within-a-poem is commonly called—contains some of the most beautiful and resonant language in Beowulf, utilizing many devices characteristic of Anglo-Saxon poetry. One such device is deliberate, emphatic understatement, as in the lines, “Hildeburh had little cause / to credit the Jutes” (1070–1071), where the point is that, in fact, she has enormous cause to discredit them.
Also prominent is the use of kennings—compound words that evoke, poetically and often metaphorically, specific ideas, such as such as “ring-giver” (1101) for king (a king being one who rewards his warriors with rings) and “sea-lanes” (1156) for ocean. The Finnsburg episode relates loosely to Beowulf’s central narrative. Although it isn’t relevant to the main plot, it invokes the idea of vengeance as a component of honor. The story also highlights a tension in the heroic code by presenting the point of view of the Danish princess Hildeburh.
Married to the Frisian king but herself a daughter of the Danes, Hildeburh experiences a divided loyalty. She has a son fighting on one side and a brother on the other. Like many other women in the Germanic warrior culture depicted in Beowulf, Hildeburh functions as a “peace-pledge between nations”—an epithet that the poet later applies to Wealhtheow (2017). Through marriage, Hildeburh helps to forge a connection between tribes. Of course, the practice of using women as peace tools is problematic for the men too.
Here an uncle and a nephew are on opposing sides, even though their Germanic culture prizes a particularly strong bond between a man and his sister’s son. In the Finnsburg episode peace proves untenable. Hildeburh must be taken back to Denmark—the ties between the two groups must be severed—before the conflict can rest. The story also gives the reader a sense of the Anglo-Saxon idea of wyrd, or fate, in which individuals conceive of themselves as directed by necessity and a heroic code that compels them to act in certain fixed ways.
The strong discussion of fate in this section is ominous, and the reader quickly gets the sense that the Danes and Geats are a little too exuberant in their rejoicing over the defeat of Grendel. The narrator compounds this troubling feeling by informing us that a reversal of fortune is coming: “how could they know fate, / the grim shape of things to come” (1233–1234). Beowulf’s plot often anticipates itself in this manner. It may even seem to us as though the narrator is giving away the plot and destroying the suspense.
For the Beowulf poet, however, the pull of fate is so strong that an event that is fated to happen in the future already has a strong presence. Fate walks among these characters whether they know it or not. The narrator’s tendency to project forward to future events manifests itself as well in his hints that Hrothulf, Hrothgar’s nephew, will usurp the throne from Hrothgar’s sons. Wealhtheow’s statement that she is certain of Hrothulf’s goodness creates a moment of dramatic irony, as the poet is well aware that Hrothulf has evil in mind.
The treachery related in the Finnsburg episode casts a similarly ominous pall over Wealhtheow’s speech and suggests that treachery will mark the future just as it has the past. Such continuity is symbolized in the golden torque that Wealhtheow presents to Beowulf. The poet’s glance forward to Hygelac’s death while wearing the torque (which Beowulf will have given him) reinforces how symbols link the past, present, and future in this culture. Lines 1251–1491 Summary Wise sir, do not grieve. It is always better to avenge dear ones than to indulge in mourning. (See Important Quotations Explained)
As the warriors sleep in the mead-hall, Grendel’s mother, a horrible monster in her own right, descends on Heorot in a frenzy of grief and rage, seeking vengeance for her son’s death. When she falls upon and seizes a sleeping man, the noise wakes the others. The warriors seize their swords and rush toward her. The monster panics and flees, still carrying her victim, Hrothgar’s trusted adviser, Aeschere, in her grasp. Beowulf, having been given other sleeping quarters, is away from Heorot when Grendel’s mother makes her raid. By the time he arrives at the hall, she is gone.
The warriors discover that she has stolen Grendel’s arm as well. Devastated with grief over the loss of his friend and counselor, Hrothgar summons Beowulf and explains what has occurred. He entreats Beowulf to seek out and kill Grendel’s mother, describing the horrible, swampy wood where she keeps her lair. The place has a magical quality. The water burns and the bottom of the mere, or lake, has never been reached. Even the animals seem to be afraid of the water there. Hrothgar tells Beowulf that he must depend on him a second time to rid Heorot of a demon. He says that he will give him chests of gold if he rises to the challenge.
Beowulf agrees to the fight, reassuring Hrothgar that Grendel’s mother won’t get away. The warriors mount up and ride into the fens, following the tracks of their enemy. When they reach a cliff’s edge, they discover Aeschere’s head lying on the ground. The scene below is horrifying: in the murky water, serpents and sea-dragons writhe and roil. Beowulf slays one beast with an arrow. Beowulf, “indifferent to death,” prepares himself for combat by donning his armor and girding himself with weapons (1442). Unferth loans him the great and seasoned sword Hrunting, which has never failed in any battle.
Beowulf speaks, asking Hrothgar to take care of the Geats and return his property to Hygelac if he, Beowulf, should be killed. He also bequeaths his own sword to Unferth. [His helmet] was of beaten gold, princely headgear hooped and hasped by a weapon-smith who had worked wonders (See Important Quotations Explained) Analysis The intensity of the epic increases in these lines, as its second part begins with the arrival of Grendel’s mother at the hall. The idea of the blood feud, which has been brought up earlier in the scop’s stories and in Hrothgar’s memory of the Wulfings’ grudge against Ecgtheow, now enters the main plot.
Just as Grendel’s slaughter of Hrothgar’s men requires avenging, so does Beowulf’s slaying of Grendel. As Beowulf tells Hrothgar, in a speech with central importance to his conception of the heroic code of honor, “It is always better / to avenge dear ones than to indulge in mourning / . . . / When a warrior is gone, [glory] will be his best and only bulwark” (1384–1389). In this speech, Beowulf explicitly characterizes revenge as a means to fame and glory, which make reputations immortal. As this speech demonstrates, an awareness of death pervades Beowulf.
That some aspect or memory of a person remains is therefore of great importance to the warriors. The world of the poem is harsh, dangerous, and unforgiving, and innumerable threats—foreign enemies, monsters, and natural perils—loom over every life. One of the most interesting aspects of Grendel’s mother’s adherence to the same vengeance-demanding code as the warriors is that she is depicted as not wholly alien. Her behavior is not only comprehensible but also justified. In other ways, however, Grendel and his mother are indeed portrayed as creatures from another world.
One aspect of their difference from the humans portrayed in the poem is that Grendel’s strong parent figure is his mother rather than his father—his family structure that is out of keeping with the vigorously patriarchal society of the Danes and the Geats. As Hrothgar explains it, “They are fatherless creatures, / and their whole ancestry is hidden” (1355–1356). The idea of a hidden ancestry is obviously suspect and sinister in this society that places