Human idealism has been the spawn of hundreds of mythical creature’s, crafting representations and symbolism with each new beast. Creature’s became the living embodiment of values that were held highly, often falling into folklore that involved human interests. One of the most globally used, and recognized creatures’s in our history is the dragon. A creature that not only appears in a variety of cultures, but has individual symbolism and traits attuned with each. Even today the idea of what is a dragon can differ from each individual. While most people in the modern day believe that all dragons are fire breathing terrors, it is a misconception of the idealism behind dragons. Dragons have taken many forms from fire-breathing monsters, to the divine spiritual bringer of wisdom and rain.
While dragons are cemented into today’s pop culture, where did the idea of dragons actually originate? While the English name of dragons originated from the Latin word dracon, which stood for serpent (All About Creation 2). General appearances for dragons usually consisted of metal tough scales, razor sharp talons, and the ability to fly (Spring Skylar). While the true origin of dragon’s and their naming, what is different about dragons is how each culture took the beasts to be their own.
In our society, the idea of the evil fire breathing dragon is the dominant trait attached to dragons. Western civilizations often took dragons as embodiments of the evil in human qualities (Cite C). Dragons possibly gained this trait of villainous motives from the living style of snakes, creatures which often were used to symbolize the Devil (Cite). Often appearing as antagonists against hero’s; they were the difficult goal one had to overcome to achieve a ...
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...ds, but in the palaces and homes of humans. While western dragons presented the evil of the world, and the trials needed to overcome them with strength; and eastern dragons were the protectors of the Chinese people (Layton Robin). They fell into the realms of mythology like many other creatures, all crafted to symbolize something of significance in human thinking. Unlike the rest, they crafted an identity alongside humans, one of their very own that was unique to them alone.
Works Cited
http://www.woodlands-junior.kent.sch.uk/customs/stgeorge2.html
http://www.draconika.com/history.php
http://pictures.linkmesh.com/dragons/celestial_chinese_dragons.php
http://hassam.hubpages.com/hub/Chinese_Dragons
http://pictures.linkmesh.com/dragons/dragon_history.php
http://www.allaboutcreation.org/dragon-history-5.htm
http://hassam.hubpages.com/hub/Western-Dragon-Mythology
Across different works like Virgil’s Aeneid and Aeschylus’ Eumenides, In these representations of monsters, the initial relationship between gods and monsters is simple: all monsters derived from the gods. However, as soon as distinguishing features set the monsters apart, they prove Clay’s point that monsters are seen as threats who need to be contained and whose powers need to be exploited by the gods. The close reading of both texts reveal the relationship between gods and monsters along with the power structures between
The dragon is portrayed as the undefeatable evil. He is nearly invincible, breathes fire, and manages to fatally wound the ultimate hero of the poem. This makes him the ultimate evil Although Beowulf does defeat the dragon, the battle ends in a tie, since both sides perish, which shows the never ending balance between the two extremes: good and evil. The theme of loyalty is also explored here. When the battle between Beowulf and the dragon first begins, “[his] hand-picked troop/ broke ranks and ran for their lives” (1129). This is a common archetype that allows the hero to face the antagonist alone, all while having assistance during the journey leading up to the final battle. The author used this to emphasize the Anglo-Saxon belief of fate. Beowulf was supposed to face the dragon alone, thus his comrades had to disappear. The two ways to do this would have been to have Beowulf go alone, which would conflict with the belief of Warrior Culture, or portray his allies as cowards which would also help reinforce the Anglo Saxon values regarding courage. Thus by adding in the archetype of the cowardly allies, the author creates an emphasis on the important parts of Anglo-Saxon culture without relying on
Dragons lie in the realm of fantasy; legendary creatures who are deeply rooted in magic and have captivated audiences for centuries. The depiction
In contrast, Beowulf is seen as a hero, even when exemplifying the violent and dangerous qualities the dragon is feared for. Anglo-Saxon society prized loyalty, personal valor, and fame. In order to be a hero, one must recognize the need to act, and not shy away from it. The dragon, based on that definition, embodies the Anglo-Saxon idea of a hero: it is loyal to its cause, it is a good warrior, and it recognizes the need to act. It even has a sense of justice and a sense of wrong, shown by the way it reacted to the theft of the chalice. The dragon becomes vengeful and defensive, using cruelty as a means to correct the wrong. Described as “the guardian of the mound” (2302), the dragon’s intent is identical to Beowulf’s. Beowulf is seen as a hero not only because of his actions, but because he is human. The only thing that makes the dragon different is its inhuman qualities, and therefore it is a monster, a “ground-burner” (2713). Heroism in Anglo-Saxon society is a concept embodied by warriors and guardians, who would vie to be the most well-known. Heroism, to the Anglo-Saxons, is an excuse to use cruelty as a way to further one’s fame. It is a social crutch of sorts, leaned on for the vain chance to be immortal. When Beowulf agrees to fight the dragon, it is to have a heroic death, so he may be remembered. In the battle, just as with Grendel and Grendel’s mother,
From before the dawn of civilization as we know it, humanity has formed myths and legends to explain the natural world around them. Whether it is of Zeus and Hera or Izanami-no-Mikoto and Izanagi-no-mikoto, every civilization and culture upon this world has its own mythos. However, the age of myth is waning as it is overshadowed in this modern era by fundamental religion and empirical science. The word myth has come to connote blatant falsehood; however, it was not always so. Our myths have reflected both the society and values of the culture they are from. We have also reflected our inner psyche, conscious and unconscious, unto the fabric of our myths. This reflection allows us to understand ourselves and other cultures better. Throughout the eons of humanity’s existence, the myths explain natural phenomena and the cultural legends of the epic hero have reflected the foundations and the inner turmoil of the human psyche.
Dragons are very popular mythical beings because they are capable of flying, swimming, and walking on land. This makes a Dragons attack much easier because he can exploit the weaknesses of his victims by using earth’s natural elements earth, air, fire, and water. Dragons have sharp teeth and a tongue shaped like an arrow. These creatures can breathe fire, but some cultures believed they spit ice or another venomous substance. All a dragons power is in its long, scaly tail.
Thury, Eva and Margaret K. Devinney. “Theory: Man and His Symbols.” Introduction to Mythology: Contemporary Approaches to Classical and World Myths. New York: Oxford University Press, 2013. 519-537. Print.
Villains in classical epics often serve the purpose to enhance the hero’s reputation and add to their grandeur. In Beowulf, Beowulf faces two villains as a young warrior: Grendel and his mother, who are both descendants of cain and outcasts of God. Fifty years later, as a king he goes on to face his final villain, the dragon. In a fairly matched battle, Beowulf manages to slay the dragon but also gets killed in the process. The dragon is characterized as greedy, impulsive and wrathful. He enhances the novel by developing themes of mortality, pride, and loyalty.
Monsters are towering, fierce beings best known for causing nightmares and battling heroes. Tales are told of their devastating power, but also of their agonizing defeats. Monsters are symbols of the inherent evil of human nature and of the dark truths of the natural world. Monsters are also challenges, tasks a hero must complete. Sometimes monsters are the ultimate measure of a hero’s worth, other times just another step in a hero’s journey. In the book Bulfinch’s Mythology, Thomas Bulfinch writes that “Monsters, in the language of mythology, were beings of unnatural proportions or parts, usually regarded with terror, as possessing immense strength and ferocity, which they employed for the injury and annoyance of men.” Although independent of what they represent, Monsters come in numerous builds and multiple figures, like humans.
The dragon is one of the four divine beasts from Japanese mythology (the other three being the kirin, phoenix, and turtle). It is frequently the emblem of heroes and emperors.
Gilmore, David D. "Why Study Monsters?" Gilmore, David D. Monsters: Evil Beings, Mythical Beasts, and All Manner of Imaginary Terrors. Philadelphia: University of Pennsylvania Press, 2003. 210.
Narrative element: The director chose to represent the villain as a lizard because lizards usually symbolize a person with dreams, goals, desires and vision. This “symbolism” reflects on his personality and it shows dramatic change that occurred in his character and the director wanted to teach the audience that having the desire to achieve your goals is pleasant but it is important to stay within limits because eventually it can lead to downfall.
Wicked, dishonorable, corrupt, villainous, malicious, and vicious all have one thing in common: they define evil. A person or a group of people that display these qualities are often to be defined as evil beings or creatures. Two people that have many of these characteristics developed within them are Iago from Shakespeare’s Othello and Lucifer from the Bible. Both Iago and Lucifer are developed with many “evil” qualities woven intricately into their character development. The representation of each “evil” characteristic gives them something they have in common allowing the description and portrayal of both Iago and Lucifer in literature show the audience they share common “evil” characteristics and that they lead to chaos and downfall.
The monsters of Beowulf live within us. Grendel, his beastly mother, and the hoarding dragon have frightened each and every human from the Stone Age to the era of the internet. All of our technology and globalization cannot banish them. Audiences worldwide are both repulsed and attracted to tales of their evil. They are Anglo-Saxon manifestations of primal human fears, those of the marauding predator. But the genius of Beowulf is that the monsters represent more than archetypical spooks and scares; they are foils to the civilized human being.
Throughout the old world, people had feared creatures with the body of a large lizard, snake-like eyes, large wings, and that can emit fire from their mouth. They was thought to be the embodiment of evil, greed, lust, violence, and the dark side of humanity. These mythical creatures are called dragons, but the dragon have a different reputation in the Eastern world. In China it was highly respected in the kingdom, a fairly common motif in eastern art for its heavenly related background.