The cover of the November, 1975 comic book "Beowulf: Dragon Slayer" features a red-haired, horn-helmeted Beowulf swinging a large broadsword at a purple-caped villain also bearing two razor-sharp swords. As Beowulf rears up on his steed, a bikini clad woman, cloth slightly aside to reveal the shadow of a buttock is drawn falling, face filled with terror. In the background, a rising full moon and silhouetted gothic castle keenly set an atmosphere of dread and foreboding. Above the emboldened title of the comic book reads in smaller letters, "Beowulf: First and Greatest Hero of Them All!" Text in the bottom-left corner gives the juicy hook for this edition: "Beowulf Meets Dracula." Despite over eight hundred years of literary separation, English literature's earliest known epic hero gallantly faces off against its biggest villain.1
While the idea of Beowulf and Dracula facing off mano-a-mano is hardly surprising to today's postmodern readers, the combination of the disparate elements on the comic represents something larger than the story arc itself: the canonization of Anglo-Saxon literature into modern popular culture. Through the use of Beowulf as a bridge between the educational and the pleasurable, the comic's creators were able to overcome social anxieties which faced medieval English literature. Dracula had long before been a staple of popular culture, from movies portrayals an erotically charged gentleman to a cartoon caricature hawking sugar cereal. Meanwhile, for years Beowulf and the Geats had been trapped in that least cool place of literature: academia.
Writer Michael Uslan anticipates this problem in "Beowulf: An Epic Comes Home," an epilogue to the first issue of "Beowulf: Dragon Slayer:"BEO...
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...nto popular culture. Meanwhile, the contemporary anxieties over violence and homosocial relationships in comic books necessitated changes from similar aspects in comitatus order to reach the mainstream. Uslan and Villamonte balance out the popular and the academic with respect to Anglo-Saxon culture by stretching the Beowulf poem to fit a multi-faceted mainstream audience. Old English words are kept because of their educational value, which lends acceptance to the more violent scenes portrayed in the comic. Meanwhile, the gory monsters and celebrated "REAL LIVE action and adventure" make the learning of the same words less distasteful to adolescent readers. In short, Uslan and Villamonte bring their interpretation of Beowulf into the popular sphere through working at comforting social anxieties over the entertainment value and safety of Anglo-Saxon literature.
Clark, Gorge. “The Hero and the Theme.” In A Beowulf Handbook, edited by Robert Bjork and John D. Niles. Lincoln, Nebraska: Uiversity of Nebraska Press, 1997.
In Tolkien’s lecture, “Beowulf: The monsters and the Critics,” he argues that Beowulf has been over analyzed for its historical content, and it is not being studied as a piece of art as it should be. He discusses what he perceives the poet of Beowulf intended to do, and why he wrote the poem the way he did. Tolkien’s main proposition, “it was plainly only in the consideration of Beowulf as a poem, with an inherent poetic significance, that any view or conviction can be reached or steadily held” (Tolkien). He evaluates why the author centers the monsters throughout the entire poem, why the poem has a non-harmonic structure, why and how the author fusses together Christianity and Paganism, and how the author uses time to make his fictional poem seem real. He also discusses the overall theme of Beowulf and other assumptions of the text. To support his viewpoints, Tolkien uses quotations and examples from the poem, quotations from other critics, and compares Beowulf to other works of art. Tolkien discusses several statements in interpreting Beowulf as a poem.
Clark, Gorge. “The Hero and the Theme.” In A Beowulf Handbook, edited by Robert Bjork and John D. Niles. Lincoln, Nebraska: Uiversity of Nebraska Press, 1997.
Despite numerous cultural and technological advancements, life in modern America continues to bear resemblance to the Anglo-Saxon world. Although it may take time and some loss of pride to admit it, since characteristics of human nature have stayed the same, from work place to personal relationships, the similarities between the two worlds are uncanny.
In today’s society, most of our life can be defined by what is occurring in the media. What trends we are following, what we find entertaining, and even the values that we hold close to our heart. As you examine the movie, Beowulf and Grendel (Gunnarsson, 2005), and compare it to the original work that it is modelled after, Beowulf (Heaney, 2000), you can see that there is a significant difference in the cultural values of the time period that Beowulf and Grendel was written compared to Beowulf. There is a multitude of differences in the values people hold close to their heart in our world today compared to Beowulf. With Beowulf representing the Anglo-Saxon time period and Beowulf and Grendel representing the early 2000s era, the differences
Beowulf was written between the 8th century and 10th century in England, however it is set approximately during the 6th century in Scandinavia (“Beowulf”, Gale). As a result of its origins, Beowulf’s pagan mentions are often shrouded by Christian substitutes; yet Beowulf’s pagan ideals are still transferred into the title character’s persona. The protagonist, Beowulf, is an obvious beacon of honour and his boasts of heroism aid his symbolic isolation from his other human counterparts. Unferth, for example, who is first mentioned around line 500 challenges the validity of Beowulf’s boasts; consequentially resulting in Beowulf bragging about his accomplishments further and then compare them to Unferth’s own infamous past (“Beowulf”, Norton). Beowulf’s response gives the reader cause to resent Unferth and again separate Beowulf from the ordinary men of Heorot. Ironically, Unferth’s position on Beowulf changes as he offers his own sword to Beowulf supporting his solo attack on Grendel’s mother (“Beowulf” 1455-1472). This change shows contrast between the characters since Unferth will not risk probable death to protect his fellow people, while the macho Beowulf storms into danger, seeking honour and fame. Fifty years later Beowulf evolves ...
The clear definition of a hero is often open to interpretation and has never been clearly defined. In the translation of the epic poem Beowulf by Seamus Heaney, it is often debated whether the main character Beowulf is actually a hero or not. Beowulf displays hero-like characteristics through his bravery, loyalty, brute strength, confidence and protective nature. He is a crystal clear example of an Anglo-Saxon hero in his time period. In the present day he should be considered a hero as well. He displays heroism through his fights with Grendel, Grendel’s mother and the dragon while managing to protect his people and eventually sacrifice himself.
Beowulf 's courage originates from his certainty that he can overcome creatures utilizing distinctive techniques. Hailey W. Odessa states Goodness, unwaveringness, civility, equity, and courage all portrays the attributes a perfect saint would have. At that point she says in the lyric Beowulf, there is one character that conveys all and a greater amount of these expressed attributes, and that character is without a doubt the hero known as Beowulf. We as a whole need to comprehend life is an exceptional voyage. Beowulf 's life changed when he got more seasoned. The main question is the thing that makes somebody a saint? Components of being a legend are appeared all through Anglo-Saxon fundamental qualities. A standout amongst the most prestigious
There are three prominent monsters in the Beowulf text, Grendel, his mother, and the dragon. While the dragon proves to be the most fatale of foes for Beowulf, Grendel and his mother do not simply pose physical threats to the Germanic society; their roles in Beowulf are manifold. They challenge the perceptions of heroism, a sense of unrivalled perfection and superiority. Moreover, they allow the reader to reconsider the gender constructs upheld within the text; one cannot help but feel that the threat that these monsters present is directed towards the prevalent flaws in Beowulf’s world. Moreover, what makes these monsters is not their physical appearance; it is what they embody. Both Grendel and his mother have humanlike qualities yet their monstrous appearance arises from what their features and mannerisms represent. The challenge they pose to societal paradigms makes them far more terrifying to our heroes than any scaled flesh or clawing hand. These monsters provide the ‘most authoritative general criticism […] of the structure and conduct of the poem’. Their presence provides contrast and criticism of the brave society (Heaney 103).
Abrams, M.H., ed. Beowulf: The Norton Anthology of English Literature. New York: W.W. Norton & Company, Inc., 2001.
One of the first literary work studied by our class was “Beowulf,” the longest and greatest surviving Anglo-Saxon poem. The poem is packed full of Christian and Pagan elements that are constantly fighting for the dominant position. In order to understand these thematic elements portrayed throughout “Beowulf,” we must first discover
In history, evil men have reigned supreme across many cultures. Some people say that being evil is inherent in every human. If this is true, then writing may be the ultimate way of releasing hatred of the world without hurting anyone. In Beowulf, all of society's evil men can be personified within the demons of Cain. The main demon presented in Beowulf is Grendel. Grendel personifies the exact opposite of what the Anglo-Saxons held dear. Beowulf, the story's hero, is the embodiment of what every Anglo-Saxon strove to become in their lifetime. Grendel is constantly angry, afraid and unsure of himself; while Beowulf is fearless and loyal to his king.
Anglo Saxon’s history is well known for their loyalty, courage and bravery. Beowulf our protagonist is symbolized as a hero, who represents the Anglo Saxons at the time. Beowulf earns his fame and respect through battling creatures nobody else would want to face. These creatures symbolize the evil that lurks beyond the dark. Beowulf’s intense battle with these creatures’ symbolizes the epic battle of good versus evil. In the end good triumphs over evil but one cannot avoid death. Beowulf’s death can be symbolized as the death of the Anglo Saxons. Beowulf’s battle through the poem reflects the kind of culture that the Anglo Saxons had. The youth of a warrior to his maturity then the last fight which results in death. Beowulf wanted to be remembered and be told in stories that are passed on from generation to generation after his death. These story tellers relate to the Anglo Saxons time when they told stories about their great heroes.
Beowulf. Trans. E. T. Donaldson, 1966. The Norton Anthology of English Literature. Ed. M.H. Abrams. 6th ed. Vol. 1. New York: Norton, 1993. 2768.
Beowulf is the single greatest story of Old English literature and one of the greatest epics of all time. Ironically, no one can lay claim to being the author of this amazing example of literature. The creator of this poem was said to be alive around 600 A.D. and the story was, since then, been passed down orally from generation to generation. When the first English monks heard the story, they took it upon themselves to write it down and add a bit of their own thoughts. Thus, a great epic and the beginning to English literature was born.