The Conflicts in Beowulf
Brian Wilkie and James Hurt in Literature of the Western World discuss what is perhaps the overriding or central conflict in the poem Beowulf, namely the struggle between good and evil, and how the monsters are representative of the evil side:
Ker was answered in 1936 by the critic and novelist J.R.R. Tolkien, author of Lord of the Rings, who argued that “the monsters are not an inexplicable blunder of taste; they are essential, fundamentally allied to the underlying ideas of the poem, which give it its lofty tone and high seriousness.” For Tolkien, the monsters were symbolic of eternal forces of evil while remaining real monsters (1273).
The numerous conflicts within Beowulf are both external and internal. Conflict is how one describes the relationship between the protagonist and antagonist in a literary work (Abrams 225). There is also another type of conflict which Clark describes below and which takes place within the mind and soul of a given character.
George Clark in “The Hero and the Theme” make reference to an interior conflict within the Beowulf hero himself, and how the hero appears to lose this conflict:
Although a strong critical movement followed Klaeber in taking Beowulf as a Christian hero or even Christ figure, the most numerous and influential body of postwar critics, including Margaret Goldsmith (1960, 1962, 1970), read the poem as faulting the hero for moral filures according to one or another Christian standard of judgment (see also Bolton 1978). The poem became a neo-Aritotelian tragedy in which the hero’s flaw could be identified as a sin, greed, or pride (279).
H. L. Rogers in “Beowulf’s Three Great Fights” expresses his opinion as a literary critic regard...
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...is B. Gummere. http://wiretap.area.com/ftp.items/Library/Classic/beowulf.txt
George Clark in “The Hero and the Theme” In A Beowulf Handbook, edited by Robert Bjork and John D. Niles. Lincoln, Nebraska: Uiversity of Nebraska Press, 1997.
Clover, Carol F. “The Unferth Episode.” In The Beowulf Reader, edited by Peter S. Baker. New York: Garland Publishing, 2000.
Ogilvy, J.D.A. and Donald C. Baker. “Beowulf’s Heroic Death.” In Readings on Beowulf, edited by Stephen P. Thompson. San Diego: Greenhaven Press,1998.
Clark, George. Beowulf. Boston: Twayne Publishers, 1990.
Rogers, H. L. “Beowulf’s Three Great Fights.” In An Anthology of Beowulf Criticism, edited by Lewis E. Nicholson. Notre Dame, IN: University of Notre Dame Press, 1963.
Wilkie, Brian and James Hurt, editors. “Beowulf.” In Literature of the Western World. New York: Macmillan Publishing Co., 1984.
Chadwick, H. Munro. “The Heroic Age.” In An Anthology of Beowulf Criticism, edited by Lewis E. Nicholson. Notre Dame, IN: University of Notre Dame Press, 1963.
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.
I think one thing that Vonnegut is trying to show us is that man too easily accepts things as valid without questioning. Refering to this, Newt, another character, says, "No wonder kids grow up crazy. A cat's cradle is nothing but a bunch of X's between somebody's hands, and little kids look and look and look at all those X's…No damn cat, and no damn cradle" (114).
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.
Cat's Cradle is, "Vonnegut's most highly praised novel. Filled with humor and unforgettable characters, this apocalyptic story tells of Earth's ultimate end, and presents a vision of the future that is both darkly fantastic and funny, as Vonnegut weaves a satirical commentary on modern man and his madness" (Barnes and Noble n.pag). In Cat's Cradle, Kurt Vonnegut uses satire as a vehicle for threatened self-destruction when he designs the government of San Lorenzo. In addition, the Bokonists practice of Boko-maru, and if the world is going to end in total self destruction and ruin, then people will die, no matter how good people are and what religion people believe.
Damrosch, David, and David L. Pike. “Beowulf.” The Longman Anthology of World Literature, Compact Edition. New York: Pearson, Longman, 2008. 929-970. Print.
Crossley-Holland, Kevin, trans. Beowulf The Fight at Finnsburh, edited by Heather O’Donoghue. New York: Oxford University Press, 1999.
Vonnegut's writing style throughout the novel is very flip, light, and sarcastic. The narrator's observations and the events occurring during the novel reflect a dark view of humanity which can only be mocked by humor. At the beginning of the novel the narrator is researching for a book he is writing. The book was to be about the day the atomic bomb was dropped on Hiroshima and the lives of the people who created the bomb. The narrator travels through the plot of the story, with characters flying in and out, in almost a daze. He is involved in events which are helplessly beyond his control, but which are inevitably leading to a destination at the end.
The brawl experienced by the epics central character Beowulf test his ethics his aptitude to prevail over sinister forces. All the way through its authoritative use of metaphors and illustration, Beowulf sketches a transparent difference between good and evil. Moreover good always prevails over evil. The ...
Tolkien, J.R.R.. “Beowulf: The Monsters and the Critics.” In Beowulf – Modern Critical Interpretations, edited by Harold Bloom. New York: Chelsea House Publishers, 1987.
“Beowulf.” Elements of Literature 6th Edition Ed. Kylene Beers, et al. Austin, Tx: Holt, 2009. 23-49. Print.
This Bokonism is basically telling the religious believer that everything that they read or hear is a lie, and that they need to think for themselves. I think one of the greatest parts that shows black humor is on page 77, where Bokonon (like Adam) arrives on land, completely naked, and has a revelation. "A fish pitched up By the angry sea, I gasped on land, And I became me."
Beowulf. Holt elements of literature. Ed G Kylene Beers and Lee Odeel. 6th ed. Austin: Holt, Rinehart, and Winston, 2008. 21-48. Print.
Traditional music and dance in Ireland have strongly survived throughout the years. Music in Ireland today has not strayed too far from that of the mid twentieth century’s music. Think back to the St. Patrick’s Day parade. Even though the year is 2014, men are wearing kilts playing old-style Irish instruments to the songs of the Irish as they are led by the young women wearing brightly colored costumes and dancing the Irish step dance. One can hear the rich sounds of the bagpipe, the beating of the drums and the sharp, up beating sounds of the fiddle as they parade past. Add something!
Bette Howland also examines the similarities present between Washington Square and The Portrait of a Lady, The Wings of the Dove, and The Golden Bowl. In the four novels, Henry James uses his favorite configuration of a triangle.