Beowulf Journal 6

Throughout the epic poem Beowulf, the poem “The Seafarer,” and the poem “The Wanderer,” motifs that encompass Anglo-Saxon elements and values can be found. While each piece of literature has varying themes, they each portray some of the same messages. In the three poems, motifs that refer to glory found through exile or received by fate are found; in addition, each poem contains elegiac elements.

Exile is a motif present in Beowulf, “The Seafarer,” and “The Wanderer.” However, unlike the Seafarer and the Wanderer, Beowulf did not spend excessive amounts of time in exile. But Beowulf would exile himself when he went into battle, for he believed that by facing fiends alone, he would reach the ultimate level of glory. For example, when Beowulf first met with Hrothgar, Beowulf told him, “My hands alone shall fight for me, struggle for life against the monster” (Raffel 25). Beowulf’s wish to fight alone, exiling himself from comrades and even sufficient weapons, shows that Beowulf believes that by exiling himself into war, his victories in battle will be all the more victorious. Further, when Beowulf faced Grendel’s mother, “He leaped into the lake, would not wait for anyone’s answer” (Raffel 36). The fact that Beowulf jumped straight into combat with Grendel’s mother, not even waiting for an army of backup or any support, further shows that Beowulf prefers to exile himself while in battle. Beowulf’s search for ultimate glory through exile in battle is similar to the Seafarer’s self-exile in search of heavenly treasures. Throughout “The Seafarer,” readers can see the Seafarer’s disdain for those who lived on land, as the Seafarer called land-dwellers those “in ignorant ease” (Raffel 87). Therefore, the Seafarer believed that the knowledge that can be found while in exile has the power to bring people out of ignorance. Further, the Seafarer said, “death can only bring you earthly praise…life eternally blessed in the hosts of Heavens” (Rafflel 89). The line shows that the Seafarer believes that any person who basks in earthly joys will only find earthly praises; however, the Seafarer believes that a person who exiles himself and saves up heavenly rewards will be eternally blessed. The Wanderer’s exile was also self-inflicted. The Wanderer was described to be “sailing endlessly, aimlessly, in exile” (Raffel 104). The line suggests to readers that the Wanderer, in his exile, is searching for something that cannot be found on land. The previous thought is confirmed when the Wanderer states his beloved friends and lord were “long since dead” (Raffel 104), and he was “hoping to find a place, a people, a lord to replace [his] lost ones” (Raffel 104 – 105). The statement shows that the Wanderer feels he has lost everything that he previously valued, and he now believes that by exiling himself to a hard life at sea, he may rediscover some of his lost life. Therefore, the exiles of Beowulf, the Seafarer, and the Wanderer are motifs, and further, the exile of each man was self-inflicted with the sole intent of searching for something that could not be found in their typical, everyday life.

Another motif seen in each poem is fate. In Beowulf, Beowulf refers to fate when he speaks of battles he previously fought in and battles he is going to engage in. After meeting with Hrothgar and revealing his intent to destroy Grendel, Beowulf stated “fate will unwind as it must” (Raffel 25). The statement shows Beowulf’s belief that despite the amount of strength he or Grendel possessed, in the end, fate would determine who would win the battle. In addition, when Beowulf was boasting of a previously won battle to Unferth, Beowulf said, “fate let me find [the creature’s] heart with my sword, hack myself free” (Raffel 28). The boast further shows Beowulf’s belief that fate is what allowed him to win previous battles, and that he believed that it would be fate that would allow him to win his battle with Grendel. Like in Beowulf, in “The Seafarer,” the Seafarer holds deep faith in fate. The Seafarer stated, “No man has ever faced the dawn certain which of Fate’s three threats would fall: illness, or age, or an enemy’s sword” (Raffel 89). The statement shows that the Seafarer believes that despite a person’s lifestyle or accomplishments, in the end, no person would escape fate’s plans. Further, the Seafarer stated, “fate is stronger and God mightier than any man’s mind” (Raffel 91). The line shows that while the Seafarer believes that God is mightier than any human, he also believes that fate is the strongest force and is even stronger than God. References to fate are also found in “The Wanderer.” While the Wanderer exiled himself from society, he stated, “Fate has opened a single port: memory” (Raffel 104). The statement shows that while the Wanderer has exiled himself from society in almost every way possible, his one and only connection to his previous life and friends is presented to him by fate. Further, the fact that fate gives the Wanderer the ability to keep his old memories shows that fate was in ultimate control of his life, for while the Wanderer tried to run away from his sorrow by exiling himself to the sea, fate still found him and provided him with memories. Thus, it is seen in the three poems that fate is the force that decides whether a person will receive victory or death, heavenly pleasures or earthly joys, or unconditional exile or omnipresent memories.

Elegy is a motif in each of the three poems. While the epic Beowulf opened on an eerie and foreboding note, it closed with a somber and elegiac tone. In the closing of the epic, it reads “the furious heat of the pyre would assail [Beowulf]. His soul fled from his breast to its destined place” (Heaney 48). From the beginning of the epic, Beowulf was depicted as a supernaturally strong and durable warrior. However, at the end of the epic, he dies, and the fact that he would be “assailed” by the pyre shows that all of Beowulf’s strength and life is truly gone. In addition, there was nothing left for Beowulf to do but flee to his “destined place,” which all contributes to the somberness of the closing passage. In addition, the closing stated “his hearth companions sorrowed for the lord who had been laid low. They said that of all the kings upon the earth he was the man most gracious” (Raffel 48). The statement shows the mourning Beowulf’s people were going through due to his loss, and it only contributes to the elegiac nature of the closing passage. Similarly, “The Seafarer” is an elegiac poem, as the Seafarer mourned what he viewed as the passage of old Anglo-Saxon values. The Seafarer stated “the days are gone when the kingdoms of earth flourished in glory” (Raffel 89). The statement shows that the Seafarer believes that the previous glories of the kingdom have vanished with the passing generations. Further, the Seafarer mourns the lost glories as he stated “those powers have vanished, those pleasures are dead…all glory is tarnished” (Raffel 90). The statement further shows the Seafarer’s belief that everything beautiful and glorious in the world has been polluted and will never come back. Adding to the elegiac note of the statement, the Seafarer claims the pleasures were “dead,” a word typically associated with elegies. Finally, in “The Wanderer,” a somber and elegiac tone is present throughout the entire poem, while a blatant elegy is present in the opening passage. The poem opens to the words, “This lonely traveler longs for grace, for the mercy of God; grief hangs on his heart and follows the frost-cold foam he cuts in the sea” (Raffel 104). In these lines, readers see a mournful, somber tone as the poem speaks of a traveler filled with grief that is sailing through a “frost-cold” sea. Finally, the poem closes with the words “how loathsome become the frozen waves to a weary heart” (Raffel 105). The line closes the poem with a somber, hopeless statement that embodies the elements of an elegy. Therefore, each of the three poems possess elegiac elements.

Beowulf, “The Seafarer,” and “The Wanderer” contain motifs that embody the elements of Anglo-Saxon values. Exile is a motif seen in each poem, as the characters in the poem use their self-inflicted exile to find victory, rewards, and memories. In addition, fate was a motif in the poems, as each character showed their belief that above all else, fate was the most powerful force on earth. Finally, each poem contained elements of an elegy, as each piece of literature contained somber tones and mourned the loss of a hero, a way of life, or a lord. Therefore, exile, fate, and elegy were motifs found in Beowulf, “The Seafarer,” and “The Wanderer.”

Beowulf Journal 5

            Throughout John Gardner’s Grendel, Grendel’s use of language to narrate the story evolves and develops. The story of Grendel is told through stream of consciousness from Grendel’s perspective. As the story progresses, Grendel’s skills as a narrator and storyteller evolves. By the end of the story, Grendel’s storytelling techniques are almost exactly the same as the Shaper’s. Therefore, throughout the novel, there is an evident evolvement in Grendel’s storytelling techniques, as his storytelling style transforms from chaotic to masterful.

            In the first chapter of the story, Grendel narrates his life in a chaotic manner that is difficult to follow. At one point, the text reads “It was not always like this, of course. On occasion it’s been worse. No matter, no matter” (Gardner 7). The text shows Grendel brooding over one topic—the terribleness of his life; then Grendel quickly pulls out from his brooding, and he focuses on a new topic. Grendel’s harsh transitions from one line of thought to another depict his primitive language and narrating techniques. However, by chapter three of the story, Grendel’s narrating techniques seem to mature as Grendel begins to observe the humans’ Shaper more and more. Grendel thought, “Even the surrounding hills were hushed, as if brought low by language. [The Shaper] knew his art” (Gardner 42). The fact that Grendel was paying reverence to the superior narrating skills of the Shaper shows that Grendel is now studying the humans closer. By chapter four, Grendel was using some of the Shaper’s storytelling techniques, as he poetically said, “He reshapes the world. So his name implies. He stares strange-eyed at the mindless world and turns dry sticks to gold” (Gardner 49). The line is not only poetic, but it uses a kenning as Grendel states the Shaper stares “strange-eyed.” Therefore, in chapter four, the readers can see that Grendel’s use of language is really beginning to evolve, and he is beginning to incorporate narrating techniques used by the Shaper. By chapter six, Grendel’s storytelling style has clearly developed. By this point, Grendel’s narrations are no longer disconnected and chaotic, but his narration now flows clearly. Therefore, from chapter one to chapter six, readers can find a clear evolvement of Grendel’s use of language, which can mostly be attributed to Grendel’s increased curiosity and analyzation of the humans, particularly the Shaper.

            In chapter seven, Grendel begins to experiment with different writing styles as he incorporates techniques from several different genres into one chapter. Grendel uses parenthesis to separate side-thoughts, such as “(Sigh)” (Gardner 91) and “(end quote)” (Gardner 110). In addition, Grendel uses bullet points to separate side-thoughts, as seen when he stated, “I. My teeth are sound. I. The roof of my cave is sound. I. I have not committed the ultimate act of nihilism. I have not killed the queen. I. Yet” (Gardner 93). Further, Grendel begins to use italics more heavily in this chapter than in previous chapters. Despite all the changes in the layout of the chapter and Grendel’s stream of consciousness, the new formatting seen in chapter seven is sometimes awkward, and it weakens the flow of Grendel’s story. By chapter eight, Grendel was attempting to format his story like one would a script. Grendel breaks the chapter into scenes, like “SCENE: Hrothulf in the Woods” (Gardner 114) and “SCENE: The Queen beside Hrothulf’s Bed” (Gardner 116). Parts of chapter nine are also written in a script format. For example, when Grendel depicts the priests conversing, he writes, “FIRST PRIEST: Ork, what are you doing here? It is written that the old shall keep to the comfort of their beds! SECOND PRIEST: It’s a bad habit, beloved friend” (Gardner 133). The breaks in the dialogue between the priests are clearly written script format; however, the entire chapter is not written in script format. Therefore, from chapter seven to chapter nine, readers can see that Grendel is experimenting with different language genres and storytelling techniques; however, his new usage of different techniques sometimes come out awkward and disconnected.

            However, by chapter 10, Grendel’s experimentation with language seems to be over, and the awkward breaks and shifts of genres seen in the previous chapters are gone. In chapter 10, Grendel’s use of language seems to have evolved even further, and the transitions from one thought to another are smoother. Throughout the chapter, Grendel appears restless, as he states “unsatisfied as ever, I slink back home” (Gardner 145). Grendel’s depiction of his restlessness throughout the chapter uses the literary technique of foreshadowing, for throughout the chapter, Grendel makes it apparent that something unknown is approaching. Grendel’s use of foreshadowing continues into chapter 11 as Grendel stated “I could feel them coming as I lay in the dark of my cave” (Gardner 151). In this chapter, Grendel also uses descriptive imagery as he describes “the roar of the underground river hundreds of feet below our rooms, reaming out walls, driving deeper and deeper” (Gardner 156). Therefore, by chapter 11, Grendel’s use of language has clearly developed, as he incorporates literary elements into his story, such as imagery and foreshadowing. In the last chapter, chapter 12, Grendel’s use of language has fully matured. He now tells stories in a manner that almost mirrors the Shaper’s storytelling, and he incorporates literary elements into his narrations. By this point, the chaotic streams of thoughts seen at the beginning of the story are gone, and the awkward switches of genres seen towards the middle of the story are no longer present. Further, Grendel’s knowledge has also seemed to have expanded by chapter 12. In the chapter, Grendel mentally states, “The world is my bone-cave, I shall not want” (Gardner 170). The thought is a biblical allusion to Psalms 23, which states “The lord is my shepherd, I shall not want.” Therefore, Grendel’s allusion shows that Grendel has some knowledge of theology, and it shows that his worldly knowledge, in addition to his use of language, has developed. Therefore, as the story of Grendel closes from chapters 10 to 12, Grendel’s language seems to have fully developed, and he incorporates different literary elements into his narration.

            At the beginning of Gardner’s story, Grendel’s language was primitive, and his narration seemed disconnected. However, by the end of the story, Grendel’s story contained smooth transitions and literary elements. The apparent maturation of Grendel’s use of language can be attributed to his captivation of the humans and his analyzations of the Shaper’s stories. For by the end of Grendel, Grendel’s storytelling techniques almost mirrored that of the Shaper.

Beowulf Journal 4

            Throughout the epic Beowulf, many values of the Anglo-Saxon society can be seen; in addition, the overarching theme that one might achieve immortality through fame is present. Upon his arrival to Herot to meet with King Hrothgar, Beowulf stated in his boast, “my lord Higlac might think less of me if I let my sword go where my feet were afraid to” (Raffel 25). The Anglo-Saxons were a people that valued personal bravery and strength displayed in war. Therefore, by stating he would fight off the monster without a sword, Beowulf was boasting of his strength and bravery to Hrothgar. After listening to Beowulf’s boast, Hrothgar stated, “Beowulf, a banquet in your honor: let us toast your victories, and talk of the future” (Raffel 26). A common Anglo-Saxon ideal was that lords and kings should display open-handed hospitality to the thanes. By throwing a banquet in Beowulf’s honor, the king was displaying hospitality to one who was of a lower social rank than himself and of a different land. Further, the overarching theme that immortality can be reached through fame is an ideal that was very present in Anglo-Saxon culture. In Beowulf’s final battle with the dragon, he told his men, “This fight is not yours, nor is it up to any man except me” (Heaney 43). While facing the dragon, Beowulf could have had the nation’s most elite warriors fighting alongside him. However, his longing to be remembered as a hero led him into the battle alone. Despite the obvious pride seen in Beowulf’s character, in the end, he was made immortal, even after his death, due to his good deeds, for the story states, “[the people] gave thanks for his greatness…and [cherished] his memory” (Heaney 48). Therefore, while Beowulf had left the earth, he would forever remain immortal in the hearts of his people. Therefore, the epic displays countless values of Anglo-Saxon culture, while tying into the universal theme that one may reach immortality through fame.

Beowulf Journal 3

            The epic, Beowulf, opens with a suspenseful, eerie mood; however, the story closes on a mournful, elegiac note. Further, the somber nature of the story’s closing is seen when Beowulf “unclasped the collar of gold from his neck and gave it to [Wiglaf]” (Heaney 47) then stated “you are the last of us, the only one left of the Waegmundings” (Heaney 47). The image of Beowulf handing down his gold collar to Wiglaf shows that Beowulf is close to death, and it is an image of a king passing down his war armor and legacy to the next generation. In addition, by stating that Wiglaf was the last Waegmundings, Beowulf is lamenting the fact that his lineage is dying out. The last lines of the epic states, “they said [Beowulf] was the man most gracious and fair-minded, kindest to his people and keenest to win fame” (Heaney 48). The line displays the prestige and respect Beowulf held in the hearts of his people, and it depicts a crowd of somber people in mourning for the loss of their greatest king yet. Therefore, Beowulf is an epic that tragically ends with the death of the hero, Beowulf.

Beowulf Journal 2

            The story, Beowulf, is set in Herot, a mead-hall where the terrible beast, Grendel, terrorized the town people. Grendel’s attacks were consistent and unpredictable, and he reaped terror on Herot for twelve years. In Beowulf, Grendel is characterized through his symbolization of the fallen Cain, his actions, and the contrast he provided against the city of Herot.

            Grendel symbolized Cain, the first murderer in Biblical history, and his fallen descendants as he is depicted as a monster and fiend. Grendel was described to be “conceived by a pair of monsters born of Cain, murderous creatures banished by God, punished forever for their crime of Abel’s death” (Raffel 21). Therefore, the story draws a direct lineage between Grendel and the fallen Cain. And because Cain was a murderer, a connection between Grendel’s cold-blooded ways and his ancestor’s sin can be drawn, and it can be assumed that killing is something that was in Grendel’s heredity that was passed down from generation to generation. Further, the descendants of Cain were described as “spirits and fiends, goblins, monsters, giants, a brood forever opposing the Lord’s will” (Raffel 21), showing the relations Grendel holds with the supernatural and evil. Since Grendel was descended from a line of peoples constantly associated with darkness and fear, it was only fitting that Grendel was a fiend himself. And because Grendel was a descendant of Cain, the story states that “[Grendel] never dared to touch king Hrothgar’s glorious throne, protected by God—God, whose love Grendel could not know” (Raffel 23). By stating that Grendel could never know God’s love, the author draws an even deeper connection between Grendel and Cain by showing the damnation of Cain, and in turn his descendants, were subjected to due to Cain’s sin. Further, the quote shows that Grendel was so fallen from God’s grace that he could not even approach or touch the throne protected by God. Therefore, the story directly and indirectly draws connections between Grendel and Adam and Eve’s son, Cain, and the story shows that due to Cain’s sin, even after many generations had passed, his descendants were still cursed with a malicious heart and bloodthirsty ways.

            Throughout Beowulf, Grendel gives off a dark persona, and his evil and bloodthirsty ways are made apparent through his actions. Grendel’s ominous aura is given off as the story describes him as one “who haunted the moors, the wild marshes, and made his home in a hell not hell but earth” (Raffel 21). By setting Grendel’s home in such an eerie area, the author begins to depict the darkness and evilness that Grendel was composed of. In addition, the story states that Grendel’s “thoughts were as quick as his greed or his claws” (Raffel 22). By depicting Grendel as quick and crafty, the story shows readers just how much of a threat and danger Grendel was to the community of Herot. For the statement shows that not only were Grendel’s physical attributes were supernatural, but it also shows that Grendel had a superior mind, further depicting him as a threat to society. In a depiction of the terror Grendel brought to Herot, the author writes, Grendel “snatched up thirty men, smashed them unknowingly in their beds, and ran out with their bodies, the blood dripping” (Raffel 22). Grendel’s display of force attributes to his cold-blooded ways, for gruesomeness and good-conscience meant nothing to him. Grendel was simply an evil creature who murdered with delight. Therefore, Grendel’s actions only proved that he was an unfeeling, gruesome creature that possessed a superior mind and superior strength, which made him Herot’s greatest threat of the time.

            In the story, Grendel is characterized by the contrast his gruesome nature provided against the beautiful mead-hall, Herot. From the beginning of his life, Grendel knew of nothing but darkness, for the story states “he was spawned in [the] slime” (Raffel 21). The slime depicts the filth that Grendel was born into, and because slime can usually be found in marshes and swamps, it further symbolizes the lowlands that represent poverty. Further, the darkness and grime that Grendel was born in alludes to the darkness and evil within himself. In addition, when Grendel approached the town of Herot to reap terror, he approached the town “from the marsh, from the foot of misty hills and bogs, bearing God’s hatred” (Raffel 31). Grendel’s approach from the marshes only further adds to the fact that Grendel was born and raised in the dirt and grime of the swamps. Further, Grendel’s emergence from the “misty hills” (Raffel 31) only adds to the eeriness of Grendel’s character, and it alludes to the havoc he is ready to bring. All of the dreariness and eeriness of Grendel’s home provides a contrast to Herot, which “trembled wonderfully built to withstand [Grendel’s] blows” (Raffel 33), and Grendel’s dingy home further provides a contrast to the “beautiful walls, shaped and fastened with iron, inside and out, artfully worked” (Raffel 33). The contrast between Grendel’s origins and Herot are clearly seen as Grendel emerged from bogs and the marsh, while Herot sat beautiful and strong. Further, Grendel’s home in the marshes represents dismalness and poverty, while Herot’s beautiful architecture suggest wealth and power. Therefore, Grendel is characterized as a dismal contrast to Herot’s beauty.

            Therefore, Grendel was characterized as a horrendous character that haphazardly reeked terror on Herot. Perhaps, some of his terribleness was due to the fact that he symbolized Cain’s descendants. Further, his gruesomeness was characterized through the dark aura he portrayed through his actions. Finally, Grendel’s evil was characterized through the contrast he provided against the beautiful, strong Herot. Therefore, in Beowulf, Grendel was characterized through his symbolization, actions, and his contrast against Herot.

Beowulf Journal 1

Beowulf is the archetype of a dragon slayer and an epic hero set in Anglo-Saxon Britain, but despite the period of time the story of Beowulf was set in, Beowulf contains similar traits to the modern day hero Spiderman. In Beowulf, Beowulf traveled to the town of Herot in to save the town from the terrors of the monster, Grendel. Beowulf was comfortable putting his own life at risk in order to protect the lives of the citizens of Herot. However, Beowulf was no typical man, for “no strength [was] a match for [Beowulf]” (Raffel 27); Beowulf had superhuman strength and powers that allowed him to defeat evil that the commoners were helpless to. Beowulf’s superhuman strength and his willingness to endanger his own life for the betterment of society are characteristics shared with the modern day hero Spiderman. Spiderman is a hero that possesses superhuman strengths and powers that allow him to bring villains to justice. Typically, the villains Spiderman fights are those that are hopelessly stronger and faster than the general public, making them uncatchable by anyone but Spiderman; similar to the way Grendel could not be destroyed by anyone but Beowulf. Furthering the similarities between the characters, in Beowulf, after Beowulf destroys the evil creature, Grendel, Grendel’s mother seeks to avenge Grendel by killing Beowulf. Similarly, although almost in an inverse style, in Spiderman, after Spiderman kills the Green Goblin, the Green Goblin’s son seeks to avenge his father by killing Spiderman. Therefore, the similarities found between Anglo-Saxon hero Beowulf and modern day hero Spiderman are undeniable.