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Beowülf
Origin Venice, California, U.S.
Genres Hardcore punk
Heavy metal
Thrash metal
Crossover thrash
Years active 1981-1995, 2000-present
Labels Suicidal Records
Caroline Records
Restless Records
I Scream Records
Associated acts Black Sheep
Neighborhood Watch
Suicidal Tendencies
No Mercy
Excel
Members
Dale Henderson
Stephan Mark Anthony
Kevin Sullivan
Rich Rowan
Former members
Mike Jensen
Clint Schuyler
Buckit
Gimmi
Paul Yamada
Dug Mug Swanson
Roger DeGiacomi
Michael Alvarado
Denish Chaudhuri

Beowülf is a crossover thrash metal band formed Venice Beach, California in 1981 by Michael Alvarado, Dale Henderson, Mike Jensen and Paul Yamada. The group never gained a large mainstream success, but is considered one of the first bands that defined the "Venice Scene" in the 1980s, along with Suicidal Tendencies, Neighborhood Watch, No Mercy, Excel and Uncle Slam, who all played a mix of skate punk, hardcore, heavy metal and thrash.

So far, Beowülf has released five studio albums. They split up in 1995, but reformed in 2000. The band has had numerous line-up changes and Henderson has been the only constant member. Their classic line-up is Henderson (vocals), Mike Jensen (guitar), Paul Yamada (bass) and Michael Alvarado (drums).

Contents

Biography

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Early years (1981-1984)

The band started in 1981 as Black Sheep with Dale Henderson on vocals and guitar, former Neighborhood Watch guitar player Mike Jensen on guitar, Paul Tsutomu Yamada on bass and Mike Jensen's cousin, Roger DeGiacomi, on drums. The band played many parties, bars and clubs in Venice in 1981-1982 before DeGiacomi became the band manager and was replaced by Michael Alvarado on drums in 1983, changing the name of the band to Beowülf or BWF (The F being inverted) as they wrote it in Venice "graffiti slang".

The "classic" line-up-era (1985-1989)

In 1985, they were signed to Mike Muir's Suicidal Records and recorded two tracks, "Taste the Steel" and "Unicorn", for the legendary Welcome to Venice compilation. In 1986, they also recorded their first self-titled LP, which was released on Suicidal Records and featured their trademark sound that was a cross between Suicidal Tendencies and Motörhead, Dale Henderson's vocals sounding a lot like Lemmy's.

This record had them noticed by Caroline Records, where they followed Suicidal Tendencies and Excel. They recorded their second album, Lost My Head... But I'm Back on the Right Track, which was released in 1988 on Caroline which featured the same line-up and was in the same vein as their first.

Later years (1990-1995)

Around the beginning of the 1990s, conflicts reported arose between the band members and they separated. Dale Henderson kept the Beowülf name and hired Clint Schuyler to play guitar, Kevin Sullivan to play bass and Rich Rowan to play drums and he recorded Un-Sentimental, which was released in 1993 on Restless Records with that line-up.

Un-Sentimental was way less appreciated than the band's first two efforts, notably because there was only one original member in the band and the sound had changed a bit, drifting more to bluesy rock and going away from the hardcore thrash of their beginning.

In 1994 Dale Henderson the band line-up underwent changes before recording the band's fourth album in Seattle for Restless Records and hired Buckit to play guitar, childhood friend and former EVOL bassist Dug Mug Swanson and Denish Chaudhuri to play drums. They released 2 Cents in 1995, toured Europe, Japan and had a song in the cult film Tank Girl. Tank-Girl director Rachel Talalay also did the band's video for the song "2 Cents".

Post-break up (1996-1999)

Unfortunately in 1995, original bass player Paul Yamada died of a drug overdose and that had a huge effect on Dale Henderson, who decided he was over with Beowülf. He concentrated on another project, the band Kool-Whip. He called back Rowan and Sullivan (from the Un-Sentimental line-up) and added Gimmi on second guitar and the new band had a more hard rock sound. They played clubs and released the album The Now, which was nominated for best rock album at the 2002 L.A. Music Awards.

Reunion (2000-present)

Despite Kool-Whip's apparent success, Dale Henderson, purportedly struck with nostalgia and ready to play the old Beowülf songs again, the band returned to the name Beowülf and started touring again playing the Beowülf music, keeping the same personnel. They also re-released the first two LP's as one CD called The Re-Releases in 2004 on I Scream Records with one new track recorded in 2004.

They started working on a new record, their second for I Scream, in 2005 while relentlessly touring Europe. Titled Westminister & 5th, it was released in April 2007 and featured Henderson, Rowan and Sullivan with Stefan Crapia on guitar.

The band is back in the studio writing their next album, which is due for release in 2010.

Personnel

Current members

  • Dale Henderson - Vocals, guitar (1981 - present)
  • Stephan Mark Anthony - Guitar (2006 - present)
  • Rich Rowan- Drums (1991-1994, 2000 - present)
  • Sean Otero - Bass (present)

Former members

Guitarists

  • Mike Jensen - Guitar (1981-1991)
  • Clint Schuyler - Guitar (1991-1994)
  • Buckit - Guitar (1994-2000)
  • Gimmi - Guitar (2001-2006)

Bassists

  • Paul Tsutomu Yamada - Bass (1981-1991) (deceased)
  • Dug Mug Swanson - Bass (1994-2000)

Drummers

  • Roger DeGiacomi - Drums (1981-1983)
  • Michael Alvarado - Drums (1983-1991)
  • Denish Chaudhuri - Drums (1994-2000)

Discography

Albums and EPs

Year Title Notes
1986 Beowülf Debut album.
1988 Lost My Head... But I'm Back on the Right Track Last album recorded with the classic line-up.
1993 Un-Sentimental First album on Restless and also with Dale as the only constant member.
1995 2 Cents Second album on Restless and last studio album before disbanding.
2007 Westminister & 5th First studio album since the reunion.

Compilations

  • Welcome to Venice (1985)
  • The Re-Releases (2004)
  • Farewell to Venice (2006)
  • Welcome 2 Venice (2007)

External links


Beowulf is an Old English heroic epic poem of unknown authorship, dating as recorded in the Nowell Codex manuscript from between the 8th[1][2] and the early 11th century,[3] set in Denmark and Sweden. Commonly cited as one of the most important works of Anglo-Saxon literature, Beowulf has been the subject of much scholarly study, theory, speculation, discourse, and, at 3182 lines, has been noted for its length.

In the poem, Beowulf, a hero of the Geats, battles three antagonists: Grendel, who has been attacking the resident warriors of a mead hall called Heorot in Denmark; Grendel's mother; and an unnamed dragon. The last battle takes place later in life, after returning to Geatland (modern southern Sweden), where Beowulf has become king. In the final battle, Beowulf is fatally wounded. After his death his retainers bury him in a tumulus in Geatland.

The common English pronunciation of "Beowulf" is /ˈbeɪ.ɵwʊlf/. In Old English the "ēo" in Bēowulf was a diphthong, [ˈbeːo̯wʊlf]).[4]

Contents

The Beowulf manuscript

Provenance

The earliest known owner is the 16th century scholar Laurence Nowell, after whom the manuscript is named, though its official designation is Cotton Vitellius A.XV because it was one of Robert Bruce Cotton's holdings in the middle of the 17th century. Kevin Kiernan argues that Nowell most likely acquired it through William Cecil, 1st Baron Burghley in 1563, when Nowell entered Cecil’s household as a tutor to his ward, Edward de Vere, 17th Earl of Oxford.[3]

It suffered damage in the Cotton Library fire at Ashburnham House in 1731. Since then, parts of the manuscript have crumbled along with many of the letters. Rebinding efforts, though saving the manuscript from much degeneration, have nonetheless covered up other letters of the poem, causing further loss. Kevin Kiernan, Professor of English at the University of Kentucky is foremost in the computer digitization and preservation of the manuscript (the Electronic Beowulf Project[5]), using fiber optic backlighting to further reveal lost letters of the poem.

The poem is known only from a single manuscript, which is estimated to date from close to AD 1000. Kiernan has argued from an examination of the manuscript that it was the author's own working copy. He dated the work to the reign of Canute the Great.[3] The poem appears in what is today called the Beowulf manuscript or Nowell Codex (British Library MS Cotton Vitellius A.xv), along with other works. The earliest extant reference to the first foliation of the Nowell Codex was made sometime between 1628 and 1650 by Franciscus Junius (the younger).[3]. The owner of the codex before Nowell remains a mystery.[3]

The Reverend Thomas Smith and Humfrey Wanley undertook the task of cataloguing the Cotton library, in which the Nowell Codex was held. Smith’s catalogue appeared in 1696, and Humfrey’s in 1705.[6] The Beowulf manuscript itself is mentioned in name for the first time in a letter in 1700 between George Hickes, Wanley’s assistant, and Wanley. In the letter to Wanley, Hickes responds to an apparent charge against Smith, made by Wanley, that Smith had failed to mention the Beowulf script when cataloguing Cotton MS. Vitellius A. XV. Hickes replies to Wanley "I can find nothing yet of Beowulph."[6] It has been theorized that Smith failed to mention the Beowulf manuscript because of his reliance on previous catalogues or because either he had no idea how to describe it or because it was temporarily out of the codex.[6]

The two scribes

The Beowulf manuscript was transcribed from an original by two scribes: Scribe A and Scribe B, the latter of whom took over at line 1939. The handwriting of the two scribes is ill-matched.[3] The script of Scribe B is archaic.[3] Both scribes proofread their work, and Scribe B even proofread the work of Scribe A.[3] The work of Scribe B bears a striking resemblance to the work of the first scribe of the Blickling homilies, and so much so that it is believed they derive from the same scriptorium.[3] From knowledge of books held in the library at Malmesbury Abbey and available as source works, and from the identification of certain words particular to the local dialect found in the text, the transcription may have been made there.[7] However, for at least a century, some scholars have maintained that the description of Grendel’s mere in Beowulf was borrowed from St.Paul’s vision of Hell in Homily 16 of the Blickling homilies.[3]

Transcription

Icelandic scholar Grímur Jónsson Thorkelin made the first transcriptions of the manuscript in 1786 and published the results in 1815, working under a historical research commission of the Danish government. He made one himself, and had another done by a professional copyist who knew no Anglo-Saxon. Since that time, the manuscript has crumbled further, and the Thorkelin transcripts remain a prized secondary source for Beowulf scholars. The recovery of at least 2000 letters can be attributed to these transcripts. Their accuracy has been called into question, however (e.g., by Chauncey Brewster Tinker in The Translations of Beowulf[8], a comprehensive survey of 19th century translations and editions of Beowulf), and the extent to which the manuscript was actually more readable in Thorkelin's time is unclear.

Authorship and date

Beowulf was written in England, but is set in Scandinavia. It has variously been dated to between the 8th and the early 11th centuries. It is an epic poem told in historical perspective; a story of epic events and of great people of a heroic past. Although its author is unknown, its themes and subject matter are generally believed to have been formed through oral tradition, the passing down of stories by scops (Old English poets) and it is considered partly historical.[citation needed]

Opinion differs as to whether the composition of the poem is contemporary with its transcription, or whether the poem was composed at an earlier time and orally transmitted for many years, and then transcribed at a later date. Lord felt strongly the manuscript represents the transcription of a performance, though likely taken at more than one sitting.[citation needed] Kiernan (1996) argues on the basis of paleographical and codicological evidence, that the poem is contemporary with the manuscript.[3] Kiernan’s reasoning has in part to do with the much-discussed political context of the poem: it has been held by most scholars, until recently,[clarification needed] that the poem was composed in the 8th century or earlier on the assumption that a poem eliciting sympathy for the Danes could not have been composed by Anglo-Saxons during the Viking Ages of the 9th and 10th centuries.[3] Kiernan argues against an 8th century provenance because this would still require that the poem be transmitted by Anglo-Saxons through the Viking Age, holds that the paleographic and codicological evidence encourages the belief that Beowulf is an 11th century composite poem, and states that Scribe A and Scribe B are the authors and that Scribe B is the more poignant of the two.[3]

The 11th century date is due to scholars who argue that, rather than transcription of the tale from the oral tradition by a literate monk, Beowulf reflects an original interpretation of the story by the poet.[1][9]

Debate over oral tradition

The question of whether Beowulf was passed down through the oral tradition prior to its present manuscript form has been the subject of much debate, and involves more than the mere matter of how it was composed. Rather, given the implications of the theory of Oral-Formulaic Composition and Oral tradition, the question concerns how the poem is to be understood, and what sorts of interpretations are legitimate.

Scholarly discussion about Beowulf in the context of the oral tradition was extremely active throughout the 1960s and 1970s. The debate might be framed starkly as follows: on the one hand, we can hypothesize a poem put together from various tales concerning the hero (the Grendel episode, the Grendel's mother story, and the firedrake narrative). These fragments would be held for many years in tradition, and learned by apprenticeship from one generation of illiterate poets to the next. The poem is composed orally and extemporaneously, and the archive of tradition on which it draws is oral, pagan, Germanic, heroic, and tribal. On the other hand, one might posit a poem which is composed by a literate scribe, who acquired literacy by way of learning Latin (and absorbing Latinate culture and ways of thinking), probably a monk and therefore profoundly Christian in outlook. On this view, the pagan references would be a sort of decorative archaizing.[10][11]

M. H. Abrams and Stephen Greenblatt assert in their introduction to Beowulf in the Norton Anthology of English Literature that, "The poet was reviving the heroic language, style, and pagan world of ancient Germanic oral poetry [...] it is now widely believed that Beowulf is the work of a single poet who was a Christian and that his poem reflects well-established Christian tradition."[12] However, scholars such as D.K. Crowne, have proposed the idea that the poem was passed down from reciter to reciter under the theory of Oral-Formulaic Composition, which hypothesizes that epic poems were (at least to some extent) improvised by whoever was reciting them. In his landmark work, The Singer of Tales, Albert Lord refers to the work of Francis P. Magoun and others, saying “the documentation is complete, thorough and accurate. This exhaustive analysis is in itself sufficient to prove that Beowulf was composed orally.”[13]

Examination of Beowulf and other Anglo-Saxon poetry for evidence of oral-formulaic composition has met with mixed response. While "themes" (inherited narrative subunits for representing familiar classes of event, such as the "arming the hero",[14] or the particularly well-studied "hero on the beach" theme[15]) do exist across Anglo-Saxon and other Germanic works, some scholars conclude that Anglo-Saxon poetry is a mix of oral-formulaic and literate patterns, arguing that the poems both were composed on a word-by-word basis and followed larger formulae and patterns.[16]

Larry Benson argued that the interpretation of Beowulf as an entirely formulaic work diminishes the ability of the reader to analyze the poem in a unified manner, and with due attention to the poet’s creativity. Instead, he proposed that other pieces of Germanic literature contain "kernels of tradition" from which Beowulf borrows and expands upon.[17][18] A few years later, Ann Watts published a book in which she argued against the imperfect application of traditional, Homeric, oral-formulaic theory to Anglo-Saxon poetry. She also argued that the two traditions are not comparable and should not be regarded as such.[18][19] Thomas Gardner agreed with Watts, in a paper published four years later which argued that the Beowulf text is of too varied a nature to be completely constructed from formulae and themes.[18][20]

John Miles Foley held, specifically with reference to the “Beowulf” debate,[21] that while comparative work was both necessary and valid, it must be conducted with a view to the particularities of a given tradition; Foley argued with a view to developments of oral traditional theory that do not assume, or depend upon, finally unverifiable assumptions about composition, and that discard the oral/literate dichotomy focused on composition in favor of a more fluid continuum of traditionality and textuality.[22][23][24][25]

Finally, in the view of Ursula Schaefer, the question of whether the poem was "oral" or "literate" becomes something of a red herring.[26] In this model, the poem is created, and is interpretable, within both noetic horizons. Schaefer’s concept of "vocality" offers neither a compromise nor a synthesis of the views which see the poem as on the one hand Germanic, pagan, and oral and on the other Latin-derived, Christian, and literate, but, as stated by Monika Otter: "…a 'tertium quid', a modality that participates in both oral and literate culture yet also has a logic and aesthetic of its own."[27]

Dialect

The poem mixes the West Saxon and Anglian dialects of Old English, though they are predominantly West Saxon, as are other Old English poems copied at the time.[citation needed]

There is a bewildering array of linguistic forms in the Beowulf manuscript. It is this fact that leads some scholars to believe that Beowulf has endured a long and complicated transmission through all the main dialect areas.[3] The poem retains a complicated mix of the following dialectical forms: Mercian, Northumbrian, Early West Saxon, Kentish and Late West Saxon.[3] Kiernan argues that it is virtually impossible that there could have been a process of transmission which could have sustained the complicated mix of forms from dialect to dialect, from generation to generation, and from scribe to scribe.[3]

Kiernan’s argument against an early dating based on a mixture of forms is long and involved, but he concludes that the mixture of forms points to a comparatively straightforward history of the written text as:

... an 11th-century MS; an 11-th century Mercian poet using an archaic poetic dialect; and 11th-century standard literary dialect that contained early and late, cross-dialectical forms, and admitted spelling variations; and (perhaps) two 11th century scribes following slightly different spelling practices.[3]

According to this view, Beowulf can largely be seen to be the product of antiquarian interests and that it tells readers more about "an 11th century Anglo-Saxon’s notions about Denmark, and its pre-history, than it does about the age of Bede and a 7th or 8th century Anglo-Saxon’s notions about his ancestors’ homeland."[3]

Form and metre

An Old English poem such as Beowulf is very different from modern poetry. Anglo-Saxon poets typically used alliterative verse, a form of verse that uses alliteration as the principal structuring device to unify lines of poetry, as opposed to other devices such as rhyme. This is a technique in which the first half of the line (the a-verse) is linked to the second half (the b-verse) through similarity in initial sound. In addition, the two halves are divided by a caesura:

Oft Scyld Scefing \\ sceaþena þreatum

The poet has a choice of epithets or formulae to use in order to fulfill the alliteration. When speaking or reading Old English poetry, it is important to remember for alliterative purposes that many of the letters are not pronounced the same way as they are in modern English. The letter "h", for example, is always pronounced (Hroðgar: HROTH-gar), and the digraph "cg" is pronounced like "dj", as in the word "edge". Both f and s vary in pronunciation depending on their phonetic environment. Between vowels or voiced consonants, they are voiced, sounding like modern v and z, respectively. Otherwise they are unvoiced, like modern f in "fat" and s in "sat". Some letters which are no longer found in modern English, such as thorn, þ, and eth, ð — representing both pronunciations of modern English "th", as in "cloth" and "clothe" — are used extensively both in the original manuscript and in modern English editions. The voicing of these characters echoes that of f and s. Both are voiced (as in "clothe") between other voiced sounds: oðer, laþleas, suþern. Otherwise they are unvoiced (as in "cloth"): þunor, suð, soþfæst.

Kennings are also a significant technique in Beowulf. They are evocative poetic descriptions of everyday things, often created to fill the alliterative requirements of the metre. For example, a poet might call the sea the "swan-road" or the "whale-road"; a king might be called a "ring-giver." There are many kennings in Beowulf, and the device is typical of much of classic poetry in Old English, which is heavily formulaic. The poem also makes extensive use of elided metaphors.[28]

J.R.R. Tolkien argued that the poem is an elegy.[1]

Story

The main protagonist, whose name is Beowulf, a hero of the Geats, comes to the aid of Hroðgar, the king of the Danes, whose great hall, Heorot, is plagued by the monster Grendel. Beowulf kills both Grendel and Grendel's mother, the latter with a magical sword.

Later in his life, Beowulf is himself king of the Geats, and finds his realm terrorized by a dragon whose treasure had been stolen from his hoard in a burial mound. He attacked the dragon with his thegns, but they did not succeed. Beowulf decided to follow the dragon into its lair, at Earnanæs, but only his young Swedish relative Wiglaf dared join him. Beowulf finally slays the dragon, but is mortally wounded. He is buried in a tumulus by the sea.

As an epic

Beowulf is considered an epic poem in that the main character is a hero who travels great distances to prove his strength at impossible odds against supernatural demons and beasts. The poet who composed Beowulf, while objective in telling the tale, nonetheless utilizes a certain style to maintain excitement and adventure within the story. An elaborate history of characters and their lineages are spoken of, as well as their interactions with each other, debts owed and repaid, and deeds of valor.[citation needed]

Historical background

's mound]] The events described in the poem take place in the late 5th century, after the Anglo-Saxons had begun migration and settlement in England, and before the beginning of the 7th century, a time when the Saxons were either newly arrived or in close contact with their fellow Germanic kinsmen in Scandinavia and Northern Germany. The poem could have been transmitted in England by people of Geatish origins.[29] It has been suggested that Beowulf was first composed in the 7th century at Rendlesham in East Anglia,[30] as Sutton Hoo also shows close connections with Scandinavia, and also that the East Anglian royal dynasty, the Wuffings, were descendants of the Geatish Wulfings.[31] Others have associated this poem with the court of King Alfred, or with the court of King Canute.[3]

(the core region of Geatland), the yellow area is the territory ruled by the Wulfings, the pink area is the Danish territory. The green area is the land of the Swedes. The blue area represents the land of Jutes, while the orange area belongs to Frisians. For a more detailed discussion on the fragmented political situation of Scandinavia during the 6th century, see Scandza.]] 

The poem deals with legends, i.e., it was composed for entertainment and does not separate between fictional elements and real historic events, such as the raid by King Hygelac into Frisia, ca. 516. Scholars generally agree that many of the personalities of Beowulf also appear in Scandinavian sources,[32] but this does not only concern people (e.g., Healfdene, Hroðgar, Halga, Hroðulf, Eadgils and Ohthere), but also clans (e.g., Scyldings, Scylfings and Wulfings) and some of the events (e.g., the Battle on the Ice of Lake Vänern). The Scandinavian sources are notably Ynglinga saga, Gesta Danorum, Hrólfr Kraki's saga and the Latin summary of the lost Skjöldunga saga. As far as Sweden is concerned, the dating of the events in the poem has been confirmed by archaeological excavations of the barrows indicated by Snorri Sturluson and by Swedish tradition as the graves of Ohthere (dated to c. 530) and his son Eadgils (dated to c. 575) in Uppland, Sweden.[33][34][35] In Denmark, recent archaeological excavations at Lejre, where Scandinavian tradition located the seat of the Scyldings, i.e., Heorot, have revealed that a hall was built in the mid-6th century, exactly the time period of Beowulf.[36] Three halls, each about 50 metres long, were found during the excavation.[36]

The majority view appears to be that people such as King Hroðgar and the Scyldings in Beowulf are based on real people in 6th century Scandinavia.[37] Like the Finnsburg Fragment and several shorter surviving poems, Beowulf has consequently been used as a source of information about Scandinavian personalities such as Eadgils and Hygelac, and about continental Germanic personalities such as Offa, king of the continental Angles.

was buried at Uppsala, according to Snorri Sturluson. When Eadgils' mound (to the left) was excavated, in 1874, the finds supported Beowulf and the sagas. ]] 

Nineteenth-century archeological evidence may confirm elements of the Beowulf story. Eadgils was buried at Uppsala, according to Snorri Sturluson. When Eadgils' mound (to the left in the photo) was excavated in 1874, the finds supported Beowulf and the sagas. They showed that a powerful man was buried in a large barrow, c 575, on a bear skin with two dogs and rich grave offerings. These remains include a Frankish sword adorned with gold and garnets and a tafl game with Roman pawns of ivory. He was dressed in a costly suit made of Frankish cloth with golden threads, and he wore a belt with a costly buckle. There were four cameos from the Middle East which were probably part of a casket. This would have been a burial fitting a king who was famous for his wealth in Old Norse sources. Ongenþeow's barrow (to the right in the photo) has not been excavated.[33][34]

Structured by battles

Jane Chance (Professor of English, Rice University) in her 1980 article "The Structural Unity of Beowulf: The Problem of Grendel's Mother" argued that there are two standard interpretations of the poem: one view which suggests a two-part structure (i.e., the poem is divided between Beowulf's battles with Grendel and with the dragon) and the other, a three-part structure (this interpretation argues that Beowulf's battle with Grendel's mother is structurally separate from his battle with Grendel).[38] Chance stated that, "this view of the structure as two-part has generally prevailed since its inception in J. R. R. Tolkien's Beowulf: The Monsters and the Critics in Proceedings of the British Academy 22 (1936)."[38] In contrast, she argued that the three-part structure has become "increasingly popular."[38]

First battle: Grendel

Beowulf begins with the story of King Hroðgar, who built the great hall Heorot for his people. In it he, his wife Wealhþeow, and his warriors spend their time singing and celebrating, until Grendel, an outcast from society who is angered by the singing, attacks the hall and kills and devours many of Hroðgar's warriors while they sleep. But Grendel dares not touch the throne of Hroðgar, because he is described as protected by a powerful god. Hroðgar and his people, helpless against Grendel's attacks, abandon Heorot.

Beowulf, a young warrior from Geatland, hears of Hroðgar's troubles and with his king's permission leaves his homeland to help Hroðgar.

Beowulf and his men spend the night in Heorot. After they fall asleep, Grendel enters the hall and attacks, devouring one of Beowulf's men. Beowulf, who bears no weapon as this would be an unfair advantage over the unarmed beast, has been feigning sleep and leaps up to clench Grendel's hand. The two battle until it seems as though the hall might collapse. Beowulf's retainers draw their swords and rush to his aid, but their blades can not pierce Grendel's skin as he is immune to human weapons. Finally, Beowulf tears Grendel's arm from his body at the shoulder and Grendel runs to his home in the marshes to die.

Second battle: Grendel's mother

The next night, after celebrating Grendel's death, Hroðgar and his men sleep in Heorot. Grendel's mother appears and attacks the hall. She kills Hroðgar's most trusted warrior, Æschere, in revenge for Grendel's death.

Hroðgar, Beowulf, and their men track Grendel's mother to her lair under a lake. Beowulf prepares himself for battle; he is presented with a sword, Hrunting, by a warrior called Unferth. After stipulating a number of conditions to Hroðgar in case of his death (including the taking in of his kinsmen and the inheritance by Unferth of Beowulf's estate), Beowulf dives into the lake. He is swiftly detected and attacked by Grendel's mother. However, she is unable to harm Beowulf through his armor and drags him to the bottom of the lake. In a cavern containing Grendel's body and the remains of men that the two have killed, Grendel's mother and Beowulf engage in fierce combat.

Grendel's mother at first prevails after Beowulf, finding that Hrunting cannot harm his foe, discards it in fury. Beowulf is again saved from his opponent's attack by his armor and, grasping a mighty sword from Grendel's mother's armory (which no other man could have hefted in battle), Beowulf beheads her. Traveling further into the lair, Beowulf discovers Grendel's corpse and severs his head. Beowulf then returns to the surface and to his men at the "ninth hour" (l. 1600, "nōn", about 3pm).[39] He returns to Heorot, where Hroðgar gives Beowulf many gifts, including the sword Nægling, his family's heirloom.

Third battle: The dragon

Beowulf returns home and eventually becomes king of his own people. One day, late in Beowulf's life, a slave steals a golden cup from the lair of an unnamed dragon (sometimes referred to as Sua) at Earnaness. When the dragon sees that the cup has been stolen, it leaves its cave in a rage, burning everything in sight. Beowulf and his warriors come to fight the dragon, but only one of the warriors, a brave young man named Wiglaf, stays to help Beowulf. Beowulf kills the dragon with Wiglaf's help, but dies from the wounds he has received.

After he is cremated, Beowulf is buried in Geatland on a cliff overlooking the sea, where sailors are able to see his tumulus. The dragon's treasure is buried with him, in accordance with Beowulf's wishes, rather than distributed to his people. There is a curse associated with the hoard and it is also a Germanic and Scandinavian burial practice.

Structured by funerals

It is widely accepted that there are three funerals in Beowulf. [40] These funerals help to outline changes in the poem’s story as well as the audiences’ views on earthly possessions, battle and glory. The funerals are also paired with the three battles described above. [40] The three funerals share similarities regarding the offerings for the dead and the change in theme through the description of each funeral. Gale Owen-Crocker (Professor of Anglo-Saxon, University of Manchester) in The Four Funerals in Beowulf (2000) argues that a passage in the poem, commonly known as “The Lay of the Last Survivor” (lines 2247-66), is an additional funeral.[40] The funerals are themselves involved in the ritual of hoarding: the deposition of sacrificial objects with both religious and socio-economic functions.[41] .

Scyld Scefing (lines 1–52)

The first funeral in the poem is of Scyld Scefing (translated in some versions as "Shield Shiefson") the king of the Danes. [42] The first fitt helps the poet illustrate the settings of the poem by introducing Hrothgar’s lineage. The funeral leads to the introduction of the hero, Beowulf and his confrontation with the first monster, Grendel. This passage begins by describing Scyld’s glory as a “scourge of many tribes, a wrecker of mead-benches.” [42] Scyld’s glory and importance is shown by the prestigious death he obtains through his service as the king of the Danes. [40] His importance is proven once more by the grand funeral given to him by his people: his funeral at sea with many weapons and treasures shows he was a great soldier and an even greater leader to his people. [40] The poet introduces the concepts of a heroic society through Scyld. The possessions buried with the king are elaborately described to emphasize the importance of such items. [40] The importance of these earthly possessions are then used to establish this dead king’s greatness in respect to the treasure. [40] Scyld’s funeral helps the poet to elaborate on the glory of battle in a heroic society and how earthly possessions help define a person‘s importance. This funeral also helps the poet to develop the plot to lead into the confrontation between the protagonist, Beowulf, and the main antagonist, Grendel.

Hildeburg’s kin (lines 1107–24)

The second funeral in the poem is that of Hildeburg’s kin and is the second fitt of this poem.[42] The funeral is sung in Heorot to celebrate Beowulf's victory over Grendel. It also signifies the beginning of the protagonist’s battle against Grendel's mother. The death of Hildeburg’s brother, son(s), and husband are the results of battle. The battle also leads to Scyld’s death and mirrors the use of funeral offerings for the dead with extravagant possessions.[42] As with the Dane’s king, Hildeburg’s relatives are buried with their armor and gold to signify their importance.[40] However, the relatives’ funeral differs from the first as it was a cremation ceremony. Furthermore, the poet focuses on the strong emotions of those who died while in battle.[42] The gory details of “heads melt[ing], gashes [springing] open…and the blood [springing] out from the body’s wounds” [42] describes war as a horrifying event instead of one of glory.[40] Although the poet maintains the theme of possessions as important even in death, the glory of battle is challenged by the vicious nature of war. The second funeral displays different concepts from the first and a change of direction in the plot that leads to Beowulf's fight against Grendel's Mother.

Lay of the Last Survivor (lines 2247–66)

"The Lay of the Last Survivor" is arguably an addition to the other three funerals in Beowulf because of the striking similarities that define the importance of the other burials.[40] The parallels that identify this passage with the other three funerals are the similar burial customs, changes in setting and plot, and changes of theme. The lament appears to be a funeral because of the Last Survivor’s description of burial offerings that are also found in the funerals of Scyld Scefing, Hildeburg’s kin, and Beowulf.[40] The Last Survivor describes the many treasures left for the dead such as the weapons, armour and gold cups [42] that have strong parallels to Scyld’s “well furbished ship…,bladed weapons and coats of mail,”[42] Hildeburg’s Kin’s “blood-plastered coats of mail [and] boar-shaped helmets”[42] and Beowulf's treasure from the dragon.[42]

An additional argument towards viewing this passage as a funeral lies in the statement, “tumbling hawk [and] swift horse”[42] mentioned in the poem. This is an animal offering which was a burial custom during the era of the poem.[40] Moreover this passage, like the other funerals, signifies changes in setting and plot.[40] One can also argue that it is the 3rd part to the poem since it describes the settings during the time lapse for the final battle between Beowulf and the Dragon. The poet also describes death in battle as horrifying, a concept continued from the second part of the poem, through the Last Survivor’s eyes.[40]

Beowulf’s funeral (lines 3137–82)

The fourth and final funeral of the poem is Beowulf's funeral. After the final battle against the dragon, Beowulf receives fatal wounds and dies. The greatness of Beowulf's life is demonstrated through this funeral, particularly through the many offerings of his people.[40] In addition, the immense hoard of the dragon is buried with the hero. The poet also bestows on Beowulf more significance than the others through his description of the cremation.[40] “Weohstan’s son(pause) commanded it be announced to many men(pause) that they should fetch from afar wood for the pyre.” [42] for their leader’s funeral. The dragon’s remains are thrown into the sea, a parallel to Scyld’s burial in his ship. Beowulf's funeral is the fourth fitt of the poem and acts as an epilogue for the hero who is the, “most gracious and fair-minded, kindest to his people and keenest to win fame.” [42]

Interpretation and criticism

In historical terms, the poem's characters would have been Norse pagans (the historical events of the poem took place before the Christianization of Scandinavia), yet the poem was recorded by Christian Anglo-Saxons who had largely converted from their native Anglo-Saxon paganism around the 7th century - both Anglo-Saxon paganism and Norse paganism share a common origin as both are forms of Germanic paganism. Beowulf thus depicts a Germanic warrior society, in which the relationship between the lord of the region and those who served under him was of paramount importance. M. H. Abrams and Stephen Greenblatt note that:

Although Hrothgar and Beowulf are portrayed as morally upright and enlightened Pagans, they fully espouse and frequently affirm the values of Germanic heroic poetry. In the poetry depicting warrior society, the most important of human relationships was that which existed between the warrior - the thane - and his lord, a relationship based less on subordination of one man's will to another's than on mutual trust and respect. When a warrior vowed loyalty to his lord, he became not so much his servant as his voluntary companion, one who would take pride in defending him and fighting in his wars. In return, the lord was expected to take care of his thanes and to reward them richly for their valor.[43]

This society was strongly defined in terms of kinship; if someone was killed, it was the duty of surviving kin to exact revenge either with their own lives or through weregild, a payment of reparation. [43]

Stanley B. Greenfield (Professor of English, University of Oregon) has suggested that references to the human body throughout Beowulf emphasize the relative position of thanes to their lord. He argues that the term “shoulder-companion” could refer to both a physical arm as well as a thane (Aeschere) who was very valuable to his lord (Hrothgar). With Aeschere's death, Hrothgar turns to Beowulf as his new "arm." [44] In addition Greenfield argues, the foot is used for the opposite effect, only appearing four times in the poem. It is used in conjunction with Unferth (a man described by Beowulf as weak, traitorous, and cowardly). Greenfield notes that Unferth is described as “at the king’s feet” (line 499). Unferth is also a member of the foot troops, who, throughout the story, do nothing and “generally serve as backdrops for more heroic action.” [45]

At the same time, Richard North (Professor of English, University College London) argues that the Beowulf poet interpreted "Danish myths in Christian form" (as the poem would have served as a form of entertainment for a Christian audience), and states: "As yet we are no closer to finding out why the first audience of Beowulf liked to hear stories about people routinely classified as damned. This question is pressing, given [...] that Anglo-Saxons saw the Danes as 'heathens' rather than as foreigners."[46] Grendel's mother and Grendel are described as descendants of Cain, a fact which some scholars link to The Cain Tradition.[47]

Allen Cabaniss argues that there are several similarities between Beowulf and the Bible. First he argues, for similarities between Beowulf and Jesus: both are brave and selfless in overcoming the evils that oppose them, and both are kings that die to save their people.[48] Secondly, he argues for a similarity between part of The Book of Revelation (“shall have their part in the lake which burneth with fire and brimstone: which is the second death." Revelation 21:8) and the home of Grendel and Grendel's mother.[49] Third, he compares the words of Jesus in the Gospel of Luke (when he pardons those who call for his crucifixion) to the portion of the poem when (before plunging into the perilous lake) Beowulf forgives his enemy, Unferth.[49]

Scholars disagree, however, as to the meaning and nature of the poem: is it a Christian work set in a Germanic pagan context? The questions suggests that the conversion from the Germanic pagan beliefs to Christian ones was a very slow and gradual process over several centuries, and it remains unclear the ultimate nature of the poem's message in respect to religious belief at the time it was written. Robert F. Yeager (Professor of literature, University of North Carolina at Asheville) notes the facts that form the basis for these questions:

That the scribes of Cotton Vitellius A.XV were Christian is beyond doubt; and it is equally certain that Beowulf was composed in a Christianized England, since conversion took place in the sixth and seventh centuries. Yet the only Biblical references in Beowulf are to the Old Testament, and Christ is never mentioned. The poem is set in pagan times, and none of the characters is demonstrably Christian. In fact, when we are told what anyone in the poem believes, we learn that they are pagans. Beowulf’s own beliefs are not expressed explicitly. He offers eloquent prayers to a higher power, addressing himself to the “Father Almighty” or the “Wielder of All.” Were those the prayers of a pagan who used phrases the Christians subsequently appropriated? Or, did the poem’s author intend to see Beowulf as a Christian Ur-hero, symbolically refulgent with Christian virtues?[50]

Translations and glossaries

In 1805 Sharon Turner translated selected verses into English.[51] This was followed in 1814 by John Josias Conybeare who published an edition "in English paraphrase and Latin verse translation." [51] In 1815, Grímur Jónsson Thorkelin published the first complete edition in Latin.[51] Nikolaj Frederik Severin Grundtvig reviewed this edition in 1815 and created the first complete verse translation in Danish in 1820.[51] In 1837, J. M. Kemble created an important literal translation in English.[51] In 1895, William Morris & A. J. Wyatt's published the ninth English translation.[51]

During the early 20th century, Frederick Klaeber's Beowulf and The Fight at Finnsburg (which included the poem in Old English, an extensive glossary of Old English terms, and general background information) became the "central source used by graduate students for the study of the poem and by scholars and teachers as the basis of their translations."[52] In 1999, Nobel Laureate Seamus Heaney's edition of Beowulf was published by Faber & Faber and includes "Northern Irish diction and turns of phrase." In 2000, W.W. Norton added it to the Norton Anthology of English Literature. [51]

, a barrow that was identified by the archaeologist Birger Nerman as Beowulf's burial mound.[53]]]

Artistic adaptations

Bibliography

Dictionaries

  • Cameron, Angus, et al. Dictionary of Old English (Microfiche). Toronto: Published for the Dictionary of Old English Project Centre for Medieval Studies University of Toronto by the Pontifical Institute of Medieval Studies, 1986/1994.

Text

Hypertext editions:

Modern English translations:

  • Alexander, Michael. Beowulf : A Verse Translation. Penguin Classics;. Rev. ed. London: New York, 2003.
  • Anderson, Sarah M., Alan Sullivan, and Timothy Murphy. Beowulf. A Longman Cultural Edition;. New York: Pearson/Longman, 2004.
  • Crossley-Holland, Kevin; Mitchell, Bruce. Beowulf: A New Translation. London: Macmillan, 1968
  • Donaldson, E. Talbot, and Nicholas Howe. Beowulf : A Prose Translation : Backgrounds and Contexts, Criticism. A Norton Critical Edition. 2nd ed. New York: Norton, 2002.
  • Garmonsway, George Norman, et al. Beowulf and Its Analogues. (Revised 1980). ed. London: Dent, 1980.
  • Gummere, Frances. 'Beowulf'. St Petersburg, Florida:Red and Black Publishers, 2007. ISBN 978-0-979-1813-1-3.
  • Hudson, Marc. Beowulf. Introduction and notes by Martin Garrett. Ware: Wordsworth Classics, 2007.
  • Heaney, Seamus Beowulf: A New Verse Translation. New York: W.W. Norton, 2001. ISBN 0-393-32097-9
  • Lehmann, Ruth. Beowulf : An Imitative Translation. 1st ed. Austin: University of Texas Press, 1988.
  • R. M. Liuzza. Beowulf: A New Verse Translation. Orchard Park, NY: Broadview Press, 2000.
  • Osborn, Marijane. Annotated List of Beowulf Translations.
  • Raffel, Burton. Beowulf. New York: Signet Classic, 1999.
  • Ringler, Dick. Beowulf: A New Translation For Oral Delivery. Hackett Publishing Company, Inc., 2007. ISBN 978-0-87220-893-3
  • Swanton, Michael (ed.). Beowulf (Manchester Medieval Studies). Manchester: University, 1997.
  • Szobody, Michelle L. & Justin Gerard (Illustrator) Beowulf, Book I: Grendel the Ghastly. Greenville, SC: Portland Studios, 2007. ISBN 9780979718304

Old English and modern English:

Old English with glossaries:

Audio

Scholarship

References

  1. ^ a b c Tolkien, J.R.R. (1958). Beowulf: the Monsters and the Critics. London: Oxford University Press. p. 127. 
  2. ^ Hieatt, A. Kent (1983). Beowulf and other old english poems. New York: Bantam Books. p. xi-xiii. 
  3. ^ a b c d e f g h i j k l m n o p q r s Kiernan, Kevin (1996). Beowulf and the Beowulf manuscript. Ann Arbor, MI: University of Michigan. footnote 69 pg 162, 90, 258, 257,171, xix-xx, xix, 3 , 4 , 277-278 , 23-34, 29, 29, 60, 62, footnote 69 162. 
  4. ^ Mitchell, Bruce; Fred C. Robinson (1986). "Diphthongs". A Guide to Old English. Blackwell. p. 14-15. 
  5. ^ "Electronic Beowulf". The University of Kentucky. http://www.uky.edu/~kiernan/eBeowulf/guide.htm. Retrieved on 2007-11-06. 
  6. ^ a b c Joy, Eileen A (2005). "Thomas Smith, Humfrey Wanley, and the Little-Known Country of the Cotton Library" (PDF). Electronic British Library Journal. 2, 24, 24, footnote 24. http://www.bl.uk/eblj/2005articles/pdf/article1.pdf. Retrieved on 2008-03-03. 
  7. ^ Lapidge, Michael (1996). Anglo-Latin literature, 600-899. London: Hambledon Press. p. 299. ISBN 1-852-85011-6. 
  8. ^ Gutenberg copy of Chauncey Brewster Tinker's The Translations of Beowulf (1903)
  9. ^ Heaney, Seamus (2000). Beowulf: A New Verse Translation. New York: Norton. 
  10. ^ "The Christian Coloring of Beowulf" (F. A. Blackburn, PMLA 12 (1897), 210-17
  11. ^ "The Pagan Coloring of Beowulf" (Larry D. Benson, in Old English Poetry: fifteen essays. R.P. Creed, ed. Providence (Rhode Island): Brown University Press, 1967: 193-213).
  12. ^ Abrams, M.H.; Greenblatt, Stephen (2000), The Norton Anthology of English Literature: The Middle Ages (Vol 1), Beowulf, New York: W.W. Norton, pp. 29 
  13. ^ Lord, Albert. The Singer of Tales. Cambridge, MA: Harvard University Press, 1960. p. 198
  14. ^ Zumthor, Paul. “The Text and the Voice.” Transl. Marilyn C. Englehardt. New Literary History 16(1984):67-92
  15. ^ Crowne, D.K. 'The Hero on the Beach: An Example of Composition by Theme in Anglo-Saxon Poetry', Neuphilologische Mitteilungen, 61 (1960)
  16. ^ Benson, Larry D. "The Literary Character of Anglo-Saxon Formulaic Poetry" Publications of the Modern Language Association 81 (1966):, 334-41
  17. ^ Benson, Larry. "The Originality of Beowulf" The Interpretation of Narrative. Cambridge, MA: Harvard University Press, 1970. pp 1-44
  18. ^ a b c Foley, John M. Oral-Formulaic Theory and Research: An Introduction and Annotated Bibliography. New York: Garland Publishing, Inc., 1985. p.126
  19. ^ Watts, Ann C. The Lyre and the Harp: A Comparative Reconsideration of Oral Tradition in Homer and Old English Epic Poetry. New Haven, CT: Yale University Press, 1969. p. 124, et al.
  20. ^ Gardner, Thomas. "How Free Was the Beowulf Poet?" Modern Philology. 1973. p. 111-27.
  21. ^ Foley, John Miles. The Theory of Oral Composition: History and Methodology. Bloomington: IUP, 1991, pp. 109 f.
  22. ^ Bäuml, Franz H. "Varieties and Consequences of Medieval Literacy and Illiteracy", in Speculum, Vol. 55, No. 2 (1980), pp.243-244.
  23. ^ Havelock, Eric Alfred. Preface to Plato. Vol. 1 A History of the Greek Mind, Belknap Press of Harvard University Press, Cambridge, MA: 1963.
  24. ^ Curschmann, Michael. The Concept of the Formula as an Impediment to Our Understanding of Medieval Oral Poetry” Medievalia et Humanistica, n.s. 8(1977):63-76
  25. ^ Zumthor, Paul. “The Text and the Voice.” Transl. Marilyn C. Englehardt. New Literary History 16(1984):67-92
  26. ^ Schaefer, Ursula. Vokalitat: Altenglische Dichtung zwischen Mundlichkeit und Schriftlichkeit, ScriptOralia 39 (Tubingen: Gunter Narr Verlag, 1992
  27. ^ http://serials.infomotions.com/bmcr/bmcr-9404-otter-vokalitaet.txt
  28. ^ "Beowulf." Norton Anthology of English Literature. ed. Stephen Greenblatt. 8th Edition. pp 29-33
  29. ^ M. H. Abrams, general ed.. (1986). The Norton Anthology of English Literature. W. W. Norton and Co., Ltd. p. 19. ISBN 0393954722. 
  30. ^ Beowulf: a Dual-Language Edition. New York, NY: Doubleday. 1977. 
  31. ^ Newton, Sam (1993). The Origins of Beowulf and the Pre-Viking Kingdom of East Anglia. Woodbridge, Suffolk, England: Boydell & Brewer Ltd.. ISBN 0 85991 361 9. 
  32. ^ Shippey, T. A. (Summer 2001). "Wicked Queens and Cousin Strategies in Beowulf and Elsewhere, Notes and Bibliography". In the Heroic Age (5). 
  33. ^ a b Klingmark, Elisabeth (in Swedish). Gamla Uppsala, Svenska kulturminnen 59. Riksantikvarieämbetet. 
  34. ^ a b Nerman, Birger (1925). Det svenska rikets uppkomst. Stockholm. 
  35. ^ "Ottar's Mound". Swedish National Heritage Board. http://www.raa.se/cms/extern/en/places_to_visit/our_historical_sites/ottar_s_mound.html. Retrieved on 2007-10-01. 
  36. ^ a b Niles, John D. (October 2006). "Beowulf's Great Hall". History Today 56 (10): 40–44. http://www.historytoday.com/MainArticle.aspx?m=31861&amid=30234433. 
  37. ^ Anderson, Carl Edlund (1999). "Formation and Resolution of Ideological Contrast in the Early History of Scandinavia (Ph.D. thesis)" (PDF). University of Cambridge, Department of Anglo-Saxon, Norse & Celtic (Faculty of English). p. 115. http://www.carlaz.com/phd/cea_phd_chap4.pdf. Retrieved on 2007-10-01. 
  38. ^ a b c Chance, Jane (1990). Helen Damico and Alexandra Hennessey Olsen. ed. The Structural Unity of Beowulf: The Problem of Grendel's Mother. Bloomington, Indiana: Indiana University Press. pp. 248. 
  39. ^ Jack, George. Beowulf: A Student Edition. Oxford University Press, USA. p. 123. 
  40. ^ a b c d e f g h i j k l m n o p Owen-Crocker, Gale (2000). The Four Funerals in Beowulf: And the Structure of the Poem. New York: Manchester University Press. p. 1-5, 23, 31, 34, 44, 52, 65-69, 84-86, 104-105. 
  41. ^ Tarzia, Wade (1989). The Hoarding Ritual in Germanic Epic Tradition.. The Journal of Folklore Research 26:2. p. 99-121. 
  42. ^ a b c d e f g h i j k l m Greenblatt, Stephen; M.H. Abrahams (2006). The Norton Anthology of English Literature: Volume A: Middle Ages. New York: Norton & Company. p. 34-35, 57-58, 81, 99-100. 
  43. ^ a b Abrams, M.H.; Greenblatt, Stephen (2000), The Norton Anthology of English Literature: The Middle Ages (Vol 1), Beowulf, New York: W.W. Norton, pp. 30 
  44. ^ Greenfield, Stanley. (1989) Hero and Exile. London: Hambleton Press, 59
  45. ^ Greenfield, Stanley. (1989) Hero and Exile. London: Hambleton Press, 61
  46. ^ Richard North, "The King's Soul: Danish Mythology in Beowulf," in the Origins of Beowulf: From Vergil to Wiglaf, (New York: Oxford University Press, 2006), 195
  47. ^ Williams, David:"Cain and Beowulf: A Study in Secular Allegory. University of Toronto Press, 1982
  48. ^ Cabaniss, A: "Liturgy and Literature", page 101. University of Alabama Press, 1970
  49. ^ a b Cabaniss, A: "Liturgy and Literature", page 102. University of Alabama Press, 1970
  50. ^ Yeager, Robert F.. "Why Read Beowulf?". National Endowement For The Humanities. http://www.neh.gov/news/humanities/1999-03/yeager.html. Retrieved on 2007-10-02. 
  51. ^ a b c d e f g Osborn, Marijane, Annotated List of Beowulf Translations, http://www.asu.edu/clas/acmrs/web_pages/online_resources/online_resources_annotated_beowulf_bib.html, retrieved on 2007-11-21 
  52. ^ "Bloomfield, Josephine. Benevolent Authoritarianism in Klaeber's Beowulf: An Editorial Translation of Kingship" (PDF). Modern Language Quarterly 60 (2). June 1999. http://muse.jhu.edu/journals/modern_language_quarterly/v060/60.2bloomfield.pdf. 
  53. ^ Ewald, Gustav (1950). "Är Skalunda hög kung Beowulfs grav?" (in Swedish). Västgöta-Bygden 1: 335–336. (Om *Birger Nermans och °Carl Otto Fasts idéer angående hednatima kungars gravplats.)

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Wikisource has original text related to this article:



Simple English

File:Beowulf.
The first page of the only manuscript of Beowulf.

Beowulf is an Old English heroic epic poem. It is not known who wrote it, but it was originally written down between the 8th and the 11th century. The only copy of Beowulf that still exists is from about 1010. Beowulf is 3183 lines long.

The protagonist of the poem is Beowulf. The poem is named after him. In the poem, Beowulf fights three monsters: Grendel and Grendel's mother, and later in his life an unnamed dragon.

Story

Hrothgar, a Danish king, has built a big mead hall, which is called Heorot. Hrothgar and his people live a good life and celebrate in Heorot. But then they are attacked by Grendel, who comes to Heorot every night and kills some of Hrothgar's people.

Beowulf is a Geatic warrior from Geatland (modern southern Sweden). He hears of Hrothgar's troubles with Grendel. Beowulf and his men leave Geatland to help King Hrothgar.

Beowulf and his men stay the night in Heorot. When Grendel comes to kill them, Beowulf fights him. Beowulf tears Grendel's arm off from his body and sticks it on the wall as a trophy. Grendel runs to his home in the marshes, where he dies. Everyone is happy that Grendel is killed and celebrates. But the next night, Grendel's mother comes to Heorot and kills many people for revenge and grabs Grendel's arm. Beowulf then goes to the marshes where Grendel and his mother lived. Beowulf goes to kill her, but then she seduces him. The poem tells in remarkable detail of their sexual exploits. Afterward, Beowulf tells of the death of Grendel's mother back at Hrothgar's castle. Hrothgar reveals to Beowulf in secrecy that Grendel was his son, and they did the same thing. Hrothgar then jumps off a cliff, right after naming Beowulf the new king, because he has been freed of his curse.

Later in his life, he fights a dragon, who happens to be his own son. Beowulf, helped by the young man Wiglaf, kills the dragon. But Beowulf is wounded in the final battle and dies. Grendel's mother (played by Angelina Jolie) then reclaims his body when it is burned on the barrow in the ocean. Beowulf then name wiglaf as his successor, and the poem ends. It is assumed that the same process happened over and over, and anytime there is a monster in Europe today, it is the son of one of the kings, and an example of that is Camilla.

Adaptations

The story of Beowulf has often been told in books, plays, and films. Sometimes the full story is told, sometimes just parts of the story. Sometimes the plot is altered. Sometimes only ideas or themes are taken from the story. Some examples are:

  • Beowulf (1999 film)
  • Beowulf and Grendel (2005 film)
  • Grendel (2007 film)
  • Beowulf (2007 animated film)
  • Eaters of the Dead, a book by Michael Crichton (1976)
  • Grendel, a book by John Gardner (1971)
  • The Ring-givers, a book by W. H. Canaway (1958).

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