Beowulf READING GUIDE

Designed by Prof. Marina Cantarutti

A few tips before you start.

You will be reading a translation of an Old English poem. You will notice the difference between
both “Englishes” as you “peep” into the left column of the text. The translation selected is that of
Seamus Heaney, and you will have the chance of hearing him read it out if you play the files on our
virtual classroom. If you want to take a look at the surviving manuscript, enter the British Library
webpage: http://www.bl.uk/onlinegallery/onlineex/englit/beowulf/large17439.html . Our
selection spans lines 53 through 990.

As with all texts, you will be invited to index this poem, so that you can easily find and retrieve
information when requested. This reading guide will help you organize your analysis and focus on
the lines we need to explore.

Read with pencil in hand first, trying to understand what is happening. You have already got the
summary of the whole poem at your disposal so all you need to do is place this extract in the right
moment of the plot. Look up unknown vocabulary as well, only if essential to your comprehension.

Now, as you read a second time, you will be required to focus on the following:

• Characterisation (find “epithets”, and describe the characters’ virtues and flaws in terms of
how they are said to act, what they feel, what motivates their actions, their ancestry….)
o Hrothgar
o Grendel
o Beowulf
• The Poet: does he appear explicitly on the text? Where and how?
• Christian elements and allusions
• Pagan rites
 • Warfare: rituals, armour, virtues
• Symbols

Below you will find some questions on particular lines to guide your reading. For practical
purposes, the division into Cantos by Burton Raffel has been followed. You will now see the titles
but you just need to follow the lines and the breaks to see this fragmentation into sections.

Canto 1: lines 53 to 114

• Whose history is the poem addressing?

• Find the epithet used to describe Halfdane
• Line 62: notice the poet’s explicit intervention. What do you make of it? What does it
reveal? Keep on the alert for more examples of this and write the lines down in your
index.
• Hrothgar: what qualities do you see in him? What elements show his “grandeur”?
• Line 68 onwards: notice the description of the Hall and its implications. It even gets a
name! This and other warfare‐related elements will be explored later.
• Line 81: the poet again, this time implicitly anticipating an evil fate.
• Line 86 onwards: Grendel’s first appearance. Make a note of all epithets and images used
to describe him. What is he “provoked” by? Why?
• Line 91: The Song of Creation. A Christian element. How is this connected to Grendel and
his anger? If necessary, find out about “Cain and Abel”.

Canto 2: lines 115‐188

• List all the epithets used to describe Grendel and the horror of his actions.
• What do you make of the phrase “no remorse”? Link it to the poet’s comments as from
line 183.
• What do you learn of Hrothgar as a ruler and leader from the description of his reaction?
• Compare the warriors described in the previous Canto to their reaction to Grendel’s attack
in line 139 onwards.
• Compare the magnificent Hall in the previous Canto to what is described as from line 146.
Remember the Hall as a symbol.
• Line 147: How many years has Grendel assailed Hrothgar’s nation?
• Why did Grendel not “touch the throne”? What does this reveal about Hrothgar?
• Notice how warfare is an art and a strategy from lines 170. Another element characterizing
the age.
• Find as from line 175, the interplay of Pagan and Christian rites and views.
• What is the moral at the end of this Canto?

Canto 3: lines 189‐228

 • Description of the hero. Notice all the references to ancestry in this Canto.
• What values appear highlighted in the hero? Make inferences from the description the
poet makes himself and through the perception of the guard. Also keep track of the
epithets used.
• Line 204: more Pagan rituals. Were the omens good?
• Note the war‐gear and the description of the ship. Notice the “she” used”!
• Line 221: Description of Hrothgar’s land from the warriors.
• What is the final action of the warriors upon arriving? Keep track of these Christian actions
as well.
• Make a note of imagery in this Canto.

Canto 4: lines 229‐319

• Note the challenge as another warrior‐ritual.

• Line 249 onwards: Divide Beowulf’s self‐introduction into parts. Give them subtitles. What
do you make of this introduction?
• Line 286 onwards: Why this speech on the difference between deeds and words?
• Again, compare this description of the Hall to the previous instances.
• Lines 316 onwards: Another Christian action. Compare to the end of the previous Canto.

Canto 5: lines 320‐370

• Note the strong visual and auditory imagery in this Canto.

• Lines 330‐331: What do you make of these lines? Remember to stay alert for further
descriptions of war‐gear and what they represent. Another symbol of grandeur, together
with the Hall.
• Note that even when this kingdom is in danger and in grief, all forms and rituals are kept.
Introductions, permission‐requesting and –granting. No haste. This highlights the honour
that Hrothgar still keeps and is strengthened by the description of the great Hall as seen by
the newcomers. Also check the comment at line 359, representative of this.
• Lines 340 onwards: Beowulf’s name first appears. Make a note of the epithets used for
Beowulf, Wulfgar and Hrothgar.
• Lines 360 onwards: Wulfgar’s request to Hrothgar. An enthusiastic beg in disguise.

Canto 6: lines 371‐455

• Lines 371 and 391: note how honour and ancestry go hand in hand
• Line 381: Beowulf’s arrival as a gift from God (another blessing for Hrothgar).
• Note the reference to treasures as reward.
• This is a scene of high tension: the newcomers leaving their weapons behind, the well‐
measured words by both leaders.
 • In previous Cantos there was a brief reference to the poets’ tales of glorious and misery‐
filled pasts, poets as bearers of history. Notice here that it is the sailors who act as news
bearers.
• Line 412: New references to the Hall.
• Line 415: councillors of war once more mentioned. War was a serious business.
• Line 419: Past deeds used as credentials. Beofulf’s CV.
• Line 431: It is not treasures that move Beowulf, but honour. A common theme in OE
literature.
• Line 438: Isn’t Beowulf brave? Or just arrogant? The second comment would be out of the
question. Medieval heroes were expected to bravery, yet they trusted their deeds to God
(see line 441). Contrast this Christian delivery to the pagan reference to “Fate” in line 454.
• Lines 442 onwards: Grendel presented as more and more evil. Notice the bloody imagery
in the imaginary actions described.
• Note that Beowulf’s war gear is to be sent back to Higlac, should he be slain.

Canto 7: lines 456‐498

• Another common code: blood feuds and retribution of favours.

• Note once again the proximity of the ideas of God and Fate in lines 476‐479
• Feasting as another rite: what is a banquet like? What roles and rites appear there?

Canto 8: lines 500‐558 and Canto 9: lines 559‐661

• Characterise Unferth. What sotry does he tell and how is he proven wrong? Another
example of “punishment” as a theme, he appears to pay almost immediately for his envy,
jealousy and malice.
• Summarise the two versions of the story.
• Note how vanity appears to be a flaw for a hero.
• See how the ocean is characterized as “he”.
• Again, see how armour is carefully described.
• Line 572: Fate.
• Epithets: continue listing the names given to both Beowulf and Hrothgar.
• The theme of words vs deeds keeps appearing in these Cantos.
• Lines 612 onwards: the first female figure appears: the Queen. What does she do? How is
she described? Note that Beowulf makes the promise to her.
• Lines 647 onwards: Grendel: what words and imagery appears related to him?
• The final request and promise by Hrothgar. Beowulf as the “chosen one”.

Canto 10: lines 662‐702

• More epithets for Beowulf and Hrothgar.

• Line 669: Trust is placed on both earthly and religious things.
• How does Beowulf prepare for war?
 • Lines 661 onwards: the art of war again.
• Lines 665 onwards: Divine decision. Go back to previous Cantos to see similar passage.
• Do his comrades believe he would survive?
• Do we know whether he will survive? Quote. You can trace the poet through this example
of foreshadowing.
• Lines 701‐702: Another moral.

Canto 11 703‐789

• How is Grendel described? More epithets for your list!

• Line 709: Once again, the contrast awake‐asleep
• Note how suspense is built in the description of Grendel’s actions as he approaches
Beowulf.
• Line 733: More examples of foreshadowing.
• Line 737 onwards: more epithets for Beowulf.
• Notice all the cases of inversion and negation in this Canto.
• Line 753: note the limited access to Grendel’s feelings here.
• Analyse visual and auditory imagery carefully in this Canto.
• Lines 770 onwards: The Hall again.
• Line 774: The poet once more. Why do you think there is a shift beginning with “The story
goes…”?

Canto 12: lines 790 ‐ 835

• Notice that Beowulf’s soldiers appear awake and defending his lord now.
• Line 807: Beowulf is said to have won. How? What does this way of putting his victory in
words reveal?
• More access to Grendel’s consciousness. Mark them in your text.
• Lines 824: What values does Beowulf embody and should be typical of a Germanic hero?
• Apart from killing the monster, Beowulf has restored the order of the community. In what
way?
• What is Beowulf’s trophy and proof of success?

Canto 13: lines 836‐914

• Note another explicit intervention of the poet. What is its effect?

• More examples of negation and understatement (lilotes)
• Lines 850‐851: Grendel’s punishment.
• Lines 860‐861: Why do you think this comment needs to be made?
• In this canto you get a clear reference to the role of poets in this era.
• Read Sigemund’s story carefully. It will be a way of foreshadowing events later in
Beowulf’s life.
Canto 14: lines 915‐989

• Lines 920 onwards: further epithets for Hrothgar.

• Hrothgar’s speech: Divide this speech into parts. What does each part refer to, and why is
this a proper speech for a king?
• What is Beowulf’s reward?
• In what ways has Beowulf “made himself immortal”?
• Note Beowulf’s reply. Find more evidence of battle as an art and faith.
• How is Unferth characterized now? Who characterizes him thus? Note the big change from
the previous introduction of his character and the straightforward epithet “the boaster”.
How is this connected to the “word‐deeds” theme?

Canto 15: lines 990

• The Restoration of Heorot. How does the Hall differ from its previous descriptions?
• There is a moral on life and death in this Canto. Explain what the poet means in your own
words.
• New contrast presented: friendship vs feud and betrayal. Note the use of “yet”. This is,
then, another example of….
• Exchange of winnings. What presents are exchanged and for what use?
• Line 1027: Compare the poet’s comment to previous interventions. What do you make of
it?

The poem, begun at the Prologue which has been left out due to time restraints, continues till
Beowulf’s death. You are of course invited to read it all and enjoy the tale of tales! Otherwise,
move on to read the critical essays included as part of the bibliography to continue making sense
of this wonderful Beowulf story.