SONGS OF ANCIENT HEROE
from Beowulf
‘fiom Gilgamesh
J “The Seafarer”
‘And sometimes a proud old soldier
| Who had heard songs of the ancient heroes
And could sing them all through, story after story,
Would weave a net of words for Beowul’s
Victory, tying the knot of his verses
Smoothly, swiftly, into place with a poet's
‘Quick skill, singing his new song aloud
While he shaped it, and the old songs as well.
\
—from Beowulf, translated by Burton RaffelPage from
the Booval
manuscript
( 1000),
Conon MS
Vites A
XV £133,
18 THE ANGLO-SAXONS
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Beowulf
Beowuilfis to England what Homer's Miad and
Odyssey are to ancient Greece: Itis the first great
work of the English national literature—the mythical
and literary record of a formative stage of English
Civilization, It is also an epic of the heroic sources
‘of English culture. As such, Beowulf uses 2 host of
traditional motifs, or recurring elements, associated,
with heroic literature all over the world.
‘The epic tells the story of Beowulf (his name may
‘mean “bear”), a Geat from Sweden who crosses the
sea to Denmark in a quest to rescue King Hrothgar
from the demonic monster Grendel. Like most early
heroic literature, Beowulf is oral art It was handed
down, with changes and embellishments, from one
minstrel to another. The stories of Beowulf like those
of all oral epics, are traditional ones, familiar to the
audiences who crowded around the harpist-bards in
the communal halls at night. The tales in the Beowulfpic are the stories of dream and legend, of monsters and of god
fashioned weapons, of descents to the underworld and of fights with,
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Beowutr 47Beowulf Shrinklet
Hrothgar and Grendel could not get along;
the populace thought the killing was wrong.
Beowulf, the hero from o'er the sea,
from monster or dragon he would not flee.
“If treasure I wanteth,” the hero thought,
“then I will journey to the great Herot?
Grendel died at the end of the battle.
His mother enraged (and all but little)
wanted revenge for her beloved son,
but the great bold hero ended her fun,
For proof he carried the head and the
sword,
and traveled back with troops for a reward.
‘The great Beowulf returned to his home,
‘over the oceans on seaweed and foam.
His conscience lived happily as the king.
He died at the hands of another thing.
—Calen Wood
Bakersfield High Schoo!
Bakersfield, California
Maxine MEANINGS
First Thoughts=
ae Reading Check
story isan a. Describe how Beo-
ancient one, ‘wulf manages to kill
more than Grendel's mother.
ene thousand |b. Who comes to Beo-
years old. Did ‘waits ald in is final
its age make it battle with the
entirely alien dragon? Why does
10 you, or did he help Beowull?
youfind that | ¢, What sad scene
ic deals with concludes the epic?
issues or dd. What happens to the
aeaniesiara dragon's hoard?
‘seem relevant
in our mod-
‘ern society as wel? If so, what are they?
48 THE ANGLO-SAXONS
Shaping Interpretations
2. Ahoarded treasure in Old Englsh literature
Usually symbolizes spiritual death or damna-
tion. How does this fact add significance to
Beowulf last fight with the dragon?
3. What details describe the dragon? Keeping
those details in mind, explain what che dragon
might symbolize as Beowulf’ final foe.
Beowulf battles Grendel, Grendel's mother, and
‘the dragon. What do these battles have in com-
mon, and what do they suggest Beowulf and his
‘enemies might represent for the Anglo-Saxons?
Given what you know about the structure of
Anglo-Saxon society, explain what is especially
‘ominous about the behavior of Beowull’s men
during the final battle. What does this suggest
about the future of the kingdom?
The epic closes on a somber, elegiac note—a
note of mourning. What words or images
contribute to this tone?
Epic poetry usually embodies the attitudes and
ideals of an entire culture. What values of
‘Anglo-Saxon society does Beowulf reveal?
‘What universal themes does it also reveal?
Extending the Text
8. How would we tell a hero story today? What
would the setting be, what would the enemy
be, and what values would the hero embody?
9. The Connections on page 47, “Life in 999: A
Grim Scruggle,” describes daily life in late
‘Anglo-Saxon England. How does this picture of
daily life relate to what you've read in Beowulf—
and to how you live today?
10. In the last episode of the epic, the leader's fol
lowers mourn his passing and praise his life.
‘What qualities do we look for in leaders
today—are they the same qualities Beowull's
people loved him for?
Challenging the Text
1. What do you think of the way women are
portrayed in (or absent from) Beowulf?
5,
6
xELEMENTS OF
LITERATURE
Alliteration and Kennings:
Taking the Burden off the Bard
The Connections on page 39 shows that the oral
tradition is sil alive and stil a powerful way of
‘communicating from post to audience.
‘The Anglo-Saxon oral poet was assisted by
‘two poetic devices, alliteration and the kenning.
Allliteration. Alliveration is the repetition of
sounds in words close to one another. Anglo-Saxon
poetry is often called alliterative poetry. Instead of
rhyme unifying the poem, the verse line is divided
into two halves separated by a rhythmical pause, or
caesura. In the first half of the line before the
cacsura, two words alliterate; in the second half,
‘one word alliterates with the two from the first
half, Many lines, however, have only two allterative
words, one in each half of the poetic line. Notice
the aliterative g and the four primary stresses in
tis Old English line from Beowulf:
God mid Geatum Grendles dacda
Kennings. The kenning, a specialized metaphor
made of compound words, is a staple of Anglo-
Saxon literature that stil finds a place in our lan-
‘guage today. Gas guzzler and headhunter are two
modern-day kennings you are likely to have heard.
The earliest and simplest kennings are com-
pound words formed of two common nouns: “sky-
candle” for sun, “battle-dew” for blood, and “whale
road” for sea, Later, kennings grew more elaborate,
and compound adjectives joined the compound
nouns. A ship became a “Yoarry-throated ship.” then
a “foamy-throated sea-stalion,” and finally a “foamy-
throated stallion of the whale-road.” Once a ken-
ning was coined, it was used by the singer poets
over and over again.
In their original languages, kennings are almost
always written as simple compounds, with no
hyphens or spaces between the words, In transla-
tion, however, kennings are often written as
hyphenated compounds (“sky-candle,” “foamy-
throated”), as prepositional phrases ("wolf of
wounds”), or as possessives ("the sword!s tree”),
‘The work of kennings. Scholars believe that
kennings filled three needs: (1) Old Norse and
‘Anglo-Saxon poetry depended heavily on alltera-
tion, but neither language had a large vocabulary.
Poets created the alliterative words they needed by
combining existing words. (2) Because the poetry
was oral and had to be memorized, bards valued
ready-made phrases. Such phrases made finished
poetry easier to remember, and they gave bards
time to think ahead when they were composing
new poetry on the spot during a feast or ceremony.
{@) The increasingly complex structure of the ken-
rings must have satisfied the early Norse and
‘Anglo-Saxon people's taste for elaboration.
Analyzing the text, As you examine these poetic
devices, be sure to listen to the way they sound
I. Read aloud the account of Beowull’s death
(lines 791-828), and listen for the effects of the
alliteration. Where are vowels, rather than
consonants, repeated?
2. Look back over lines 233-391 from Beowulf,
Locate at least two examples of kennings written
as hyphenated compounds, two examples of
kennings written as prepositional phrases,
and two examples of kennings writeen as pos-
sessives. What does each kenning refer to?
3. Compile alist of modern-day kennings, such as
headhunter.
4, Translators differ dramatically in how they
rephrase the Old English to handle alliteration
and the kennings. Here is a passage from a
translation done many years before the Raffel
translation. How does it compare with the cor-
responding lines (392-398) in Raffel’s transia-
tion? Which translation sounds more modern?
‘Which do you prefer to listen to?
Now Grendel came, from his crags of mist
‘Across the moor; he was curst of God.
‘The murderous prowler meant to surprise
In the high-bui hal his human prey.
He stalked neath the clouds til steep before him
‘The house of revelry rose in his path,
The gold-hall of heroes, the gaily adorned.
—translated by J. Duncan Spaeth
Beowutr 49Cnuoices: Building Your Portfolio
Writer's Notebook
1, Collecting Ideas for a
Literary Analysis
atthe
end of this
collection,
youlll write a literary
analysis. When you analyze
a literary work, you usually
focus on some element in
the selection that interests
you. You then analyze, or
“take apart” the element
£0 see how it works in the
taxt. To start collecting
ideas for an analysis, focus
now on the character of
Grendel, the monster.
Look back over the pas-
sages in Beowulf that de-
scribe Grendel, and gather
evidence on how he is de-
scribed. Consider these
‘questions: How does the
storyteller, in the words
hho uses to describe the
creature, also shape our
feelings toward him? What
accounts for Grendel’
evil? What does Grendel
seem to represent in the
story? Save your work.
for later use.
‘Autobiographical
Incident
2. Facing Monsters
Write a brief narrative in
which you tell about a time
when you, like Beowulf, faced
an intense physical challenge,
or were taunted over some-
50 THE ANGLO-SAXONS
thing you sald or did, or had to
overcome fear to do some-
‘thing that had to be done.
Remember that a narrative
tells of a series of related
‘events. Give your narrative a
strong ending.
Creative Writing
3. It’s All in the Point
of View
Just as John Gardner
imagining this story from
Grendels point of view (see
‘Connections on page 36).
you might try reteling an
episode from the perspective
of one of the other characters,
perhaps Grendel, his mother,
the dragon, Hrothgar, or
Beowlf's detractor, Unferth,
Speaking and
4, Being a Bard
Retell an episode of Beowulf
for your classmates, or, ifit
can be arranged, for a grade-
school audience. Be faithful to
the plot of the story, but feel
free to change or adapt the
content to fit your audience
and your own storytelling
talents. (See, for example,
the story of Beowulf told in
shrinklet format on page 48.)
Plan an introduction to your
istening
story, and try to find ways of
involving your listeners. For
drama, use gestures, sound ef-
fects, and pauses.
‘Comparing Film and Epic
5. Movies and Beowulf’
Movies, the cornerstone of
‘American entertainment, often
rely on familiar images: Heroes
face villains to do battle
kinds of places—from the
ordinary to the strange. In a
brief essay, compare and con-
trast Beowulf with some action
movie you know well. Use the
following questions to guide
your comparison:
‘Where does each hero
come from?
Who are the hero's trusted
aides?
What role does violence
play in the story?
How does the hero stru
against evil?
Is the hero an outsider or a
part of the community?
‘What rewards or glory does
the hero receive?
Mark Hamill as
le Slywaer in
Star Wars (1977).Reading Skills and Strategies
VOCABULARY: USING CONTEXT CLUES eA
Sometimes you can determine the meaning of an
Unfamiliar Word by looking for clues in che context,
the surrounding words, phrases, and sentences. In
fact, you've probably learned many words by using
context clues. Below are some of the most useful
types of context clues:
Restatement. A difficult word might be rephrased
in slightly easier language. Restatements may be sig-
naled by specific words or phrases: that is, of, in other
words. Look at punctuation—dashes and parenthe-
‘ses also serve as signals. Often a restatement will
be an appositive set off by commas or an item in
«keeping the bloody feud
Alive, seeking no peace, offering
No truce, accepting no settlement.
—Beowalf lines 68-70
‘A truce is something that would end a feuds its a
kind of settlement or a cease-fire
Comparison. Compare unfamiliar words to
familiar words that surround it. Sometimes specific
words and phrases may also signal a comparison
context clue: ike, as, similar to.
but the swirling
Surf had covered his death, hidden
Deep in murky darkness his miserable
End.
—Beowul lines 530-533
Note ll che words that have to do with obscuring
from view: covered, hidden deep, darkness. Murky
means “dark or gloomy, shadowy.”
Contrast. An opposition might be set up. Certain
key words and phrases signal a contrast context
clue: but, not, although, however, onthe other hand.
- he can come for your people with no fear
Of reprisal; he's found no fighting, here,
But onty food, only delight.
—Beowulf lines 329-331
Reprisal has to do with resistance, rather than
acceptance or encouragement. A reprisal is punish-
‘ment in return for an injury.
Synonym. You might find a word nearby that
has the same or nearly the same meaning as the
unknown word.
He murders as he likes, with no mercy, gorges
‘And feasts on your fiesh.
—Beowulf ines 333-334
Notice the words feasts on. To gorge is to glut or to
swallow greedily.
Example. Sometimes the text provides an example
Certain words and phrases help you spot example
context clues: such as, including especially, namely
Scops, such as the skilled storytellers who passed
down the story of Beownl, were honored members
‘of Anglo-Saxon society.
Note the key words: storytellers and Anglo-Saxon. A,
scop is an Old English poet or bard.
‘Try It Out
Choose any five of the Words to Own from Beowulf
For each word, construct a sentence that gives the
meaning of the word from its context. Use a difer-
ent type of context clue for each sentence. To get
started, use a chart like the one below. Ask a class-
mate to find the context clues in your sentences.
Word
toown | Context Clue | Example
A picture stone
showing a Viking
ship under sal
READING SKILLS AND STRATEGIES 51THE HEAD OF HUMBABA
Background those days. The story
‘was recorded on clay tablets
The men and women who around 2000 8. in Sumer, a
lived four thousand years a0 | pare of ancient Mesopotamia,
would be astounded by the Gilgamesh is the king of
world we live in.and we. very Uruk, an ancient Sumerian city
likely, would be astounded by {Hig great friend is Enkidu. Crav-
theirs, Obviously. the world | ing an adventure tha wil bring
has changed in countless ways. | fGme, Gilgamesh convinces
Science and technology have! Endy to journey with hin to
transformed the physical world | tho cedar forese, There they
we inhabit, and social and po- | confront the forest's guardian,
cal evolution have altered | ent gant Hombaba,
the way we lve. Nations, em-
pires, religions, nd languages
have come and gone. People a
nowtave frente at. | Reading ils =<,
ferent worries, different prob- | and Strategies
lems Responding to the Text
So you would expect a ‘As you read this adventure
story four thousand years old! from the epic Gilgamesh, take
xo have litle odo with you or | notes on a separate piace of
anything around you today. | paper. Record your responses
Your lf is so diferent from | to what you're reading. Write
the lives ofthe storyzeller and | down any questions you have
his characters that you might | about the text. Note any de-
have nothing in common, no | ails that remind you of Pram eT
shared experience. Ggamesh, | Beowulf, or of other monster- | (tate nalgt ih can
for instance is such an ancient {slaying stories. Stgon I. Khor ng
story-—a poem, as all stories Loom Por
(ap) World map by Prolemy (A. 100!-165?). Shades
52 THE ANGLO-Saxons area Indicates general location of Mesopotamia,