Beowulf, heroic poem, the highest achievement of Old English literature and the earliest European

vernacular epic. The work deals with events of the early 6th century, and, while the date of its
composition is uncertain, some scholars believe that it was written in the 8th century. Although
originally untitled, the poem was later named after the Scandinavian hero Beowulf, whose exploits and
character provide its connecting theme. There is no evidence of a historical Beowulf, but some
characters, sites, and events in the poem can be historically verified. The poem did not appear in print
until 1815. It is preserved in a single manuscript that dates to circa 1000 and is known as the Beowulf
manuscript (Cotton MS Vitellius A XV).

Plot

Beowulf falls into two parts. It opens in Denmark, where King Hrothgar has a splendid mead hall known
as Heorot, a place of celebration and much merriment. However, the joyous noise angers Grendel, an
evil monster living in a nearby swamp. For 12 years the creature terrorizes Heorot with nightly visits in
which he carries off Hrothgar’s warriors and devours them.

After learning of the Danes’ trouble, young Beowulf, a prince of the Geats in what is now southern
Sweden, arrives with a small band of retainers and offers to rid Heorot of its monster. Hrothgar is
astonished at the little-known hero’s daring but welcomes him. After an evening of feasting, much
courtesy, and some discourtesy—at one point, one of Hrothgar’s men insults Beowulf—the king retires,
leaving Beowulf in charge. During the night, Grendel comes from the moors, rips open the heavy doors,
and devours one of the sleeping Geats. He then grapples with Beowulf, who refuses to use a weapon.
Beowulf grips one of Grendel’s hands with such force that the monster finally wrenches himself free
only when his arm is torn off at the shoulder. Mortally wounded, Grendel returns to his swamp and dies.
Beowulf then displays the monster’s arm in Heorot for all to see.

The next day is one of rejoicing in Heorot, and a feast is thrown in Beowulf’s honour. However, as the
warriors sleep that night, Grendel’s mother, another swamp monster, comes to avenge her son’s death,
and she kills one of Hrothgar’s men. In the morning Beowulf dives into her mere (lake) to search for her,
and she attacks him. They struggle in her dry cave at the mere’s bottom, and Beowulf finally kills her
with a sword. In the cave, Beowulf discovers Grendel’s corpse, whose head he cuts off and takes back to
Heorot. The Danes rejoice once more. Hrothgar makes a farewell speech about the character of the true
hero, and Beowulf, enriched with honours and princely gifts, returns home to King Hygelac of the Geats.

Emily Dickinson (1830-1886) only confirmed photograph of Emily Dickinson. 1978 scan of a
Daguerreotype. ca. 1847; in the Amherst College Archives. American poet. See Notes:

Britannica Quiz

Poetry: First Lines

The second part passes rapidly over Hygelac’s subsequent death in a battle (of historical record), the
death of his son, and Beowulf’s succession to the kingship and his peaceful rule of 50 years. However,
the tranquility ends when a fire-breathing dragon becomes enraged after a man steals from its treasure-
filled lair. The creature begins ravaging Geatland, and the brave but aging Beowulf decides to engage it,
despite knowing that he will likely die. The fight is long and terrible—a painful contrast to the battles of
his youth. Painful too is the desertion of all his retainers except for his young kinsman Wiglaf, who
comes to his aid. They ultimately kill the venomous dragon, but Beowulf is mortally wounded from a
bite in the neck. Before he dies, he names Wiglaf his successor. Beowulf is cremated on a funeral pyre,
and his remains are buried in a barrow built by the sea. As his people mourn his death, they also express
the fear that, without Beowulf, Geatland will be invaded by nearby tribes.

Analysis

Beowulf belongs metrically, stylistically, and thematically to a heroic tradition grounded in Germanic
religion and mythology. It is also part of the broader tradition of heroic poetry. Many incidents, such as
the tearing-off of the monster’s arm and the hero’s descent into the mere, are familiar motifs from
folklore. The ethical values are manifestly the Germanic code of loyalty to chief and tribe and vengeance
to enemies. Yet the poem is so infused with a Christian spirit that it lacks the grim fatality of many of the
Eddaic lays or the sagas of Icelandic literature. Beowulf himself seems more altruistic than other
Germanic heroes or the ancient Greek heroes of the Iliad. It is significant that his three battles are not
against men, which would entail the retaliation of the blood feud, but against evil monsters, enemies of
the whole community and of civilization itself. Many critics have seen the poem as a Christian allegory in
which Beowulf, the champion of goodness and light, fights the forces of evil and darkness. His sacrificial
death is seen not as tragic but as befitting the end of a good (some would say “too good”) hero’s life.

That is not to say that Beowulf is an optimistic poem. English writer and Old English scholar J.R.R. Tolkien
suggested that its total effect is more like a long lyrical elegy than an epic. Even the earlier, happier
section in Denmark is filled with ominous references that would have been well understood by
contemporary audiences. Thus, after Grendel’s death, King Hrothgar speaks sanguinely of the future,
which the audience would know will end with the destruction of his line and the burning of Heorot. In
the second part the movement is slow and funereal: scenes from Beowulf’s youth are replayed in a
minor key as a counterpoint to his last battle, and the mood becomes increasingly sombre as the wyrd
(fate) that comes to all men closes in on him.