No matter if one intends to study the Marvel, Star Wars, DC Extended Universe franchise, or medieval and gothic literature, one will find that there is one fundamental element that incites the...Show moreNo matter if one intends to study the Marvel, Star Wars, DC Extended Universe franchise, or medieval and gothic literature, one will find that there is one fundamental element that incites the expected tension present within all of those works: the presence of both a monster and its opponent, the hero, whose interaction serves as the baseline for the plot. In this thesis, the dynamics between the presumed monsters and heroes within two of England’s greatest literary works, Beowulf (Anonymous, ca. 8th-11th century) and Frankenstein (Mary Shelley, 1818), are explored from a number of angles. The objective of this analysis is to comprehend the dynamic between opponent and monster by exploring the notions of monstrosity, heroism, and, ultimately, the relation of both to theology. As Beowulf and Frankenstein were produced in distinct time periods, both works convey and exhibit specific cultural components with respect to these notions. Beowulf, as an Early Medieval text, is a primary example of a heroic epic poem, and is the product of a culture in which Christianity began to manifest itself as a predominant theology in traditional Anglo-Saxon society. Frankenstein, first published in 1818, is written in a tumultuous period with respect to religion and science, as the two seem to be competing in a race for credibility and moral acceptance. Comparing the two works with one another illustrates the gradual difference between the Early Medieval culture and the Late Modern English culture of the 19th century with respect to the ideologies and concerns regarding monstrosity, heroism, morality, and theology. Such a contrastive analysis of both works, to my awareness, has not been made to date. First, the theoretical framework and the historical context of both works are discussed in chapter one. Subsequently, Frankenstein is analyzed in chapter two and Beowulf in chapter three. Finally, these findings are combined and re-evaluated in order to return with a final answer to the initial question that is central within this thesis: to what extent do the dynamics between monster and hero in both Beowulf and Frankenstein reflect the contemporary concerns and ideologies regarding monstrosity, heroism, and theology?Show less
It has often been observed that ancient heroes suffer both acclaim and tragedy. This is true of both Beowulf and Gilgamesh, two heroes who gain much in their journeys, but ultimately lose far more...Show moreIt has often been observed that ancient heroes suffer both acclaim and tragedy. This is true of both Beowulf and Gilgamesh, two heroes who gain much in their journeys, but ultimately lose far more despite their epic feats; in the case of Beowulf, the kingdom he built and in the case Gilgamesh, his greatest friend, Enkidu. These tragedies are seen as inevitabilities and thus put to question the purpose of heroics (see Greenfield 1962 and Wolf 1969). Both have often had their heroism examined individually, but rarely together, especially in light of newer translations and editions (see Stark 1966). In my thesis, I will analyze the relevant themes of both heroic tales. I will compare and contrast the themes of gain and loss and discern the reason each hero is considered heroic within the context of their own tale and where these forms of heroism meet and diverge.Show less
The Nowell Codex is popularly known as a book of monsters. It was a fascination with the monstrous which conceivably motivated the medieval compilers to assemble the codex's current constituent...Show moreThe Nowell Codex is popularly known as a book of monsters. It was a fascination with the monstrous which conceivably motivated the medieval compilers to assemble the codex's current constituent parts. This thesis argues for another unifying theme, that of 'community', which connects all of the Old English texts. As such, each text is subjected to a close reading centred around communal affairs such as the Germanic warband, kingship and hospitality in order to highlight their central importance to the understanding of the individual texts and the codex as a whole. Taken together, these close readings strengthen the main claim of the thesis that community represented a crucial driving force behind the compilation of the Nowell Codex.Show less
J.R.R. Tolkien took the values and virtues found in Anglo-Saxon heroic literature and applied them to his Legendarium. Tolkien established his own form of modern heroism by examining Old English...Show moreJ.R.R. Tolkien took the values and virtues found in Anglo-Saxon heroic literature and applied them to his Legendarium. Tolkien established his own form of modern heroism by examining Old English works such as "Beowulf" and "The Battle of Maldon". He admired the Germanic heroic tradition, yet condemned its pagan nature. This comparative paper discusses four works of heroic literature - i.e. "Beowulf", "The Battle of Maldon", "The Lord of the Rings", and "The Children of Húrin" - focusing on the heroes of each work and how their actions reflect their ethics. The author emphasises Tolkien's disapproving views of Anglo-Saxon heroism found in "The Children of Húrin" in which its prideful hero Túrin brings about disaster and tragedy upon himself and those around him.Show less
This thesis presents a comparison between the translations of Beowulf by David Wright, Michael Alexander, Seamus Heaney and J.R.R. Tolkien. With the help of a base translation the grammar and...Show moreThis thesis presents a comparison between the translations of Beowulf by David Wright, Michael Alexander, Seamus Heaney and J.R.R. Tolkien. With the help of a base translation the grammar and vocabulary of the four translations are analysed. Then on the basis of the differences between the translations, a conclusion is made concerning which translation is best suited for a certain audience.Show less
Some scholars label Grendel’s mother as a demonic monster (e.g., Puhvel 2006, 11-14). The Beowulf- characters certainly do not seem to appreciate Grendel’s mother. In contrast, Beowulf is...Show moreSome scholars label Grendel’s mother as a demonic monster (e.g., Puhvel 2006, 11-14). The Beowulf- characters certainly do not seem to appreciate Grendel’s mother. In contrast, Beowulf is celebrated. This is odd, because his actions and Grendel’s mother’s actions are similar. The literary term abjection can be used to explain this difference in appreciation. The abject is what the culture throws away, its garbage, or its waste products (see Kristeva 1982; Klages 2012, 11). Paul Acker (2006) uses this theory to argue that Grendel’s mother is the abject. But Grendel’s mother may not be inherently monstrous. Current research has shown more sympathy for Grendel’s mother and her role in Beowulf by pointing out that her perceived monstrosity is to blame on modern translators, lexicographers and literary critics (see Alfano 1992; Hennequin 2008). In fact, the Beowulf-poet describes Grendel’s mother in terms similar to Beowulf. Thus far, scholars have often overlooked these similarities and what we can be made of them. This thesis argues that the similarities between Grendel’s mother and Beowulf underscore the poet’s criticism of heroic structures. Rather than Grendel’s mother as the abject, it is the heroic structures that are the abject. By pointing out the similarities and what they imply, this thesis shows that the term ‘monster’ assigned to Grendel’s mother can easily be applied to Beowulf too, because their behavior is similar.Show less
In this thesis, I examine the extent of the influence of John Gardner’s novel Grendel on the representation of Grendel in the film adaptations Beowulf & Grendel (2005) and Beowulf (2007). I use...Show moreIn this thesis, I examine the extent of the influence of John Gardner’s novel Grendel on the representation of Grendel in the film adaptations Beowulf & Grendel (2005) and Beowulf (2007). I use a comparative approach to specifically contrast Grendel’s character in the original poem with the ones in Gardner’s novel and the films. My aim is to demonstrate how the films provide us with a compromise between the ambiguously demonic Grendel in the Old English poem and the existential figure from the novel. I hope to offer a new insight into how the Beowulf story and characters are modernised in cinematic popular culture.Show less
Despite the lack of a physical description on the poet’s part, Grendel’s mother is more often than not depicted as a monstrosity. Yet her monstrous nature is the topic of much scholarly debate (e.g...Show moreDespite the lack of a physical description on the poet’s part, Grendel’s mother is more often than not depicted as a monstrosity. Yet her monstrous nature is the topic of much scholarly debate (e.g., Carlson 1967; Kiernan 1984). Generally, scholars group the mother together with her son Grendel and the dragon, and paint her as a monstrous being consumed by evil intent. However, this traditional view has recently been called into question. Hennequin (2008), for instance, reads Grendel’s mother as a human female fighter, disregarding the ‘monster tradition’ of earlier scholars. The aim of the current study is to look closely at arguments both for and against the humanity of Grendel’s mother, before presenting its own critical view on this subject to strengthen the case that she should not be read as a monster but, indeed, as a human. Analysing the poem through a psychoanalytical lens and using Freud’s theory of the id, the ego and the superego shows that the text of Beowulf constructs the female antagonist as a human rather than a monster. Debating this ‘monster tradition’ and accepting Grendel’s mother as human will pave the way for new explorations of Beowulf and its characters, medieval conventions of ‘otherness’ and femininity.Show less
“Never look a gift horse in the mouth”. However sensible the advice in this proverb may be, raising questions about gifts is exactly what this thesis will do, because it will make an inquiry into...Show more“Never look a gift horse in the mouth”. However sensible the advice in this proverb may be, raising questions about gifts is exactly what this thesis will do, because it will make an inquiry into two primary sources, Beowulf and The Lord of the Rings (LOTR), and explore the functions of gift giving in both works. As Tom Shippey rightly states, J.R.R. Tolkien was a noted expert on Beowulf and his literary work was often inspired by the medieval literature he studied. In both LOTR and Beowulf, gift giving plays an important role; however, the function of gift exchange in the medieval poem somewhat differs from Tolkien’s work.Show less
Since Tolkien was a noted philologist, his writing was inspired greatly by Old English poetry such as Beowulf and The Battle of Maldon. Taking into account Tolkien's comments on the portrayal of...Show moreSince Tolkien was a noted philologist, his writing was inspired greatly by Old English poetry such as Beowulf and The Battle of Maldon. Taking into account Tolkien's comments on the portrayal of heroism in these poems, this thesis presents a comparison between several heroes from Tolkien’s own fiction – Aragorn, Beren and Fëanor – and the Germanic heroic ethos.Show less
In 1994 Haber wrote in his A Comparative Study of the Beowulf and the Aeneid that it was likely to assume that Beowulf, as the first Old English epic poem, had been influenced by The Aeneid, Virgil...Show moreIn 1994 Haber wrote in his A Comparative Study of the Beowulf and the Aeneid that it was likely to assume that Beowulf, as the first Old English epic poem, had been influenced by The Aeneid, Virgil’s Latin epic poem. This research attempts to analyse this assumption in terms of divinity, examining the different aspects of divinity. First of all, I establish a generalized definition of divinity. Then, this definition is compared to the content of both epic poems and I conclude that this form of divinity existed in both poems. With this data, I confront the results of my research with Haber’s assumption. Discussing the origin of the divinity found in both epic poems, there seems to be an absence of similarities. The origin of The Aeneid is found in the polytheistic Roman religion, whereas in Beowulf it is the monotheistic Christianity that dominates. However, both heroes consider faithfulness to be of great importance and they meet the requirements of being a religious hero. Aeneas is blessed with a divine mother, but Beowulf is more like an instrument of God rather than a son. Also, in comparing three main fighting scenes in terms of influence of the divinity, I have found that there are both differences and similarities. The difference is found in the reasoning behind the fight, whereas the similarities are found in the receiving of armour and the end result of the battle. The overall influence, however, is completely different in Beowulf from The Aeneid. The influence in The Aeneid comes from multiple Roman gods and goddesses from the Roman religion, whose influence is both positive and negative. The end result of the poem is a peaceful settlement for Aeneas, ready to start the foundation of Rome. In contrast, the influence in Beowulf comes from a single Christian God, which is only positive. When this influence is absent Beowulf is killed by a wound inflicted by the dragon at the end of the poem. Therefore, my final conclusion is that it is untenable to say that The Aeneid has influenced Beowulf in terms of the portrayal and usage of divinity.Show less
