Beowulf Analysis
Beowulf : Brave warrior and future king of Geatland
King Hrothgar :The Dane King, threatened by the monster Grendel
Grendel: a vicious beast that threatens the Danes
Grendel's mother : Swamp
Beow : Former King of the Geats
Unferth : An enemy who defies Beowulf at his word
Wiglaf: A young warrior who followed Beowulf to his death
The only existing manuscript of Beowulf dates from around 1000. But the epic itself, according to most experts, belongs to the end of the 7th or the first third of the 8th century. At that time, the Anglo-Saxons were already experiencing the beginning process of the emergence of feudal ties. The poem, however, is characterized by epic archaization. In addition, she draws reality from a specific point of view: the world of Beowulf is the world of kings and vigilantes, the world of feasts, battles and fights.
"Beowulf" refers us to the heroic past of the ancients , where the opposition of people to the destructive forces of nature is presented in the form of battles with monsters. Probably, at first the poem was created in a pagan environment.
Nearly 3000 lines of the poem in narrative form tell about the exploits of a knight named Beowulf. Some characters and events of the epic are mentioned in the Scandinavian historical chronicles, for example, Hrodgar or Ohthere, which increases the significance of the poem as a historical source,and the only manuscript extant today (Cotton Vitellius A XV) was written in about 1000. There was no printing press until 1815. Although the original did not have any title, the hero was later named Beowulfun, the Scandinavian, because his personality and his works ensure the integrity of the story. Although it has not been determined that someone named Beowulf lived in history, the historical accuracy of some characters, places and events in the poem can be determined
- Analysis
The action takes place in the time inherent in this world, but not always coinciding with the present. It contains real household items: dwellings, utensils, tools, clothing, etc., but all these are things of certain categories: the world of the poem is characterized by certain object-thing attributes. It is inhabited by people, but not everyone can take a place in it: this is the world of heroes, the elect, people endowed with special properties. The main, universal highlight of this world is its heroism.
What was fundamental was the correspondence of what was told not to reality, but to the idea of heroics that was in the minds of the narrator and listeners.the basis of the heroic deed of the poem is a large-scale conflict involving the fate of entire tribes. Inheriting "an archaic epic storyline, transforming it in accordance with new ideals... the heroic epic of the period of the formation of nationalities and the formation of early countries" puts forward "the latest historical ideals and the latest conflicts - the defense of the native land from an external enemy, the heroism of a patriotic feat ... the deeds of the people and power" [ 7, p. 82-83].
Similar conflict situations of digressions in the poem, which are traditionally considered to be short retellings of independent epic works. Such is the struggle between the Frisians and the Danes (the song about the Battle of Finnsburg), the Danes and the Hadobards (the song about Ingeld and Freavaru), etc. Small tribal feuds and clashes take on "world" proportions in the mouth of the narrator, grow into actions that determine the fate of peoples.
The main highlight of the heroic conflict in the poem - its scale - describes the high intensity of passions, the emotional richness of the act. The creation of a conflict situation is accompanied by an explosion of emotions: nightmare, rage, brutal cruelty, the description of which is constantly included in the preamble that precedes the story of the battle itself.
The set of feelings is stereotypical. The ruler of the tribe attacked by the monster is overcome with grief, he mourns his misfortune (Hrodgar in the first two episodes, Beowulf in the third). The hero, who will be obliged to crush the monster, shows heroic fearlessness, courage (Beowulf, 603 - 608, 1383 - 1396, 2509 - 2527). The monster - the enemy of the hero - is overwhelmed by bloodthirstiness, greed, anger (Grendel: Beowulf, 729 - 746; his mother: 1276 - 1281; dragon: 2286 - 2310).
The nature of the conflict - its scale, significance, unsolvability by ordinary means - determines the type and methods of heroization of the epic hero. First of all, the originality, originality, which are expressed in his predestination to accomplish this feat, are emphasized.
Beowulf is the only one of all living on earth who can defeat Grendel and his mother, slay the fire-breathing dragon. The situation itself acts as the main property of the hero, it specifically describes his heroic essence, which is revealed in an act aimed at saving the whole tribe and beyond the power of other people. All other features inherent in the species are derivatives and only set off from different sides as private manifestations of its heroism.
In the form of Beowulf, the properties of the entire tribe are concentrated. The strength of Beowulf is the strength of all the Geats, which is said in the poem in connection with the victory of Beowulf over Grendel: "...they (Geats) all surpassed the enemy with one strength, his (Beowulf's) power" (Beowulf, 698 - 700). The very image of a mighty hero, personifying the strength and power of his own tribe, devoid of personal traits, but endowed with exaggerated virtues, is aimed at fulfilling the main task facing him - protecting the tribe (own and friendly) from monsters. One of the main functions of the ideal of a medieval knight (an ideal dating back to the early Middle Ages) is the mission (function) of a defender and a just judge. This is clear from the poem itself.
The fulfillment of this task is ensured by a combination of properties that Beowulf is endowed with: strength, courage, loyalty to his duty, etc. Moreover, all these properties are elevated to the highest degree, inaccessible to others. The strength of Beowulf is such that "he overcame thirty warriors with one hand" (Beowulf, 381 - 382). Beowulf stands out among the rest of the warriors with his appearance, immediately revealing his heroic essence
In the same way, Wulfgar, the warrior of Hrodgar, who receives guests in Heorot, is sure at first sight that Beowulf is a renowned leader, known for his own strength and military prowess (Beowulf, 336 - 339).
Both the appearance of Beowulf, and his strength, and his moral properties - fidelity to duty, loyalty to the king and kinsman are hyperbolized, ideal, which creates a distance between them and the hero, correctly felt by the listeners and the narrator.
An additional means of heroization is the genealogy of the hero. The person in the poem is not conceived outside the collective with which he is connected by ties of kinship. The introduction of any character, in fact, is revealed by indicating the genus to which he belongs, and listing his illustrious ancestors: the genealogy of Hrothgar and Hygelak is described in detail, Unfert is the “offspring of Ecglav”, Offa is the “relative of the Hemmings”. Here is what the poem says about Wiglaf: That Wiglaf was, the offspring of Veohstan, a relative of Elfher, a shield bearer ... (Beowulf, 2601 - 2602)
The indication of the genus to which the character belongs has the deepest meaning. The connection with the famous family, known for its exploits, completes the characterization and describes to a certain extent the dignity of the hero. He is capable and ready to perform feats not only because of his own personal qualities, but also as a representative of a family glorious in his feats. "Heroic" properties to a large extent turn out to be not individual, but generic. The deeds of Beowulf are not perceived as an act of personal heroism in itself, outside the fate and well-being of the tribe.
In the form of Beowulf, the idea of the heroic is realized in a more complete, wonderful and majestic version. But there are other forms of heroic behavior: the wisdom and generosity of Hrothgar, the king of the tribe, its patron and protector; courage, fearlessness and devotion of Wiglaf; the beauty and generosity of the Walchteans, Queen of the Danes. These properties together make up a kind of "catalogue of virtues" that are obligatory for a positive character in a heroic epic. To a greater extent, Beowulf himself was naturally awarded these virtues: courage, wisdom, experience, martial arts, the art of navigation and navigation, beauty, height, strength, etc. Other characters are endowed with only a part of these stereotypical properties: certain "sets" of them , combinations of one or another of them correspond to different images of the poem: the ideal ruler (Hrodgar, Beowulf), the warrior-bogatyr (Beowulf, Wiglaf), which creates to a large extent generalization, stereotyping of images. Here, for example, is the feature of three rulers - the ideal rulers of their own tribes: Hrothgar, Offa, Beowulf.
The number of such images - stereotypes is small, their functions in the plot are strictly delineated, each of them embodies one of the qualities of heroic behavior, and, together forming a system of images of the poem, they complement each other.
Expressed in the confrontation between two warring forces, the conflict divides the types of the poem into two camps, in one of which there is a hero, the lord and queen of the tribe, their squads, in the other - monsters, opponents of the hero. The world of the poem is divided into two parts: in the center of the first - the hero, in the center of the second - his opponents. All elements of this world gravitate towards one of the poles, there are no "neutral" details not connected with one or another camp. Types of characters and their properties, temporal and spatial features, objects - everything bears the imprint of belonging to the world of heroes or their enemies.
The opposition of individual parts is so consistent and comprehensive that the world of monsters becomes like an inverted world of heroes. It has the same properties, but with a minus sign. This is a kind of absolute opposite of the world of heroes, its reverse side.
It is not hard to see that the system of images of the poem: the ruler, warriors, queen, hero, his team - forms nothing more than an ideal society of the epic world. The epic society is limited: there is no place in it for real public relations. Only one single cell of the social structure is the leader and his squad, which to a greater extent corresponds to the heroic standard. This micro-society in the poetic consciousness of the narrator and listeners replaces the rest of the world. There are no plowmen and merchants, hunters and slaves in the poem. The squad is constantly identified with the entire tribe. Speaking of the Frisians, for example, the osprey only mentions Finn's palace and his warriors, constantly calling them "all the Frisians." "Dans" for him are those who feast in Heorot, go on campaigns led by Hrothgar, and receive gifts from him. Therefore, the description of the Danish court in Heorot is a more complete depiction of the ideal epic society in Anglo-Saxon poetry [7, p. 90], and Heorot himself is a material, material embodiment and personification of the retinue world.
The well-being of society depends entirely on the observance of the norms of behavior consecrated by centuries of practice, befitting the king, on the one hand, and his warriors, on the other. The ruler must be powerful, generous, wise (the latter is understood specifically as the observance of the usual norms of behavior). Warrior - devoted to the king, brave in battle.
In Beowulf, the ideal ruler of his own people is found already at the beginning of the poem: this is the image of Hrodgar, the “old and gray-haired” king of the Danes, whose main plot function is not to perform feats, but to attract heroes and provide them with the ability to perform a feat. In the form of an ideal ruler, ideas about social order and well-being are embodied. One of its main functions is the distribution of wealth, the distribution of treasures. That is why so much attention is paid to the generosity of Hrothgar and other rulers.
The second function of the ruler is to protect his own tribe, his own squad from possible damage. The significance of this function is evidenced by a huge number of epithets expressing the idea of protection, patronage. And one more quality of the ruler is regularly noted in the poem - his wisdom, which is understood, but not as a purely intellectual quality, but as a practical adherence to existing ethical standards, strict fulfillment of what is obliged. Wise is the ruler who corresponds to the heroic standard, the etiquette look.
The concept of mutual duty plays an important role in the poem. It mixes the ethical ideas of different eras, the ties of kinship are almost the most fundamental social ties. On the other hand, in the era of the late tribal and early feudal system, a person is included in the emerging system of relations of vassalage, which determines the mutual obligations of the king and his squad. The duties of the king in relation to the warriors are quite unambiguous and more fully embodied in the form of an ideal ruler. It is more difficult with the attitude of combatants to the king. The declared ideal is Wiglaf. Of course, family ties continue to be decisive: Beowulf is faithful to his overlord Hygelak, who is immediately his uncle. He helps the offspring of Hygelac and takes care of him, as befits a kinsman. Hrodulf is condemned more for that in the struggle for the Danish throne he kills his own relative, the offspring of Hrothgar. Yes, and Wiglaf, as it turns out, is connected with Beowulf by ties, albeit distant, but kinship.
The debt of vassal loyalty is a payment for the favors that the ruler bestows on his own combatant. This is exactly how Wiglaf thinks of his duty, delivering a speech denouncing the "small squad" of neglecting his duty.
No less than the nature of the conflict, the type of heroes, the type of public structure, the concept of the heroic describes the details of everyday life and things that fill the epic world [7, p. 95]. now I would like to talk about those household items and things that are mentioned in the poem. But not all the household retinue of the Anglo-Saxon warrior is reflected in the song. All items mentioned in the poem can be conditionally divided into three categories: these are weapons, a banquet hall and solemn utensils. The rest of the abundance of things is missing in the poem: they are not mentioned, they do not exist in the world where the characters live and act.
Naturally, the tool is most often depicted: armor, helmets, shields, blades. It is with their help that the hero defeats his own enemies, they are his only assistants in martial arts, he can count on their help only. The magnificence, the uniqueness of the weapon is a common method of heroic properties, it serves as an external, visible attribute of the character's heroic essence. The chosenness of the hero is also reflected in the chosenness of the tools, in their destinedness for each other. A particularly important role is played by the blade that Beowulf finds in Grendel's underwater dwelling and with which he kills the monster's mother. The special value and excellent properties of weapons and armor - blades, helmets, armor - are noted by various methods. First of all, these are epithets indicating the sharpness, strength, strength of the tool, a detailed description of the decorations on it. Of no less importance is the "genealogy" of the weapon: its origin, its belonging to famous warriors, the victories won with its help (Beowulf, 2609 - 2613, 2619 - 2622). The pedigree of the tool, as well as the pedigree of the character, certifies its merits, testifies to the outstanding qualities inherent in it at the beginning, independent of itself. Great attention is paid to the narrator and the gifts that Beowulf receives from Hrothgar and Hygelak for the victory. The singer tells in detail about each of the objects, characterizes their appearance, excellent properties, "pedigree" of each of them (Beowulf, 1192 - 1201). These descriptions emphasize that the object belongs only to selected heroes. Descriptions of objects in the poem are not only functionally significant. The narrator himself admires them, with a narrow knowledge of the matter and natural pleasure depicts this or that subject. The depiction of the treasure, which was guarded by the dragon, is more detailed: dozens of items, tools, utensils, decorations, gems are listed here, and each of them is described separately (Beowulf, 2756 - 2771). The objects that fill the epic world report to it liveliness, brightness and brilliance. The object world of "Beowulf" is bright, elegant, festive, and in this guise it is heroic. Everyday, everyday, dim objects are not consistent with the idea of heroics. with which the epic world is filled, they report to it liveliness, brightness and brilliance. The object world of "Beowulf" is bright, elegant, festive, and in this guise it is heroic. Everyday, everyday, dim objects are not consistent with the idea of heroics. with which the epic world is filled, they report to it liveliness, brightness and brilliance. The object world of "Beowulf" is bright, elegant, festive, and in this guise it is heroic. Everyday, everyday, dim objects are not consistent with the idea of heroics.
- Summary
The action takes place in the time inherent in this world, but not always coinciding with the present. It contains real household items: dwellings, utensils, tools, clothing, etc., but all these are things of certain categories: the world of the poem is characterized by certain object-thing attributes. It is inhabited by people, but not everyone can take a place in it: this is the world of heroes, the elect, people endowed with special properties. The main, universal highlight of this world is its heroism.
What was fundamental was the correspondence of what was told not to reality, but to the idea of heroics that was in the minds of the narrator and listeners.the basis of the heroic deed of the poem is a large-scale conflict involving the fate of entire tribes. Inheriting "an archaic epic storyline, transforming it in accordance with new ideals... the heroic epic of the period of the formation of nationalities and the formation of early countries" puts forward "the latest historical ideals and the latest conflicts - the defense of the native land from an external enemy, the heroism of a patriotic feat ... the deeds of the people and power" [ 7, p. 82-83].
Similar conflict situations of digressions in the poem, which are traditionally considered to be short retellings of independent epic works. Such is the struggle between the Frisians and the Danes (the song about the Battle of Finnsburg), the Danes and the Hadobards (the song about Ingeld and Freavaru), etc. Small tribal feuds and clashes take on "world" proportions in the mouth of the narrator, grow into actions that determine the fate of peoples.
The main highlight of the heroic conflict in the poem - its scale - describes the high intensity of passions, the emotional richness of the act. The creation of a conflict situation is accompanied by an explosion of emotions: nightmare, rage, brutal cruelty, the description of which is constantly included in the preamble that precedes the story of the battle itself.
The set of feelings is stereotypical. The ruler of the tribe attacked by the monster is overcome with grief, he mourns his misfortune (Hrodgar in the first two episodes, Beowulf in the third). The hero, who will be obliged to crush the monster, shows heroic fearlessness, courage (Beowulf, 603 - 608, 1383 - 1396, 2509 - 2527). The monster - the enemy of the hero - is overwhelmed by bloodthirstiness, greed, anger (Grendel: Beowulf, 729 - 746; his mother: 1276 - 1281; dragon: 2286 - 2310).
The nature of the conflict - its scale, significance, unsolvability by ordinary means - determines the type and methods of heroization of the epic hero. First of all, the originality, originality, which are expressed in his predestination to accomplish this feat, are emphasized.
Beowulf is the only one of all living on earth who can defeat Grendel and his mother, slay the fire-breathing dragon. The situation itself acts as the main property of the hero, it specifically describes his heroic essence, which is revealed in an act aimed at saving the whole tribe and beyond the power of other people. All other features inherent in the species are derivatives and only set off from different sides as private manifestations of its heroism.
In the form of Beowulf, the properties of the entire tribe are concentrated. The strength of Beowulf is the strength of all the Geats, which is said in the poem in connection with the victory of Beowulf over Grendel: "...they (Geats) all surpassed the enemy with one strength, his (Beowulf's) power" (Beowulf, 698 - 700). The very image of a mighty hero, personifying the strength and power of his own tribe, devoid of personal traits, but endowed with exaggerated virtues, is aimed at fulfilling the main task facing him - protecting the tribe (own and friendly) from monsters. One of the main functions of the ideal of a medieval knight (an ideal dating back to the early Middle Ages) is the mission (function) of a defender and a just judge. This is clear from the poem itself.
The fulfillment of this task is ensured by a combination of properties that Beowulf is endowed with: strength, courage, loyalty to his duty, etc. Moreover, all these properties are elevated to the highest degree, inaccessible to others. The strength of Beowulf is such that "he overcame thirty warriors with one hand" (Beowulf, 381 - 382). Beowulf stands out among the rest of the warriors with his appearance, immediately revealing his heroic essence
In the same way, Wulfgar, the warrior of Hrodgar, who receives guests in Heorot, is sure at first sight that Beowulf is a renowned leader, known for his own strength and military prowess (Beowulf, 336 - 339).
Both the appearance of Beowulf, and his strength, and his moral properties - fidelity to duty, loyalty to the king and kinsman are hyperbolized, ideal, which creates a distance between them and the hero, correctly felt by the listeners and the narrator.
An additional means of heroization is the genealogy of the hero. The person in the poem is not conceived outside the collective with which he is connected by ties of kinship. The introduction of any character, in fact, is revealed by indicating the genus to which he belongs, and listing his illustrious ancestors: the genealogy of Hrothgar and Hygelak is described in detail, Unfert is the “offspring of Ecglav”, Offa is the “relative of the Hemmings”. Here is what the poem says about Wiglaf: That Wiglaf was, the offspring of Veohstan, a relative of Elfher, a shield bearer ... (Beowulf, 2601 - 2602)
The indication of the genus to which the character belongs has the deepest meaning. The connection with the famous family, known for its exploits, completes the characterization and describes to a certain extent the dignity of the hero. He is capable and ready to perform feats not only because of his own personal qualities, but also as a representative of a family glorious in his feats. "Heroic" properties to a large extent turn out to be not individual, but generic. The deeds of Beowulf are not perceived as an act of personal heroism in itself, outside the fate and well-being of the tribe.
In the form of Beowulf, the idea of the heroic is realized in a more complete, wonderful and majestic version. But there are other forms of heroic behavior: the wisdom and generosity of Hrothgar, the king of the tribe, its patron and protector; courage, fearlessness and devotion of Wiglaf; the beauty and generosity of the Walchteans, Queen of the Danes. These properties together make up a kind of "catalogue of virtues" that are obligatory for a positive character in a heroic epic. To a greater extent, Beowulf himself was naturally awarded these virtues: courage, wisdom, experience, martial arts, the art of navigation and navigation, beauty, height, strength, etc. Other characters are endowed with only a part of these stereotypical properties: certain "sets" of them , combinations of one or another of them correspond to different images of the poem: the ideal ruler (Hrodgar, Beowulf), the warrior-bogatyr (Beowulf, Wiglaf), which creates to a large extent generalization, stereotyping of images. Here, for example, is the feature of three rulers - the ideal rulers of their own tribes: Hrothgar, Offa, Beowulf.
The number of such images - stereotypes is small, their functions in the plot are strictly delineated, each of them embodies one of the qualities of heroic behavior, and, together forming a system of images of the poem, they complement each other.
Expressed in the confrontation between two warring forces, the conflict divides the types of the poem into two camps, in one of which there is a hero, the lord and queen of the tribe, their squads, in the other - monsters, opponents of the hero. The world of the poem is divided into two parts: in the center of the first - the hero, in the center of the second - his opponents. All elements of this world gravitate towards one of the poles, there are no "neutral" details not connected with one or another camp. Types of characters and their properties, temporal and spatial features, objects - everything bears the imprint of belonging to the world of heroes or their enemies.
The opposition of individual parts is so consistent and comprehensive that the world of monsters becomes like an inverted world of heroes. It has the same properties, but with a minus sign. This is a kind of absolute opposite of the world of heroes, its reverse side.
It is not hard to see that the system of images of the poem: the ruler, warriors, queen, hero, his team - forms nothing more than an ideal society of the epic world. The epic society is limited: there is no place in it for real public relations. Only one single cell of the social structure is the leader and his squad, which to a greater extent corresponds to the heroic standard. This micro-society in the poetic consciousness of the narrator and listeners replaces the rest of the world. There are no plowmen and merchants, hunters and slaves in the poem. The squad is constantly identified with the entire tribe. Speaking of the Frisians, for example, the osprey only mentions Finn's palace and his warriors, constantly calling them "all the Frisians." "Dans" for him are those who feast in Heorot, go on campaigns led by Hrothgar, and receive gifts from him. Therefore, the description of the Danish court in Heorot is a more complete depiction of the ideal epic society in Anglo-Saxon poetry [7, p. 90], and Heorot himself is a material, material embodiment and personification of the retinue world.
The well-being of society depends entirely on the observance of the norms of behavior consecrated by centuries of practice, befitting the king, on the one hand, and his warriors, on the other. The ruler must be powerful, generous, wise (the latter is understood specifically as the observance of the usual norms of behavior). Warrior - devoted to the king, brave in battle.
In Beowulf, the ideal ruler of his own people is found already at the beginning of the poem: this is the image of Hrodgar, the “old and gray-haired” king of the Danes, whose main plot function is not to perform feats, but to attract heroes and provide them with the ability to perform a feat. In the form of an ideal ruler, ideas about social order and well-being are embodied. One of its main functions is the distribution of wealth, the distribution of treasures. That is why so much attention is paid to the generosity of Hrothgar and other rulers.
The second function of the ruler is to protect his own tribe, his own squad from possible damage. The significance of this function is evidenced by a huge number of epithets expressing the idea of protection, patronage. And one more quality of the ruler is regularly noted in the poem - his wisdom, which is understood, but not as a purely intellectual quality, but as a practical adherence to existing ethical standards, strict fulfillment of what is obliged. Wise is the ruler who corresponds to the heroic standard, the etiquette look.
The concept of mutual duty plays an important role in the poem. It mixes the ethical ideas of different eras, the ties of kinship are almost the most fundamental social ties. On the other hand, in the era of the late tribal and early feudal system, a person is included in the emerging system of relations of vassalage, which determines the mutual obligations of the king and his squad. The duties of the king in relation to the warriors are quite unambiguous and more fully embodied in the form of an ideal ruler. It is more difficult with the attitude of combatants to the king. The declared ideal is Wiglaf. Of course, family ties continue to be decisive: Beowulf is faithful to his overlord Hygelak, who is immediately his uncle. He helps the offspring of Hygelac and takes care of him, as befits a kinsman. Hrodulf is condemned more for that in the struggle for the Danish throne he kills his own relative, the offspring of Hrothgar. Yes, and Wiglaf, as it turns out, is connected with Beowulf by ties, albeit distant, but kinship.
The debt of vassal loyalty is a payment for the favors that the ruler bestows on his own combatant. This is exactly how Wiglaf thinks of his duty, delivering a speech denouncing the "small squad" of neglecting his duty.
No less than the nature of the conflict, the type of heroes, the type of public structure, the concept of the heroic describes the details of everyday life and things that fill the epic world [7, p. 95]. now I would like to talk about those household items and things that are mentioned in the poem. But not all the household retinue of the Anglo-Saxon warrior is reflected in the song. All items mentioned in the poem can be conditionally divided into three categories: these are weapons, a banquet hall and solemn utensils. The rest of the abundance of things is missing in the poem: they are not mentioned, they do not exist in the world where the characters live and act.
Naturally, the tool is most often depicted: armor, helmets, shields, blades. It is with their help that the hero defeats his own enemies, they are his only assistants in martial arts, he can count on their help only. The magnificence, the uniqueness of the weapon is a common method of heroic properties, it serves as an external, visible attribute of the character's heroic essence. The chosenness of the hero is also reflected in the chosenness of the tools, in their destinedness for each other. A particularly important role is played by the blade that Beowulf finds in Grendel's underwater dwelling and with which he kills the monster's mother. The special value and excellent properties of weapons and armor - blades, helmets, armor - are noted by various methods. First of all, these are epithets indicating the sharpness, strength, strength of the tool, a detailed description of the decorations on it. Of no less importance is the "genealogy" of the weapon: its origin, its belonging to famous warriors, the victories won with its help (Beowulf, 2609 - 2613, 2619 - 2622). The pedigree of the tool, as well as the pedigree of the character, certifies its merits, testifies to the outstanding qualities inherent in it at the beginning, independent of itself. Great attention is paid to the narrator and the gifts that Beowulf receives from Hrothgar and Hygelak for the victory. The singer tells in detail about each of the objects, characterizes their appearance, excellent properties, "pedigree" of each of them (Beowulf, 1192 - 1201). These descriptions emphasize that the object belongs only to selected heroes. Descriptions of objects in the poem are not only functionally significant. The narrator himself admires them, with a narrow knowledge of the matter and natural pleasure depicts this or that subject. The depiction of the treasure, which was guarded by the dragon, is more detailed: dozens of items, tools, utensils, decorations, gems are listed here, and each of them is described separately (Beowulf, 2756 - 2771). The objects that fill the epic world report to it liveliness, brightness and brilliance. The object world of "Beowulf" is bright, elegant, festive, and in this guise it is heroic. Everyday, everyday, dim objects are not consistent with the idea of heroics. with which the epic world is filled, they report to it liveliness, brightness and brilliance. The object world of "Beowulf" is bright, elegant, festive, and in this guise it is heroic. Everyday, everyday, dim objects are not consistent with the idea of heroics. with which the epic world is filled, they report to it liveliness, brightness and brilliance. The object world of "Beowulf" is bright, elegant, festive, and in this guise it is heroic. Everyday, everyday, dim objects are not consistent with the idea of heroics.
The poem is divided into two parts. In the beginning. Heorot, the majestic mansion of the Dan king Hrothgar on the countryside, suffered night raids by the evil monster Grendel for 12 years, when the monster escaped and ate Hrothgar's warriors. Unexpectedly, the young prince of the Geat tribe in southern Sweden, Beowulf, arrives with his men and offers to save Heorot from the beast. The king marvels at the courage of this little-known prince, but welcomes him. Apart from the jealousy of some of the king's entourage, after an evening feast with proper etiquette, the king goes to bed, leaving Beowulfu in his place. That night Grendel comes from the field, breaks down the heavy doors, and eats one of Beowulf's tribe. Then he wrestles with Beowulf, but cannot escape his mighty hands, He cuts off an arm as he lunges to escape. He finally manages to escape, but is mortally wounded.The next day there is revelry in Heorot, but at night when the warriors sleep, Grendel's mother comes to avenge her son and kills one of Hrothgar's men. In the morning, Beowulf finds him in his cave at the bottom of a swamp and kills him. He separates Grendel's head from his body and turns to Heorot. The Danes once again organize a feast. After HrΓΆthgar delivers a farewell speech praising true heroes, Beowulf returns to the Geat king Hygelac with honors and valuable gifts.
In the second chapter, the death of King Hygelac during a war, which is also confirmed by historical documents, the death of his son, the bringing of Beowulf to the kingdom and the 50 years of peaceful rule are told. This time, when a fire-breathing dragon attacks the land, brave but aged Beowulf engages him in battle. Unlike the fights he fought in his youth, this time it was a long conflict that was frightening and painful. It is also painful that all his soldiers deserted the king, with the exception of his young assistant, Wiglaf. Although Beowulf slays the dragon, he is mortally wounded. The poem ends with the king's funeral rite and laments.
As can be seen from the data of the poem, one can see the "ideal warrior", the poem contains representations of those qualities that, according to medieval society, must necessarily be inherent in the "ideal warrior", on its basis one can obtain information about weapons or, for example, learn the burial ritual .
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