Beowulf and The Intent of Christians to Video
Beowulf, Lesson 3:The language of the Beowulf poem Beowulf and The Intent of Christians toNot understand: Beowulf and The Intent of Christians to
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It was brought to Great Britain by Anglo-Saxon settlers in the mid-5th century, and the first Old English literary works date from the mid-7th century. After the Norman conquest of , English was replaced, for a time, as the language of the upper classes by Anglo-Norman , a relative of French. This is regarded as marking the end of the Old English era, since during this period the English language was heavily influenced by Anglo-Norman, developing into a phase known now as Middle English. Old English developed from a set of Anglo-Frisian or Ingvaeonic dialects originally spoken by Germanic tribes traditionally known as the Angles , Saxons and Jutes. It was West Saxon that formed the basis for the literary standard of the later Old English period, [2] although the dominant forms of Middle and Modern English would develop mainly from Mercian. The speech of eastern and northern parts of England was subject to strong Old Norse influence due to Scandinavian rule and settlement beginning in the 9th century. Like other old Germanic languages, it is very different from Modern English and impossible for Modern English speakers to understand without study.Few other features are more characteristic of Beowulf than the use of numerous digressions and distinct episodes. While some scholars have made attempts to show that the digressions, or some of them at least, have something in them which is inappropriate to the main narrative and are detrimental to the poetic value of Beowulf, this essay will argue that the digressions and episodes provide a conscious balance and unity and, in fact, contribute to the artistic value of the poem. Beowulf scholar Adrien Bonjour divides the digressions and episodes into four categories: the Scyld episode; digressions concerning Beowulf and the Geats; historical or legendary digressions not connected with Beowulf and the Geats; and Biblical digressions. It is within this structure where we will explore specific digressions and determine their role in the poem.
Before we inspect specific digressions, it is important to provide a brief justification for their presence in general.
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As Bonjour observes, the poet adeptly uses digressions to add to the coloring of the https://www.ilfiordicappero.com/custom/foster-partners-holdings-limited/analysis-of-sent-by-margaret-peterson.php, to serve as a foil to a given situation, Belwulf contribute to the historical interest and significance, to provide symbolic value which contributes to the effect and understanding of the poem, and to heighten artistic effect.
It is through digressing that the poet presents the values and perspectives that are to be understood.
Action is, after all, only action. In his division of the digressions and episodes, Bonjour gives the Scyld episode its own category, probably because it is the longest digression from the main narrative in the poem, and possibly because it raises so many questions.
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At first glance, the opening of the poem with Scyld and the genealogy of the Danish kings seems strangely out of place in a poem about Beowulf, a Geatish hero. But upon aand study, a significant parallelism can be found between Scyld and Beowulf. First, both Scyld and Beowulf came miraculously to liberate the Danes.
Scyld, being the first liberator in the poem, foreshadows Beowulf who comes later. A second touch of parallelism between the two kings can be found in their inglorious youth.
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Scyld was found a wretched and abandoned child and Beowulf is conspicuous for his inglorious youth. The striking reversal in their fortunes is clearly stressed by the poet. Bonjour points out that another artistic purpose in this episode is the glorification of the Scyldings. As we will see later, if the Danes had not been glorified at the beginning of the poem, the greatness of Beowulf may have been diminished. The Scyld episode allows the poet the use of two of his favorite devices: parallelism and contrast. The contrast between Scyld and Beowulf is perhaps one of the finest artistic achievements in the poem, and the parallelism between the two kings may well be summed up in the legendary epitaph of a cowboy as indicated by J. This digression serves a twofold purpose: it allows the hero his convention of boasting, and it also, however subtly, allies the hero with God.
The art of boasting is important in an epic hero as it showcases his accomplishments and glorifies his name. The second function of this digression is to surreptitiously ally Beowulf with God. When Beowulf pits his strength against the giants, he is unwittingly allying himself with the true God of Christianity. This lends dignity to the heathen hero who, without knowing it, is fighting on the right side after all. Hrothgar, consequently, pays his wergild to the Wilfings. Bonjour asserts that this digression serves two purposes: first, it creates one more bond between Beowulf and the Danes; second, it counterbalances the fact that the Beowulf and The Intent of Christians to are accepting help from Beowulf. Bonjour notes that the first allusion in the poem to the fall of Hygelac gives us a fine instance And Contrast On The Outsiders a particular use of contrast characteristic of Beowulf.]
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