Beowulf as a messianic narrative has been a subject of great controversy. Given the time period, ‘Christianity’ was not completely established, and it was entwined with cultural paganism, as seen woven throughout the text. The definition of a messianic narrative (containing the ultimate messianic figure) is found in Isaiah 53, a prophecy spoken by God through the Hebrew prophet Isaiah. This is the standard to which Beowulf must be compared to determination the nature of the poem. Many scholars such as Harold Bloom (quoting E. Talbot Donaldson), Roberta Frank, Rich Lawson, Seamus Heaney, and J. R. R. Tolkien (quoting R. W. Chambers) have critically viewed Beowulf to determine the nature of the epic, resulting in a diverse range of conclusions.
In establishing a standard of messianic narrative for Beowulf to reach, God’s metanarrative must be explored. Isaiah 53 speaks of the characteristics of a messianic figure, outlining the messianic narrative. It reads, “He was lead like a lamb to the slaughter …The punishment that brought us peace was on him,” The nature of Jesus is understood through simile, as Jesus is compared to a lamb, symbolising purity, gentleness, and sacrifice. This symbolism is significant as Hebrews would have identified with slaughtering an unblemished lamb to atone for their sin. The alliteration then used in punishment and peace emphasises the connection between the event of punishment and atonement, conveying the perfectly orchestrated plan of salvation. Isaiah 53 speaks of an innocent messianic figure giving their life to save an undeserving people – the messianic narrative.
The Term Paper on Narrative Technique in Maupassant’s
The two short stories, Guy de Maupassant’s Boule de Suif and Charlotte Perkins Gilman’s The Yellow Wallpaper would seem to have but little in common, at a first glance. Although not very distant in time, the texts are written using a very different narrative technique. Maupassant’s story is told from the point of view of the traditional, omniscient narrator who oversees the development of the ...
The Christianity of Beowulf is explored by Bloom in the introduction to Tolkien’s Monsters and Critics. He quotes Donaldson, “While Christian is a correct term for the religion of the poet and of his audience, it was a Christianity that [had not] succeeded in obliterating an older [paganism],” and responds, “Donaldson describes what I have read: a heroic poem, [and] no-one reading the poem would find Beowulf a particularly Christian hero…Courage is the prime virtue exalted in Beowulf,”. Bloom and Donaldson argue that whilst Christian elements are present, heroic paganism is more prevalent in Beowulf. This is supported by the death of Beowulf, reading, “of all the world-kings, [he was] keenest for fame,” summarising Beowulf, and suggesting his life only amounted to self-glorification.
In assessing the Christianity of Beowulf, Frank suggests that, like King Alfred did of Remiguis’s commentaries, the author of Beowulf used pagan analogies for Christian concepts. Lawson explores this in the role fate has throughout the poem. “The Geat prince placed all his trust in…his Maker’s favour,” Then Beowulf speaks, “The Father…shall apportion the honours…to whichever side shall seem to Him fit,”. The poet wrote, “Fate had not assigned him the glory of battle,”. The composer’s personification of ‘Fate’ portrays the place it has taken – God’s place. Lawson writes of this, “The pagan concept of fate…is tied to God,” suggesting that Beowulf is resigned to fate, but the author is using this to illustrate the nature of God. Frank also states, “What matters is how the rulers…served God’s purpose,”, also calling Beowulf a, “Pagan prince of peace,”. While Beowulf demonstrates a pagan trust in fate, Lawson and Frank believe it was the author using paganism to convey the messianic narrative, and that Beowulf was instrumental in doing so.
In analysing Beowulf, Lawson concluded it was a messianic narrative including a messianic figure, heavily reconciled with pagan concepts. This is explored also by Seamus, through Beowulf’s quest for fame. Seamus wrote Beowulf was of, “A pagan Germanic society governed by a heroic code of honour, one where the attainment of a name for warrior-prowess among the living overwhelms any concern about the soul’s destiny in the afterlife,”. This is supported by the statement Beowulf made, “Let he who can, win fame before death, because that is a dead man’s best memorial…[I will] either perform some heroic feat, or breathe [my] last,” emphasising the value that was placed upon fame and heroism. However, this pagan concept of fame is reconciled by many references to God, such as, “The…Lord…gave out the victory,” glorifying Him. In this way, Beowulf is a messianic figure, portraying the messianic narrative. In his widely renowned book Beowulf: Monsters and Critics, Tolkien was bold in saying that the entire poem of Beowulf was devoted to conveying the messianic narrative.
The Essay on Beowulf- Christian or Pagan?
Pointing out what makes up a Christian or pagan story will explain this most clearly. In a Christian story, it must have these elements: First of all, the story must have at least one of the characters believe in the one true God. Christ founded the Christians so the Christians must believe in what He says. Since, Christ taught the Trinity and that there is one true God, then it is a part of that ...
He wrote, “It is in Beowulf that a poet has devoted a whole poem…that we may see man at war with the hostile world, and his inevitable overthrow in Time.” This overthrow of man correlates directly to a messianic figure, fulfilling a messianic narrative. Tolkien admits that there are pagan elements, but they were in keeping with the time frame, and because the, “Anglo-Saxons…could not [separate paganism] and the Scriptures,”. He continues, also suggesting that the monsters in Beowulf are significant in symbolism and Biblical Allusions, quoting Chambers’, “The gigantic foes (monsters) are…foes of God. [Monsters] are referred to in language meant to recall the powers of darkness with which Christian men felt themselves to be encompassed. They are “offspring of Cain” and “enemies of mankind”… Beowulf, for that he moves in the world of the…Heroic Age… is a Christian Knight,” In fighting and being waylaid by monsters, Beowulf is fulfilling the messianic narrative.
Tolkien, with the support of Chambers, provides great substantiation to this, concluding Beowulf is indeed a messianic narrative. It is agreed upon by all the aforementioned scholars that a prominent element of paganism was seen throughout the poem Beowulf, and both Bloom and Donaldson claimed that this paganism prevented Beowulf from becoming messianic in its entirety. However, I contend, that Beowulf was, very much a man of his time and culture, that the notion of ‘hero’ was ingrained and because of this he was restricted [in his role. Though Bloom and Donaldson disagree, most other scholars are in varying degrees of accordance that Beowulf was in essence a messianic narrative, and Beowulf a messianic figure. As previously analysed, Beowulf supports this statement, demonstrating obviously Biblical illustrations through pagan gestures. Open to personal interpretation, from this study it can be concluded that Beowulf achieves the standard of a Messianic Narrative.
The Essay on Beowulf Grendel The Monster
Grendel, the first antagonist in the epic poem Beowulf, is most definitely a monster. To even compare him to a rambunctious youth is irrational. The narrator emphasizes his monster-like qualities and even refers to him as a monster. The diction deliberately portrays him as evil, as do Grendels own actions. The beginning line of the passage is , A powerful monster . In line 16-17, the narrator goes ...
