The idea of cycles again rose to the fore today, which is not surprising because, as you mentioned, the poem ends with Beowulf’s funeral as it began with Shield Sheafson’s. Also, again a kingdom finds itself without adequate protection. As Hrothgar’s age and complacency seemed to inspire the violence of Grendel against the Danes, Beowulf’s death leaves Geatland open to attack from enemies that seem already massing on the borders. A Geat woman, “sang out in grief,/with hair bound up, she unburdened herself/of her worst fears, a wild litany/of nightmare and lament: her nation invaded,/enemies on the rampage, bodies in piles,/slavery and abasement” (3150-55). Though given time I could write more about this amazing passage, I merely want to reiterate that the cycle of peace ending violence and peace giving away to violence is repeated. The one difference is the violence here is entirely human.
Your most interesting debate today was whether as a king Beowulf became more corrupt or more mature. You noted that before the battle, his pledge to win the dragon’s gold “’by [his] courage’” makes no mention of God, which is a change from his boast about his fight with Grendel (2537). You also noted that he later says that he hopes that God will recognize that he “’stood by things in [his] keeping’” (2737). A number of you interpreted this focus on gold and things as signs of Beowulf’s corruption, symbolized by the snapping of his sword in his battle with the dragon. As Beowulf grew older, you argued, he became more concerned with the material world and forsook his God.
Others of you, however, argued that the “things” in Beowulf’s keeping referred not to material objects but responsibilities like the protection of his people. You noted that after being wounded, Beowulf gives praise to God: “’To the everlasting Lord of All,/to the King of Glory, I give thanks” (2794-5). You argued that Beowulf remained steadfast in his service to his God. However, you did not address the issue that God seems to forsake Beowulf in this battle. One way to reconcile the two sides of this debate is to see the corruption represented as not moral but physical. Beowulf is old. His body is corrupted by age and, like his sword, it snaps in battle.
Lastly, for those of you are interested, I made “Wiglaf” by Marisa de los

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