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Beowulf and Grendel (2005)
Masarykova univerzita Filozofická fakulta Katedra anglistiky a amerikanistiky Bakalářská diplomová práce 2020 Nikola Krčová Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Nikola Krčová The Depiction of Beowulf in Film and Television Series Adaptations Bachelor’s Diploma Thesis Supervisor: prof. Mgr., Milada Franková, CSc., M.A. 2020 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature I would like to thank my family for supporting me and sharing their opinions with me. I would also like to thank my supervisor prof. Mgr. Milada Franková, CSc., M.A., for her guidance. Table of Contents Introduction........................................................................................................................... 1 The Original Story of Beowulf............................................................................................. 4 Beowulf and Grendel (2005)............................................................................................... 13 Beowulf (2007).................................................................................................................... 19 Beowulf: Return to the Shieldlands (2016)......................................................................... 25 Conclusion........................................................................................................................... 31 Bibliography....................................................................................................................... -
Number Symbolism in Old Norse Literature
Háskóli Íslands Hugvísindasvið Medieval Icelandic Studies Number Symbolism in Old Norse Literature A Brief Study Ritgerð til MA-prófs í íslenskum miðaldafræðum Li Tang Kt.: 270988-5049 Leiðbeinandi: Torfi H. Tulinius September 2015 Acknowledgements I would like to thank firstly my supervisor, Torfi H. Tulinius for his confidence and counsels which have greatly encouraged my writing of this paper. Because of this confidence, I have been able to explore a domain almost unstudied which attracts me the most. Thanks to his counsels (such as his advice on the “Blóð-Egill” Episode in Knýtlinga saga and the reading of important references), my work has been able to find its way through the different numbers. My thanks also go to Haraldur Bernharðsson whose courses on Old Icelandic have been helpful to the translations in this paper and have become an unforgettable memory for me. I‟m indebted to Moritz as well for our interesting discussion about the translation of some paragraphs, and to Capucine and Luis for their meticulous reading. Any fault, however, is my own. Abstract It is generally agreed that some numbers such as three and nine which appear frequently in the two Eddas hold special significances in Norse mythology. Furthermore, numbers appearing in sagas not only denote factual quantity, but also stand for specific symbolic meanings. This tradition of number symbolism could be traced to Pythagorean thought and to St. Augustine‟s writings. But the result in Old Norse literature is its own system influenced both by Nordic beliefs and Christianity. This double influence complicates the intertextuality in the light of which the symbolic meanings of numbers should be interpreted. -
Dennis Investigates Anglo-Saxon Dragons
What does an Anglo-Saxon have in common with the staff at Lincoln Castle? They both love stories Dennis the Investigate dragon has been finding out Dennis The Dragon’s about dragons! about the history of dragons. It turns out that people way back in Anglo-Saxon times were telling stories Delicious Claw Cookies about dragons too! ~ Who were the Anglo-Saxons? ~ Well they were a mixture. Sometime after the end of Roman rule in Britain some groups of people who had been raiding Roman Britain turned up and settled down. They came from across the North Sea, northwest Germany, western Denmark and northern Netherlands. They were a mixture of tribes that included Angles, Saxons, Jutes, and Frisians. As well as mixing together, they mixed with the locals (though there was some fighting). Later on, when Vikings settled parts of England (especially here in Lincolnshire) the two groups mixed again. In 1066 the last Anglo-Saxon king was killed at the Battle of Hastings and the Normans took over. An Anglo-Saxon church once stood where the Castle is now. ~ Anglo-Saxon Dragons ~ In the year 793 the Anglo-Saxons wrote in their Chronicle that they saw fiery dragons in the sky. It sounds incredible to us, but it was probably a real thing that they saw. In northern Europe you sometimes see strange red lights in the sky; we call them the Northern Lights and we know they are caused by sunspots which are more active about every 11 years. When we consult the charts, it seems 793 is very close to a peak in sunspots, so the Anglo-Saxons weren't seeing things that did not exist, just things they couldn't explain so they thought the lights were dragons! (although, of course, we aren’t saying dragons don’t exist!) ~ Beowulf and the Dragon ~ This story is adapted from Beowulf, a poem from the Dark Ages. -
Widsith Beowulf. Beowulf Beowulf
CHAPTER 1 OLD ENGLISH LITERATURE The Old English language or Anglo-Saxon is the earliest form of English. The period is a long one and it is generally considered that Old English was spoken from about A.D. 600 to about 1100. Many of the poems of the period are pagan, in particular Widsith and Beowulf. The greatest English poem, Beowulf is the first English epic. The author of Beowulf is anonymous. It is a story of a brave young man Beowulf in 3182 lines. In this epic poem, Beowulf sails to Denmark with a band of warriors to save the King of Denmark, Hrothgar. Beowulf saves Danish King Hrothgar from a terrible monster called Grendel. The mother of Grendel who sought vengeance for the death of her son was also killed by Beowulf. Beowulf was rewarded and became King. After a prosperous reign of some forty years, Beowulf slays a dragon but in the fight he himself receives a mortal wound and dies. The poem concludes with the funeral ceremonies in honour of the dead hero. Though the poem Beowulf is little interesting to contemporary readers, it is a very important poem in the Old English period because it gives an interesting picture of the life and practices of old days. The difficulty encountered in reading Old English Literature lies in the fact that the language is very different from that of today. There was no rhyme in Old English poems. Instead they used alliteration. Besides Beowulf, there are many other Old English poems. Widsith, Genesis A, Genesis B, Exodus, The Wanderer, The Seafarer, Wife’s Lament, Husband’s Message, Christ and Satan, Daniel, Andreas, Guthlac, The Dream of the Rood, The Battle of Maldon etc. -
Who Were the Anglo-Saxons? Part of History Anglo-Saxons the Last Roman Soldiers Left Britain in 410
Who were the Anglo-Saxons? Part of History Anglo-Saxons The last Roman soldiers left Britain in 410. New people came in ships across the North Sea – the Anglo-Saxons. The Anglo-Saxon age in Britain was from around AD410 to 1066. They were a mix of tribes from Germany, Denmark and the Netherlands. The three biggest were the Angles, the Saxons and the Jutes. The land they settled in was 'Angle-land', or England. If we use the modern names for the countries they came from, the Saxons were German-Dutch, the Angles were southern Danish, and the Jutes were northern Danish. Growing up in an Anglo-Saxon village Anglo-Saxon children had to grow up quickly. By the time they were ten, they were seen as an adult. This wasn't always a good thing. They had to work as hard as any adult and would be punished as adults, if they stole or broke the law. Girls worked in the home. They were in charge of housekeeping, weaving cloth, cooking meals, making cheese and brewing ale. Boys learned the skills of their fathers. They learned to chop down trees with an axe, how to plough a field and how to use a spear in battle. They also fished and went hunting with other men from the village. Only a few girls and boys learned to read and write. The sons of kings or wealthy families might be taught at home by a private teacher. The only schools were run by the Christian church, in monasteries. Some children lived there to train as monks and nuns. -
Viking Runes
4/12/2019 Online Version 3/2019 - Google Docs Viking Runes Viewmont High School’s Literary Magazine — Bountiful, Utah — March 2019 A Message to Every Viewmont Viking by Aaron Butterfield To all of those who feel that their voice isn’t heard, The ones always told that when the winds don’t blow, Vikings row— But feel as if they are sitting aboard a sinking vessel. All around them are people pushing through, oars plunging deep— Those who have proved themselves strong— And amongst these people they feel completely alone, Worthless, Too weak to man the oar. Seeing the vacant seat at the oarlock were they should reside, They sit alone, feeling they have nowhere to go, Wasted space on a mission doomed to fail. To all those who feel as such, there is but one thing that you should know: We all have a place aboard this broken boat. Even those who seem so strong manning the oars are just strokes away from collapsing, Only fighting through the pain for the good of everyone else on board. Know that even if you can’t take an oar in calloused hands, there is a place for you. Though you may feel that nothing you do will keep the ship afloat, An encouraging word to those manning the oars Could be the only thing keeping those you deemed strong moving. Everyone has a place here. All Vikings. All in. Vhttps://docs.google.com/document/d/1d9RHVTx2YdsViking Runes, March 2019 iz5y96VIpF12SSuAQOf9dLyDkxD8FU8/edit 1 1/4 4/12/2019 Online Version 3/2019 - Google Docs [Insert Title Here], Part 2 charismatic. -
Violence, Christianity, and the Anglo-Saxon Charms Laurajan G
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1-1-2011 Violence, Christianity, And The Anglo-Saxon Charms Laurajan G. Gallardo Eastern Illinois University This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Gallardo, Laurajan G., "Violence, Christianity, And The Anglo-Saxon Charms" (2011). Masters Theses. 293. http://thekeep.eiu.edu/theses/293 This Thesis is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. *****US Copyright Notice***** No further reproduction or distribution of this copy is permitted by electronic transmission or any other means. The user should review the copyright notice on the following scanned image(s) contained in the original work from which this electronic copy was made. Section 108: United States Copyright Law The copyright law of the United States [Title 17, United States Code] governs the making of photocopies or other reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the reproduction is not to be used for any purpose other than private study, scholarship, or research. If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that use may be liable for copyright infringement. This institution reserves the right to refuse to accept a copying order if, in its judgment, fulfillment of the order would involve violation of copyright law. -
Beowulf Timeline
Beowulf Timeline Retell the key events in Beowulf in chronological order. Background The epic poem, Beowulf, is over 3000 lines long! The main events include the building of Heorot, Beowulf’s battle with the monster, Grendel, and his time as King of Geatland. Instructions 1. Cut out the events. 2. Put them in the correct order to retell the story. 3. Draw a picture to illustrate each event on your story timeline. Beowulf returned Hrothgar built Beowulf fought Grendel attacked home to Heorot. Grendel’s mother. Heorot. Geatland. Beowulf was Beowulf’s Beowulf fought Beowulf travelled crowned King of funeral. Grendel. to Denmark the Geats. Beowulf fought Heorot lay silent. the dragon. 1. Stick Text Here 3. Stick Text Here 5. Stick Text Here 7. Stick Text Here 9. Stick Text Here 2. Stick Text Here 4. Stick Text Here 6. Stick Text Here 8. Stick Text Here 10. Stick Text Here Beowulf Timeline Retell the key events in Beowulf in chronological order. Background The epic poem, Beowulf, is over 3000 lines long! The main events include the building of Heorot, Beowulf’s battle with the monster, Grendel, and his time as King of Geatland. Instructions 1. Cut out the events. 2. Put them in the correct order to retell the story. 3. Write an extra sentence or two about each event. 4. Draw a picture to illustrate each event on your story timeline. Beowulf returned Hrothgar built Beowulf fought Grendel attacked home to Geatland. Heorot. Grendel’s mother. Heorot. Beowulf was Beowulf’s funeral. Beowulf fought Beowulf travelled crowned King of Grendel. -
Harem Literature and the Question of Representational Authenticity
Contemporary Literary Review India CLRI Brings articulate writings for articulate readers. eISSN 2394-6075 | Vol 5, No 4, CLRI November 2018 | p. 33-46 Confronting Robert Zemeckis’ Beowulf in the Digital Age Arnab Chatterjee Faculty Member, Department of English, Sister Nivedita University, Kolkata. Abstract It is a fundamental fact that an epic documents the exploits of certain characters on a scale that sometimes crosses the limits of both space and time; in fact, these features account for the “grand style” of any epic composed. Coupled with its bravura sweep, any epic is also a faithful documentation of the age in which it is written, something that Prof. E.M.W. Tillyard calls its “choric” quality. However, in the digital age, with the advent of animation and other such modes of representation, much of the erstwhile grandeur of the traditional epics seems to have been lost, and this brings us closer to Walter Benjamin’s remark that in the mechanical age, a work of art loses is pseudo-divine aura as we tend to have “copies” of the work that is readily Contemporary Literary Review India | eISSN 2394-6075 | Vol 5, No 4, CLRI November 2018 | Page 33 Confronting Robert Zemeckis’ Beowulf in the Digital Age Arnab Chatterjee consumed. Taking clues from such theorists, this proposed paper is an attempt to locate Beowulf in the digital age and within the ‘mechanics’ of representation called “animation pictures” and alternative narratological strategies that tend to compromise not only with its original tone, but also with the story line. Keywords Animation, Grand style, Digital, Walter Benjamin, Narratological. -
Beowulf, Agon Two Answer Guide
Beowulf, Agon Two Answer Guide Beowulf, Agon Two Answer Guide Below are several sample answers and resources you can use to help you craft your own answers to the questions in the Agon Two reading guide. 1. Reread ll. 1330-1340. Why do you think that Grendel’s Mother takes revenge on the Thanes of Heorot? Look back at the Anglo-Saxon terms from Agon One for help. Sample Answer: Grendel’s Mother takes revenge on the Thanes of Heorot because they did not pay the wergild for Grendel’s death, which is usually done to prevent a retaliation. After Beowulf mortally wounds Grendel, the monster returns to returns to his lair to die, presumably in front of his mother, which sends her into a vengeful rage. Hrothgar hints at this when he says that Grendel’s Mother was “driven to avenge her kinsman’s death” (l.1339). 2. Analyze Beowulf’s speech to Hrothgar in ll. 1383-1396. What, if anything, does this speech seem to say about the Anglo-Saxon view of legacy and the afterlife? Answer Tip: For some historical context to help with this answer, visit this website. 3. What is the significance of Beowulf’s sword, Hrunting? Answer Hint: Look at ll. 1459-1472. 4. Reread ll. 1529-1556. Does the narrator ultimately attribute Beowulf’s prowess as a warrior to Beowulf’s own skill or to God? Use direct quotes from the poem to support your claim. Answer Tip: Your answer to this question really depends on your own interpretation of the text and which force you believe has the biggest impact. -
Affective Criticism, Oral Poetics, and Beowulf's Fight with the Dragon
Oral Tradition, 10/1 (1995): 54-90 Affective Criticism, Oral Poetics, and Beowulf’s Fight with the Dragon Mark C. Amodio I Affective criticism, as it has been practiced over the last few years, has come to focus upon the reader’s (or audience’s) subjective experience of a given literary work.1 Rather than examining the text qua object, affective criticism (like all subjective criticism) has abandoned the objectivism and textual reification which lay at the heart of the New Critical enterprise, striving instead to lead “one away from the ‘thing itself’ in all its solidity to the inchoate impressions of a variable and various reader” (Fish 1980:42).2 Shifting the critical focus away from the text to the reader has engendered 1 Iser, one of the leading proponents of reader-based inquiry, offers the following succinct statement of the logic underlying his and related approaches: “[a]s a literary text can only produce a response when it is read, it is virtually impossible to describe this response without also analyzing the reading process” (1978:ix). Iser’s emphasis on the reader’s role and on the constitutive and enabling functions inherent in the act of reading are shared by many other modern theorists despite their radical differences in methodologies, aims, and conclusions. See especially Culler (1982:17-83), and the collections edited by Tompkins (1980) and Suleiman and Crosman (1980). 2 The New Criticism has generally warned against inscribing an idiosyncratic, historically and culturally determined reader into a literary text because doing so would lead to subjectivism and ultimately to interpretative chaos. -
13 Reflections on Tolkien's Use of Beowulf
13 Reflections on Tolkien’s Use of Beowulf Arne Zettersten University of Copenhagen Beowulf, the famous Anglo-Saxon heroic poem, and The Lord of the Rings by J.R.R. Tolkien, “The Author of the Century”, 1 have been thor- oughly analysed and compared by a variety of scholars.2 It seems most appropriate to discuss similar aspects of The Lord of the Rings in a Festschrift presented to Nils-Lennart Johannesson with a view to his own commentaries on the language of Tolkien’s fiction. The immediate pur- pose of this article is not to present a problem-solving essay but instead to explain how close I was to Tolkien’s own research and his activities in Oxford during the last thirteen years of his life. As the article unfolds, we realise more and more that Beowulf meant a great deal to Tolkien, cul- minating in Christopher Tolkien’s unexpected edition of the translation of Beowulf, completed by J.R.R. Tolkien as early as 1926. Beowulf has always been respected in its position as the oldest Germanic heroic poem.3 I myself accept the conclusion that the poem came into existence around 720–730 A.D. in spite of the fact that there is still considerable debate over the dating. The only preserved copy (British Library MS. Cotton Vitellius A.15) was most probably com- pleted at the beginning of the eleventh century. 1 See Shippey, J.R.R. Tolkien: Author of the Century, 2000. 2 See Shippey, T.A., The Road to Middle-earth, 1982, Pearce, Joseph, Tolkien.