"To be, or not to be, that is the question:/ Whether 'tis nobler in the mind to suffer/the slings and arrows of outrageous fortune,/ Or to take arms against a sea of troubles/ And by opposing end them." In this sentence, Hamlet contemplates if it is more meaningful to off one's self or to suffer their way through life. He wonders if a person's life means more if they find worth even though they have had to struggle through many hardships. His true question is : is it worth it?
"To die-to sleep,/ No more; and by a sleep to say we end/ The heart-ache and the thousand natural shocks/ That flesh is heir to; 'tis a consummation/ Devoutly to be wish'd." Here, Hamlet says that death is like a very peaceful sleep, one that will be the end of pain and suffering. He says that it may sound like a curse to die, but really it is a rest that should be sought after.
"To die, to sleep;/ To sleep perchance to dream- ay, there's the rub:/ For in that sleep of death what dreams may come,/ When we have shuffled off this mortal coil,/ Must give us pause- there's the respect/ That makes calamity of so long life." Once again, Hamlet is speaking of the peace that he idealizes to come with death. He says that it annoys him that there should be such peace in death when there are such disasters and tragedies in life.
"For who would bear the whips and scorns of time,/ Th'opressor's wrong, the proud man's contumely,/ The pangs of dispriz'd love, the law's delay,/ The insolence of office, and the spurns/ That patient merit of th'unworthy takes,/ When he himself might his quietus make/ With a bear bodkin?" Hamlet laments many of the things that he has suffered recently (unrequited love, his proud uncle, etc.) and even goes so far as to say that they are perhaps insignificant in the grand scheme of things (bodking=needle, meaning it is just a prickling nuisance rather than something that causes real pain).
"Who would the fardels bear, to grunt and sweat under a weary life,/ But that the dread of something after death,/ The undiscover'd country, from whose bourn/ No traveller returns, puzzles the will,/ And makes us rather bear those ills we have/ Than fly to others that we know not of?" Hamlet speaks of how many people have a fear of death. He says that they would rather face the suffering that is common in life than go on to something that they know nothing about because no one has returned from death.
"Thus conscience does make cowards of us all,/ And thus the native hue of resolution/ Is sicklied o'er with the pale cast of thought,/ And enterprises of great pitch and moment/ With this regard their currents turn awry/ And lose the name of action." Hamlet says that everyone is held in place by their morals. He speaks of how many people's morals keep them from doing any action, and in this sense, he may be talking about his own inability to act on the revenge he must take.
"Soft you now,/ The fair Ophelia! Nymph, in thy orisons/ Be all my sins remember'd." Shakespeare's placement of Ophelia at the end of this speech suggests at the part she plays in Hamlet's suffering. There is a hint that he really, truely does love her and it is only after she betrays him with lies that Hamlet realizes that he can't live wiht a woman so easily manipulated.
This whole speech serves as a reminder to the reader of the choices that Hamlet must make, as well as all of the hardships that he has had to endure. His lamentation about the things going on around him help to create an understanding of exactly how much Denmark is failing and the corruption that seems to be taking over. It is possible that this is where Hamlet begins to make the transition from acting to real madness. With his infatuation with death and the idea that with death comes peace, it is amazing that Hamlet isn't dead already.
Monday, December 7, 2009
Thursday, December 3, 2009
Act 2 Questions
1. At the beginning of Act 2, Polonius tells Reynaldo to go spy on Laertes for him. He plans to trap his son by getting Reynaldo to go around telling lies to Laertes' friends to see their reaction. This is supposed to give him a more honest truth than if he just out and asked Laertes' acquaintances about him and what he does.
2. This is the first insight we have into Polonius as the fool of this story. We see how he cares about what Laertes is doing because of how it would reflect on his reputation. It also helps the reader to see the round about way that he thinks as well as the way he skirts the issue, rather than getting straight to the point.
3. Ophelia was scared because Hamlet was acting mad. He was half-naked and came and grabbed her arm and held her. He let her go eventually, but it still frightened her.
4. Rosencrantz and Gildenstern have been summoned to Denmark by the king to see what is the matter with Hamlet. Claudius thinks that Hamlet's childhood friends will be the best ones to get the truth out of Hamlet about whether he knows anything.
5. Hamlet asks the players to recite Aeneas' tale to Dido. This speech is supposed to parallel Hamlet's situation with Claudius. Hamlet has the same duty as Pyrrus of revenge for his father's death. The mention of Hecuba watching Priam's death is meant to remind Hamlet to think of the feelings of his mother and try to shield her from the revenge that he must take.
6. This line is spoken by Ophelia and is meant to emphasize her role in this text as a tool to her father. At this point, she is denying Hamlet's access to her in order to save Polonius' reputation.
7. Gertrude is telling Polonius to stop wasting time and get to the point about Hamlet's madness. I think this is meant to show her impatience and how she feels about Polonius.
8. Hamlet says it his duty by the power from both heaven and hell to avenge the death of his father. He speaks of how he has to use the speech from the play to say what he really thinks. He feels bound by his duty to keep others from knowing that he knows Claudius killed his father.
9. In this section, Polonius reveals to Reynaldo his plan for getting answers about Laertes. His plan shows us his foolish ways in how Reynaldo will have to make up a whole bunch of lies just to get a couple of answers about what Laertes is doing in France.
10. This line is both to emphasize the extent of Hamlet's acting mad as well as making fun of Polonius. Hamlet is making a pun on himself as the sun (son) and saying that he will shine women and make them "breed maggots" (aka he will get them pregnant). This is made even funnier by the fact that Polonius can't do anything to call Hamlet out because he is supposedly crazy.
11. Extended: Fortune-a prostitute that isn't constant.
Implied: poison-lies ("takes prisoner Pyrrhus' ear" ln. 465)
Direct: Denmark-a prison.
12. Polonius thinks that Hamlet coming to Ophelia, ranting and raving and half naked, is proof of his love for her.
13. "There is nothing either good or bad, but thinking makes it so." Hamlet is saying that Elsinore is a prison for him because of what he thinks (and what he knows). The reason it isn't a jail for Rosencrantz and Gildenstern is because they have no bad memories to make them think of it that way. This quote relates to Hamlet because he is the one who has been given the burden of knowing that his uncle killed his father. The fact that Claudius married Gertrude only adds to the prison-like atmosphere for Hamlet. He feels like he is being trapped into a corrupt world that he can do nothing to change except to lie himself.
14. A fishmonger is a pimp.
15. Jephthah prayed to God and said he would sacrifice the next person who walked in the door if only he could be advanced politically. His daughter walked in and he offers her up and is advanced politically as he had originally planned. This reinforces the idea of Polonius as a pimp using his daughter for his own gain.
2. This is the first insight we have into Polonius as the fool of this story. We see how he cares about what Laertes is doing because of how it would reflect on his reputation. It also helps the reader to see the round about way that he thinks as well as the way he skirts the issue, rather than getting straight to the point.
3. Ophelia was scared because Hamlet was acting mad. He was half-naked and came and grabbed her arm and held her. He let her go eventually, but it still frightened her.
4. Rosencrantz and Gildenstern have been summoned to Denmark by the king to see what is the matter with Hamlet. Claudius thinks that Hamlet's childhood friends will be the best ones to get the truth out of Hamlet about whether he knows anything.
5. Hamlet asks the players to recite Aeneas' tale to Dido. This speech is supposed to parallel Hamlet's situation with Claudius. Hamlet has the same duty as Pyrrus of revenge for his father's death. The mention of Hecuba watching Priam's death is meant to remind Hamlet to think of the feelings of his mother and try to shield her from the revenge that he must take.
6. This line is spoken by Ophelia and is meant to emphasize her role in this text as a tool to her father. At this point, she is denying Hamlet's access to her in order to save Polonius' reputation.
7. Gertrude is telling Polonius to stop wasting time and get to the point about Hamlet's madness. I think this is meant to show her impatience and how she feels about Polonius.
8. Hamlet says it his duty by the power from both heaven and hell to avenge the death of his father. He speaks of how he has to use the speech from the play to say what he really thinks. He feels bound by his duty to keep others from knowing that he knows Claudius killed his father.
9. In this section, Polonius reveals to Reynaldo his plan for getting answers about Laertes. His plan shows us his foolish ways in how Reynaldo will have to make up a whole bunch of lies just to get a couple of answers about what Laertes is doing in France.
10. This line is both to emphasize the extent of Hamlet's acting mad as well as making fun of Polonius. Hamlet is making a pun on himself as the sun (son) and saying that he will shine women and make them "breed maggots" (aka he will get them pregnant). This is made even funnier by the fact that Polonius can't do anything to call Hamlet out because he is supposedly crazy.
11. Extended: Fortune-a prostitute that isn't constant.
Implied: poison-lies ("takes prisoner Pyrrhus' ear" ln. 465)
Direct: Denmark-a prison.
12. Polonius thinks that Hamlet coming to Ophelia, ranting and raving and half naked, is proof of his love for her.
13. "There is nothing either good or bad, but thinking makes it so." Hamlet is saying that Elsinore is a prison for him because of what he thinks (and what he knows). The reason it isn't a jail for Rosencrantz and Gildenstern is because they have no bad memories to make them think of it that way. This quote relates to Hamlet because he is the one who has been given the burden of knowing that his uncle killed his father. The fact that Claudius married Gertrude only adds to the prison-like atmosphere for Hamlet. He feels like he is being trapped into a corrupt world that he can do nothing to change except to lie himself.
14. A fishmonger is a pimp.
15. Jephthah prayed to God and said he would sacrifice the next person who walked in the door if only he could be advanced politically. His daughter walked in and he offers her up and is advanced politically as he had originally planned. This reinforces the idea of Polonius as a pimp using his daughter for his own gain.
Wednesday, December 2, 2009
Hamlet's soliloquy (ln. 92-112)
Fielding- I'm not sure if you want us to translate this or interpret it, so I'm doing a little of both.
Hamlet calls on every force he can think of (other than man) to help him do what he has to do in order to seek revenge for his father. He also talks about how he will use every force and fiber of his being in order to seek out the revenge that the ghost of his father seeks. Hamlet speaks of how all of his previous learning will mean nothing compared to how he will throw himself into the task of avenging the murder. He blames his mother and calls her a villain. He also talks of the lies that take place in Denmark ("that one may smile...and be a villain" ln. 108). Hamlet swears an oath to himself that he will make his uncle pay for the death of his father.
It is suggested that Shakespeare puts in this speech to show the reader the beginnings of Hamlet's madness and how it starts. Because he makes this promise to himself, he is more likely to honor it than he would if he made it to anyone else. We may not all like to admit it, but all people have a basic selfishness that often makes us put ourselves before others. When Hamlet says, "Adieu, adieu, remember me" (ln. 111), it is like he knows how far lost he will get in his role of acting crazy. This line may also suggest that Hamlet is reminding himself not to forget the oath he has sworn to avenge his father. He knows he may go overboard, but at the same time, he is telling himself not to.
Hamlet calls on every force he can think of (other than man) to help him do what he has to do in order to seek revenge for his father. He also talks about how he will use every force and fiber of his being in order to seek out the revenge that the ghost of his father seeks. Hamlet speaks of how all of his previous learning will mean nothing compared to how he will throw himself into the task of avenging the murder. He blames his mother and calls her a villain. He also talks of the lies that take place in Denmark ("that one may smile...and be a villain" ln. 108). Hamlet swears an oath to himself that he will make his uncle pay for the death of his father.
It is suggested that Shakespeare puts in this speech to show the reader the beginnings of Hamlet's madness and how it starts. Because he makes this promise to himself, he is more likely to honor it than he would if he made it to anyone else. We may not all like to admit it, but all people have a basic selfishness that often makes us put ourselves before others. When Hamlet says, "Adieu, adieu, remember me" (ln. 111), it is like he knows how far lost he will get in his role of acting crazy. This line may also suggest that Hamlet is reminding himself not to forget the oath he has sworn to avenge his father. He knows he may go overboard, but at the same time, he is telling himself not to.
Hamlet 1.3 & 1.4
1. Laertes tells Ophelia not to completely trust what Hamlet tells her. He warns her that, while Hamlet may mean what he says now, there could come a time in the future when he has to make a sacrifice. Laertes' advice contrasts that of his father because, rather than trying to make himself look good, Laertes is trying to keep his sister from getting hurt.
2. This quote fits into the idea of women losing their virginity before they are married and there for becoming worthless. In this case, Ophelia is the flower that could potentially be decayed by the canker (Hamlet). The quote also reinforces and foreshadows to the theme of the end of mankind.
3. Ophelia uses the analogy of pastors preaching about heaven while they are going against what they say is right. What she means is that Laertes shouldn't be giving her such advice when she knows what he is doing in France (bars and brothels, etc.)
4. a.) don't say anything if it isn't what you think and don't act on something if you haven't thought it out.
b.) don't get into fights, but if you do, use the other guy's fear to your advantage
c.) Listen to everyone, but don't talk too much
d.) Don't loan out things to others or borrow from them
e.) Don't be too judgmental, but take judgment from others.
5. In lines 105-109, Polonius is playing off the word "tender." What he is telling Ophelia is she thinks of Hamlet's words as little words of endearment. Polonius views them as payment (Hamlet will say anything to get her into bed) and is telling Ophelia that she should as well. He criticizes her for taking such small "tenders" that could be changed at a moment's notice.
6. Polonius compares the attraction of Hamlet to small fires that create light without the heat. "These blazes...extinct in both" helps the reader to better understand how Polonius feels. He thinks if Ophelia falls for Hamlet and loses her virginity, then his reputation will also be ruined because of his status as her father.
7. Polonius commands Ophelia to stay away from Hamlet and not fall in love with him. He feels that her falling in love with Hamlet and losing her virginity reflects on him and he doesn't want anything to get in the way of his plans. This contrasts with his later plans to get his daughter married to Hamlet since he's mad.
8. In lines 13-38, Hamlet is making fun of King Claudius, who is not his favorite person. He tells Horatio of the embarrassment of the king making toasts and shooting off canons as a reason for being drunk. It is suggested that the drunken leader is the reason for the decaying society of Denmark.
9. Horatio may be right in not wanting Hamlet to follow the ghost. He thinks that the ghost is an evil spirit that will lead him off of a cliff or cause him to drown. It is possible that the ghost is a demon that has come to earth to cause the downfall of Denmark.
10. Hamlet commands the guards to let him go follow the ghost. He also tells them that he will kill them if they follow him. This may reinforce the idea that the ghost will only talk to Hamlet and not anyone else.
2. This quote fits into the idea of women losing their virginity before they are married and there for becoming worthless. In this case, Ophelia is the flower that could potentially be decayed by the canker (Hamlet). The quote also reinforces and foreshadows to the theme of the end of mankind.
3. Ophelia uses the analogy of pastors preaching about heaven while they are going against what they say is right. What she means is that Laertes shouldn't be giving her such advice when she knows what he is doing in France (bars and brothels, etc.)
4. a.) don't say anything if it isn't what you think and don't act on something if you haven't thought it out.
b.) don't get into fights, but if you do, use the other guy's fear to your advantage
c.) Listen to everyone, but don't talk too much
d.) Don't loan out things to others or borrow from them
e.) Don't be too judgmental, but take judgment from others.
5. In lines 105-109, Polonius is playing off the word "tender." What he is telling Ophelia is she thinks of Hamlet's words as little words of endearment. Polonius views them as payment (Hamlet will say anything to get her into bed) and is telling Ophelia that she should as well. He criticizes her for taking such small "tenders" that could be changed at a moment's notice.
6. Polonius compares the attraction of Hamlet to small fires that create light without the heat. "These blazes...extinct in both" helps the reader to better understand how Polonius feels. He thinks if Ophelia falls for Hamlet and loses her virginity, then his reputation will also be ruined because of his status as her father.
7. Polonius commands Ophelia to stay away from Hamlet and not fall in love with him. He feels that her falling in love with Hamlet and losing her virginity reflects on him and he doesn't want anything to get in the way of his plans. This contrasts with his later plans to get his daughter married to Hamlet since he's mad.
8. In lines 13-38, Hamlet is making fun of King Claudius, who is not his favorite person. He tells Horatio of the embarrassment of the king making toasts and shooting off canons as a reason for being drunk. It is suggested that the drunken leader is the reason for the decaying society of Denmark.
9. Horatio may be right in not wanting Hamlet to follow the ghost. He thinks that the ghost is an evil spirit that will lead him off of a cliff or cause him to drown. It is possible that the ghost is a demon that has come to earth to cause the downfall of Denmark.
10. Hamlet commands the guards to let him go follow the ghost. He also tells them that he will kill them if they follow him. This may reinforce the idea that the ghost will only talk to Hamlet and not anyone else.
Tuesday, December 1, 2009
Hamlet 1:1
1. Shakespeare uses the arguing of the guards to create humor and invoke interest in the play. Curiosity is also created by the appearance of the ghost of the king who is never given a chance to speak.
2. Despite the fact that the ghost doesn't speak, we are given some insight into the moment due to what he is wearing. the fact that he is dressed in his complete armor suggests at the impending attack from Norway and the decay of Denmark.
3. The reader becomes interested in the ghost when we find that it doesn't want to speak to the guards or the highly educated Horatio. This suggestion is made even more intriguing by his war clothes and how he disappears when he is attacked by the guards.
4. The mood is dark and cold, due to the presence of the ghost and the time of year. This plays into the theme of the fall of mankind.
5. The sentries are apprehensive, not only because their country is at war, but also because they have seen the ghost of their king who is dressed in full armor as if he is prepared for battle.
6. At first, Horatio suggests that the king has come to tell his people of treasure and how to get it, but he then realizes what the king is wearing and correctly assumes that he has come to warn his kingdom of the impending attack by Norway led by young Fortinbras.
7. Barnardo, Francisco, Marcellus, Horatio, and the ghost (?)
8. One thing that Horatio says about the old king is that he was a big enemy of King Fortinbras and they had a battle over lands, which King Hamlet won.
9. Young Fortinbras is the son of the king of Norway who is preparing to attack Denmark. (fits into the theme of the fall of mankind/ the fall of Denmark)
10. Horatio says that Rome was doomed after Julius Caesar was murdered. He says that the dead roamed the streets and there were many disasters ("The graves...with eclipse" ln. 118).
11. Horatio is set apart from the guards due to his educated status. His opinion is highly respected by Barnardo and Marcellus because of his education and they even go so far as to seek him out to interpret for them. Horatio is also set apart because he is so skeptical about the ghost. Once he realizes that it is real, he is the only one out of the three who can figure out what the ghost means/stands for.
12. Horatio was brought into the scene by the guards because of his educated status. They think will be able to interpret what the ghost wants, or that he can even talk to the ghost.
13. In scene one, we are given a partial back story to the feud that is going on between Denmark and Norway.
2. Despite the fact that the ghost doesn't speak, we are given some insight into the moment due to what he is wearing. the fact that he is dressed in his complete armor suggests at the impending attack from Norway and the decay of Denmark.
3. The reader becomes interested in the ghost when we find that it doesn't want to speak to the guards or the highly educated Horatio. This suggestion is made even more intriguing by his war clothes and how he disappears when he is attacked by the guards.
4. The mood is dark and cold, due to the presence of the ghost and the time of year. This plays into the theme of the fall of mankind.
5. The sentries are apprehensive, not only because their country is at war, but also because they have seen the ghost of their king who is dressed in full armor as if he is prepared for battle.
6. At first, Horatio suggests that the king has come to tell his people of treasure and how to get it, but he then realizes what the king is wearing and correctly assumes that he has come to warn his kingdom of the impending attack by Norway led by young Fortinbras.
7. Barnardo, Francisco, Marcellus, Horatio, and the ghost (?)
8. One thing that Horatio says about the old king is that he was a big enemy of King Fortinbras and they had a battle over lands, which King Hamlet won.
9. Young Fortinbras is the son of the king of Norway who is preparing to attack Denmark. (fits into the theme of the fall of mankind/ the fall of Denmark)
10. Horatio says that Rome was doomed after Julius Caesar was murdered. He says that the dead roamed the streets and there were many disasters ("The graves...with eclipse" ln. 118).
11. Horatio is set apart from the guards due to his educated status. His opinion is highly respected by Barnardo and Marcellus because of his education and they even go so far as to seek him out to interpret for them. Horatio is also set apart because he is so skeptical about the ghost. Once he realizes that it is real, he is the only one out of the three who can figure out what the ghost means/stands for.
12. Horatio was brought into the scene by the guards because of his educated status. They think will be able to interpret what the ghost wants, or that he can even talk to the ghost.
13. In scene one, we are given a partial back story to the feud that is going on between Denmark and Norway.
Wednesday, November 4, 2009
Fit 4
1.The journey from lefe to death and back again is seen in Gawain's journey to the castle. If you apply the Christian concept of death and going on to the promised reward with God, you can see how the castle and Gawain's time there would seem like he had died and gone to heaven. The way that the castle appears as a kind of oasis out of the miserable decay of human society makes it seem as though Gawain has crossed over some kind of line between worlds ("in the midst of the woods, he saw a moated castle" ln. 763). This is also reinforced by the fact that the only place where people know about the Green Knight is at the castle. The journey back to life, miserable as it may be, is seen after Gawain's failure in the contest with the Green Knight. He returns to the real world where he isn't as happy as he was in the castle with the lady and Bertilak. The people at Camelot can't understand how he has failed and learned because they weren't there when it happened. The author uses this to suggest that the only ones who can at least partially understand out struggles and failures are the ones who we meet in death.
2. Gawain is reborn physically as he escapes death at the hand of the Green Knight, as well as returning to Camelot. He is reborn spiritually after his failure to have faith in God. The author uses the physical rebirth to parallel the spiritual one as well as comment on it. The way he learns from his failure against the Green Knight is commented on by the way the people of Camelot seem to put it off. I think the author is suggesting that everyone gets so absorbed in their own life and entertainment that they don't take the time to understand the way others are learning and growing from their experiences.
3. If you look at the tone of the story as humerous, then you will probably come to the conclusion that the point of view taken by the end of the story is that of someone in Camelot. The people at Camelot are very fun-loving and youthful in spirit ("all in their Brotherhood should wear a baldric...be honored evermore" ln. 2516). It would make sense that it would be someone out of Camelot telling the story because of the way the tone makes Gawain's quest seem more like a game, something that can be failed and still laughed about.
4.I believe Gawain is ruined as a knight because he doesn't seem to be able to let go of his failure and this way of thinking will only bring himself down. He seems to want to cast his own blame off on other people ("Adam in Paradise...Bathsheba" ln. 2416) as well as raise himself up on a pedestal as being very faithful. He has lost everything in this one moment, so he has no real reason to continue trying to be perfect. There is no longer the motivation to be the most perfect knight to drive him to be a good one, so he will probably wind up becoming the opposite of what he has been striving to be for all these years.
5. I think the one in control of the events in this story is the old crone. You can see in the passage where we first meet her how she seems to have the controlling aspect over the lady ("led her by the left hand" ln. 947). It is even admitted by Bertilak at the end of the book that Morgana was the one who told him to go to Camelot and challenge the knights to a contest. It is suggested by the author that Bertilak goes along with this because he just wants to be involved in the fun. It seems like the Green Knight would fit in better in Camelot than Gawian because of his love of fun as well as his nobility and skill in battle.
2. Gawain is reborn physically as he escapes death at the hand of the Green Knight, as well as returning to Camelot. He is reborn spiritually after his failure to have faith in God. The author uses the physical rebirth to parallel the spiritual one as well as comment on it. The way he learns from his failure against the Green Knight is commented on by the way the people of Camelot seem to put it off. I think the author is suggesting that everyone gets so absorbed in their own life and entertainment that they don't take the time to understand the way others are learning and growing from their experiences.
3. If you look at the tone of the story as humerous, then you will probably come to the conclusion that the point of view taken by the end of the story is that of someone in Camelot. The people at Camelot are very fun-loving and youthful in spirit ("all in their Brotherhood should wear a baldric...be honored evermore" ln. 2516). It would make sense that it would be someone out of Camelot telling the story because of the way the tone makes Gawain's quest seem more like a game, something that can be failed and still laughed about.
4.I believe Gawain is ruined as a knight because he doesn't seem to be able to let go of his failure and this way of thinking will only bring himself down. He seems to want to cast his own blame off on other people ("Adam in Paradise...Bathsheba" ln. 2416) as well as raise himself up on a pedestal as being very faithful. He has lost everything in this one moment, so he has no real reason to continue trying to be perfect. There is no longer the motivation to be the most perfect knight to drive him to be a good one, so he will probably wind up becoming the opposite of what he has been striving to be for all these years.
5. I think the one in control of the events in this story is the old crone. You can see in the passage where we first meet her how she seems to have the controlling aspect over the lady ("led her by the left hand" ln. 947). It is even admitted by Bertilak at the end of the book that Morgana was the one who told him to go to Camelot and challenge the knights to a contest. It is suggested by the author that Bertilak goes along with this because he just wants to be involved in the fun. It seems like the Green Knight would fit in better in Camelot than Gawian because of his love of fun as well as his nobility and skill in battle.
Tuesday, November 3, 2009
Fit 3 Q. 2-5
2. Gawain does a very good job in this section of holding up his honor at the same time as not offending the hospitality of the people in the castle. The fact that the author makes him seem so perfect in this section makes me, as a reader, not like him very well. In his perfectness, he is harder to relate to and he seems less human. It's possible that the author sets it up this way for the reader to better understand the reaction of King Arthur and the Knights to Gawain at the end of the story ("the lords and ladies of the Round Table...should wear a baldric" ln. 2516). Gawain seems to behave very well with the lady in his bedroom, especially considering that he is trapped. There is the suggestion, however that he isn't as perfect in his keeping the lady there as he would like to think ("kisses his lips...all was bliss between them" ln. 1758). The lady and himself may know that he is upholding his honor, but to anyone else, they don't have any way of knowing what is going on behind closed doors. While the reader knows that he is being very honorable, the people of the castle might start to get ideas because of the lady spending so much time in Gawain's room.
3. The climax of the book is when the Green Knight's axe nicks Gawain's neck. It is at this point where we see Gawain completely lose his faith in God. The author could be using this to suggest that Gawain is not really as faithful as he pretends to be. Perhaps he is using his religion in order to make him one of the best knights at the Round Table. Perhaps that is why his failure is so important to him because in his mind, he has failed at being the best and one of the other knights will take his place of perfectness due to his mistake. This point in the story brings into play a competetive spirit that we perhaps haven't seen in Gawain previously.
4.The green girdle is symbolic of Gawain's failure, both to the reader and to Gawain himself. It's possible the author is using this to hilight the difference between Gawain and all of the other characters in the book. To them, everything is a game so whether you win or lose, it doesn't really matter all that much. Gawain, on the other hand, takes it way to seriously and the reminder of the girdle only tosses his failure back in his face. We see just a hint of his failure in spirit when he takes the girdle from the lady ("he cannot be cut down by any man nor slain" ln. 1853). The author's suggestion that he takes the girdle because of its supposed ability to save him from death shows us that Gawain has already failed before he is even aware of it.
5."The rooster had not roused, cackled and crowed three times" (ln. 1412: allusion to Peter denying Jesus(Luke 20:60&61). The author uses foreshadow the failure of Gawain in his service to God and comment on Gawain's refusal to forgive himself. According to the Bible, when God forgives you, you also have to be willing to forgive yourself. Gawain's failure to do this suggests that he failing even further. There is a contrast between the characters of Gawain and Peter. When Peter realizes that he has denied Jesus, he "went out, and wept bitterly," but then he is able to get over it and go on with his service to God. The fact that Gawain isn't able to do this suggests that he is more earthly oriented than he would like to think.
"Mary reward you, madam" (ln. 1263): allusion to the Virgin Mary. Mary is supposed to symbolize being pure sexually and I think Gawain is using this reference to not only warn the lady off, but also to remind himself of what his duties are to both himself and his knighthood. He prides himself in being perfect, but the author uses this allusion to show the reader one of his times of struggle. He is trying to remind himself of his vow of chastity, but at the same time he is having difficulty sticking to it, due to the presence of the lady in his room. By showing the reader Gawain's struggle so close to the recieving of the green girdle, the author is emphasizing his failure.
3. The climax of the book is when the Green Knight's axe nicks Gawain's neck. It is at this point where we see Gawain completely lose his faith in God. The author could be using this to suggest that Gawain is not really as faithful as he pretends to be. Perhaps he is using his religion in order to make him one of the best knights at the Round Table. Perhaps that is why his failure is so important to him because in his mind, he has failed at being the best and one of the other knights will take his place of perfectness due to his mistake. This point in the story brings into play a competetive spirit that we perhaps haven't seen in Gawain previously.
4.The green girdle is symbolic of Gawain's failure, both to the reader and to Gawain himself. It's possible the author is using this to hilight the difference between Gawain and all of the other characters in the book. To them, everything is a game so whether you win or lose, it doesn't really matter all that much. Gawain, on the other hand, takes it way to seriously and the reminder of the girdle only tosses his failure back in his face. We see just a hint of his failure in spirit when he takes the girdle from the lady ("he cannot be cut down by any man nor slain" ln. 1853). The author's suggestion that he takes the girdle because of its supposed ability to save him from death shows us that Gawain has already failed before he is even aware of it.
5."The rooster had not roused, cackled and crowed three times" (ln. 1412: allusion to Peter denying Jesus(Luke 20:60&61). The author uses foreshadow the failure of Gawain in his service to God and comment on Gawain's refusal to forgive himself. According to the Bible, when God forgives you, you also have to be willing to forgive yourself. Gawain's failure to do this suggests that he failing even further. There is a contrast between the characters of Gawain and Peter. When Peter realizes that he has denied Jesus, he "went out, and wept bitterly," but then he is able to get over it and go on with his service to God. The fact that Gawain isn't able to do this suggests that he is more earthly oriented than he would like to think.
"Mary reward you, madam" (ln. 1263): allusion to the Virgin Mary. Mary is supposed to symbolize being pure sexually and I think Gawain is using this reference to not only warn the lady off, but also to remind himself of what his duties are to both himself and his knighthood. He prides himself in being perfect, but the author uses this allusion to show the reader one of his times of struggle. He is trying to remind himself of his vow of chastity, but at the same time he is having difficulty sticking to it, due to the presence of the lady in his room. By showing the reader Gawain's struggle so close to the recieving of the green girdle, the author is emphasizing his failure.
Monday, November 2, 2009
Fit 3 Q. 1
The parallelism between the bedroom scenes and the hunt not only reveal the connotation of violence between the two, but also reinforce the theme of games. The physical hunt of Bertilak and his men and its connection to the lady with Gawain helps the reader to better understand the tactics she is using, as well as giving us an idea of how Gawain might be reacting. The scene with the deer helps the reader to better understand the extent to which Gawain is feeling trapped with the lady in his bedroom ("were blocked by the beaters, with bellows and cries" ln. 1153). There is nothing he can do to stop her from coming in and attempting to seduce him because of his status as a guest, and it can be argued because of his attraction to her. In the second hunt, Gawain is more mentally prepared for when the lady enters his bedchamber. The author helps us to see this by giving a detailed desription of the damage that the boar causes to the hunters before he is actually caught ("he charged at the men that checked his way" ln. 1438). Finally, we see through the cunning of the fox how the virtue of patience serves Gawain very well. The fact that he finally outwaits the lady is not really reflected in the fact that the fox does eventually get caught. The catching of the fox is shown when Gawain accepts the silk girdle. This shows us that, mentally and spiritually, he is putting most of his trust in the bond that we see between him and not only the lady but also the people of the castle. The loudness with which the king and his men hunt ("they blew their bugles loudly...the hounds bayed, making great furore" ln. 1141) suggests that the author is wanting to make known Gawain's failings in taking the girdle from the lady. He may not fail in the bedroom, but he does fail in his quest to be perfect. While it makes him more human, it somehow makes the reader like him less.
Wednesday, October 28, 2009
Gawain Questions
1. The first 3 stanzas deal with the passing of time between when we are first introduced to the Green Knight and the time when Gawain has to leave to finish the contest. The next two stanzas deal with the motif of the arming of the warrior. In the sixth and seventh stanzas, we are introduced to the shield with the pentangle and what it symbolizes to Gawain's faith. In the eigth through the eleventh stanzas, we travel with Gawain on his journey. Stanzas 12-17 Gawain arrives at the castle and is made welcome by the king, and in stanza 18 the people of the castle are making sure that Gawain is a man from King Arthur's castle. In stanza 19, we have our first introduction to the lady and the old crone (Morgana), and the following stanzas serve to begin the connection with Gawain and the lady. There is a connection hinted at between the lady and the crone. The way the crone has a grip on the lady's arm and seems to be leading her suggests that she holds some kind of control over her. In the 23-25 stanzas in this section, the author is establishing the connection with Gawain's quest for the Green Knight and the king of the castle. It suggests at the role the king will play in Gawain's search to prove himself.
2. Games in this section seem to reflect on seem to reflect on King Arthur and the way that no one in Camelot seems to take anything completely seriously ("and yet, though sad, they all made jests" ln. 541). One of the less obvious of the games reflects on and foreshadows to the connection between Gawain and the lady ("their witty word-play surpassed the sports of the other lords" ln. 1014). This is the first hint the reader has that there will be some mental game-playing between Gawain and the lady. I think the author is using this to suggest to the reader that this is the only connection that there is between the two. What is happening with them is only a game and isn't meant to have any special significance in the long run.
3. Once again in this section, we see the symbol of the time of year. One of the biggest things that the time of year plays into is the drawing closer of the deadline for Gawain to fight the Green Knight. While the Yule time of year is supposed to be a time of celebration and feasting, this year seems to be different for Gawain. There is an overtone of dread that is a little hard to pick up on. There could be a conection between this overtone and the fact that the Yuletide had been strategically placed very close to the pagan religious holiday, and this idea could be playing into what is going on/what will happen with Gawain.
4. In this section, Gawain seems to be a little bit more important than he did in the last. He seems to be more brave than in the last one where he only decided to fight the knight after King Arthur was going to. He seems to be more accepting of his fate to enter the beheading contest with the Green Knight. We see more confidence in him, suggesting that he has now proven himself as a warrior, and feels more deserving of his role as a knight. His confidence contrasts with the humbleness of his character in the previous section.
5. There is a contrast between the two settings. In Camelot, the atmosphere is more fun-loving. The king is youthful and easy to provoke to a fight. He likes to play games, and this trait reflects on his subjects, especially at feasting times. In contrast, there is an overshadowing of seriousness in Byrtelac's castle that is made even deeper by the presence of the old crone. Even at the times of feasting and celebration, there is a hint of something sinister lurking deeper in the moods of the people.
2. Games in this section seem to reflect on seem to reflect on King Arthur and the way that no one in Camelot seems to take anything completely seriously ("and yet, though sad, they all made jests" ln. 541). One of the less obvious of the games reflects on and foreshadows to the connection between Gawain and the lady ("their witty word-play surpassed the sports of the other lords" ln. 1014). This is the first hint the reader has that there will be some mental game-playing between Gawain and the lady. I think the author is using this to suggest to the reader that this is the only connection that there is between the two. What is happening with them is only a game and isn't meant to have any special significance in the long run.
3. Once again in this section, we see the symbol of the time of year. One of the biggest things that the time of year plays into is the drawing closer of the deadline for Gawain to fight the Green Knight. While the Yule time of year is supposed to be a time of celebration and feasting, this year seems to be different for Gawain. There is an overtone of dread that is a little hard to pick up on. There could be a conection between this overtone and the fact that the Yuletide had been strategically placed very close to the pagan religious holiday, and this idea could be playing into what is going on/what will happen with Gawain.
4. In this section, Gawain seems to be a little bit more important than he did in the last. He seems to be more brave than in the last one where he only decided to fight the knight after King Arthur was going to. He seems to be more accepting of his fate to enter the beheading contest with the Green Knight. We see more confidence in him, suggesting that he has now proven himself as a warrior, and feels more deserving of his role as a knight. His confidence contrasts with the humbleness of his character in the previous section.
5. There is a contrast between the two settings. In Camelot, the atmosphere is more fun-loving. The king is youthful and easy to provoke to a fight. He likes to play games, and this trait reflects on his subjects, especially at feasting times. In contrast, there is an overshadowing of seriousness in Byrtelac's castle that is made even deeper by the presence of the old crone. Even at the times of feasting and celebration, there is a hint of something sinister lurking deeper in the moods of the people.
Thursday, October 22, 2009
Hrolf Kraki Questions
2. Role of kings: This theme is meant to show the reader how the king is supposed to lead and encourage his men to fight for honor. He chooses when his men fight and how they prepare for battle. Sometimes, the king's bad decisions are reflected on his men as they follow his orders. While Hrolf Kraki is the best example of a king in this narrative, leading his men forward and even performing his own mighty feats in battle, King Adils serves as his dramatic foil. He chooses to insult King Hrolf and his champions by pretending that they are welcome ("Realizing that the game could not go on this way, he stood and said 'what is the meaning of this fighting?'" pg. 60), while he is actually going behind their backs and plotting against them. He has his men mutilate their horses and ambush them in the hall, among other things. He is a good example of how the king's decisions reflect on the reputation of his warriors.
Role of the Warriors: For the most part, the warriors that we come closely in contact with in this saga are almost ideal to their roles. Mostly we are made to focus on King Hrolf's champions, who show many of the traits that best suited for their roles of warriors, such as honor, intelligence, physical & mental strength, selflessness, etc. I think Elk-Frodi seems like a more realistic version of a warrior. While he uses his strength to take from others, he still makes a point to make sure that his brother, Bodvar, knows that he is behind him. He also keeps his word in avenging his Bodvars murder by Skuld and her army ("If it is the last, I will avenge you, because I love you best of all men" pg. 46), and in doing this, he is taking care of the most important part of warrior culture, which is avenging one's kinsman.
Role of Women: The story of Hrolf Kraki has more prominent women than that of Beowulf. One of the most prominent female characters, Skuld, both conforms to and defies this theme. In her encouragement of sending her husband into battle, she is doing what is considered correct for women of her time. However, she is actually manipulating him into starting the war with King Hrolf so that she can kill him so that she can have revenge on him (and through him, their father) for her position in society.
Concept of Magic: Skuld is also one of the more powerful magical characters in this saga. She brings into play the idea of ressurection through her army of undead zombies("They rise up again and fight against us, and it becomes difficult to fight with ghosts" pg. 76). This motif is seen throughout medieval literature and is meant to allude to the introduction of Christianity to the warrior cultures.
Revenge: Possibly my favorite story of revenge ever is that of King Helgi and Queen Olof. As if it isn't bad enough for Helgi to force Olof to sleep with him, she tricks him into marrying their daughter. After he finds out, Helgi isn't even put off and tries to convince Yrsa to stay with him. From this story, we get the foundation for many of the other revenge stories in this saga. It sets up the theme as well as the background of King Hrolf, and suggests that the reason him and his band of champions are taken out by Skuld is because of his screwed up family tree, and also the fact that there is no magic in his family to protect him against the magic of Skuld.
Hospitality: The theme of hospitality is not as noticeable as that of revenge, or the roles of different people, but it is there. In the incident where King Hrolf and his men meet Hrani, it is made more noticeable after he invites them into his home that he isn't just a simple farmer. He is infact, Odin. The fact that a god would be hospitable and offer advice to a mere human is quite surprising, and added to this is the shock when King Hrolf has the bad grace to insult Hrani, turning him against them (. In many works of literature in history, insulting the gods is the cause of the downfall of many great leaders, and I believe this is the case with Hrolf and Hrani. In insulting Hrani's advice, gifts and hospitality, he is denying the help of the god and thus dooming himself and his men ("I do not recognize Odin...hovering in the background and causing us harm" pg. 77).
3. I believe this saga is commenting on the use of magic for both good and evil. Take the section with Hrani/Odin, for example. When King Hrolf and his men first meet Hrani as the simple farmer, he shows them hospitality and wisdom, using his magic to test Hrolf's men and telling him which of his men will not serve him well in battle. But after Hrolf insults the gifts of weapons from Hrani/Odin, the direction of the story changes. It is at this point that we see a shift in the magic. It is no longer used primarily for "good," but is rather used against King Hrolf and his men as they fight with Skuld and her ghostly army. The author uses this shift to show the reader that even the best king and the most powerful champions do not control the power for long. He is talking about how there is no way to know who the strongest person/group of people are in the world because it is always changing.
8. While Hrolf Kraki and Beowuf are a lot alike, the major difference is the influence of Christianity in the text. One of the most astonishing differences is the fact that in the totally pagan text of Hrolf Kraki, there are stronger and more independent women than there are in the Christian influenced Beowulf. This seems to comment on the supposed equality that Christianity is supposed to bring about and actually makes the reader stop to think about the development of culture within societies. It suggests that as cultures change, some important part of the previous society will be pushed out by the new one being established.
Role of the Warriors: For the most part, the warriors that we come closely in contact with in this saga are almost ideal to their roles. Mostly we are made to focus on King Hrolf's champions, who show many of the traits that best suited for their roles of warriors, such as honor, intelligence, physical & mental strength, selflessness, etc. I think Elk-Frodi seems like a more realistic version of a warrior. While he uses his strength to take from others, he still makes a point to make sure that his brother, Bodvar, knows that he is behind him. He also keeps his word in avenging his Bodvars murder by Skuld and her army ("If it is the last, I will avenge you, because I love you best of all men" pg. 46), and in doing this, he is taking care of the most important part of warrior culture, which is avenging one's kinsman.
Role of Women: The story of Hrolf Kraki has more prominent women than that of Beowulf. One of the most prominent female characters, Skuld, both conforms to and defies this theme. In her encouragement of sending her husband into battle, she is doing what is considered correct for women of her time. However, she is actually manipulating him into starting the war with King Hrolf so that she can kill him so that she can have revenge on him (and through him, their father) for her position in society.
Concept of Magic: Skuld is also one of the more powerful magical characters in this saga. She brings into play the idea of ressurection through her army of undead zombies("They rise up again and fight against us, and it becomes difficult to fight with ghosts" pg. 76). This motif is seen throughout medieval literature and is meant to allude to the introduction of Christianity to the warrior cultures.
Revenge: Possibly my favorite story of revenge ever is that of King Helgi and Queen Olof. As if it isn't bad enough for Helgi to force Olof to sleep with him, she tricks him into marrying their daughter. After he finds out, Helgi isn't even put off and tries to convince Yrsa to stay with him. From this story, we get the foundation for many of the other revenge stories in this saga. It sets up the theme as well as the background of King Hrolf, and suggests that the reason him and his band of champions are taken out by Skuld is because of his screwed up family tree, and also the fact that there is no magic in his family to protect him against the magic of Skuld.
Hospitality: The theme of hospitality is not as noticeable as that of revenge, or the roles of different people, but it is there. In the incident where King Hrolf and his men meet Hrani, it is made more noticeable after he invites them into his home that he isn't just a simple farmer. He is infact, Odin. The fact that a god would be hospitable and offer advice to a mere human is quite surprising, and added to this is the shock when King Hrolf has the bad grace to insult Hrani, turning him against them (. In many works of literature in history, insulting the gods is the cause of the downfall of many great leaders, and I believe this is the case with Hrolf and Hrani. In insulting Hrani's advice, gifts and hospitality, he is denying the help of the god and thus dooming himself and his men ("I do not recognize Odin...hovering in the background and causing us harm" pg. 77).
3. I believe this saga is commenting on the use of magic for both good and evil. Take the section with Hrani/Odin, for example. When King Hrolf and his men first meet Hrani as the simple farmer, he shows them hospitality and wisdom, using his magic to test Hrolf's men and telling him which of his men will not serve him well in battle. But after Hrolf insults the gifts of weapons from Hrani/Odin, the direction of the story changes. It is at this point that we see a shift in the magic. It is no longer used primarily for "good," but is rather used against King Hrolf and his men as they fight with Skuld and her ghostly army. The author uses this shift to show the reader that even the best king and the most powerful champions do not control the power for long. He is talking about how there is no way to know who the strongest person/group of people are in the world because it is always changing.
4. From the little bit I have learned about King Arthur and his knights, they contrast hugely with King Hrolf and his champions. In the saga of King Hrolf, his men are eager to fight for him and gain honor for both themselves and their king. However, in one of the stories I have heard about of King Arthur, his men are so reluctant to fight the green knight that he is forced to anger and wants to take him on himself. This contrast suggests at the differences between the pagan warrior and the Christian knight. While in the mind of the pagan warrior there is nothing better than winning glory in battle and dying for your king, the battle lust is not as strong in the Christian knight. They are easily provoked to fear, and their battle lust is easily quelled.
8. While Hrolf Kraki and Beowuf are a lot alike, the major difference is the influence of Christianity in the text. One of the most astonishing differences is the fact that in the totally pagan text of Hrolf Kraki, there are stronger and more independent women than there are in the Christian influenced Beowulf. This seems to comment on the supposed equality that Christianity is supposed to bring about and actually makes the reader stop to think about the development of culture within societies. It suggests that as cultures change, some important part of the previous society will be pushed out by the new one being established.
Wednesday, September 23, 2009
Dialectical Journal 7
1. Nor do I expect peace or pact-keeping of any sort from the Swedes. (ln. 2921) It is important to note that Wiglaf used to be a Swede himself before he joined Beowulf's band. He would know about the battle tactics of the Swedes and how they go about taking over other countries. Even though he has this knowledge though, there is still nothing Wiglaf can do about the Swedish invasion to come and the wiping out of the Geats. Possibly Wiglaf was a bad choice of a king for Beowulf's replacement because he still hasn't won the respect of the Geat warriors yet, making them less likely to listen to him in battle.
2. No one could miss their murderous feuding. (ln. 2948) Feuds are a huge part of the culture at this point in time, and the only examples we have of there not being feuds are Heorot and Geatland. In both instances, there isn't any feuding because people are to afraid of a particular person (Grendel/Beowulf) to attack that country. It is ironic that, in Heorot, it is actually pretty peaceful with Grendel is there, at least among the warriors. They are too afraid to do anything that might jeapordize their protection from the king. In Geatland, Beowulf's 100% record makes him a huge figure head, and since everyone is too afraid to anger him, there is less feuding.
3. He worked for the people, but as well as that he behaved like a hero. (ln. 3006) While it is true that Beowulf's warrior status made many things better for the Geats, it didn't make him the best of kings. His inability to back down from a fight eventually cost him his life, and it also cost his country great warriors because all the young ones didn't get a chance to practice. If Beowulf was around, he just took everything on himself and there was no way for the upcoming warriors to learn better fighting skills.
4. ...it was bought at a heavy cost... (ln. 3012) If you were to argue that Wiglaf was actually the one to kill the dragon, this would be a key line. Here, Wiglaf is hinting that the heavy cost isn't the cost of Beowulf's life, but the cost of his record. Beowulf's sterling record is his most prized accomplishment, and the fact that he had to accept help in fighting the dragon would ruin it for him. Not only did Wiglaf help, but he also mortally wounded the dragon, therefore making it not much of a fight for Beowulf to participate in. Wiglaf took all the challenge out of the fight that could have been bragged about later if Beowulf had lived.
5. Yet Beowulf's gaze at the treasure when he first saw it had not been selfish. (ln. 3074) The only reason Beowulf's gaze at the treasure wasn't selfish was because he didn't want any of it. The only thing that matters to him is the treasure of his own honor and glory. Material possessions hold no value for him, and he is even inclined to give them away. If he had lived, the dragon's treasure hoard would have made him more symbolically the good king by the distributing of treasure among his warriors and kin.
6. His worth and due as a warrior were the greatest. (ln. 3100) This line suggests that Beowulf's worth as a king was possibly not very much. Probably the best thing he did for his people was through the awe and fear he inspired in others as a warrior. The peace that came to Geatland during his reign was due to his great power as a warrior, and the stories that would have traveled far and wide about his record with the killing of great monsters.
7. ...hung with helmets, heavy war shields and shining armor, just as he had ordered. (ln. 3139) Again, we are reminded about how Beowulf seems to be warrior first, then king. His pride causes him to put himself into battle where he doesn't belong. He should rather be sending in the young warriors for the battle experience so they can become great warriors themselves. The armor put on Beowulf's funeral pyre is symbolic of his life as a warrior and his choice to put his glory before the glory of his country.
2. No one could miss their murderous feuding. (ln. 2948) Feuds are a huge part of the culture at this point in time, and the only examples we have of there not being feuds are Heorot and Geatland. In both instances, there isn't any feuding because people are to afraid of a particular person (Grendel/Beowulf) to attack that country. It is ironic that, in Heorot, it is actually pretty peaceful with Grendel is there, at least among the warriors. They are too afraid to do anything that might jeapordize their protection from the king. In Geatland, Beowulf's 100% record makes him a huge figure head, and since everyone is too afraid to anger him, there is less feuding.
3. He worked for the people, but as well as that he behaved like a hero. (ln. 3006) While it is true that Beowulf's warrior status made many things better for the Geats, it didn't make him the best of kings. His inability to back down from a fight eventually cost him his life, and it also cost his country great warriors because all the young ones didn't get a chance to practice. If Beowulf was around, he just took everything on himself and there was no way for the upcoming warriors to learn better fighting skills.
4. ...it was bought at a heavy cost... (ln. 3012) If you were to argue that Wiglaf was actually the one to kill the dragon, this would be a key line. Here, Wiglaf is hinting that the heavy cost isn't the cost of Beowulf's life, but the cost of his record. Beowulf's sterling record is his most prized accomplishment, and the fact that he had to accept help in fighting the dragon would ruin it for him. Not only did Wiglaf help, but he also mortally wounded the dragon, therefore making it not much of a fight for Beowulf to participate in. Wiglaf took all the challenge out of the fight that could have been bragged about later if Beowulf had lived.
5. Yet Beowulf's gaze at the treasure when he first saw it had not been selfish. (ln. 3074) The only reason Beowulf's gaze at the treasure wasn't selfish was because he didn't want any of it. The only thing that matters to him is the treasure of his own honor and glory. Material possessions hold no value for him, and he is even inclined to give them away. If he had lived, the dragon's treasure hoard would have made him more symbolically the good king by the distributing of treasure among his warriors and kin.
6. His worth and due as a warrior were the greatest. (ln. 3100) This line suggests that Beowulf's worth as a king was possibly not very much. Probably the best thing he did for his people was through the awe and fear he inspired in others as a warrior. The peace that came to Geatland during his reign was due to his great power as a warrior, and the stories that would have traveled far and wide about his record with the killing of great monsters.
7. ...hung with helmets, heavy war shields and shining armor, just as he had ordered. (ln. 3139) Again, we are reminded about how Beowulf seems to be warrior first, then king. His pride causes him to put himself into battle where he doesn't belong. He should rather be sending in the young warriors for the battle experience so they can become great warriors themselves. The armor put on Beowulf's funeral pyre is symbolic of his life as a warrior and his choice to put his glory before the glory of his country.
Tuesday, September 22, 2009
Dialectical Journal 6
1. Yet the prince of rings was too proud to line up with a large army. (ln. 2345) Pride plays a huge part in Beowulf's life. It is the main motivation behind most of his accomplishments. It is for his own fame and glory that he fights and defeats the monsters in this epic. It can be argued that his pride brought him the ultimate glory in the end. Dying in battle with a dragon would make an interesting song for poets in the future, and it could even make Beowulf as famous as Sigemund.
2. He was helplessly placed to set to rights the wrong committed... (ln. 2464) Beowulf as a Jesus figure is reinforced here. It can be argued that Jesus had no choice in the sacrifice of his own life to save the world from sin, just as Beowulf seems to have no choice but to turn and fight the dragon. Both men's deaths result in a greater good for the people they love.
3. I marched ahead of him, always there at the front of the line; and I shall fight like that for as long as I live... (ln. 2497) Beowulf states right out that he is never going to give up his role of a warrior, which doesn't make him the best king. He would rather be out there in the thick of things, putting his own life in danger than sitting back and commanding the warriors that are sworn to protect him, like it is expected of the figure head. Although Beowulf has the potential to be a great king, it is overshadowed by the fact that he could do more for his country if he wasn't so concerned with gaining glory for himself.
4. ...enter the line of battle with his lord, his first time to be tested as a fighter. His spirit did not break... (ln. 2626) A parrallelism can be seen here between Wiglaf and Beowulf in his youth. Both young men would never flee from a battle, and even seem to find a sense of enjoyment in the fighting. For them, it is all about honor and glory, and the protection of the king. As long as there's someone else who is king, they are safe to do what they love (which is fight in battles). If the king dies, then there is the fear that they will have to take his place and lose out on the enjoyment of fighting.
5. It was never his fortune to be helped in combat by the cutting edge of weapons made of iron. (ln. 2682) The idea of weapons not helping Beowulf is seen multiple times in this epic. They could even be seen as a hinderance to him. He does his best fighting with his bare hands, as we can see in his battle with Grendel. That is the shortest battle. In his fight with Grendel's mother, he has a sword and chain mail, which hampers his ability to move around, and thus makes the battle longer. The battle with the dragon is the longest, and, in this sense, the author makes the reader work as hard as Beowulf to get to the point. This fight also lasts the longest because it is the one where Beowulf has the most weapons. Ironically, he would have a better chance without his armor, but due to the heat from the dragon's fire, it is impossible to fight without protection of some kind.
6. A warrior will sooner die than live a life of shame. (ln. 2890) This plays into the idea of warriors seeking out honor and glory. It is a disgrace for them to run and hide from a battle. Althougth, it could be argued that it was fate for them to run aways because if they hadn't the battle would have turned out differently. Beowulf might have lived and the passage of power would have turned out differently.
2. He was helplessly placed to set to rights the wrong committed... (ln. 2464) Beowulf as a Jesus figure is reinforced here. It can be argued that Jesus had no choice in the sacrifice of his own life to save the world from sin, just as Beowulf seems to have no choice but to turn and fight the dragon. Both men's deaths result in a greater good for the people they love.
3. I marched ahead of him, always there at the front of the line; and I shall fight like that for as long as I live... (ln. 2497) Beowulf states right out that he is never going to give up his role of a warrior, which doesn't make him the best king. He would rather be out there in the thick of things, putting his own life in danger than sitting back and commanding the warriors that are sworn to protect him, like it is expected of the figure head. Although Beowulf has the potential to be a great king, it is overshadowed by the fact that he could do more for his country if he wasn't so concerned with gaining glory for himself.
4. ...enter the line of battle with his lord, his first time to be tested as a fighter. His spirit did not break... (ln. 2626) A parrallelism can be seen here between Wiglaf and Beowulf in his youth. Both young men would never flee from a battle, and even seem to find a sense of enjoyment in the fighting. For them, it is all about honor and glory, and the protection of the king. As long as there's someone else who is king, they are safe to do what they love (which is fight in battles). If the king dies, then there is the fear that they will have to take his place and lose out on the enjoyment of fighting.
5. It was never his fortune to be helped in combat by the cutting edge of weapons made of iron. (ln. 2682) The idea of weapons not helping Beowulf is seen multiple times in this epic. They could even be seen as a hinderance to him. He does his best fighting with his bare hands, as we can see in his battle with Grendel. That is the shortest battle. In his fight with Grendel's mother, he has a sword and chain mail, which hampers his ability to move around, and thus makes the battle longer. The battle with the dragon is the longest, and, in this sense, the author makes the reader work as hard as Beowulf to get to the point. This fight also lasts the longest because it is the one where Beowulf has the most weapons. Ironically, he would have a better chance without his armor, but due to the heat from the dragon's fire, it is impossible to fight without protection of some kind.
6. A warrior will sooner die than live a life of shame. (ln. 2890) This plays into the idea of warriors seeking out honor and glory. It is a disgrace for them to run and hide from a battle. Althougth, it could be argued that it was fate for them to run aways because if they hadn't the battle would have turned out differently. Beowulf might have lived and the passage of power would have turned out differently.
Lit. Elements
Epigram: a short poem or verse that seeks to ridicule a thought or event, usually with witticism or sarcasm
Example: “Sir, I admit your general rule,
That every poet is a fool,
But you yourself may serve to show it,
That every fool is not a poet.” -Samuel Taylor Coleridge
Ambiguity: an expression whose meaning cannot be determined from its context, or open to two or more interpretations
Example: And then a plank in reason, broke,
And I dropped down and down--
And hit a world at every plunge,
And finished knowing--then--
[she lost conciousness]
[she ended up finding out something]
[she did not know anything anymore] -Emily Dickinson
Example: “Sir, I admit your general rule,
That every poet is a fool,
But you yourself may serve to show it,
That every fool is not a poet.” -Samuel Taylor Coleridge
Ambiguity: an expression whose meaning cannot be determined from its context, or open to two or more interpretations
Example: And then a plank in reason, broke,
And I dropped down and down--
And hit a world at every plunge,
And finished knowing--then--
[she lost conciousness]
[she ended up finding out something]
[she did not know anything anymore] -Emily Dickinson
Monday, September 21, 2009
Dialectical Journal 5
1. If any retainer made bold to look her in the face...death qualms in an evil display. (ln. 1933) These lines play into the theme of the roles of women. While the role of the queen is to make peace, Modthryth creates chaos among men by killing off any who look at her. This provides us with a direct contrast to the other queens in the epic, as well as comparing her with Grendel's mother. Both women do the opposite of what is expected of a woman by killing certain men/warriors. But, the society of warriors is more accepting of Modthryth than of Grendel's mother causing them to marry her off to Offa, rather than killing her like the hag. While Modthryth is considerably tamed by her marriage, Grendel's mom never gets the chance to do great things because of her death (and also because she is a monster).
2. And although he got away to enjoy life's sweetness a while longer... (ln. 2096) This is ironic because there was nothing even remotely sweet about the remainder of Grendel's life. He had just suffered the humiliation of having his arm ripped off in battle. That humiliation combined with the pain he undoubtedly felt would have made the end of his life a living hell (not that it wasn't already with his life as an exile). Maybe that's why Beowulf calls the end of Grendel's life sweet. He knows that Grendel's suffering as an outcast is coming to an end, and Grendel can find peace in the fact that in death, everyone is made equal.
3. ...my time had not yet come. (ln. 2141) This is an allusion to various books of the New Testament of the Bible. Jesus mentions many times that his time has not yet come, and different scenes are described where he escapes because of this. The allusion reinforces the idea of Beowulf being chosen by God, or even being a Jesus figure. It also brings in a connection to the Bible that we haven't seen yet, since most of the allusions have been to the Old Testament. This could suggest a turning point in the epic.
4. ...a gem-studded sword in the Geat treasury. This he laid on Beowulf's lap and then rewarded him... (ln. 2193) This line suggests that there is a deeper meaning to the sword presented to Beowulf. The way it is written makes the sword seem much more important than the land, the hall and throne, etc. Giving Beowulf the sword is symbolic of Hygelac's trust in him and the faith that he has that Beowulf will make a great ruler. It also suggests that Hygelac knows that Beowulf will need it for a greater purpose one day. The sword is a protector that gets him through great battles.
5. ...grew old and wise as warden of the land... (ln. 2209) This line suggests that, while Beowulf may have been a good king, he didn't do his duties as traditionally as one might expect. Instead of just being a figurehead, he was the "warden of the land," keeping the evil things out and the wealth within his country. Eventhough this could be considered a good thing, it isn't the king's place to fight, it is the duty of his warriors who have pledged their allegiance to him and their country. Beowulf might be a good king, but he has trouble giving up the ways of a warrior.
2. And although he got away to enjoy life's sweetness a while longer... (ln. 2096) This is ironic because there was nothing even remotely sweet about the remainder of Grendel's life. He had just suffered the humiliation of having his arm ripped off in battle. That humiliation combined with the pain he undoubtedly felt would have made the end of his life a living hell (not that it wasn't already with his life as an exile). Maybe that's why Beowulf calls the end of Grendel's life sweet. He knows that Grendel's suffering as an outcast is coming to an end, and Grendel can find peace in the fact that in death, everyone is made equal.
3. ...my time had not yet come. (ln. 2141) This is an allusion to various books of the New Testament of the Bible. Jesus mentions many times that his time has not yet come, and different scenes are described where he escapes because of this. The allusion reinforces the idea of Beowulf being chosen by God, or even being a Jesus figure. It also brings in a connection to the Bible that we haven't seen yet, since most of the allusions have been to the Old Testament. This could suggest a turning point in the epic.
4. ...a gem-studded sword in the Geat treasury. This he laid on Beowulf's lap and then rewarded him... (ln. 2193) This line suggests that there is a deeper meaning to the sword presented to Beowulf. The way it is written makes the sword seem much more important than the land, the hall and throne, etc. Giving Beowulf the sword is symbolic of Hygelac's trust in him and the faith that he has that Beowulf will make a great ruler. It also suggests that Hygelac knows that Beowulf will need it for a greater purpose one day. The sword is a protector that gets him through great battles.
5. ...grew old and wise as warden of the land... (ln. 2209) This line suggests that, while Beowulf may have been a good king, he didn't do his duties as traditionally as one might expect. Instead of just being a figurehead, he was the "warden of the land," keeping the evil things out and the wealth within his country. Eventhough this could be considered a good thing, it isn't the king's place to fight, it is the duty of his warriors who have pledged their allegiance to him and their country. Beowulf might be a good king, but he has trouble giving up the ways of a warrior.
Sunday, September 20, 2009
Dialectical Journal 4
1. ...the hart in flight from pursuing hounds will turn to face them with firm set horns and die in the wood rather than dive beneath its surface. (ln. 1369) Not only does this reinforce the evil that lurks in the lake, but it also reminds the reader of the idea that the duty of the king is not to enter into battle. The country can't risk losing a leader and figurehead. Instead, he must turn around and face his kingly duties of commanding his warriors, rather than fighting with them. The king would have to have a huge amount of trust in his warriors to be willing to put the good of his country, and even his own life, in their hands.
2. Grendel's mother. The author doesn't actually give the hag a name, and there could be many reasons for this. It could be argued that she is (for the most part) called Grendel's mother because that is what she associates herself with. It seems clear to me, as a reader, that she idolized her son. It is her love for him, and her grief over his death, that causes her to face her fear of people and attack Heorot in her desire for revenge. It can also be argued that she isn't evil at all. Except for the fact that she's a monster, there's nothing that suggests that she has done anything wrong. Her actions are the same as any other warrior/hero in Heorot who seek revenge for the death of their kinsmen, but she is looked down on by them because of her monster status.
3. The wide water, the waves and pools, were no longer infested once the wandering fiend let go of her life and this unreliable world. (ln. 1620) Here, the idea of Beowulf being a priest/Jesus figure is reinforced. The death of Grendel's mother and the disappearance of the monsters from the lake is symbolic of a purification. Now that two of the more powerful monsters are dead and no longer raiding Heorot, it can go on with its daily activity. There isn't the fear at the back of everyone's mind anymore that they might be taken and eaten by a monster.
4. Happiness came back, the hall was thronged, and a banquet set forth; black night fell and covered them in darkness. (ln. 1788) This is a foreshadow to the blood feud that is coming to Heorot. For right now, everyone is happy about the victory over the monsters and they can drink and eat and enjoy themselves, but later there will be jealousy between the great and the not so great. Families will be ripped apart by the need of some to be able to prove themselves. But, the way they go about proving themselves is not the traditional way, and it will create chaos in Heorot.
5. ...he put no blame on the sword's cutting edge. He was a considerate man. (ln. 1811) The way this epic talks about the named swords almost makes them seem human, or like they have feelings. The way this line is read makes it seem like Beowulf is being considerate to the sword, rather than to its owner. Earlier in the story it also talks about how the sword has to be called, which is also a human quality. These swords are less like weapons than they are fellow warriors to the person who is brave enough to bear them into battle.
2. Grendel's mother. The author doesn't actually give the hag a name, and there could be many reasons for this. It could be argued that she is (for the most part) called Grendel's mother because that is what she associates herself with. It seems clear to me, as a reader, that she idolized her son. It is her love for him, and her grief over his death, that causes her to face her fear of people and attack Heorot in her desire for revenge. It can also be argued that she isn't evil at all. Except for the fact that she's a monster, there's nothing that suggests that she has done anything wrong. Her actions are the same as any other warrior/hero in Heorot who seek revenge for the death of their kinsmen, but she is looked down on by them because of her monster status.
3. The wide water, the waves and pools, were no longer infested once the wandering fiend let go of her life and this unreliable world. (ln. 1620) Here, the idea of Beowulf being a priest/Jesus figure is reinforced. The death of Grendel's mother and the disappearance of the monsters from the lake is symbolic of a purification. Now that two of the more powerful monsters are dead and no longer raiding Heorot, it can go on with its daily activity. There isn't the fear at the back of everyone's mind anymore that they might be taken and eaten by a monster.
4. Happiness came back, the hall was thronged, and a banquet set forth; black night fell and covered them in darkness. (ln. 1788) This is a foreshadow to the blood feud that is coming to Heorot. For right now, everyone is happy about the victory over the monsters and they can drink and eat and enjoy themselves, but later there will be jealousy between the great and the not so great. Families will be ripped apart by the need of some to be able to prove themselves. But, the way they go about proving themselves is not the traditional way, and it will create chaos in Heorot.
5. ...he put no blame on the sword's cutting edge. He was a considerate man. (ln. 1811) The way this epic talks about the named swords almost makes them seem human, or like they have feelings. The way this line is read makes it seem like Beowulf is being considerate to the sword, rather than to its owner. Earlier in the story it also talks about how the sword has to be called, which is also a human quality. These swords are less like weapons than they are fellow warriors to the person who is brave enough to bear them into battle.
Thursday, September 17, 2009
Dialectical Journal 3
1. But now a man, with the Lord's assistance... (ln. 938) This plays into the idea of Beowulf being chosen by God. It reinforces him as a priest or even as a Jesus figure. The fact that he has God's assistance makes him basically undefeatable, at least while he is still in God's favor. It could be argued that Beowulf is more of a priest than a Jesus figure though because he is the reason for Grendel's death and Jesus was never a man of violence.
2. But death is not easily escaped from by anyone... (ln. 1001) It is important to know this concept, and it's connection with fate. In this epic, whatever happens happens and there is no way of escaping it. You have to be able to face the consequences of your actions. The fact that it says death isn't easily escaped hints at the idea that there are some who do manage to escape their death for a time, but it eventually gets to them in the end, like it does for us all.
3. She, the woman in shock, waylaid by grief... (ln. 1074) The of women suffering plays into this part of the story and reinforces the slightly anti-war part of the epic. It underlines the loss that the mother feels for her son, brother, and husband. By mentioning these specific men in her life who were killed, the song emphasizes her sorrow by telling us that the woman basically lost her whole family. Women are in the text not only to be good hostesses and provide peace between nations, but also to show the reader some of the horrors of war.
4. ...they were leaderless, in forced allegiance to his murderer. (ln. 1102) This idea directly contrasts the idea of wergild, or blood-money. The fact that the warriors were forced to suffer even more after the loss of their leader by being forced to follow the one who killed him is definitely different. According to their Anglo-Saxon traditions, it should be the murderer who is forced to pay the price for killing their leader, not the other way around.
5. ...flamed and consumed the dead of both sides. (ln. 1124) Here there is the idea that death was the same for all of the warriors. Some of them might have died more bravely than others by choosing to fight rather than, perhaps, running away, but the main point is that death has no discrimination. It doesn't matter where you're from or who you're fighting for. You're either dead or you're not.
6. But now his mother had sallied forth on a savage journey, grief-racked and ravenous, deasperate for revenge. (ln. 1276) I find it kind of weird that the concept of wergild only applies to "normal" people, not to monsters. The people in Heorot don't even consider the fact that Grendel might have a mother and that she might feel the same grief that they would feel after losing a member of their family. It is pretty much taken for granted that wergild should be paid after the killing of another person's kin, but if the son of a monster is killed, it makes you a hero and the payment for their life is just forgotten.
7. To Hrothgar, this man was the most beloved of the friends he trusted between the two seas. (ln. 1296) The subtext here is that, becasue Hrothgar is a good king, he thinks of all his men as his most trusted. It is possible that, at this point in time, this man is at the front of his mind as his most trusted man because Hrothgar has just lost him. It is a compliment to the man as a warrior and protector of the king that he is remembered so well and thought so highly of. At the same time, this is how Hrothgar views many of his men. To him, they are all valuable.
2. But death is not easily escaped from by anyone... (ln. 1001) It is important to know this concept, and it's connection with fate. In this epic, whatever happens happens and there is no way of escaping it. You have to be able to face the consequences of your actions. The fact that it says death isn't easily escaped hints at the idea that there are some who do manage to escape their death for a time, but it eventually gets to them in the end, like it does for us all.
3. She, the woman in shock, waylaid by grief... (ln. 1074) The of women suffering plays into this part of the story and reinforces the slightly anti-war part of the epic. It underlines the loss that the mother feels for her son, brother, and husband. By mentioning these specific men in her life who were killed, the song emphasizes her sorrow by telling us that the woman basically lost her whole family. Women are in the text not only to be good hostesses and provide peace between nations, but also to show the reader some of the horrors of war.
4. ...they were leaderless, in forced allegiance to his murderer. (ln. 1102) This idea directly contrasts the idea of wergild, or blood-money. The fact that the warriors were forced to suffer even more after the loss of their leader by being forced to follow the one who killed him is definitely different. According to their Anglo-Saxon traditions, it should be the murderer who is forced to pay the price for killing their leader, not the other way around.
5. ...flamed and consumed the dead of both sides. (ln. 1124) Here there is the idea that death was the same for all of the warriors. Some of them might have died more bravely than others by choosing to fight rather than, perhaps, running away, but the main point is that death has no discrimination. It doesn't matter where you're from or who you're fighting for. You're either dead or you're not.
6. But now his mother had sallied forth on a savage journey, grief-racked and ravenous, deasperate for revenge. (ln. 1276) I find it kind of weird that the concept of wergild only applies to "normal" people, not to monsters. The people in Heorot don't even consider the fact that Grendel might have a mother and that she might feel the same grief that they would feel after losing a member of their family. It is pretty much taken for granted that wergild should be paid after the killing of another person's kin, but if the son of a monster is killed, it makes you a hero and the payment for their life is just forgotten.
7. To Hrothgar, this man was the most beloved of the friends he trusted between the two seas. (ln. 1296) The subtext here is that, becasue Hrothgar is a good king, he thinks of all his men as his most trusted. It is possible that, at this point in time, this man is at the front of his mind as his most trusted man because Hrothgar has just lost him. It is a compliment to the man as a warrior and protector of the king that he is remembered so well and thought so highly of. At the same time, this is how Hrothgar views many of his men. To him, they are all valuable.
Wednesday, September 16, 2009
Dialectical Journal 2
1. Majesty lodged there, its light shone over many lands. (ln. 310) This sentence is a huge contrast. It talks about the light of Hereot and how it is a symbol of hope and power to other lands, but at the same time, there is no hope actually in the hall with Grendel around. The Danish warriors are too weak or cowardly to fight them, and their fear is a type of darkness by being a black mark against them. Grendel is also a source of darkness in the land of light by being the one who is doing the raiding and taking to hope of the Danish people.
2. ...with the strength of thirty in the grip of each hand... (ln. 380) Foreshadow to Beowulf's victory over Grendel. Earlier in the epic, the author tells us of Grendel's first raid and how he took thirty men. By saying that Beowulf has the strength of thirty men in just one arm tells us that he can handle Grendel because he has the strength of sixty and Grendel only has the strength of thirty. It also makes the ripping off of Grendel's arm symbolic of how they fought; if Beowulf fought with one hand, they would have been even.
3. My flesh was not for feasting on... (ln. 561) Here, Beowulf is speaking about the sea monsters, but there is also a hint that he is also talking about Grendel and how he eats his victims. Beowulf is saying that he bested monsters once, and he will do it again. He will not allow his body to be desecrated by a monster who goes into a fit of rage just because he hears music and laughter and merriment.
4. ...but his fate that night was due to change. (ln. 733) There is a suggestion here that the changing of Grendel's fate might not be a good thing. When God put the mark on Cain, no other man would touch him becase they feared being smited by God. The fact that Beowulf kills the marked descendent of Cain puts him in danger of being smited. It's also possible that by killing the marked one and changing fate, Beowulf is taking the fate of Grendel on himself, or at least a small part of it.
5. ...bloodying the path... (ln. 844) The reason for the bloody path now has a much different significance to the Danes than when Grendel was the one causing the bleeding. When the people know that it is Grendel's blood that makes the path, it gives them a feeling of triumph, even if they weren't personally the ones with the victory. Before, when it was the blood of their friends and family, they felt helpless and insulted because there was nothing they could do to stop Grendel's raids. Now that it is Grendel's blood, they know that he will soon be dead and everything can go back to the way it was before he came to Heorot.
2. ...with the strength of thirty in the grip of each hand... (ln. 380) Foreshadow to Beowulf's victory over Grendel. Earlier in the epic, the author tells us of Grendel's first raid and how he took thirty men. By saying that Beowulf has the strength of thirty men in just one arm tells us that he can handle Grendel because he has the strength of sixty and Grendel only has the strength of thirty. It also makes the ripping off of Grendel's arm symbolic of how they fought; if Beowulf fought with one hand, they would have been even.
3. My flesh was not for feasting on... (ln. 561) Here, Beowulf is speaking about the sea monsters, but there is also a hint that he is also talking about Grendel and how he eats his victims. Beowulf is saying that he bested monsters once, and he will do it again. He will not allow his body to be desecrated by a monster who goes into a fit of rage just because he hears music and laughter and merriment.
4. ...but his fate that night was due to change. (ln. 733) There is a suggestion here that the changing of Grendel's fate might not be a good thing. When God put the mark on Cain, no other man would touch him becase they feared being smited by God. The fact that Beowulf kills the marked descendent of Cain puts him in danger of being smited. It's also possible that by killing the marked one and changing fate, Beowulf is taking the fate of Grendel on himself, or at least a small part of it.
5. ...bloodying the path... (ln. 844) The reason for the bloody path now has a much different significance to the Danes than when Grendel was the one causing the bleeding. When the people know that it is Grendel's blood that makes the path, it gives them a feeling of triumph, even if they weren't personally the ones with the victory. Before, when it was the blood of their friends and family, they felt helpless and insulted because there was nothing they could do to stop Grendel's raids. Now that it is Grendel's blood, they know that he will soon be dead and everything can go back to the way it was before he came to Heorot.
Tuesday, September 15, 2009
Dialectical Journal
1. Behavior that's admired is the path to power among people everywhere. (pg. 3, ln. 25) This is a motif that will be seen throughout Beowulf. As long as the path to power is honorable and doesn't involve some kind of act like kin-killing, then it will be looked on by others as a good thing. They will look up to and respect the one who is doing the climbing on the ladder to success and be impressed that they can accomplish such a feat so well without making mistakes that would lead to exile.
2. They decked his body no less bountifully with offerings than those first ones did who cast him away when he was a child and launched him alone out over the waves. (pg. 4, ln. 43) This part of the poem suggests that when Shield Sheafson was exiled, it wasn't because of dishonor. He was probably a sacrifice to invaders who came by the sea or to one of the pagan gods.
3. ...the clear song of a skilled poet telling with mastery of man's beginnings, how th Almighty had made the earth... (pg. 5, ln. 90) There is a slight hint that the reason Grendel hates the music so much and begins his raiding is because of the song about God and his creation. God was the one who made an exile of Cain and, through him, Grendel. Grendel can't join in with the merriment of the other men because of the mark that was placed on him by God. The song makes him even more angry by pointing out the huge gap between himself and everyone inside the hall.
4. Grendel ruled in defiance of right, one against all... (pg. 6, ln. 144) It can be argued that what is meant here is that Grendel is ruling in defiance of God. In most cultures, riteousness is doing the will of God. In this part of Beowulf, Grendel is deliberately trying to get back at God by making sure that the one He did choose to rule isn't able to do so properly due to the fact that Grendel has taken over.
5. For twelve winters, seasons of woe, the lord of the Shieldings suffered under his load of sorrow... (pg. 6, ln. 147) This section provides a direct contrast to what we know will happen with Beowulf in his later years. Where Hrothgar chooses not to fight Grendel and protect his country and his hall, Beowulf ends up dying for the greater good of his country by fighting the dragon who invades his kingdom. The author may be setting this up to suggest that Beowulf is not only a better warrior than Hrothgar, but also a better king because he is willing to sacrifice all for the good of his people.
*My book is different than the rest of you, so some of the page numbers might not be the same.
2. They decked his body no less bountifully with offerings than those first ones did who cast him away when he was a child and launched him alone out over the waves. (pg. 4, ln. 43) This part of the poem suggests that when Shield Sheafson was exiled, it wasn't because of dishonor. He was probably a sacrifice to invaders who came by the sea or to one of the pagan gods.
3. ...the clear song of a skilled poet telling with mastery of man's beginnings, how th Almighty had made the earth... (pg. 5, ln. 90) There is a slight hint that the reason Grendel hates the music so much and begins his raiding is because of the song about God and his creation. God was the one who made an exile of Cain and, through him, Grendel. Grendel can't join in with the merriment of the other men because of the mark that was placed on him by God. The song makes him even more angry by pointing out the huge gap between himself and everyone inside the hall.
4. Grendel ruled in defiance of right, one against all... (pg. 6, ln. 144) It can be argued that what is meant here is that Grendel is ruling in defiance of God. In most cultures, riteousness is doing the will of God. In this part of Beowulf, Grendel is deliberately trying to get back at God by making sure that the one He did choose to rule isn't able to do so properly due to the fact that Grendel has taken over.
5. For twelve winters, seasons of woe, the lord of the Shieldings suffered under his load of sorrow... (pg. 6, ln. 147) This section provides a direct contrast to what we know will happen with Beowulf in his later years. Where Hrothgar chooses not to fight Grendel and protect his country and his hall, Beowulf ends up dying for the greater good of his country by fighting the dragon who invades his kingdom. The author may be setting this up to suggest that Beowulf is not only a better warrior than Hrothgar, but also a better king because he is willing to sacrifice all for the good of his people.
*My book is different than the rest of you, so some of the page numbers might not be the same.
Lit. Terms
Archetype: The original pattern or model of which all things of the same type are representations or copies, also a stereotype (a personality type observed multiple times, especially if it is oversimplified)
example: some stereotypes include- the damsel in distress, the gentle giant, the mentor, the story teller, etc. One of the most prominent archetypes is Romeo & Juliet, the star crossed lovers fated to die.
Catharsis: used to describe some sort of emotional release experienced by the audience at the end of a successful tragedy (the release of pity and fear)
example: at the end of Romeo & Juliet, the audience feels the release of pity and sadness for Romeo because of his misfortune in losing Juliet, and ultimately his own life as well. The audience feels sad that it couldn't all work out for them in the end, but Shakespeare makes up for it by causing the feud between the families to end.
example: some stereotypes include- the damsel in distress, the gentle giant, the mentor, the story teller, etc. One of the most prominent archetypes is Romeo & Juliet, the star crossed lovers fated to die.
Catharsis: used to describe some sort of emotional release experienced by the audience at the end of a successful tragedy (the release of pity and fear)
example: at the end of Romeo & Juliet, the audience feels the release of pity and sadness for Romeo because of his misfortune in losing Juliet, and ultimately his own life as well. The audience feels sad that it couldn't all work out for them in the end, but Shakespeare makes up for it by causing the feud between the families to end.
Sunday, September 13, 2009
Tolkein's Criticism of Beowulf
In Tolkein's essay, he has many arguments about the work of different critics who have focused on the historical aspects of Beowulf. His main arguments is that they shouldn't have focused on the history of the text, but on the use of structure, literary elements, and character to create an emotional connection with the reader. He argues that the purpose of Beowulf is to "give that sense of perspective, of antiquity with a greater and yet darker antiquity behind." Tolkein says that Beowulf might not be the greatest epic ever written, but it "has its own individual character, and peculiar solemnity." Slthough I haven't read Beowulf yet, I would have to agree with Tolkein that historical influence is perhaps not the most important aspect of a literary work. For many of us, the first time we read a book, we aren't focused on how the author came to a conclusion, but rather what that conclusion is and how the author causes us, as the reader, to react to it.
The monsters also play into this idea of story development and also serve to separate Beowulf from other epics of a similar subject. By making the monsters enemies of men and gods, Tolkein argues that this makes Beowulf different from previous epics (such as the Aeneid or the Oddessey) where the monsters were mostly just enemies of men and they came from the gods. In Beowulf, they just all around represent sin and evil. Tolkein argues that the monsters are necessary for the advancement of the story by their strategic placement in the development of Beowulf as a man. Tolkein says "the placing of the dragon is inevitable: a man can but die on his death-day."
The monsters also play into this idea of story development and also serve to separate Beowulf from other epics of a similar subject. By making the monsters enemies of men and gods, Tolkein argues that this makes Beowulf different from previous epics (such as the Aeneid or the Oddessey) where the monsters were mostly just enemies of men and they came from the gods. In Beowulf, they just all around represent sin and evil. Tolkein argues that the monsters are necessary for the advancement of the story by their strategic placement in the development of Beowulf as a man. Tolkein says "the placing of the dragon is inevitable: a man can but die on his death-day."
Monday, September 7, 2009
Efnisien
1.Efnisien is the troublemaker. He likes nothing more than causing problems between people, whether it's between Wales and Ireland, or himself and his family. Although he does love to create mischief, he can also be argued to be a hero. he has his country at heart, and it is his sacrifice of his own life that keeps the Irish army from regenerating and killing his entire country.
2. No other myths/stories/folklore about Efnisien exist from this time period.
3. To the author of Branwen Daughter of Llyr, Efnisien represents the ultimate hero to the people of Wales. He forsees the trouble with his sister and the Irish king and takes action on it, keeping Wales and Ireland from having a true alliance, which works out well for Britain in the end. His breaking of the cauldron keeps it from being a very dangerous weapon against not only the Welsh people, but any other country that would have had conflict with Ireland. If it wasn't for Efnisien's causing the trouble with Ireland in the first place, Bendigeidfran would never have been mortally wounded and his head would never have become the protector of Great Britain.
4. I find Efnisein to be very likeable. It is much easier to relate to the character who doesn't always do the right thing than it is to the ones like Bendigeidfran, who are considered "perfect." No one likes a perfect person, except for maybe themselves. For the rest of us, the ones who are constantly getting into, or being the cause of trouble are the ones who hit closest to home. They remind us of ourselves and make us feel good by showing us how sometimes the greatest heroes are the ones who don't always get it right.
5. see above- Efnisien breaking the cauldron
6. One of the most prominent literary terms that comes to mind when discussing Efnisien is situational irony. The evidence of his troublemaking (ex: mutilation of horses, kneading the "flour" bags, throwing Gwern into the fire) causes the reader to believe that he wouldn't regret what he has done and go on doing exactly the same thing. But the author surprises us by describing his tremendous heroic act where he fakes death to be thrown into the cauldron. It is this act, and the breaking of that cauldron, that ultimately results in the victory of the Welsh army over the Irish. It is a surprise to the reader to find that Efnisien does have his country at heart, when he seems to be doing everything in his power the ruin the peace with Ireland.
Thursday, September 3, 2009
Literary Elements
Elegy: a mournful poem, or a lament for the dead. There is usually the 3 stages of loss: 1. lament(the speaker expresses grief and sorrow), 2. the praise and admiration of the idealized dead, 3. consolation and solace.
example: O Captain! My Captain!- by Walt Whitman
O Captain! my Captain! our fearful trip is done, The ship has weather'd every rack,
the prize we sought is won, The port is near, the bells I hear, the people all exulting,
While follow eyes the steady keel, the vessel grim and daring; But O heart! heart! heart!
O the bleeding drops of red, Where on the deck my Captain lies, Fallen cold and dead.
O Captain! my Captain! rise up and hear the bells; Rise up- for you the flag is flung- for
you the bugle trills,
For you bouquets and ribbon'd wreaths- for you the shores
a-crowding,
For you they call, the swaying mass, their eager faces turning;
Here Captain! dear father!
This arm beneath your head!
It is some dream that on the deck,
You've fallen cold and dead.
My Captain does not answer, his lips are pale and still,
My father does not feel my arm, he has no pulse nor will,
The ship is anchor'd safe and sound, its voyage closed and done,
From fearful trip the victor ship comes in with object won;
Exult O shores, and ring O bells!
But I with mournful tread,
Walk the deck my Captain lies,
Fallen cold and dead.
Pastoral: a literary work idealizing the rural life (especially the lives of shepherds). common topics are: love and seduction, the value of poetry, death and mourning (here there's a connection with the elegy), corruption of court/city life vs. "purity" of idealized country life.
example: I Care Not for These Ladies- by Thomas Campion
I care not for these ladies,
That must be wooed and prayed:
Give me kind Amaryllis,
The wanton country maid.
Nature art disdaineth,
Her beauty is her own.
Her when we court and kiss,
She cries, “Forsooth, let go!”
But when we come where comfort is,
She never will say no.
If I love Amaryllis,
She gives me fruit and flowers:
But if we love these ladies,
We must give golden showers.
Give them gold, that sell love,
Give me the nut-brown lass,
Who, when we court and kiss,
She cries, “Forsooth, let go!”
But when we come where comfort is,
She never will say no.
These ladies must have pillows,
And beds by strangers wrought;
Give me a bower of willows,
Of moss and leaves unbought,
And fresh Amaryllis,
With milk and honey fed;
Who, when we court and kiss,
She cries, “Forsooth, let go!”
But when we come where comfort is,
She never will say no.
example: O Captain! My Captain!- by Walt Whitman
O Captain! my Captain! our fearful trip is done, The ship has weather'd every rack,
the prize we sought is won, The port is near, the bells I hear, the people all exulting,
While follow eyes the steady keel, the vessel grim and daring; But O heart! heart! heart!
O the bleeding drops of red, Where on the deck my Captain lies, Fallen cold and dead.
O Captain! my Captain! rise up and hear the bells; Rise up- for you the flag is flung- for
you the bugle trills,
For you bouquets and ribbon'd wreaths- for you the shores
a-crowding,
For you they call, the swaying mass, their eager faces turning;
Here Captain! dear father!
This arm beneath your head!
It is some dream that on the deck,
You've fallen cold and dead.
My Captain does not answer, his lips are pale and still,
My father does not feel my arm, he has no pulse nor will,
The ship is anchor'd safe and sound, its voyage closed and done,
From fearful trip the victor ship comes in with object won;
Exult O shores, and ring O bells!
But I with mournful tread,
Walk the deck my Captain lies,
Fallen cold and dead.
Pastoral: a literary work idealizing the rural life (especially the lives of shepherds). common topics are: love and seduction, the value of poetry, death and mourning (here there's a connection with the elegy), corruption of court/city life vs. "purity" of idealized country life.
example: I Care Not for These Ladies- by Thomas Campion
I care not for these ladies,
That must be wooed and prayed:
Give me kind Amaryllis,
The wanton country maid.
Nature art disdaineth,
Her beauty is her own.
Her when we court and kiss,
She cries, “Forsooth, let go!”
But when we come where comfort is,
She never will say no.
If I love Amaryllis,
She gives me fruit and flowers:
But if we love these ladies,
We must give golden showers.
Give them gold, that sell love,
Give me the nut-brown lass,
Who, when we court and kiss,
She cries, “Forsooth, let go!”
But when we come where comfort is,
She never will say no.
These ladies must have pillows,
And beds by strangers wrought;
Give me a bower of willows,
Of moss and leaves unbought,
And fresh Amaryllis,
With milk and honey fed;
Who, when we court and kiss,
She cries, “Forsooth, let go!”
But when we come where comfort is,
She never will say no.
Wednesday, September 2, 2009
Branwen Daughter of Llyr
Motif: the mutilation of horses
The animals in Branwen Daughter of Llyr hold a lot of significance. The horses, which symbolize wealth and status for both kings, could be argued to be one of the causes of the war. Efnisein's brutal mutilation of the horses is a deliberate act of trying to provoke the Irish king, Malthowch, to declare war. Not only does he ruin the property of the Irish king, but he also is insulting the whole purpose for Malthowch's coming to Wales in the first place. Unfortunately, his plans are ruined by his brother. But, his actions do serve the purpose of putting the idea of continued hostility into the mind of Malthowch, causing him to doubt later that his marriage to Branwen had anything to do with keeping the peace. Malthowch's people make him believe that Bendigeidfran's payment wasn't sufficient for the insult that was made towards them when they were just trying to make an alliance. Luckily for Efnisein, his mutilation of the horses was just enough to make the Irish mad enough to provoke the war that he had been planning.
The animals in Branwen Daughter of Llyr hold a lot of significance. The horses, which symbolize wealth and status for both kings, could be argued to be one of the causes of the war. Efnisein's brutal mutilation of the horses is a deliberate act of trying to provoke the Irish king, Malthowch, to declare war. Not only does he ruin the property of the Irish king, but he also is insulting the whole purpose for Malthowch's coming to Wales in the first place. Unfortunately, his plans are ruined by his brother. But, his actions do serve the purpose of putting the idea of continued hostility into the mind of Malthowch, causing him to doubt later that his marriage to Branwen had anything to do with keeping the peace. Malthowch's people make him believe that Bendigeidfran's payment wasn't sufficient for the insult that was made towards them when they were just trying to make an alliance. Luckily for Efnisein, his mutilation of the horses was just enough to make the Irish mad enough to provoke the war that he had been planning.
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