Beowulf (AmazonClassics Edition) - Softcover

Anonymous

Softcover

ISBN 10: 154204751X ISBN 13: 9781542047517

Publisher: AmazonClassics, 2017

Synopsis

The great drinking hall, Heorot, provides merriment for warriors and wenches alike. But it provokes only avenging rage from swamp creature Grendel. Now, in sixth-century Denmark’s darkest hour, a light of hope comes in the warrior Beowulf of the Geats. With his quest to defeat Grendel and his vengeful demon mother, Beowulf embarks on a journey from the murky lagoon to the throne of the Geats.

Beowulf, the Old English epic poem published anonymously centuries ago, remains one of the most influential pieces of English literature, inspiring generations of writers from J. R. R. Tolkien to George R. R. Martin.

AmazonClassics brings you timeless works from the masters of storytelling. Ideal for anyone who wants to read a great work for the first time or rediscover an old favorite, these new editions open the door to literature’s most unforgettable characters and beloved worlds.

Revised edition: Previously published as Beowulf, this edition of Beowulf (AmazonClassics Edition) includes editorial revisions.

About this title

About the Author

The author of the Old English epic poem Beowulf is unknown. The unsigned manuscript, housed by the British Library in London, has been dated by some scholars to AD 1000. It is likely that the poem was created by several people and passed down as part of oral literary culture—and read throughout the centuries—and it stands today as an inspiring work of legendary fantasy.

Excerpt. © Reprinted by permission. All rights reserved.

From John McNamara’s Introduction to Beowulf

 

Even more perplexing is the question of values and beliefs in the poem. The world of Beowulf is the world of heroic epic, with its legendary fights among larger-than-life figures, both human and monstrous, its scenes of feasting in great beer halls presided over by kings, its accounts of bloody feuds trapping men and women alike in cycles of violence, its praise of giving riches to loyal followers rather than amassing wealth for oneself, its moments of magic in stories of powers gained or lost and over all, a sense of some larger force that shapes their destinies, both individual and collective. Readers have often looked upon this long-gone heroic world for a glimpse of a pagan past in Northern Europe before Christianity was brought by foreign missionaries, yet the poem is filled with references to the new religion and the power of its God. This tension between the ancient past and what was, in the time of the poet, a new worldview disturbed many romantic and nationalistic critics in the nineteenth and early twentieth centuries. They sought in Beowulf the origins of Germanic, including Scandinavian, culture or at least clues from which that culture could be reconstructed. Yet many were for the most part frustrated, for they saw the epic of Northern antiquity marred” by the intrusions of foreign beliefs and values, such as the Christianity imposed by missionaries from the Mediterranean South, and equally marred” by the fantastic fights with monsters in the center of the poem, while the historical materials that most interested them were placed on the outer edges. In this view, the poem simply was not the poem that it should have been.

 

However, the great work of Friedrich Klaeber, and especially the influence of Tolkien, cited above, would change all that. In recent times, scholars have not only stressed the Christian element as integral to the poem as a whole, but they have spent enormous energy in ferreting out its sources and functions. All of which brings us back, not just to the question of the poet, but more importantly to the question of the audience. After all, the poet was composing the work for a community that already shared certain core values, though those values appear at times to emerge from a moment of cultural transition between the memory of the old and the power of the new. So, once again, we are faced with complexity, and attempts to reduce Beowulf to some single, or at least predominant, worldview cannot explain the creative tensions in this complexity.

 

Yet there are further questions about audience. Did it consist, as some scholars have proposed, of people so well versed in Christian teachings, and even in learned theology, that it would have been a monastic community? The answer is by no means clear. We do have the famous letter from Alcuin to the monks of Lindisfarne (797) enjoining them not to include secular heroic narratives in their entertainments. But we also have the even more famous story of the poet Caedmon in Bede’s History of the English Church and People (731), which shows the members of the monastery at Whitby singing narrative lays, while accompanying themselves on the harp. Their lays must have been secular since it was only after the miracle of Caedmon’s poetic inspiration that Christian biblical narratives were set to traditional Anglo-Saxon poetic forms. Such a community would not only house scholars, as well as monks with considerably less education, but also the monastic familia was made up of all the lay people men, women, and children who occupied and generally worked the lands surrounding (and dependent on) the monastery.

 

Our modern view of medieval monasteries has been shaped by later reforms, in which walled structures often shut reclusive monks in cloistered protection from the temptations of the larger world. But in Anglo-Saxon England, the monasteries were generally open to the social world, and the Rule of St. Benedict lays great stress on the need to extend hospitality to all who come to the community. We also have depictions in monastic works, such as lives of the saints, of storytelling events that included monks and laypeople alike. Thus, even if one were to claim that Beowulf was aimed at a monastic audience, it is clear that such an audience would most probably include many who were not monks. And, of course, one need not postulate a monastic audience at all in order to account for the Christian element in the poem. For the dominant ethos of the poem is a celebration of the values of heroic society, and while the poet-narrator’s comments often reflect a Christian point of view, the heroic values in the poem are in themselves primarily secular. Or do we have, once again, a complex creative tension between the two?            

Edition details

• Publisher: AmazonClassics
• Publication date: 2017
• ISBN 10: 154204751X
• ISBN 13: 9781542047517
• Binding: Paperback
• Language: English
• Number of pages: 156