Beowulf By Burton Raffel10/28/2021
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. 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. They sought in Beowulf the origins of Germanic, including Scandinavian, culture or at least clues from which that culture could be reconstructed. 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. 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.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. 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. 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. All of which brings us back, not just to the question of the poet, but more importantly to the question of the audience.But in Anglo-Saxon England, the monasteries were generally open to the social world, and the Rule of St. 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. 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. 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.Or do we have, once again, a complex creative tension between the two?"About this title" may belong to another edition of this title. 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. And, of course, one need not postulate a monastic audience at all in order to account for the Christian element in the poem. 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. We also have depictions in monastic works, such as lives of the saints, of storytelling events that included monks and laypeople alike.
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