Character Analysis : Beowulf

Character Analysis of Beowulf

Literature is a major part of the history of the English language. There are many different writings that philologists and linguists used and still use to decipher the happenings, cultures, values, and systems of the past. Beowulf is a very important Old English Epic which inspired J.R.R. Tolkien in his writing of The Hobbit series. Even though the Epic is traditionally an oral poem with unknown dating of its composition, it does have a written manuscript which was produced prior to 1000AD, and potentially even as early as 700AD. However, the manuscript, as well as the oral poem, was created anonymously and did not have a name, thus it was named after the protagonist of the story. The story is based in Scandinavia where Beowulf, Prince of the Geats, arrives in Heorot to aid Hrothgar, a very respected King of the Danes, in defeating the monster Grendel. Grendel has been terrorizing the Mead Hall, killing soldiers and men, for twelve years. Finally, Beowulf comes to the rescue and kills the monster with his immense brute strength. Afterwards, Grendel’s mother, filled with rage and vengeance, attacks the Mead Hall. Beowulf slays the monster. In his victory, he goes home to Geatland and becomes the King of the Geats. He lives as an honourable and noble King until his death fifty years later. He is forced in is old age to defeat a dragon and dies on the battlefield. The Geats cremate his body and build a tower in his honor. In this story, there are a few important characters, but compared to Beowulf himself, they are very minor rolls. Hrothgar and Grendel would come in as distant seconds. Accordingly, Beowulf’s character is very well developed and represented with the author’s use of appropriately integrated direct characterization, Beowulf’s relationships and interactions with other characters, and the author’s meaningful uses of language, specifically during his fight scenes.

Direct Characterization

Direct characterization is when the narrator or a character explicitly tells the reader certain traits or aspects of the character’s personality. It is a good tool and a blunt way to share small bits of specific yet far-reaching information. However, it should only be used sparingly, else the text becomes too simplistic and boring. Within the Epic, Beowulf is adequately directly characterized as a strong, noble and honourable man by both the narrator and other characters. Some examples of direct characterization from the narrator include, “a good man among the Geats” (line 294) and “the gallant Geat” (line 340). Simple enough; a good and chivalrous, knight-like man is placed on the stage. Further instances of direct characterization, though from other characters, are found at the gates of Heorot where there is a guard who engages in dialogue with Beowulf. Two of the guard’s remarks towards the hero are as follows: “I have not in my life set eyes on a man with more might and frame than this helmed lord” (line 247-249) and “the seafarers used to say … that [Beowulf] in his hand’s grasp had the strength of thirty other men” (line 379-381). The guard is shocked yet impressed by the build of this man, and even calls him a “lord.” Quite the endearment at a time that the guard does not yet know who Beowulf is. As a side note, he also specifically mentions the strength of Beowulf’s grasp and his hands: obvious foreshadowing to what Beowulf’s “superpower” is. Additional characters aid to directly characterize the protagonist, such as Hrothgar, who praises Beowulf for coming to help “as an office of kindness” (line 458); and Unferth, a strong warrior, who starts out with envy and bitterness towards Beowulf, but later respects him, lending his sword “to the better swordsman” (line 1467). Kindness is an honourable yet belittled trait; a warrior with kindness is very admirable. Although direct characterization tends to only cover the basics of a character, it helps the reader get a clear and simplified idea of the person. A lot of direct characterization describes physical features, helping to form a mental image of the scene and character.

Indirect Characterization

Dynamic Characters

Alternatively, there is indirect characterization, which is used to portray more involved features of the character. For this, it is worth acknowledging the relationships between Beowulf and other characters and to consider their credibility. When Unferth called Beowulf the better swordsman, it was a minor direct characterization, but the more important aspect of that interaction, was Unferth as a dynamic character. A change in a character is an important part of a story, and the reason behind the change is arguably even more important. Unferth’s change in behaviour towards Beowulf is indirect characterization as it portrays Beowulf as an influential and truly good man if he can change such a drink-loving, sour-mouthed soldier’s opinion. To put this into perspective, a change in character being used as indirect characterization is comparable to an extended metaphor versus a simple metaphor; Unferth’s development is stretched through a portion of the poem, and not one definitive spot.

Relationships

Relationships with characters. Moving forward, Hrothgar is an incredibly respected and honourable King of the Danes, and one of Beowulf’s biggest fans. Already, this is reliable indirect characterization as Hrothgar is a “credible source.” At the gate of Heorot, the guard goes to ask Hrothgar, the Guardian and Lord of the Danes, if this man should be let in. Later, the guard returns saying, “the Master of Battles bids me announce, the Lord of the North Danes, that he knows [Beowulf’s] ancestry… [and] that [he is] sure of welcome” (line 391-394). The fact that this evidently great King holds Beowulf in such high regards demonstrates Beowulf’s nobility early into the poem. Hrothgar’s trust in Beowulf instantaneously creates an image of esteem and glory, especially after he defends Beowulf’s dignity and worth from Unferth’s previous jealousy-poisoned speeches of distrust. In contrast, if a character such as Grendel were to express the same sort of fondness towards Beowulf, the reader would link Beowulf to being unlawful, power-hungry and monstrous. The relationships between the protagonist and other characters show a lot about the protagonist’s own character. Especially when we realise the value of each character’s opinion based on their own personality.

Relationships with God. Taking a small shift from relationships between characters, it is noticeable that God is a very prominent figure throughout the entire Epic. God is not a traditional character in Beowulf but is definitely a significant part of it. Beowulf has much pride and can be boastful, but he makes sure to credit his Lord. Parenthetically, it is odd to see Christian elements in a seemingly Pagan story. This is a big debate, but the simplest explanation is due to the manuscript most likely being written in the years following the Christianisation of the Anglo-Saxons. Whereas, the original oral poem may have consisted of more Pagan beliefs and values, assumingly composed around mid 500AD or earlier. However fruitless the debate, it is important to consider the potential historical contexts of Beowulf to get a more profound understanding of the plot and characters. God is a very common symbol of strength and power; when Beowulf credits his own strength and accomplishments to the will of God, he demonstrates some of his humbleness. This furthers his complexity as a round character, making the read more interesting and engaging. Especially when, due to his immense trust in God, his sportsmanship, and unforeseen respect for his opponent, he finds both victory and praise.

Actions and Reactions

Ethics and emotion. Continuing with indirect characterization, a character’s actions also represent different morals or values. After Grendel is defeated, Grendel’s mother attacks the Hall, seeking revenge. She kills Hrothgar’s best friend, Aeshchere, whose head is later found on the edge of a cliff. Naturally, Hrothgar is devastated and gives out a woeful speech of grief. Beowulf consoles him by saying, “it is better for a man to avenge his friend than to refresh his sorrow” (line 1383-1384). Then, Beowulf pledges to go out and kill this second beast on behalf of Aeshchere. This shows a caring side of Beowulf, adding complexity to the character, as he is not just a brawny, boastful man, but, also a kind and noble, altruistic warrior. Hrothgar, in previous lines, had expressed how he feels like a father to Beowulf, and would like to reward Beowulf for his courage and kinship. He promises him gold and jewels upon his return from slaying Grendel’s mother. Again, as the caring man he is, before he heads out to kill the revenge-seeking monster, Beowulf acknowledges Hrothgar’s place as a father figure towards him, and then asks, if he happens to die during this excursion, that Hrothgar “extend [his] protection to the troop of [his] companions” (line 1479). Beowulf explains that he wants all the gifts and rewards that he has been promised to go to his comrades, if he is to die in battle. In this passage he shows that he is not greedy and proves his generosity.

Morals of combat. Arguably, the most fascinating parts of Beowulf are the fight scenes. They are masterfully crafted and littered with strong examples of characterization. For example, before Beowulf’s grand battle with Grendel, he announces that he will fight without a sword or shield, “if unweaponed [Grendel] dare face [him] in fight” (line 684-685); so to say, ‘if Grendel is to fight me unarmed, then I will as well fight him unarmed’. Beowulf does this because “[he fancies his] fighting-strength, [and his] performance in combat, at least as greatly as Grendel does his” (line 677-678), and so out of a mutual “fancy”, Beowulf plays fair. This makes him a good sportsman, and also earns him a more praise-worthy win. As Beowulf’s character becomes more and more clear, this gesture of consideration seems increasingly fitting: it speaks not only to his kindness, but also his pride.

Undesirable situations.

Old Age. Nearing the end of the Epic, Beowulf is now an old King. Earlier in the poem, when Beowulf returns to Geatland, Hrothgar is said to have been “a blameless king in all things, until old age at least, that brings down so many, removed his proud strength” (line 1883-1885). There are many lines, such as this, which share the same nature of foreshadowing: old age upon Beowulf. Old age is built up in this story to be a terrible and weak part of life, however, the way in which Beowulf handles his own old age would say otherwise. Before he prepares to fight the dragon that is invading his land, Beowulf “[speaks] a last time a word of boasting: ‘Battles in plenty I ventured in my youth; and I shall venture this feud and again achieve glory”(line 2507-2511). He goes on to acknowledge not only his old age, but his decline and loss of what he used to be, yet insists that, as the guardian of his people, he will still defeat the dragon that terrorizes his land. Amazingly, his passion and motivation do not wither with age, but the same cannot be said for his physical resilience and strength. This is a difficult situation, but with his army at his side, he is confident.

Defeat. Unfortunately, after the dragon arrives, it becomes clear that Beowulf’s troop of young and ready soldiers do not share his level of confidence. All of his men run off in fear of the dragon. Except for one man: Wiglaf, who stays to assist his King. During battle, Beowulf stabs the dragon, breaking his sword after one strike due to limited strength he still possesses. Even though Beowulf is not the same man he used to be, he and Wiglaf beat the odds and defeat the dragon. Devastatingly, they do not win without sacrifice and Beowulf suffers fatal wounds causing him to die on the battlefield in Wiglaf’s arms. Even in death, Beowulf is successful. Bringing up the Pagan aspect of this poem: with Vikings it was an honour and privilege to die in battle, as the warrior would be granted access to Valhalla. Thus, through a Pagan lens, the great Beowulf, King of the Geats, went to Valhalla after his well lived life of victory. Although, the Christianisation of the poem made sure he credited God for his life and his glorious death in battle, rather than Odin and his Valkyries. Beowulf did not die, though, before passing his kingship to Wiglaf by telling him to “attend the people’s needs henceforward” (line 2797-2798). With his last breath, he rewarded Wiglaf for his courage and compassion; two traits that Beowulf himself has shown to posses. Beowulf making Wiglaf King depicts his immense admiration and respect for the young soldier. Stepping back, it is also the narrator expressing the worth of these qualities.

Vocabulary

Image and connotation. Word choice is also a very useful tool when implementing indirect characterization. The connotation of each word makes a big difference in how the reader perceives the character, even if they may not notice. Returning to the beginning of the poem, upon Beowulf and Hrothgar’s first encounter, Beowulf tells a story about his defeat of nefarious sea monsters. To start, he describes his body armour: “hand-linked and hammered … this forge-knit battleshirt bright with gold, decking my breast” (line 551-553). He is bright and gold; characteristics associated with those visuals are kingly, honourable, and good. Moreover, Beowulf makes sure to focus on the making of the armour; how it was carefully handmade with great craftsmanship. Most everything was handmade back in that time, but Beowulf’s focus and gratitude for this unknown forger shows at least that the forger deserves praise for his work, and that the armour was made with purpose.

Action and connotation. Moving forward, throughout the battle between heroic man and monstrous fish, there are many uses of graceful and formal vocabulary. Beowulf’s recount does not disclose any gory or unsatisfying imagery. For example, Beowulf says that “[he] served them out with [his] good sword” (line 560-561), as opposed to stabbing them ruthlessly with his weapon. Instead of the fish not being able to devour and rip the hero apart, “those scaly flesh-eaters sat not down to dine on Beowulf” (line 562-563). And “[Beowulf’s] blade had laid them soundly asleep” (line 566-567), rather than brutally murdering, decapitating or slitting the throats of the monsters. The way Beowulf’s story is told pays attention to his chivalrousness, courage, and how elegantly he applies his strength. This is a very clever way to introduce Beowulf as an honourable hero. The reader now has an admirable snapshot of this character, and subconsciously develops an attachment to Beowulf, becoming more engaged, curious, and inclined to continue following his journey.

Foil Characters

Yet another example of indirect characterization is a scene with a contrasting nature to that of Beowulf’s honourable matches: Grendel’s attack on the Mead Hall, and how he is described when attacking. Just as Beowulf, the reader is first given a description of Grendel and his appearance. He is a “war-like creature” (line 720), a “ravager” (line 737), and “rage-inflamed, wreckage-bent, he [rips] open the jaws of the hall” (line 723-724). In this scene Grendel is out of control, anything but composed or graceful, and is causing great destruction. During his attack, “as a first step he [sets] his hands on a sleeping soldier, savagely [tears] at him, [gnashes] at his bone-joints, [bolts] huge gobbets, [sucks] his veins, and soon [eats] all of the dead man, even down to his hands and feet” (line 740-745). This is a very gory and difficult image to process. Grendel mutilates this man, and it is explained in great detail. In addition, Grendel is shown to have little or no honour, as he kills the first man while he is sleeping and unaware. This is extremely unsportsmanlike and unfair, and his primal and animalistic traits are also revealed as he devours the man whole. Grendel is a character completely opposite to Beowulf: a foil character. His job, as a foil character, is to counter certain personality traits and qualities in the protagonist. This is done by creating a character so appalling and unsimilar to the main character, that all their good aspects, seem that much better. Therefore, the mold and mush and brown in Grendel’s personality, makes the bright and soft and yellow in Beowulf’s personality more attractive. The brain will pick up on even the most miniscule of patterns as well, and indirect characterization allows the reader to learn about the character as they would a real person. As a result, it is more mentally stimulating and rewarding than direct characterization, where the information is blatantly displayed.

Conclusion

Beowulf’s character was intricately created and presented. There was a lot of thought that went into his development and the composer/author spread hints of his personality through the entire Epic like a spider web. His honour and nobility were evident, and his kindness and generosity contrasted well with his pride and boastfulness creating a well developed and round character. The makeup of almost any traditional hero is a strong individual with great strength and no worries in the world. They succeed in every battle and always win the prize, whether it be a damsel, treasure, respect, or a famous weapon. Heroes have it “easy”, except for that one infamous weakness: their Achilles heel. Every hero has an “Achilles heel” of sorts or weakness that causes them to temporarily fail within the story. This humanizes the character and makes them easier to relate to. For Beowulf, his Achilles heel is his old age. He gets old, just as everyone does, but it causes him to struggle in battle and inevitably die. It is sad, but it is relatable. Fortunately, the hero dies a very noble death; that was done intentionally, because it allows the reader to accept his death. Another essential point is that Beowulf provides insight into the values of its still undetermined historical context. With a mixture of influence from two different religions: Paganism and Christianity, it can be assumed that it was written at a time during or after the Christianisation of the Anglo-Saxons. It helps to know the manuscript was written before 1000AD. No exact date is provided, but at least a general era in history. The Christian God being repetitively mentioned and acknowledged is an oblivious tell of strong religious values among the people of the time. Beowulf’s elegant and noble way of fighting shows that purity was valued; his strength, courage, and large frame demonstrate the value of masculinity; and his respect, composure, and honesty represent traditional ethics. Beowulf was composed with a clear Pagan influence. It is a story about Vikings; glory, blood, battle, Valhalla, victory and alcohol are not exclusive to but are large aspects of the Pagan culture of the past. Even pride was left in as one of Beowulf’s traits. Yet, the Christian aspect of the Epic softened the blow of his pride with his other qualities and his devotion to God. Beowulf is an extremely complex and diverse piece that holds much history and significant, filled with advanced poetic and narrative techniques.

Resources

Alexander, M. (2013). Beowulf: The epic battle between man and monster. London, England: Penguin Books.

Gräslund, B. (2018, September 23). Beowulf dated to AD 550. Retrieved from https://www.medieval.eu/beowulf-dated-to-ad-550/

Leider, A. (2017, April 5). Beowulf: Pagan or Christian?: Free Book Summary. Retrieved from https://freebooksummary.com/beowulf-pagan-or-christian-2-1072