The Story of Beowulf

THE STORY OF BEOWULF

To

THE MEMORY OF MY FATHER

NOTE AS TO USE OF APPENDIX

I have relegated to the Appendix all notes of any considerable length. The reader is advised to consult the Appendices wherever directed in the footnotes. He will then have a much clearer conception of the principal characters and events of the poem.

INTRODUCTION

‘Beowulf’ may rightly be pronounced the great national epic of the Anglo-Saxon race. Not that it exalts the race so much as that it presents the spirit of the Anglo-Saxon peoples, the ideals and aims, the manners and customs, of our ancestors, and that it does so in setting before us a great national hero. Beowulf himself was not an Anglo-Saxon. He was a Geat-Dane; but he belonged to that confraternity of nations that composed the Teutonic people. He lived in an heroic age, when the songs of the wandering singers were of the great deeds of outstanding men. The absolute epic of the English people has yet to be written. To some extent Arthur, though a British King—that is to say, though he was King of the Celtic British people, who were subsequently driven into the West, into Cornwall and Wales and Strathclyde, by our Saxon ancestors—became nationalized by our Anglo-Norman ancestors as a typical King of the English people. He has become the epic King of the English in the poetry of Tennyson. It is always a mystery to the writer that no competent singer among us has ever laid hands upon our own Saxon hero, King Alfred. It is sometimes said that there is nothing new under the sun, that there is nothing left for the modern singer to sing about, and that the realm of possible musical production is fast vanishing out of view. Certainly this is not true of poetry. Both Alfred and Arthur are waiting for the sympathetic voice that will tell forth to the world the immortal splendour of their personalities. And just as the Anglo-Normans idealized Arthur as a hero-king of the English nation, though he really fought against the English, so the Saxon singer of Beowulf has idealized this Geatish chieftain, and in some way set him forth as the idealized chieftain of the Teutonic race.

Beowulf is an Anglo-Saxon poem.

—It consists of 3182 lines. It is written in the alliterative verse of our ancestors in the Anglo-Saxon tongue, which, though the mother-tongue of the English, is yet more difficult to read for the Englishman than Latin or Greek. One wonders whether any genuine Anglo-Saxon epic existed, and has been destroyed in the passing of the centuries. The curious feature about this poem is that it concerns a man who was not an Anglo-Saxon. Our poem is written in the West Saxon dialect. The original poem was probably in Northumbrian, and was translated into West Saxon during the period of literary efflorescence in the West Saxon Court. We do not know whether it was a translation or whether it was original, though the latter is, I believe, the prevailing opinion. Arnold has put forth what may be called the missionary theory of its origin. He believes that both the choice of subject and the grade of culture may be connected with the missionary efforts of the English Church of those days to extend Christianity in Friesland and further east. ‘It does not seem improbable that it was in the interest of the spread of Christianity that the composer of Beowulf—perhaps a missioner, perhaps a layman attached to the mission—was attracted to the Scandinavian lands; that he resided there long enough to become thoroughly steeped in the folk-lore and local traditions; that he found the grand figure of Beowulf the Geat predominant in them; and that, weaving into an organic whole those which he found suitable to his own purpose, he composed an epic which, on his return home, must soon have become known to all the lovers of English song.’¹ Dr. Sarrazin thought this unknown poet might have been the famous Cynewulf. Arnold, chiefly on stylistic grounds, differs from this opinion. This is Arnold’s opinion: ‘Sagas, either in the Danish dialect or that of the Geats—more probably the latter—were current in the Scandinavian countries in the seventh century. Among these sagas, that of Beowulf the Geat must have had a prominent place; others celebrated Hygelac his uncle, Hnaef the Viking, the wars of the Danes and the Heathobards, of the Danes and the Swedes. About the end of the century missionaries from England are known to have been busy in Friesland and Denmark, endeavouring to convert the natives to Christianity. Some one of these, whose mind had a turn for literature and dwelt with joy upon the traditions of the past, collected or learnt by heart a number of these sagas, and, taking that of Beowulf as a basis, and weaving some others into his work, composed an epic poem to which, although it contains the record of those adventures, the heroic scale of the figure who accomplishes them all imparts a real unifying epic interest.’ Whatever may be the truth as to its origin, there it lies in the British Museum in its unique MS. as a testimony to all ages of the genius of the Anglo-Saxon race.

Now it will be quite naturally asked, What do we learn from Beowulf of the genius and spirit of that race from which we are sprung?

The one outstanding fact, as it appears to the writer, is the co-operative principle. And this principle stands in almost violent opposition to the ruling principle of the modern world, in which society is divided into a number of mutually opposite sections or classes, whose interests clash with fatal results to individual and corporate well-being. In this poem we see the whole community, from the King to the churl, bound by one common interest. King and chieftain and thane and churl freely intermingle and converse. They eat and drink and sleep under one common roof, or at least in one common enclosure. Tempora mutantur! but the idea of social interaction and mutual interdependence never found more vivid or real expression than in the pictures presented in Beowulf of Hart, the Great Hall of Hrothgar, and in the Court and township of Hygelac, King of the Geats. In the Hall of Hart Hrothgar and his Queen and his courtiers sit at the high table on the dais, and the lower orders at the long table down the hall. The spears and shields adorn the walls. After the evening meal, the singer, or scop, as he is called, to the accompaniment of the harp, tells forth the deeds of some ancient feud, such as that of Finn and the Danes or the Fight at Finnsburgh, or the feud of the Danes and the Heathobards, in which Freawaru, Hrothgar’s daughter, and Ingeld figure so tragically. Then the benches are removed, and the rude beds are spread out on the floor of the Great Hall and they seek ‘evening rest.’ The whole is a picture of fraternal and paternal government. If Grendel, the Fen-monster, carries away one of their number, then there is weeping and lamentation. The King and the Queen and the nobility and the commonalty are all concerned in the tragedy. The loss of one is the loss of all. When Aeschere is slain by Grendel’s mother Hrothgar thus bewails his loss: ‘Seek no more after joy; sorrow is renewed for the Danish folk. Aeschere is dead, he who was my wise counsellor and my adviser and my comrade in arms, when in time of war we defended ourselves; ... but now the hand lieth low which bestowed every kind of joy upon you.’ And in the end of the poem it is said of Beowulf that he was ‘most gentle to his folk.’ The King was king only ‘for his folk.’ The interest of his folk, their physical and moral well-being, was his chief solicitude.

2. But not only was this so within any one nation or tribe, but there was a sense of comradeship and mutual responsibility among those of various tribes and nations. When Beowulf the Geat hears in Gautland of the raids of Grendel upon Hart, he commands his folk to make ready a boat that he may fare across the sea to the help of Hrothgar, because ‘he was lacking in warriors.’ Beowulf’s whole mission in Hart was the discharge of a solemn obligation of help from the strong to the weak. He announces to Hrothgar that he is come ‘to cleanse Hart of ill,’ and this he feels he must do. ‘Woe is me if I preach not the gospel!’ cried St. Paul. ‘Woe is me if I help not the weak and cleanse not the demon-infested palace of my kinsman!’ cried Beowulf. ‘Weird goes as he willeth’; that is, Fate must be submitted to. And Fate hath willed that he should help the weak and ‘cleanse the ill.’

3. Then there is the tremendous sense of loyalty on the part of the folk to their king or chieftain. The idea of the ‘Comitatus’ bound the folk to their leaders. Nothing more disgraceful could be conceived than the desertion of the leader. Terrible were the reproaches hurled at the trembling cowards who had hurried away into the woods, to save their own skins, whilst their King Beowulf wrestled with the dragon, the enemy of the people. ‘Yea, death is better for any earl than a life of reproach.’ Loyalty, a passionate loyalty to the King, was the greatest of virtues, and disloyalty and cowardice the greatest of vices. Society was an organic whole, bound together by the bands of loyalty and devotion to the common good.

4. There is, too, the fatalistic note heard all through the poem. Beowulf feels himself hard pressed by Fate. The Anglo-Saxon called Fate by the name ‘Weird,’ which has survived in modern English in the sense of something strange and mysterious. Weird was the God, or Goddess of Fate. Again and again in the poem we hear the solemn, minor, dirge-like refrain, ‘Weird hath willed it’; ‘Goeth Weird as she willeth’ (chapter VI. p. 44). There is this perpetual overshadowing and almost crushing sense of some inscrutable and irresistible power that wieldeth all things and disposeth all things, which is, I