There are few other features that are more characteristic of Beowulf than multiple distinctions and separate episodes. While some scientists have tried to show that the disigns or at least some of them have something that does not fit into the main narrative and is harmful to the poetic value of Beowulf, this paper will argue that deigns and episodes are a conscious balance and unity , and in fact contributes to the artistic value of the poem. Beowulf scientist Adrien Bonjour divides deigns and episodes into four categories: the Scyld episode; Beowulf and Geats; historical or legendary deignations that are not related to Beowulf and the Geats; and Biblical deserts. This structure is within where we reveal certain dimensions and determine their role in the poem.
Before examining specific descriptions, it is important to briefly demonstrate their presence. As Bonjour notes, the poet is tactfully using the deigns to add to the coloring of the verse to film for a given situation, to contribute to historical interest and significance, to provide symbolic value that contributes to poetry and enhances artistic influences. In addition, designees contain welcome information about the hero's life. The poet presents the values and perspectives that need to be understood. Action is ultimately only action.
Bonjour makes the Scyld episodes in their division of deignations and episodes into their own category, probably because it is the longest dimension in the main narrative of poetry and probably because of so many questions. At first glance, the verse written by Scyld and the genealogy of the Danish kings seems strange in the poem Beowulf, the Geatish hero. But after further studies, there was a significant parallel between Scyld and Beowulf. First, Scyld and Beowulf came up in a wonderful way to liberate the Danes. Scyld, the poet's first liberator, first presents Beowulf, who comes later. The second formulation of the two king's parallels is found in their unfair youth. Scyldet was found to be a miserable and abandoned child, and Beowulf is prominent for unfair young people. Bonjour points out that another artistic goal in this episode is to praise Scyldings. If the Beorszulf mission was the only introductory in Heorot's miserable state, this would have impressed Denmark's weakness. As we will see later, if the Danes were not glorified at the beginning of the poem, then the size of Beowulf fell.
Finally, the striking contrast of burial scenes is a "symbolic" value that enhances the artistic value "and the whole verse unity. the glorious past is over, while the future tells the future
The Scyld episode allows the poet to have two of his favorite tools: parallelism and contrast The contrast between the Scyld and Beowulf might be the verse one of the finest artistic achievements and the parallelism of the two kings can be summed up in the form of a legendary cowboy legend, as JDA Ogilvy and Donald Baker say: "Bronco Bill stands here, always the most defeated."
Among Bonjour categorical divisions Beowulf and Geats are the following: The first group we are investigating is Beowulf fighting for giants. This shift is a dual purpose: it allows the hero to have the pride convention and at the same time gently associates himself with the hero to God. The immediate purpose of the glorious action in Beowulf's early life is to give an example of his extraordinary power and at the same time to give evidence of his arrival at the Danish court. He also defines Beowulf as a specialist in the fight against monsters: "I came from the battle where I tied five and destroyed a giant family …". The art of pride is important to the epic hero, as he presents his achievements and glorifies his name. As Victor Bromberg mentions, his name is very important in epic poetry because he will be equal to the amount of performance. The second function of this evasion is to secretly associate Beowulf with God. When Beowulf throws his power against the giants, he consciously joins the true God of Christianity. This gives dignity to the pagan hero, who ultimately falsely fights on the right. During Ecgtheow's defeat, we learn that Beowulf's father murdered Heatholaf, a member of the vast Wilfing tribe, and began a rift, the consequences of which the Geats could not defend and fled to Hrothgar's yard. Hrothgar consequently pays for Wilfings. Bonjour states that this ambush serves two purposes: first, it creates a new bond between Beowulf and the Danes; Secondly, it counteracts the fact that the Danes accept the help of Beowulf.
The Unferth episode is primarily used as a foil to emphasize Beowulf's greatness. Despite the ominous voices of unferth's reputation, the poet is also distinguished by thane. If Unferth was replaced by mere rifles, Beowulf's superiority would not have meant much more than he really was. "Beowulf: The Monsters and Critics", J.R.R. Tolkien suggests that the Beowulf conqueror in his youth refers to the nicor [in this digression] to the hero we are dealing with. Beowulf's response to Unferth's critique justifies him as well as a man who counts with words and swords. So from this shift, we learn about Beowulf's ability to purge Heorot, and that the hero is not just a great warrior, but a man capable of delivering a count to a clever battle. Bonjour notes that the first reference in the poem to Hygelac's failure is a good example of Beowulf's specific use of contrast. Ironically, the first idea of the fall of Hygelac has to be invoked to describe Beckulf's treasures after Beowulf's victory over Grendel. It seems that there are already aspects of the same nature as the Dragon's story where Bonjour notes that the treasure of the treasure of the Dragon is different from the curse attached to it. Here the necklace is "under the sky" [the finest] de Hygelac when he was assassinated.
Then we'll look at Beowulf's boring young people and Heremod's tragedy with each other. The tragedy of Heremod is, in fact, outside the structure proposed by Adrien Bonjour, since it has nothing to do with Beowulf and Geat. However, the Heremod outgrowth was taken from the proposed structure as it is an important contrast to Beowulf's young man.
The brief departure to Beowulf's confused youth is just another thing that contributes to the glorification of the hero. Insecure young people enhance the influence of their later glorious acts and make them even more remarkable. But this passage has a full effect when it is in opposition to Heremod's tragedy. In Hrothgar's speech at Beowulf, we learn that Heremod is a strong, powerful hero whose career has shown great promise but later proved to be a bad governor. But Beowulf first despised it, but now he has become a glorious hero. Heremod's tragedy is reborn, albeit negatively, as good a king. As a consequence, Beowulf's weak start, followed by a magnificent rise brought on by the ingenious promise of Heremod and by a miserable decay.
The next move to the death of Hystenac Friesland and Beowulf's return involves swimming and later Heardred's guardianship. The poet tells that Beowulf is fleeing from Friesland where Hygelac is killed when he returns to his country with thirty-two armored armor. Obviously, this part of the outbreak further increases Beowulf's extraordinary abilities. Later we learn that Beowulf rejects Queen Hygd's offer to the throne of Geatish to support Heardred, the legitimate heir. Beowulf's rejection of the crown illustrates his moral magnitude. Here the Geats are surprisingly opposed to the Danes. Ogilvy and Baker suggest that, unlike the Wealtheow, who is obsessed with the inheritance of his sons to the throne, Hygd asks Beowulf to bring the throne to his own son for the sake of the people. This contrast is even greater than the Danish court situation where Hrothulf seizes his uncle's throne. The history of the Danish legacy serves as a film: on one side there is a telling offense, and the crown is rejected by pure loyalty. With Beowulf's glory, this shift brings the topic of loyalty to the forefront.
Looking for Dragon's den, Beowulf says a long talk about his life from the moment he came to his grandfather King Hrethel's Hometown at the age of seven. The immediate goal of Beowulf's long speech seems to be a break, the hero collecting his strength and resolution, looking back on the life of brave things. But this passage goes deeper than King Old Hrethel has read his eldest son, Herebeald, who was accidentally murdered by his brother Hæthcyn. Accidental assassination suggests the impenetrability of the wyrd (fate) and, on the other hand, the gentle wailing of Hrethel prepares the dominant mood of the end of the poem (Bonjour 34). Accepting the thematic "Christian" of earthly problems anticipates the logic of Beowulf's actions. He also accepts his fate. Bonjour states that the presence of wyrd here is of great importance as it is not only the end of the poem, but the full end of the poem. "His last surviving speech is a blend with the same cloth:" Dark Death Threw Many People. "Tolkien states that here the poet treats an ancient theme: man, every human being, and every person and all his work dies
Weohstan (Wiglaf's father) and Eanmund, we learn the story of Wiglaf's sword, the primary purpose of this evasion is to give us the origin of Wiglaf and to determine that Wiglaf is not normal, the same blood as Beowulf. if this part is played by some other Geat, then Beowulf's heroic courage seems to be a common man. There is also a strong parallel to Wiglaf's loyalty to the loyalty of Beowulf and Beowulf to the Hygelac
The last dimension we examine in this in the area again deals with the fall of Hygelac and the Ravenswood battle. Hygelac raid has been between the Franks and the Geats you can not trust the Swedes, as Beowulf's death is likely to re-open their memory between them and the Geats. By opening the last jumble, Bonjour notes that the poet allows us to see what the future is for the Geats. Obviously, the author uses Wiglaf's mediator to anticipate the destiny that awaits the Earth's nation.
The third group of evasions refers to historical or legendary deignations that are not directly related to Beowulf and Geats. The first departure from this category is Heor's fate. Soon the poet writes about Heor's glorious building as he came to the conclusion that he "waits for the throbbing of the vengeful fire." The reference to the dispute between Ingeld and Hrothgar. This is another example of the poet who tells the story of a structural irony that enriches with tragic events. Here William Alfred notes that Hrothgar is set up as the heroic king of the faithful comité, but suddenly, beginning as a description of the impressive halls of Heorot, he belongs to the account of the destruction of the fire. At this point, Bonjour mentions that the contrast between the harmonic situation and the short record of the catastrophe gives rise to the impression of melancholy in which a large part of the poem is stuck.
After Beowulf was killed by Grendel, he improvised the home of the Beowulf honor and compared him with Sigemund and Heremod. Sigemund's great killer and the greatest adventurer since the unfortunate Heremod. Beowulf, they say, is similar to Sigemund. Sigemund and Heremod are compared to Beowulf. Bonjour believes that this passage will surely glorify the hero.
The next move we are investigating begins suddenly when Beowulf returns home from Hrothgar's yard. Before describing the Hygelac yard before the arrival of Beowulf, here is the departure. In the corridor, Hygd, the Queen of Hygelac and Modthryth, the Queen of Offai, king of England, deals with comparison before moving to England. At first glance, Modthryth may seem like Heremod to introduce only a bad character to increase his good virtues (Hygd). But Modthryth is more complex than that. He begins as cruel and patient princess, but once he moves to the throne of Anglican. This opposition creates a link between the episode and Herendod's tragedy. At the same time, Heremod and Modthryth's career are in the opposite direction. This shifting serves several purposes: Modthryth is a foil for Hygd; the relationship with Heremod repeatedly emphasizes the theme of "abuse of power", and the beginning of Modthryth can be seen as a parallel to Beowulf's disgraceful youth; a desperate beginning that is flourishing until the glorious end.
The Finnish and ingested episodes are examined together, as the parallel between the two is undisputed. The Finnish episode tells of the bloodshed between the Danes and the Friesians. Hnæf's sister, Hildeburh, is a Danish princess who married the King of the Frisians to break the feud. However, peace is short-lived, and the Finnish episode points directly to the uncertain armistice between the two peoples. The prophetic phrase of Ingeld's story in Beowulf suggests that the fighting alliance between the Danish princess Freawaru and Ingeld, the Duke of Heathobards, brings similar results. Bonjour claims that the central theme of the two episodes is exactly the same as tribal hostility, sooner or later he leaves for any human compromise attempt. In fact, this is one of the central themes of the whole poem.
The ultimate category in which it should be noted is the loss of biblical character. Their Christian element, the song of creation, and the war against the gods against God and all references to Cain, occupy a first row.
The song of creation almost appears at the same time as the introduction to Grendel: "There he spoke, who could contact the beginning of men over time, said that the Almighty created the earth …". The song of creation dates back to the Biblical account of Genesis. His immediate purpose is quite clear – contradiction. The rare memory of the joy of nature is deeply opposed to the melancholy inspired by Grendel's sad place of residence.
Now, we're going to look at the warnings of Kain and the Giants, so it's important to show monsters in two ways. For pagan characters these creatures are eotenas [giants] and scuccan [evil spirits] – all the terms of Germanic demonology. But in his own voice the poet tells the true genealogy of Grendelkin: the terrible descendants of Cain. These two-level representations of monsters place them on a level like the dragon that Sigemund had killed, and at another level is a satanic deception in which the Bible invests them. At this point, new biblical and ancient traditions merge. The giants destroyed the carved sword, which allowed Beowulf to kill Grendel's mother. Beowulf's battle will be felt as part of the struggle between good and bad power. Earlier, it was said that both monsters were the same as the giants, but Bonjour shows, now we know that God himself really helps the hero when he directs his attention to the magical sword, which represents God's own action against the damn race. It's almost as if Beowulf was raised to the rank of God's own champion. Beowulf, for whatever he did in the age of primitive heroes, is a Christian knight. [for a moment] Bonjour came to the conclusion that Beowulf, in the place of a king, actually crosses the ideal king by sacrificing the people of his life, the importance of which is emphasized by the contradiction of Hrothgar's own grendel attitude. But Hrothgar is an ideal king, so it will be easier to compare Beowulf with the Savior, the self-sacrificing King, with the prototype of the supreme perfection.
Scholar BJ Timmer sees the poem's form because of the compromise of the poet, he failed to strive for the glory of both pagan and Christian elements. John Leyerle views this view as the theme of poetry "in the midst of the heroic society of the fatal contradiction," in which the striking code demands the hero's individual performance and glory, while society demands a king for the common good. But why is the necessary separation needed? Would not it be necessary for a heroic person to gain common prosperity? The Beowulf poet rightly does not do this separation. Consequently, it must be mentioned whether designations are admired or not, we must recognize that they are part of the poet's method, not the inability. Here, I agree with Bonjour that the relationship between the deigns and the episodes for the main story is very varied, but as we have seen, all of them are relevant links that make the main subject and background to a complicated gobelin. Theodore M. Anderson sums up the significance of the deigns when he writes: "The poet pulled out his settings from the old heroic painting repertoire
lay, but the traditional scenes were spun with a moralization
commentary in the form of deigns, flashbacks, boast, reflective
speeches and constant emphasis on unexpected reversals – nurturing everything
emphasizing the climaxes and valleys of human experience
A good dose of common sense must discourage any doubt from the skeptics that the poet's losses are losers, the poem's value. As we have seen in this study, there are simply too many prejudices, cautious contrasts and duplication for the disignations that they have neglected to throw in the mix. So, we conclude that behind all the deignations we find a definite artistic plan that is clear enough to agree with Bonjour that everyone has a useful role in the poem. In other words, it has been found that all differences are, in varying degrees, justified from an artistic point of view.