The Religious Principle in Beowulf

Abstract

Reflective Englishmen of the seventh and eighth centuries, living under the transforming influence of classical and Christian ideas, must have satisfied a special need by revaluating their Germanic patrimony in terms of the new culture. In that process the Teutonic heritage naturally took on an added lustre wherever it lent itself to Christian interpretation. Beowulf more fully than any other English poem reflects that effort to assimilate and reappraise whereby the Germanic tradition from the Continent was ennobled by the new theology, as by a light flashed backward into the heroic past. Thus the career of the Danish king Heremod becomes an exemplum for a Christian homily on pride; Grendel, creature of northern fantasy, is placed in a Biblical lineage of evil reaching back to the first murder. The poet probably recognized, however, that his illumination of the past stopped short of perfect fusion of new and old, to say nothing of historical fidelity. Doubtless he was less disturbed than we are by vestiges of his pagan sources that lie awkwardly in the matrix of his Christian prepossessions. He had the advantage of knowing what he meant when, for example, he used terms of various and elastic connotation like wyrd. Also, if I am not mistaken, he saw his divergent materials in relation to a great central truth, an underlying principle which enabled him to recognize a larger unity in his fabulous tales than appears on the surface, and which made them in his eyes more worthy to survive in a reflective poem of epic magnitude.