BEOWULFS WEAKNESSES

FRANCISCO SANTIBEZ SENZ

Universidad de La Rioja

1. INTRODUCTION

There is wide critical agreement that Beowulf should be regarded as a heroic poem
from which the great Geatish warrior majestically emerges as an embodiment of the
characteristic features of Germanic heroism. Thus, Beowulf is always ready to show his
extraordinary strength and courage in the face of the fiercest enemies; he is proud of his
glorious deeds, which allow him to achieve fame; he willingly fulfils his role within the
comitatus, both as a loyal supporter of his king and as a generous protector of his warriors
(of his people, when he becomes a king himself). These traits may sometimes be at odds
with the obvious attempt to add a Christian element, but heroic values are nonetheless
easily recognizable throughout the poem.
I will begin here by further commenting on how those values are projected onto
Beowulf. After this preparatory section, however, special attention will be devoted to
analyzing whether some gaps can be found inside that idealized cluster of virtues. By way
of illustration, it is interesting to note the poets suggestion that, at some moment of his
hazardous fight with Grendels mother, Beowulf may feel fear for his life. We know that a
Germanic hero should always value military honour over anything else, even his own life,
but it is arguable that such symptoms of occasional weakness should bear upon the
characters human dimension. In examining Beowulfs potential defects, I will expand on
lack of judgement, the one that possibly gets closest to the so-called tragic flaw. In the last
section, therefore, I will try to show how the fatal ending of the poem is related to Beowulfs
inability to come to terms with the intricacies of the human condition as well as to grasp
the unstable nature of the forces underlying the heroic world and the position he is required
to occupy within it. Yet it should be left clear that the purpose of this essay is not to deny
the heroic status of Beowulfs figure. What I intend to do is rather to provide an interpretation
of the poem based on the necessary limitations of the heros human understanding.1
Before proceeding with the discussion, I would like to comment briefly on the additional
risks that must accompany any new attempt to produce literary criticism on Beowulf.
Modern readers are confronted with a work created by a distant culture with which, quite
often, they feel they have very little in common. At a time when, at least in Western
societies, military values are apparently on the wane and life is regarded as a supreme
human right, we may have some difficulty in accepting the assumptions on which the
1

For an alternative account of Beowulfs limitations as a hero, see Yoo (1998).

Odisea, n 4, 2003, ISSN 1578-3820, pags. 155-164

156

FRANCISCO SANTIBEZ SENZ

heroic world is founded. Similarly, what original audiences probably found impressive
about the figure of the central hero may elicit an indifferent response nowadays. The
problem of ideological predisposition on the readers part adds to the inherent complexity
of a work in which conflicting sets of values come into play. Although several proposals
may be considered in this respect, we can look upon the poem as the rehandling by a
Christian poet of previous Germanic material. This should account for inconsistencies
such as the coexistence of God and pagan fate in narratorial comment. These variations
also occur within the world of the poem itself; as explained below, the values that rule
Geatish society during Hygelacs kingdom are substantially different from those prevailing
under old Beowulfs power. This tapestry of assumptions and beliefs must be taken into
account before jumping into far-fetched conclusions. Post-structuralist schools of criticism
tend to underline the unsteady nature of signification and the importance of the readers
individual response to a literary work; which should not involve losing sight of that work.
I will attempt to base my analysis of Beowulfs weaknesses on textual evidence. But
deciding whether the text of the poem endorses a given reading or not is frequently a
matter of judgement and degree.
2. BEOWULF AS A GERMANIC HERO

The first reference to Beowulf within the poem is not to be found until line 194, where
the hero is introduced as a thane of Hygelac, excellent among the Geats (p.30).
Significantly enough, the individual is first identified with regard to his position in society.
The comitatus, the personal bond of loyalty and kinship between a lord and his retainers,
is the basic social structure of the Germanic world; the poem allows us to judge Beowulfs
behaviour on both sides of the agreement. Beowulf is also referred to from the beginning
in terms of his unusual strength: he who was strongest of mankind in might in this lifes
day, noble and stalwart (p.30); observe the apparent connection between the heros physical
strength and moral qualities such as nobility and valour. It is not until line 343 that we
actually get to know the heros name, from his own voice: Beowulf is my name (p.37)
Initially, young Beowulf is characterized as a bold warrior who, in assisting Hrothgar in
the defence of his kingdom, does not hesitate to fight with two fierce monsters, Grendel
and his mother. In the final part of the poem, Beowulf is no longer a young warrior seeking
adventure on foreign land; he has become an aged king, a veteran guardian of his people
(p.132). Beowulfs leadership has brought peace and prosperity to the Geats. When his
peoples security is threatened by a dragon, the old king has resource to his heroic courage
and decides to fight alone against it. Beowulf, abandoned by all his retainers but Wiglaf,
dies in his combat with the dragon; the destruction of his people is anticipated. The
implications of this closing episode will be explained in detail in the following section.
Beowulfs physical appearance certainly stands out, and just by looking at him the
watchman becomes aware of his extraordinary qualities: Never have I seen a mightier
noble upon earth, a warrior in armour, than is one of you; that is no retainer dignified by
weapons, unless his countenance, his peerless form belies him (p.32-3). Wulfgar is also
impressed by Beowulfs heroic appearance, as shown by his words to Hrothgar: Assuredly

Odisea, n 4, 2003

BEOWULFS WEAKNESSES

157

the chief is doughty who has led these battle-heroes hither. The stress is then upon a
certain sense of inevitability; Beowulf is not only a hero, he also looks like a hero. The
references to his strength are often on the superhuman side. Thus, the word is that he, the
famed in battle, had in his grip of hand the force of thirty men (p.39). We may get the
impression that perhaps this should not be taken too literally, since it is doubly detached
from the reality described from the poem; the information is provided by Hrothgar, who in
turn reproduces seafarers comment. Beowulf has undeniably become a kind of legendary
figure in his own time. But, as the poem advances, the truth of the statement gradually
takes shape: the hero is a consummate monster-killer; he slays Grendels mother with an
ancient giant-made sword (p.100); he manages to swim back home with thirty mail-coats
on his arm (p.139); he crushes Dayravens body to death (p.146). Beowulf is no young
David killing the giant Goliath by throwing a stone with his sling; skill and wit may be
useful in battle, but it is physical strength that is regarded as the main asset of a Germanic
warrior. Nevertheless, we will see below that one of the weaknesses in Beowulfs character
may ironically be his incapacity to control the effects of his own force.
Bravery in battle is also a central quality of the hero. I will show the courage of a
hero (p.52) or other words to the same effect. When Beowulf is getting himself ready for
his fight with Grendels mother, the poet draws attention to the warriors heroic attitude by
remarking that no whit did he feel anxious for his life (p.94).
As pointed out by Bravo (1983) and others, the quest for lasting fame and glory is a
distinctive feature of Anglo-Saxon heroes. The poem itself, which sings of his glorious
deeds, could be metafictionally interpreted as longstanding evidence of Beowulfs
achievement in this respect.
3. HUMAN BEOWULF: UNDERSTANDING AND FORETHOUGHT OF MIND

Vidal Tibbits (1984: 267), when comparing Beowulf with El Cid, labels the Castilian
soldier as hombre heroico (heroic man) and Beowulf as hroe sobrehumano (superhuman
hero). I will not deny that most human aspects of Beowulfs figure are largely ignored by
the poet, who prefers to focus on his exceptional exploits and structures the work around
three episodes of monster-killing. As a consequence, for instance, we know little about the
characters daily activity, the relationship with his anonymous retainers is chiefly
understood in heroic terms and the description of feelings is often sketchy. However,
Beowulfs outstanding qualities will not prevent him from undergoing human suffering,
getting older or dying. Furthermore, some attitudes rather close to fear may be detected in
the heros behaviour, especially at those moments when he becomes aware of his
vulnerability. A brave Germanic warrior should never fear for his life, but it is not always
easy for Beowulf to live up to the great demands which the heroic code makes upon him.
Thus, for instance, we may stop to think about the reasons that impel Beowulf to cut
off dead Grendels head after slaying his mother (p.100-1). In contrast to previous fights,
this has been a difficult ordeal for the hero; the monster has been about to stab him with her
dagger. Ogilvy and Baker (1984:64) explain this violent movement in psychological
terms and relate it to Beowulfs human nature:

Odisea, n 4, 2003

158

FRANCISCO SANTIBEZ SENZ

. . . Rage is a natural reaction to a bad fright. Beowulf had struck his last blow against
Grendels mother in almost hopeless desperation (aldres orwena, despairing of life, line
1565). The blow that decapitates Grendel is a release of this pent-up terror. Nowhere else
do we see more clearly that Beowulf is a mortal mannot a fearless demigodthan in this
passage. For such a man courage is more often the conquest of fear than the absence of it.
Until this moment, the hero had not found real enemies for him, but Grendels mother
certainly puts his courage to the test. The idea that, in this way, Beowulf manages to check
the triumph of his own anxiety is quite attractive, since it allows to include an element of
human weakness in the heros personality potential fear, at least without depriving him
of his heroic status.
In my opinion, however, the most illuminating insights into the question of Beowulfs
fallibility can be obtained by paying attention to the characters position with regard to
the Christian values in the poem. I am not really concerned here with the old discussion
whether Beowulf is a Christian hero or not. Nevertheless, it is my belief that the results
derived from analyzing attitudes and tendencies from this perspective may help us to
account for the heros troubled relationship with his environment.
At some points within the poem, Beowulf seems to show some reluctance to fully
acknowledge divine intervention in his deeds, and this is particularly so after they have
already taken place. Occasional inconsistencies may betray that Beowulfs main trust
should be located in his own might rather than in any external influence. It is as if the hero,
proud of his prowess, did not want to share praise for his success with anyone else. Thus,
God is referred to just in passing in Beowulfs account to Hygelac about his adventures
among the Danes; the stress is mainly on personal reputation. In Tolkiens words (1977:
43), Hrothgar is consistently portrayed as a wise and noble monotheist, whereas Beowulf
refers sparingly to God, except as the arbiter of critical events, and then principally as
Metod, in which the idea of God approaches nearest to old Fate. Moreover, when Beowulf
does refer to God, he often tends to bridge the gap between human and divine power. In
this unorthodox vein, the dying hero asks God to replace him as the lord of his people:
Now that I have given my old life in barter for the hoard of treasure, do ye henceforth
supply the peoples needs,I may stay here no longer (p.160).
Beowulf seems to place his role as a king of the Geatish people on the same level as
Gods sovereignty over mankind. However, this should not lead us to accuse Beowulf of
hubris; such an inference would necessarily prove partial. In a work in which both Christian
and pagan values are frequently mixed up even in narratorial comment, the description of
the characters personality from just one of these codes would not be consistent with a
comprehensive interpretation of the poem as a whole. I prefer to draw the conclusion that
Beowulf misconstrues mans relationship with divinity; therefore, it may be argued that
this is not so much a matter of overbearing pride as a matter of misjudgement. And, according
to my reading of the outcome of the poem, it should be understood in terms of a more
general lack of penetration that pervades the episode of Beowulfs fight with the dragon
and the heros subsequent death.
In the middle of the celebrations that follow Beowulfs victory over Grendel, before
the attack of his vengeful mother, the poet stops to moralize on the importance of
Odisea, n 4, 2003

BEOWULFS WEAKNESSES

159

understanding and forethought of mind: The Creator guided all the race of men, as he
still does now. Wherefore understanding, forethought of mind, is best in every way. Much
shall he experience of good and evil, who here, in these troublous times, long makes the
earth his dwelling-place (p.74).
The point made by this gnomic passage is mainly that we should not rejoice too much
in our moments of joy, since prosperity does not last forever. It is taught by human experience
that good and evil quickly succeed each other; this dialectic movement is depicted in the
poem as an inherent characteristic of the unstable heroic world. The omniscient poet
enjoys a more general perspective of the events than his characters and it is for this reason
that happy scenes are usually accompanied by some kind of reference a direct statement
or an allusive jarring note to prospective degradation. For instance, the passage on the
building of Heorot, which is looked upon as a sign of the prosperity of the Danes under
Hrothgar, includes a hint at its eventual destruction out of the evils of marriage policies:
Nor was the time yet near at hand that cruel hatred between son-in-law and father-in-law
should arise, because of a deadly deed of violence (p. 24).
Against this background of constant anticipation, farsightedness becomes an essential
condition for wise judgement. A characters decisions are to be praised when they go
beyond the carefree now and here to allow for the demands of future and probably less
favourable situations. In such personalized forms of power as those we find in the Germanic
world, the necessity for prudence manifests itself most dramatically in the figure of the
social and political leader. His behaviour is not just a matter of strictly individual choice;
it will also have an immediate effect on the lives of many others. Heremods depravity
(p.66; 107-9) probably constitutes the clearest example within the poem of strength and
courage put to wrong use by a bad king; the Danish tyrant forgets about the binding
obligations of the comitatus and even kills his own men. Hrothgar draws attention to
Heremods excessive delight in his welfare and how in his folly he himself thinks it will
never end (p.108); the old monarch warns Beowulf not to make the same mistake.
The poet takes pains to put Beowulfs performance as a king into the context of
Germanic leadership. The so-called digressions are scattered with examples of treachery,
intrigue and kindred crime, which are presented as the usual methods of satisfying ones
hunger for power. In contrast, Beowulf is not fond of power; he even rejects Hygds offer to
ascend the throne after Hygelacs death (p.140). And when the disturbing circumstances
eventually lead him to rule over the Geats, the heros policy will always be shaped by his
willingness to respond to the interests of his people. In this sense, Heremod and Beowulf
represent opposite poles. However, some similarity may be found between the conduct of
both kings in the fact that, just as Heremod unwisely clings to transient prosperity out of
evil pride, Beowulfs generosity seems to prevent him from discerning the likely effects of
creating a situation of apparent harmony based exclusively on his indisputable superiority.
Very little is told about the events that take place in the long reign of Beowulf before
the dragons attack. This is a period of peace and happiness for the Geatland and, it is
assumed, there is hardly any material of enough heroic significance for the poet to sing of.
Beowulf, in his double role of gift-giver and protector, provides for his peoples material
needs and shields them from any external danger; his legendary figure suffices to keep

Odisea, n 4, 2003

160

FRANCISCO SANTIBEZ SENZ

potential enemies at bay. In his dying speech, the Geatish king counts this among his
virtues: I have ruled over this people fifty winters; there was not one of the kings of
neighbouring tribes who dared encounter me with weapons, or could weigh me down with
fear (p.157). As a result, the social group we find in the last part of the poem is mainly
made up of whole generations of Geats that have grown up unacquainted with the violent
reality of the Germanic world and, in more general human terms, with the fact that joy is
often followed by sorrow. In the middle of this illusion, the dragon arrives to shed light on
the abnormal nature of the situation.
As soon as the bad news is broken to him, Beowulf remembers his heroic past as a
monster-killer and makes up his mind to carry out a single-handed combat against the
dragon. The fierce intruder has come to menace his peoples security, and it is his duty to
provide solutions for any problem that may arise in his kingdom. When the time to fight
has finally arrived, Beowulf asks his retainers to remain as mere observers: Watch on the
barrow, ye warriors in your armour, defended by coats of mail, which of us two can endure
wounds best, after the desperate onslaught. That is not your affair, nor a possibility for any
man, save for me alone, to put forth his power against the monster, and do heroic deeds
(p.147).
An interesting relationship may be established between Beowulfs active attitude and
Hrothgars wait-and-see policy at the beginning of the poem. The old Danish king patiently
bears his grief and waits for help; it is then that Beowulf comes up and does away with the
menace embodied by Grendel. Hrothgars passivity is clearly not an example of heroic
behaviour, but, at least, it reveals some sort of adequate assessment on the old kings part.
He is conscious that there is nothing he can do to fight Grendel and acts accordingly. In
contrast, Beowulf scores high in heroism but falls short of the minimum requirements of
common sense; he absolutely ignores the possible effects of his decision. It could be
argued against such a statement that applying unheroic values does not make any sense
within the context of a heroic poem; however, it is my opinion that appreciations in this
direction are perfectly consistent with the work of a poet that praises judgement and
forethought of mind. My words should not be misunderstood; heroic death in battle is
indeed the best ending for a warriors life. In this respect, Alexander (1973: 39) points out
that Beowulfs desire to fight the dragon alone, however tragic in its consequences, is
necessary and admirable in a hero. However, the old mans responsibilities as a king
ought to take precedence over his heroic side. From this perspective, the problem becomes
mainly a matter of wrong priorities. This conduct should not be looked upon as a sign of
Beowulfs selfishness. He certainly believes that the decision to fight alone, which comes
so naturally to his mind, corresponds to what a wise king should do in order to help his
people. In attempting to kill the dragon, Beowulf acts out of generosity; heroic achievement
is given only secondary importance.
A heroic death, though, would have proved satisfactory on condition that Beowulf
had previously made judicious use of past prosperity to get things ready for his absence.
But the old king seems to behave as if that prosperity were to last forever; the outcome of
the poem will provide clear evidence against that assumption. Let us take a look at
Alexanders suggestion (1973: 31-2) that we may interpret Beowulfs death by drawing
attention to the fact that he has nobody to fight on his behalf:
Odisea, n 4, 2003

BEOWULFS WEAKNESSES

161

. . . Beowulf dies not because he is old, still less because he is (as some critics would say)
too greedy for gold, but because, now that he is king, no one will fight for him. In all his
previous encounters (and this includes the fights with men as well as monster-fights) he
is fighting for a lord and the lords people: he volunteers to serve. In his last fight he himself
has become lord: he fights for his people, but his people will not fight for him. Had not
Wiglaf come to help him he would have died without having killed the dragon. The
intervention of Wiglaf produces a resolution: both monster and hero are killed. But
humanity, the society of the Geats, now faces complete destruction. The heroic society
depends upon the honouring of mutual obligations between lord and thane.
Alexanders description of the state of affairs at the end of the poem is quite accurate,
but some objections may be raised as to its explanatory power. What I find particularly
relevant is not so much Beowulfs forced loneliness itself as the causes which have led to
that negative situation. Beowulf has not been able to train an appropriate successor prepared
to occupy his place on the Geatish throne after his death. Excessive protection is Beowulfs
predominant characteristic as a king; the overwhelming protagonism of the leader prevents
his people from shifting for themselves. This lack of personal development is best
exemplified by the cowardly attitudes of Beowulfs retainers during the kings fatal fight
with the dragon. Ironically enough, it is precisely at the only moment when the hero is in
real need of help when he is abandoned by all his followers but one; his kindness and
generosity are answered with a plain violation of the principles of the comitatus. When
Beowulf was a young prince fighting in favour of a foreign king, his warriors were willing
to die for his lord. The circumstances are now radically different. Through his paternalistic
government, Beowulf has functioned as the unconscious agent of an overall reexamination
of values among the carefree Geats; the heroic code has been replaced by a more relaxed
set of beliefs that commends the preservation of ones life. It may be argued that, in some
measure, this is a more modern society than the one we could find in Hygelacs days.
Nevertheless, the impending catastrophe is understood in its true terms when we come
to realize that this new society will need to comply, sooner or later, with the same old
structures of the Germanic world. Beowulf leaves his people in a situation in which this is
not possible; they have been deprived of the possibility of self-defence within a system
that makes war the order of the day. For example, we know that Beowulf becomes the king
of his people after Heardred, Hygelacs son, is killed by the Swedes (p.140). We may
wonder why Onela, the Swedish king, allows Beowulf to ascend the throne. Is Onela afraid
of Beowulfs renowned qualities? It is implied that, but for Beowulfs reputation among
neighbouring peoples, the Swedes would have conquered the Geatland then. The impressive
figure of the hero may delay the effects of these hostilities but, in a Germanic context, we
can take it for granted that they are neither forgotten nor forgiven; Beowulf himself takes
cunning revenge on the Swedes for Heardreds death, which calls for a fierce response as
soon as this is made possible by circumstances. The messenger that carries the news of
Beowulfs death to his people sketches out the feuds which the Geats maintain with other
peoples by making reference to their historical background; and the stress is mainly on the
Swedes, from whom a devastating attack is expected:

Odisea, n 4, 2003

162

FRANCISCO SANTIBEZ SENZ

That is the feud and enmity, the deadly hatred of men, according to which the people
of the Swedes will attack us, as I have no doubt, when they learn that our lord is dead. It
was he who in the past guarded against enemies our wealth and kingdomthe bold
shield-warriors after the fall of mighty menadvanced the peoples welfare and furthermore
did deeds of valour (p.169-70)
Beowulf possesses first-hand knowledge of this complex network of conflict and
discord, but he never seems to realize that his death would certainly reopen Pandoras box.
When trying to protect his people from the dangers of the Germanic world and ultimately
from the dragon, what he does is rather to hurl them directly into the hands of the enemy.
Howe (1989: 172) connects Beowulfs failure with his vain attempt to bring peace to this
violent universe: If Beowulf attempts the impossible, it is not in fighting the dragon by
himself but rather in holding to some vision of peace across the north. For there is neither
the force of national identity nor the authority of religious belief to maintain peace after
his death.
Beowulf, carried away by his good intentions, proves to be incapable of understanding
the frailty of the peaceful harmony he has provided for his people. A truly tragic dimension
is activated within the poem when we see the old king die with the idea in his mind that, by
killing the dragon even to the cost of his own life, he has managed to save his people.
The issue may become even more pathetic when compared with previous sections of
the poem from which Beowulf emerges as an accomplished political analyst, highly familiar with the key questions of his time. A good example is to be found in his assessment of
Hrothgars decision to betroth his daughter Freawaru to an enemy prince; Beowulf
foreshadows the adverse consequences of that measure (p.123-6) by reproducing, broadly
speaking, the same elements that we can find in the King Finn episode (p.74-8). In the same
way as Hrothgar fails to foresee the dangerous frailty of his agreement with the Heathobards,
old Beowulf will not be fully aware of the consequences of his death. Both Hrothgar and
Beowulf firmly believe that, by marrying his daughter to Ingeld or by fighting against the
dragon, they are acting wisely in favour of their people. There seems to be some kind of
unconscious rejection on their part to acknowledge the seriousness of the risks they take.
In plain language, we may argue that they cannot see the wood for the trees. It is interesting
to observe how both kings are able to anticipate the negative implications of the others
policy but remain blind when it is their own interests that are involved. We can draw the
appealing conclusion that this apparent paradox and Beowulfs decision-making in general should be explained on the basis of the inevitable deficiencies of human
understanding.
Finally, I would like to draw attention to two aspects of the poem which acquire
additional nuances of meaning when considered in the light of the reading proposed in
this essay: Beowulfs misinterpretation of the hoard and his incapacity to fight with swords.
There have been some attempts to regard greed as the main flaw of Beowulfs spirit.2 It
is true that a modern reader may have some difficulty in understanding Beowulfs insistence
In this connection, consider the following excerpt from Goldsmiths (1991/1962) well-known Christian
interpretation of the poem:

Odisea, n 4, 2003

BEOWULFS WEAKNESSES

163

on the rather secondary fact that he is battling for the hoard. A similar attitude may
accompany the reading of the following lines, in which the dying king urges Wiglaf to
show him part of the treasure:
Now quickly do thou go, beloved Wiglaf, and view the hoard under the gray rock,
now that the serpent lies dead,sleeps sorely wounded and bereft of treasure. Haste now,
that I may see the ancient wealth, the golden store, may well survey the bright and curious
gems; so that by reason of the wealth of treasure I may leave life more calmly and the
people which I ruled over so long (p. 157)
However, we should be fair with Beowulf and acknowledge that his desire to accumulate
riches goes hand in hand with his desire to work for the benefit of his people; there is no
individual interest involved here. The Germanic king is expected to fulfil his obligations
as a gift-giver, and this is just another sign of Beowulfs generosity. But, once more, the
king suffers from lack of penetration. He unquestioningly thinks that the treasure will help
his people to prolong the situation of prosperity that he has created; Beowulfs mistake is
made evident by the fact that the treasure, which is brought back to earth, proves completely
useless to the Geats. As pointed out by Schrader (1991: 493), [t]he glory and valor shown
in his climactic fight have ambiguous results, and the reburial of the treasure signifies the
end of his tribes glory, unlike Scylds passing from the Danes.
As for the second aspect, the reader will probably find it difficult to forget how, out of
his outstanding strength, Beowulfs sword snaps during his fight with the dragon:
Beowulfs old, grey-hued sword failed him in the fray. It was not granted him that iron
blades should help him in the fight. The hand was too strong which, so I have heard, by its
stroke overstrained every sword, when he bore to the fray a weapon wondrous hard; it was
none the better for him (p.154).
We may argue that, from a symbolic point of view, Beowulfs great difficulty in
mastering his own power when fighting with a sword stands for his inability to adapt
himself to the surrounding reality and, consequently, to evaluate appropriately the possible
consequences of his actions. In this sense, the image of the broken blade sums up quite
efficiently the points made in the body of this essay.
4. CONCLUSION

As Frye (1973: 36) aptly puts it, the inevitability in the death of Beowulf, the treachery
in the death of Roland, the malignancy that compasses the death of the martyred saint, are
of much greater emotional importance than any ironic complications of hybris and hamartia
that may be involved. Beowulf is a hero, and that is the overall impression that one
generally gets from the reading of the poem beyond any possible shortcoming. However,
The poignancy of Beowulfs last hours is made greater by the hearers knowledge that in bartering
his life for gold, he has committed the dire folly of buying what is worthless at the greatest price.
This is the supreme irony, that Beowulf, blinded by arrogance and desire for the treasure,
exchanges the remainder of his length of days for short-lived possession of the dragons gold. The
deluded old man finds comfort in this preposterous bargain. (Goldsmith 1991: 116)
Odisea, n 4, 2003

164

FRANCISCO SANTIBEZ SENZ

as I have tried to demonstrate here, looking at the characters weaknesses rather than at his
heroic attributes may substantially enrich our experience of the work as a whole. By
referring to the heros human dimension, it is possible to shed some light on the weaker
aspects of more traditional interpretations, which do not usually take into account Beowulfs
difficulty to keep in touch with reality. And, for those who may feel unmoved by the
elevated doings of an archaeological king and warrior, there is always an opportunity to
ignore the heroic stuff and search the poem for the pre-existentialist figure of the human
being tragically oblivious of what is going on around him.
WORKS CITED

ALEXANDER, M. (ed. trans.), 1973. Beowulf. A Verse Translation. Harmondsworth:

Penguin.
BRAVO, A. 1983. La fama como rasgo distintivo de los hroes anglosajones, in
Hroe y antihroe en la literatura inglesa. Actas del V Congreso de AEDEAN.
Madrid: Alhambra (pp. 90-8).
CLARK HALL, J. R. (trans.) 1972 (1911). Beowulf and The Finnesburg Fragment. A
Translation into Modern English Prose. London: George Allen & Unwin Ltd. All
references are made to this edition.
FRYE, N. 1973 (1957). Anatomy of Criticism. Princeton: Princeton University Press.
GOLDSMITH, M. E. 1991 (1962). The Christian Perspective in Beowulf, in FULK, Robert
D., 1991, Interpretations of Beowulf: A Critical Anthology. Bloomington: Indiana University Press (pp.103-119).
HOWE, N. 1989. Beowulf and the Ancestral Homeland, in Howe, Nicholas, 1989,
Migration and Mythmaking in Anglo-Saxon England. New Haven and London:
Yale University Press (pp.143-80).
OGILVY, J.D.A. and BAKER, D. C. 1984 (1983). Reading Beowulf. An Introduction to the
Poem, Its Background and Its Style. Norman: University of Oklahoma Press.
SCHRADER, R. J. 1991. Succession and Glory in Beowulf, in Journal of English and
Germanic Philology 90, 4: 491-504.
TOLKIEN, J.R.R.. 1977 (1936). The Monsters and the Critics. London: The British
Academy.
VIDAL TIBBITS, M. 1984. El Cid, hombre heroico, y Beowulf, hroe sobrehumano, in
Torres Alcal, A. 1984, Josep Maria Sol-Sol: Homage, Homenaje, Homenatge
(Miscelnea de estudios de amigos y discpulos) I. Barcelona: Puvill Libros (pp.26773).
YOO, B.-K. 1998. The Finn Episode and the Limitations of Hero in Beowulf, in
Milton Studies: The Journal of the Milton Studies in Korea 8: 519-30.

Odisea, n 4, 2003