The Erl King

In the Epic Poems Beowulf, by an anonymous Anglo-Saxon poet, and Grendel written by John Gardner, Grendel, regardless of what he does, has been seen as unsafe to man. Grendel, perceived as treacherous, is just misunderstood and an outcast to society. The back story of Grendel is crucial to the reader’s understanding of Grendel becoming a monster. Grendel’s life experiences of his environment, men and meeting a dragon contribute to the drastic change.

The inhumanity of humanity is an intriguing paradox explored by John Gardner in his 1971 work, Grendel. Little is definitively known about the physique of the novel’s eponym, Grendel, but he is portrayed as decidedly inhuman; Grendel dwells on the skirts of humanity, in both a literal and figurative sense. While not human himself, Grendel experiences an incessant urge to explore humanity and the communities that compose it, including the Spear-Danes tribe. Through Grendel’s observations of human culture, he develops an understanding of his own monstrous stereotype. In Chapter 6, Grendel finally succumbs to the expectations put forth by human society, which closely parallels the approach taken by Unferth, a celebrated Danish warrior.

Set in an era long before the customs of contemporary western civilization, Heaney’s translation of Beowulf follows the courageous hero through an epic journey that solidifies his figurative immortality. Much like the Greek’s great Odysseus or the Roman’s devout Aeneus, Beowulf serves as an impressive and almost godlike warrior for the Anglo-Saxons, providing insight into the constituents of greatness for that society. Confident in his abilities and committed to his task, Beowulf voluntarily embarks on a mission to defeat Grendel, the treacherous enemy of the Danish kingdom. Beowulf solidifies his classification as an epic hero as he satisfies his quest for glory, saves a kingdom from destruction, and reveals the values of an era.

John Gardner’s Grendel is the retelling of the heroic epic poem Beowulf; however, the viewpoint has shifted. Grendel is told from the viewpoint of one of Beowulf’s antagonists and the titular character of Gardner’s work—Grendel. In Grendel, Gardner humanizes Grendel by emphasizing parallels between Grendel’s life and human life. Through Gardner’s reflection of human feelings, human development, and human flaws in Grendel, this seemingly antagonistic, monstrous character becomes understood and made “human.”

The story of Beowulf is an ancient one, and one that has been passed down for generations. The ideals and themes are traditional and its message is clear throughout the entirety of the epic poem. Beowulf is told from the third person omniscient point of view, his conflict was always what one would call “the bad guy” or “the villain,” and though he died in the end, he won gold and victory for his kingdom; all bad guys defeated. John Gardner, author of Grendel, decided to take the classical story of good and evil, and tell a new story from the villain’s perspective. Grendel explores varying literary elements which exposes the character of Grendel to readers along with various themes represented throughout each page.

The criminal, the princess’ ex-lover, saw a guard come close to his cell, and unlock it, the key clicked in place. Rough hands grabbed him, it was time for the final judgement, the arena; would he live, or die? As he stumbled out onto the sandy stadium, the crowd cheered, but he only looked up, to the princess. Ultimately, the real loss was of the princess, who had either a dead soul mate, or one with another woman. In “The Lady, Or the Tiger?”, Stockton’s choice of point of view brings to mind the telling of an ancient tale rather than a formal narrative, encourages the reader to keep thinking even after the original narration has ended, as does his choice in framing the exposition and the plot structure.

The rigid and confined society of the Danes also shaped the way its people think and act, but also influenced greatly on the writings. Given the fact that metaphors and kennings are common in Old English literature; the representation of “evil” is also something not to be taken on a literal level. “Edgetho had begun a bitter feud / Killing Hathlaf, a Wulfing warrior” (459-460), inter-tribal feuds, therefore, are also a destroyer of peace. Grendel takes on a form that is left uncertain; its real meaning hidden behind the metaphorical mask of a monster, is the never-ending battles between tribal armies (namely, the Danes, Geats, Frisians, and the Swedes) that had disturbed the tranquility people had longed for. It is almost a barrier of peacekeeping, hider of hope. Hence, it is represented by Grendel, a great evil hated by many, whom

John Gardner offers an alternate interpretation of the old english epic “Beowulf” by narrating the experiences of the monster Grendel, after whom the book is named. Grendel conveys himself as a homicidal, ravenous beast, only capable of destruction and chaos. Therefore, one can conclude that Grendel is indeed evil, and that he well deserves the cessation of his existence. However, depending on the philosophical ideologies and the relative perspective one finds self in, they may conclude differently. Nevertheless, the reader may likely to find one’s self both sympathizing with, and scorning Grendel, because, as the 10th century old english monster says, “balance is everything”.

John Gardener’s ‘Grendel’ depicts the monstrous Grendel, previously portrayed as the vicious villain in ‘Beowulf, journeying through his life, attempting to achieve some kind of self-realization. Spending much of his time observing humans, Grendel develops a great disdain for religion. Gardener reinforces Grendel’s with anti-religious quotes from poets and philosophers, like William Blake and Francis Nietzsche. As his spiritual void increases, Gardener slips into an existential despair, fueled by the talk of the Shaper, who’s strangely persuasive words confuse Grendel’s underdeveloped mind. Finally, as Grendel slowly recognizes he is separate from men, his encounter with the dragon drives him to the self-realization that he is a monster

Beowulf, known as the oldest poem in the written English language, written with no known author, tells a fascinating story involving an epic hero of his time and a not so understood “monster.” The hero’s name is Beowulf, purposefully being the same title as the poem itself, he sets out on a journey from his home to the Danes from a terrible creature that’s harming innocent people. As any “hero” would. Beowulf wants to prove to himself and the people that he is, in fact, the strongest man on earth. Although Beowulf is a fine piece of writing on its own, it fails to tell all of the story, just like any other one-sided story does. But, thanks to the novel, Grendel, written by John Gardner, we get to peek inside the villain’s life for a change, which ultimately very well may change the reader’s view of the story completely.

She loses sight of who she really is and instead, sees herself the way others see her. While they are in the forest, she notices that when the Erl-King calls for the birds, “the birds come; and the sweetest singers he keep[s] in cages” (Carter 87). The Erl-King proves to be no different from the Marquis, where he objectifies them based on their female bodies and is only interested in their physical characteristics. As a result, due to his narrow views on women, he places a ring around each of their necks, commands them like they are his pets and puts the ones he deems most valuable and precious on display in locked cages.

The greatest metaphor throughout this tale is the black cat. While the narrator’s wife has been known to refer to the dark-haired feline as a “witch in disguise”, the metaphor for Poe is that the cat is not only a superstitious monster but it is also a metaphor for being the narrator’s own personal demon (Poe 706). The recurring events with the black cats in the story portray that they are metaphors for the narrator’s own problems that haunt him. As the series of events continue throughout the story, the cat becomes a visual element in the scene for the narrator’s recurring violence and finally brings him to the point of his insanity.

The epic tale of Beowulf was written sometime after his death. In other words, a long time ago during the Anglo-Saxon period. Today, directors in Hollywood did not keep from creating their own rendition of this epic poem As a result, plenty of modern interpretations of Beowulf, such as Sturla Gunnarsson’s Beowulf and Grendel, have been released. Naturally, the cultural values that might be reflected in modern Beowulf renditions will demonstrate a clash with those of the original fifth century Beowulf literature. One reason for this is that in the modern age we value characters with profound characteristics, characters that change due to the challenges they experience; characters that we as the audience can attach to. Flat characters like those of the original Beowulf text are difficult to empathize with since they are not realistic enough for our standards. Due to these differences in culture and values, the Beowulf and Grendel from the original Beowulf text possess definite contrasts when compared with their Beowulf and Grendel counterparts.

Beowulf is an epic dense with imagery derived from Anglo-Saxon Pagan culture and Christianity because it is was written in England during the 8th century, a period of Christian migration, growth, and conversion. From the sea where he loses a fight but fends off evil sea-monsters, the forests, and specific animals such as the raven, Beowulf blends nature, mysticism, and reality seamlessly. The descriptions of nature are general and vague which makes it hard to tell exact locations and lets the reader form their own, personalized visualization of the area; likewise, the role of nature in the lives of the Anglo-Saxon culture and Pagan religion remain unclear at best. Provided with many images of nature in Beowulf, this analysis will extract a deeper understanding of how the Anglo-Saxons used their Paganistic view of nature to help shape Beowulf.

The man describes an identical situation at the end of the poem, saying, “Thoughts of a dry brain in a dry season” (76). The concept of nature as a source of order is based on its function as a cycle. The old man waits for the cycle to deliver him from his spiritually dry state to a place of fulfillment. But nature brings no change to the man and leaves him in the same arid condition in which he began. The failure of nature to provide a cycle is supported by the natural, stationary images in the poem, such as, “Rocks, moss, stonecrop, iron, merds” (12), and the “Gull against the wind, in the windy straits” (70), which shows nature forcefully impeding the progress of the bird, just as its lack of cycle reinforces the stagnation of the old man’s mind, body, and spirit.