Professional Documents
Culture Documents
Block 8
10/12/2009
In the analysis of Modernist literature, one key and defining element that pervades
almost all works in question is the occurrence of alienation. This facet, loosely put, is
alienation found in Anglo-Saxon works vies in a far different direction: that alienation is
caused by internal decisions made by the character or influences from peers (culture). In
J. R. R. Tolkien’s Beowulf: The Monsters and The Critics, Tolkien dissertates that the
theme of Beowulf is man’s struggle and ultimate defeat – engaged “in a struggle which
character. In his The Metropolis and Mental Life, George Simmel summarizes modernist
alienation, stating that the element "[derives itself] from the claim of the individual to
preserve the autonomy and individuality of his existence…” – an argument that draws
viable context for discussion concerning the similarity of Beowulf in comparison to works
environment (Nietzsche’s nihilism that “God Is Dead”, or other events beyond the
driven, active form of alienation. Beowulf makes it abundantly clear that he has made an
active choice to embark on his campaign in lines 416-17 and 425-26 stating, “…my
for Grendel, settle the outcome in single combat.” Throughout Beowulf, Beowulf
consistently makes choices that, though predestined for him by wyrd, will see to
guarantee his immortality in the eyes of his people. Alienation for Beowulf is not
cultural dogmas and peers. This idea is exhibited plainly when Hrothgar conscripts
Beowulf to slay Grendel’s mother as retribution for the death of Aeschere, telling
Beowulf to “seek it [Grendel’s mother] if you dare. I will compensate you…with lavish
wealth…if you come back” (lns 1379-1382). Beowulf is epic, and his struggle is so
colossal, his actions so unparalleled and unmatchable, that they thrust him above all
poet has devoted [the] whole poem to the theme…that we may see man at war with the
hostile world, and his inevitable overthrow in Time.” This again comes from Tolkien and
unique accolades – Beowulf must die. In Tolkien’s The Lord of the Rings: Return of the
King, Theoden amasses his Rohirrim to answer Gondor’s call for aid during the Battle for
Pelennor Fields. Theoden’s act runs parallel to Beowulf’s slaying of the dragon, in that
two things, neither of which can exist without the other, are guaranteed: glorious death,
and lasting immortality. The dragon is to Beowulf what the forces of Mordor are to
Theoden: the confirmation of their legacy, but also their sacrificial death to attain it. Fate
and wyrd also pervade Beowulf – differing from Modernism’s evidential absence of God,
in that humankind is left to resolve conflict via its own devices. Beowulf himself is aware
that he will be “overthrown in time” when the scop narrates that Beowulf “…was sad at
Evan-Paul Marius Christensen
Block 8
10/12/2009
heart, unsettled yet ready, sensing his death. His fate…would soon claim his coffered
soul…” (lns 2419-2424), yet still will attain immortality; the ultimate goal as prescribed
by his culture.
Beowulf and modernist characters both contend toward alienation with their
struggle for radical individuality. When Nietzsche published his nihilism, it shattered
foundations were lost in the flood progression and change, left behind, circumstantially
thrust into alienation. On the other hand, Beowulf actively strives toward reaching an
epic status, instead leaving the “common” and “inadequate” – those that settle for being
ordinary – behind. While modern characters are volunteered by the rest of the group
literature; that of the ultimate hero, the ultimate warrior, who struggles epically toward
guaranteed loss without hesitation. This death knell utterly alienates Beowulf from his
Anglo-Saxon peers because of his choices – quite differently from the circumstantial
alienation of modernist literature. The fervent ardor with which this alienation is striven
literature and Modern literature. The whole work, all of Beowulf, circulates around the
theme of “man alien in a hostile world, engaged in a struggle which he cannot win.” After
all, in The Monsters and the Critics, Tolkien says, “It is an heroic-elegiac poem; and in a
sense all its first 3,136 lines are the prelude to a dirge: one of the most moving ever
written.”