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Am corectat în săptămâna aceasta cele 411 lucrări redactate de voi. Din păcate, 318 dintre voi
nu au promovat examenul, sau nu s-au prezentat. În caz că nu ați promovat examenul, deși ați
redactat un eseu, acest lucru se datorează uneia sau mai multora dintre următoarele cauze:
Pentru a vă ajuta să înțelegeți care este nivelul așteptat, i-am rugat pe unii dintre colegii voștri,
care au redactat eseuri notate între 8-10, să își transcrie textele, păstrând toate greșelile din
lucrări.
Vă rog să citiți atent lucrările acestor colegi, pe care le-am anonimizat din discreție. Veți vedea
că nu sunt perfecte: toate conțin greșeli ortografice, sintactice sau lexicale. Toate fac și mici
confuzii. De asemenea, multe conțin exprimări nefericite sau generalizări hazardate. În fine,
niciuna nu este scutită de naivități inerente vârstei voastre (atât de fericite, totuși).
Ne întâlnim luni la examenul de restanță. Acesta va dura 30 de minute și va consta din câteva
zeci de întrebări de tip 'multiple choice'. Nu îmi mai propun să verific cum scrieți, ci pur și
simplu să văd dacă ați citit textele și ați înțeles liniile mari ale materiei.
Succes tuturor!
Adrian Papahagi
Manna mildust… ond lofgeornost
These words are taken from the quasi-epilogue of Beowulf +, when the deceased hero is
being praised by his kinsmen at his burial. The ideas that we might subtract from these lines
coincide very well with the opening lines of the poem, namely where Sċield (Sċyld) Sċéfing,
father of the Danes, is presented. His name represents such qualities, that are characteristic
to Beowulf too. The similarity may be caused by the fact that these two personas are loosely
related, or by the sheer idea of “gód” and “fród cyning”.
First of all, the most important characteristics of Sċield Sċéfing are presented with the
help of his name, Sċield meaning ‘shield’ or ‘protection for the people’ (the second meaning
being used many times throughout the poem), and Sċéfing meaning ‘shafe-er’, ‘collector of
wheat’, ‘feeder of the people’. + Thus this forefather of the Danes grants his people protection
and nutrition. This double role will be highly important in the course of the poem. +
Beowulf will also follow the idea of the good king shaped by Sċield Sċéfing. He will be
human and warrior, mild and brave, caring and heroic at the same time. + As being presented
in the epilogue, Beowulf’s memory cannot be described by one simple term, but only with an
enumeration of complex adjectives, first of which is “manna mildust” + (= for men the mildest,
i.e. most caring for his people). This quality he also shares with Hróðgar, king of the Danes,
who has the titles “gód cyning”, “fród cyning” + and many times “miċes þéoden”, great leader
of the people. On the other hand, Beowulf is also (the most) eager for glory, “lofgeornost”. +
This term might indicate some kind of heroism, but if so, mainly pagan heroism: we might see
here the image of an excentric man, fighting alone for glory, for “þrym”. +
But is Beowulf, by being “lofgeornost”, a purely pagan hero? What is this character is
placed somewhere between the pagan “rex perditus” of Alcuin and the image of “imitation
Christi”? + As the poem takes place in Denmark, part of “Germania prima” in pre-christian,
historic times (“Hwæt! Wé Gardena, in geardagum…”) +, Beowulf can not (cannot) be a true
“miles Christianus”, but he might be part of the just as presented in the Old Testament. + He
has qualities correlating with Christian ideas: obviously he is good and caring with his people
as a king should be (see “manna mindust”), but he also tries to be an example to follow as a
hero (or even a saint) should be (see “lofgeornost”)! +
So we might assume that Beowulf is a king as well as a hero, a fighter as well as a proto-
pagan saint, a killer of external beasts as well as a defeater of inner monsters. Thus he can
truly be “lofgeornost”, eager for fame and glory, wanting to be a figure to follow. +
Nothing
The word and the idea of “nothing” appears many times in the theatrical works of
Shakespeare. It is presented, for example, in the tragedies of Romeo and Juliet, King Lear and
Hamlet as well.
We should notice here that in the Elizabethan slang the word “nothing” had been
pronounced more like “noting” +, thus being able to become a homonym: it might have meant
“not anything”, “noting as observing, seeing, percieving” or “noting as taking down musical
notes”. + It might have referred to sexuality as well, “thing” and “nothing” being male and
female sexual organs. +
It is interesting how Shakespeare uses different connotations of his word in different
plays. In Romeo and Juliet, one of Shakespeare’s earliest works, it has musical connotations,
associating the text with music, which was and is an inseparable element of traditional poetry.
+ Shakespeare, as being a well-trained, skilled sonneteer, immediately saw the connection
between the genre of the sonnet and the love story of Romeo and Juliet. +
The archetypal medieval court-love and the Elizabethan sonnet form play a huge role in
the play of the two young lovers: they speak 14 lines before having the first kiss, Romeo speaks
many times in form of a sonnet + and Juliet also dies having said 13 line – an incomplete sonnet,
or a sonnet completed by death itself. +
While in Romeo and Juliet “nothing” has a romantic resemblance, in King Lear it is closely
bounded to the procedure of kenosis. As Lear says to his daughter Cordelia: “Nothing can be
made out (will come) of nothing”, meaning that if she says nothing in order to express her love
for his (her) father, she will not get her part of the kingdom. It happens so, but in the end it is
not Cordelia who is left with nothing (she gets married and becomes the queen of France) but
Lear himself. + But the nothingness, the loss of his title and his wealth, is the only thing that
can make him find his true self, observe his mistakes, get through his past hamartia + and get
back to Cordelia. Despite all the before-mentioned things, Lear dies not a king (as Macbeth),
not even a noble heart, a prince (like Hamlet) but nothing. He is left with emptyness
(emptiness) and sorrow. (Yet, he has made use of nothing)
Hamlet is the play of Shakespeare which really goes deep on the theme of “nothing”. In
his famous soliloquy starting with “To be or not to be…”, the protagonist reveals the true
nature of humanness (humanity) – which is not (nothing) else than sheer nothingness. We
fear death because we fear nothingness, we fear of acting because we don’t see order and
aim in our actions. + This is the cause of the (Hamlet’s) suffering of Hamlet: the fear of
becoming nothing, the fear of acts meaning nothing, the fear of power leading to nothing. This
results in not-acting and not-deciding. The only agressive (aggressive) and powerful action
that Hamlet takes is also an act of hamartia + – stabbing Polonius, whose only guilt was that
he has been weak in character, enslaving himself to Claudius. The true action, the one that
Hamlet really wants to take is stabbing Claudius, murdering the killer of his father. But this
takes place only at the very end of the play – when there is nothing left but nothingness:
Ophelia, Polonius, Rosencrantz, Guildenstern, Laertes, Hamlet all dead. Nothing left, only the
story of nothingness,, carried by Horatio, who is left alive only because the story needs to be
told.
+ Macbeth
Snottor on mode
An accurate rendition of the oral character of the Old English literature is revealed in the
formulaic occurances that entangle this phase of the English culture.
One of the most representative anthologies of Medieval texts is The Exeter Book, where
one can find numerous poetic writings, from which the most striking are the elegies: The
Wanderer, The Ruin, The Seafarer. They all approach the themes of loss, misery and death.
Moreover, they resemble in that they have similar views. Regarding The Wanderer, this tackles
the solitude of man, focusing on the 'anhaga' and dispalying the weight he carries, by choosing
words such as 'burgstede burston'.
In this poem, as well as in the two already mentioned, 'mod' is one the primordial items,
offering the reader an insight into the holy and spiritual life, as the kenning for soul carries
such a meaning that is supposed to have a moralising effect upon the public. 'Mod' is seen as
the part of the being responsible for volition and intellect. Both components are closely
connected with the idea of God. Men should grow 'snotter' and 'cunnende' and to desert the
flesh pleasures, the worldly joys ('dream') in order to purify. In all cases, the poet assists to a
destructive apocalyptical scene, which arises the longing for eternity or for 'ece Drihten'. This
latter ideal is confronted by the transient dimension of life, the 'laene' phase, as Alfred puts it.
The earthly 'laene' is represented by the bliss and the happiness of the moment, given by the
company of 'freonde' and 'feond', but the poet in The Wanderer realises that even his soul,
'mon', or the self is limited by the transitoriness of the mortal existance. The Seafarer finds
himself in the same situation, oscillating between the call of the pleasures of his home, but he
longs for sailing and participating in this journey that has a cathartic role in his becoming. In
The Ruin we assist to a desolate landscape of the ruins of (probably) the roman city of Bath,
where the solitary poet finds solace in his own experience.
All the three elegies encompass the deep sadness of the soul caused by the ephemeral
hardships, but they eventually realise that this grim life is only a transformative device that
prepares their 'mod' for eternity by attaining this distance- named wisdom.
Fourteen
The number fourteen has a great importance in the sonneteering tradition, because a
sonnet always has a fixed form, with fourteen verses, and the rhyme following a certain
pattern. It is interesting that although all sonnetshave exactly fourteen verses, the rhyme
differs from one culture to another. For example, an English sonnet has a different type of
rhyme from an Italian one. Sonnets were greatly appreciated for their beauty and for the
mastery of the writers in expressing their feelings, and most sonnets were addressed to a lover.
William Shakespeare wrote over one hundred and forty sonnets, many of them being
about love, and some of them seem to be written for a man, while others, for a woman. The
„Shall I compare you to a day of summer” sonnet proves that Shakespeare considered nature
to be an important factor in a love story. In many of his plays, nature acts as a sanctuary for
the couples of lovers, and as a place where the characters find a solution to their problems,
for example: „Romeo and Juliet”, „A midsummer night's dream”, „As you like it” and „The
Tempest”.
William Shakespeare is also known for the „bawdy sonnets” whose principal subjects are
sex and lust. Similar to the fabliaux, the bawdy sonnets present an initeresting vocabulary, that
does not appear to be obscene. One of the most famous bawdy sonnets is the „Will” sonnet,
in which Shakespeare uses derived forms of the word „will” that could mean either the male
„private parts”, someone's intention to do something and even Shakespeare's name. For the
female parts, the term „nothing” was used. A famous „bawdy” scene containing this word is
found in Hamlet; before the „play in the play” begins, Hamlet makes several sexual-themed
jokes during his dialogue with Ophelia.
Another important meaning of the word „fourteen” is found in one of Shakespeare's
most famous plays: Romeo and Juliet. When Romeo and Juliet first meet, they „communicate
through a sonnet”, which may be interpreted as the perfection of love. Also, during the play,
we learn that Juliet is thirteen years old, and that shewill turn fourteen in a „fortnite”, which
is fourteen days. Juliet's age is very important because, when she dies, she is almost fourteen
years old; she is an incomplete sonnet that lacks maturity and patience, which is also the cause
of her death.
Caines cynn
The Anglo-Saxon society evolved around the idea of a king that protects and provides for
his people. Such a king was deemed worthy by his people, and in Beowulf, we learn that Scyld
Scefing was a good king („Þæt wæs god cyning”), because he defeated in battle the
neighbouring peoples(„conquered their meadhalls”) and forced the defeated to pay him
tribute. It can be said that Beowulf was even a better king than Scyld, because of the four
superlatives at the end of the poem, shortly after Beowulf's funeral(both the burning of the
corpse and the barrow erected in his honour stand as proof that Christian and pagan influences
are present in the poem): „the kindest of men, the most eager for praise”, etc.
Beowulf was admired for his glorious and honorable deeds: he defeated Grendel, the
marsh-dwelling kin of Cain(there needs to be noted the fact that Grendel killed thirty thanes
at once, and Beowulf has the strength of thirty men which means that the two are at least
equal in physical strength), the abominable mother of Grendel(he defeated her with an ancient
sword, symbolizing enta geweorc), and a Dragon(he slew the Dragon with Wiglaf's aid, Wiglaf
being the one who stood loyal to Beowulf until the very end), but lost his life after he was
poisoned with the Dragon's blood. Beowulf, as a „god cyning” told Wiglaf to share the treasure
with his people, and to protect the kingdom. Unfortunately, the Geats are utterly destroyed,
without the wisdom and power of Beowulf(and without a leader that is worthy of the four
superlatives). After the Geat kingdom is conquered, a solitary man tries to hide and guard the
treasure.
Not only does the „last survivor” in Beowulf try to do the will of his king, so does Deor,
who actually suffers as his king's decision was to give his lands and social status to a better
person. He laments his suffering, and compares it to other tragedies, ending each comparison
with the refrain „þæs ofereode þisses swa mæg”-”that went over, so may this”. An interesting
quote in Deor is „Þæt wæs grim cyning” - „that was a grim/bad king”. The grim king is
Eormanaric, king of the goths, known for his „wolfish ways”. In reality, Eormanaric ordered that
his wife should be trampled by horses, because he suspected her of adultery. Eormanaric
ultimately took his own life, because he feared an invasion of the Huns.
In „The Wanderer” the earth-stepper is alone, exiled, on the „hrim cealde saee”, stirring
the waves with his bare hands. He considers the loss of his lord/king as his greatest curse. His
lord was kind to the people, and offered the earth-stepper rewards. He dreams of his kinsmen
and the meadhall, but when he wakes up, he only sees seabirds, they and loneliness being his
only companions. In the end, the earthstepper sits, wandering no more, because he realised
that God isthe only stable point in a stable universe(the poem has a homiletic conclusion).
In „The dream of the rood”, Christ is mentioned as a warrior, fearlessly climbing his own
cross, his actions worthy of those of a germanic king. Strong both phisically and mentally, the
creator and guardian of mankind dies for „the sins of his kinsmen”. This poem also represents
the transition from a pagan religion to Christianity, in which Jesus Christ(„heofonrices
Weard”,”Frea aelmihtig” - Caedmon's Hym) resembles an ideal king.
God Cyning
Old English literature was written form 7th century to 10th century. The first old English
poem is considered to be ‘Caedmon’s Hymn’ whereas the latest is ‘The Grave’. Old English
writings are anonymous and the most important is one is considered to be ‘Beowulf’. Old
English literature is divided in two parts first one containing Heroic Germanic stories and the
second part containing Christian values.
Beowulf is the most representative old English poem, containing the idea of ‘god
cyning’. Beowulf is considered by some critics to be separated in three parts, centered around
the battle with each of the three monsters. The battle with Grendel introduces the idea of
reputation, the battle with Grendel’s mother symbolises the idea of revenge wherease the
fight against the dragon represents the chivalry code. There is another interpretation which
suggests that the poem is divided in two parts, centered around the phases of life: youth
versus death.
The most important themes in Beowulf are represented by loyality, reputation, envy
and revenge. The idea of loyality is introduced first from the very beginning. Beowulf is loyal
to Hrothgart because he helped his father and is also loyal to his uncle Hygelac. On the
contrary Beowul isn’t rewarded with the same value. When he chose eleven men to serve him
in the battle against the dragon only one remained loyal, Wiglaf. Reputation is really important
for Beowulf, always being concerned of how other people see him. An act of bravery is
underlined when Beowulf decides to fight the dragon alone. He is a wise man with little time
left, so he decides to die as a warrior.
The embodiment of envy is Grendel, he is envious because he can never share hope to
mankind as Danes do. He is a descendant of Cain, the son of Adam and Eve and he kills his
brother, Abel because of jealousy. Revenge seems to be a way of life for Germanic tribes.
Grendel’s mother revenge is presented in the poem. The most importants symbols in the
poem are represented by Heoreot which is not only a place to drink, but also a place of joy
and light, the place where are celebrated victories. In comparison with Heorot there is the
fenland, which represents the inheritance of Grendel and Grendel’s mother. They are
descendants of Cain and that is why their place can be associated with hell, a place where
sinners go.
Dragon’s treasure represents human’s defects and the dragon spends his entire life
guarding the treasure but it is useless for him. Another important symbol of the poem is
represented by the Banquet. Here they celebrate not only victories, but also the restauration
of harmony by building the destroyed place.
The identity of Beowulf- he is a pagan warrior who doesn’t believe in afterlife dimension
so he guides himself after concepts of loyalty, reputation and revenge. This concepts may
bring him imortality through the continuity of his individual memory. Women, according to
some critics have no role in the world of men. Contrary, beside the fact that they are queens,
they are also hostesses having the mission to ensure people at the mead-hall are having a
good time. Queen Wealtheow at her first appearance is shown sharing cups to king Hrothgart
which denotes the fact that he is the most powerful man at the table.
In the poem are underlined not only Christian values but also pagan ones. Christian
gestures are reflected in the fact that Beowulf always thanked to God after his battles, Grendel
is a descendant of Cain, the words addressed to Beowulf after he succeds in killing Grendel’s
mother seem to be like Jesus’ sermon on the Mountain or in the ending where Beowulf
decides to give his life for people, like Christ did once. The pagan elements are underlined by
the ‘wyrd’ which means fate. In Christianity there is no fate everything happens according to
Gods will. Beowulf’s sword was named Hrunting and was carved with strange symbols.
Thane’s swords were carved with incantations and prayers. In the poem is also emphasized
the practice of cremation which in Christian culture is not accepted at all.
Caines cynn
In one of the most representative poems of Old English literature, the opposition
between Christianism and paganism determines Beowulf. The hero has to fight the three
monsters, Grendel, his mother and the dragon, in order to restore peace within his kin.
Grendel is beign introduced as the descendant of Cain, a refference to the Old Testament story
of Cain and Abel, God banishing Cain for murdering his brother. Therefore, a Christian
refference within a pagan character, a monster, is one of the main features that are depicting
the duality and opposition of values found in the poem. Such matter can be noticed in the
hero himself, Beowulf, that although posses the qualities of a Christian king (strong enough to
protect his kin, patient, generous) is torn between these and the gain of fame and glory after
a battle that he thinks about, not just defending his people. Therefore, the “grim ond grædig”
(grim and greedy) monster that Grendel is, the one that lurks behind the moors and snatches
people away, is being killed by the God-sent Beowulf, God being ultimately pleased by the
perish of a monster that belongs to a line of a man that he once banished. Another character
who is descending from Cain is Grendel’s mother, that is driven only by the desire to avenge
her son. Revenge is also, if not a pagan, at least a non-Christian value ( at some point Beowulf
advises the king that it is better to seek revenge than to mourn a person) it is a moral justified
deed. Grendel’s mother is morally justified to attack Heorot, just like the dragon is morally
justified to protect the treasure, thus being a main feature in the germanic culture.
“Caines cynn” is the obvious reference to a Christian reading of the poem that
determines a pagan character reinforcing the villainous concept of the outcast. Such pagan-
Christian opposition can not only be found in literature but also in crafting. The Franks Casket,
a knife-carved box is the best example of such notion. On one of the panel that is divided in
two, we can observe the representation of the tale of Weland, wich after was casted by king
Nithad, he killed his sons and made cups out of their heads, jewels out of their eyes and
brooches out of their teeth. He offered such gifts to the king and queen, without them
knowing the provenience of them. On the right side is beign carved the Adoration of the Magi,
the Christian story of the gift-bringing Magi to the Christ Child. There is a strong opposition
between the gifts of revenge of Weyland and the gifts of love of the Magi, but also between
birth and death.
Snottor on mode
The Anglo-Saxon vision on human existence is one weighted down by sorrow, pessimism
and nihilism. This view is reflected in some admirable poems, such as "The Wanderer" and
"The Seafarer". The principal atmosphere is that of fatalism, a civilisation represented by one
individual's struggle against fate, "wyrd". In both poems the universal man is enbodied in a
singular persona, on the path of ilumination by suffering, a man caught in a wasteland, who
bitterly contemplates either the former glory of his world, either the hardships he has to
endure on sea, compared to the easy life on land. The striking similarity between the two is
represented by "the path of exile", the sorrows one has to face, the winterly wasteland.
However, the similarities end there.
Both the Wanderer ("eardstapa") and the Seafarer seek to become wise. However, the
ascetic way of enlightenment is through suffering, throught the passing of time and through
experiences (The Wanderer: "A man cannot be wise until he has lived a great deal of winters
in the kingdom of the world"). Suffering is needed in order to understand human's place in
the world: a post apocaliptic world, as it seems, in which the last survivor was left to
contemplate the death of his kin, the ruin of time (eald enta geweorc -the work of the giants
), the mutability of existence, the fatalism nature of existence. The poem is structured in two
parts, the first one dominated by the word "feel", and the second one by "think". The first 58
lines depict the exterior world, the path of exile in a frosted landscape, while the second part
focuses on the interior struggles of the man who finds comfort in the glory of God, the eternal
Lord (ece drihten). He is left to contemplate the former glory of men, followed by their death,
force that shallows everything: the massacre of men, the ruin of the meadhall, the absence of
his beloved Lord (ring giver). His companions appear as in a vision in the form of birds, symbol
for the departure of their souls. "Her bið mon læne, Her bið freond læne" everything and
everyone is "læne"- transitory, is about to disappear or has died already. The grief in his
"breast coffin" (a kenning for his chest, his soul), in his "mode" (both the mind and the soul) is
amplified by the harsh weather; the "way of the whale" (the sea) is covered by frost, the wind
bitrs furiously with cold. The Anglo-Saxon philosophy states, however, that "it is a kingly thing"
for men not to complain, to endure fate as it is ("a man should not complain unless he finds a
solution to his sorrows"), to endure the lonelyness. The poem concludes with a gnomic
formula: the only consolation a man has is in "the eternal lord", just as Deor concludes: "This
has passed, so may this". Even pain and solitude will pass, once the Wanderer reaches "Fæder
on heofonum" (the Father in heaven).
A similar vision is shared by "The Seafarer", whose travel is not on deserted land, but
on the sea. There is no apparent reason for his travel, his facing of hardship and sorrows, and
yet, the path to wisdom lies through suffering, a feeling even more amplified than in the
Wanderer. While in the first poem the anxiety comes from the transitory fate of man,the
former glory and the fallen present, the Seafarer has no melancholy for the glorious past. He
views his travel as a moral duty, he suffers from hunger, thirst, cold, the absence of his kin's
company (his only company is the seabirds song,the cuckoo's song which it seems to bring
death). The beggining of the poem is of major importance in both poems: in the Wanderer
"Oft him anhaga"- often the solitary man- and in the Seafarer "I will sing a song about the
sorrows.."I" denotes a confesion, including the reader in the seafarer's jpurney of toil. Once
again, the critics have understood in his attitude a form of ascetic understanding of life. In
such manner it is created an expressive parallel between the comfort of living on earth (the
people happy and flushed with wine) and the wretchedness of the sea. It has been argued that
the path of exile here is a metaphor for life itself: a way that must be endured alone in order
to understand it. "Mode" , both the soul and the mind, is characterised by sorrow and yet, the
seafarer does not complain, but accepts it. Unlike the case of the Wanderer, the Seafarer's
exile is the path that he chose, leaving behind the pleasant life of the hall, his companions and
love.
For life is a journey that must be experienced alone, where all things are transitory,
earthly wealth will disappear, men will die, and death is the only certain thing. Death and the
mighty Lord, the Creator, whose powers are limitless.
Snottor on mode
English language has in its wealth lots of works written and transmitted to us from
hundreds of years ago.In their composition are hidden ideas and images of a different
mentalities, different people, in a word a different shape of the world.
Old English works talk about life and death, light or darkness, happiness or sadness but
also about wisdom. Wisdom is the characteristic expressed in unique ways in poems like “The
Wanderer”,” The Seafarer” or even in “Beowulf”. +
The Wanderer is the most representative poem where the word “wisdom” is the best
defined.+ It talks about a man who and to be have lots of friends and a beautiful life but after
the battle all of them are gone. From the beginning it is highlighted the idea of exile saying
that “The solitary man may know grace, the mercy of God” but only after travelling on the
iced-cold sea and living a life full of suffering, a life of exile.+
This poem highlights from the beginning the words like “anhaga“,”wintercearing“ which
transmits to the reader the image of suffering. They are accompanied in the poem by the same
beginning of a few lines with the adverb “Oft” suggesting the interminable and frequent
feeling.+
After suffering a life full of loneliness and wretchedness moments a person should be
well prepared to understand and diserve a better lifestyle. This argument can be supported
by the verse from the poem “No man may know wisdom till many a winter has been his
portion”.+
Wisdom is also used as a motif in the Old English poem “Beowulf”.For instance,in the
story the hero is presented from two persepectives:one of them is when Beowulf it’s young
and belives in himself that he can handle anything fighting with his bare hands and the other
should be his last battle when he loses.Only then he gains wisdom and lets his destiny in fate
and in God.+
These poems brings along with the idea of wisom,the one of fate.”Wyrd” is the aspect
which can be included in the one of wisdom.Fate means believing in something superior and
using that idea to espress the rational thinking.For example,at the end of the poem when
Beowulf is closed to his death he says that only God can save him and lets his destiny in his
hands.+
As literature is characterized by de word “mimesis” we should reflect on the idea and
try to find ourselves in those lines.+Wisdom is something which comes through time and not
seomthing that we are borg with and in a way it is important and usefull to know what to
expect from life even from this poem.
Gustav Jung composed a theory of the archetypal hero which says that life it is the work
between the light psyhe and the darkness.+
As a knight which fights through good and bad we should also try to go through life with
calm and courage.
To sum up, wisdom is an interesting characteristic found especially in the Old English
poems “Beowulf” and “The Wanderer” and should be regarded of us as some useful stories of
life.+
The Oxymoron
While emotion has always been an element of wonder for the artist and the writer, its
depth seems many times unreachable in terms of expression. In English Literature, poets and
prose writers resort to oxymoron to express the unexplainable, and Shakespeare becomes a
master of ambiguity for the Early Modern English.
In Old English Literature, the oxymorons that can be found mostly concern elements of
Fate, Death and Wysdom: the collapsed ruined of a city are wonderful, the coldness of
isolation is burning, and the apocalyptic picture creates a mixture of feelings painted in
complementary colours. However, in Middle English literature, the element of comparison is
switched to love, and in a culture of chivalry, courtly and uncourtly love, the French-inspired
troubadours introduce the “suffering of love”. This feeling of vitality becomes a war in which
the sentiment itself is less analysed in comparison to the process of transforming a moment
of passion into a refined work of art: the man’s life and happiness depends on the lady’s
refusal or acceptance to his love.
Shakespeare exploits this idea during Modern English literature days, as best seen in his
signature play, “Romeo and Juliet”, as well as in his sonnets. The play, argued to be a
dramatized sonnet itself, debutes with Romeo’s love-stricken monologue, filled with
oximorons of great intensity: “Oh, brawling love! Oh, loving hate! (…) Oh, misshapen chance
(…)!” However, the most prominent oximoron in the play is between the love of Romeo and
Juliet, characterised with violence and death. More than a war of happiness and woe, love
becomes a luxury that the more the two “starcrossed lovers” dive in, the closer they are to
death and misfortune. As a forbidden terrain, Romeo and Juliet have to defy all social
institutions to enter it, even though they try to please each of them: the church, the political
ruler of the country who banishes Romeo, the patriarchal power of Juliet’s father. Following
the Shakesperian pattern of the “green world”, as described by Frye at the end of the 16 th
century , they seek the outside of the city, of the social circle, to let their love flourish. But
even here, the place is met by death: it is a cemetery, and as if it is an unfinished comedy, the
tragedy ends before they can return to the city happily fulfilled by love. Instead, death
overwhelms their affection, just as it has been hinted throughout the play: after they get
married, the morning is a moment of dismay, they see each other as corpses, and the night,
darkness, is their escape and hope, opposite to the stereotypical Elizabethian metaphors and
formulaes.
C.S. Lewis talks in “The Allegory of Love”, chapter one, “Courtly Love”, of the four marks
of this romantic affection: , Courtely, Adultery and the Religion of Love (Love can be an
extension of, a redeem from, or a rival of love), but in the Shakesperian romantic sonnets and
tragedy, we see that love, instead, is, as an oximoron, marked essencially by death instead.
Snottor on mode
The collective subconsciousness of the anglo-saxons seems to be charactarised throught
the body of work they left behind by a sense of fatalistic, deterministic outlook on fate
(“wyrde”) which can only be healed through a kind of philosophical consolation (Boethius).
The kings (Þæt was god cyning), the wanderers (earcstapa), the artists, all seem to seek a
gnomic interpretation of their reality. What they sought the most was dignity (JRR Tolkien,
“The Monsters and the Critics”).
When Caedmon “sang his song”, it was after an angel-like image occurred in his dream;
it encouraged him to sing in public to embrace that which he was most afraid of. This is the
basis of the Old English language and it’s idea still echoes in the “Wanderer”, where comfort
is sought out in sorrow (sorg to frenen), in “The Seafarer”, where that which is melancholy
starts to appear attractive to the disillusioned mind. In “Beowulf”, the protagonist is
confronted by conflicts in which he is less and less justified to retaliate (Grendl, Grendl’s
mother, then the dragon). The material rewards he receives from the first king are the ones
condemned in “The Ruin.”
It helps to consider what exactly was seen as a “good king” by the anglo-saxons: a
courageous, powerful (such as the image of Jesus in “the Dream of the Rood”, a result of
christian and nordic theology at once), merciless, which resulted in a better economy (based
on agriculture). As we see toward the end of Beowulf, there is a transition from this said
conception to a more christian one: Beowulf was a “friend to men”, “full of love.” It resembles
the image of the master in “Deor”, the godlike entity to which the voice in “The Wanderer” is
so nostalgic.
Another element prevalent in the anglo-saxon conception of wisdom is the transitory
nature of all material, even mutable (as we much later see in “Everyman”) objects and ideas.
The formula “Þæs ofereode, Þisses swa mæg” in “Deor” is a prime example of this. In “Deor”,
we’re transported through a (typically medieval) interlace of mythological artists (Welan, the
rapist smith of Old Norse),geit rulers, men, women, who all faced struggles and perished along
the way. The poem raises this idea to the paradigm of cultural rivalry, as Deor becomes
obsolete under the success of a new poet. Thus, even art is transient in the end. The “hwær
cwom”, anglo-saxon “ubi-sunt” formula which appears in “The Wanderer” is another prime
example of how this type of meditation resulted from the actions of men and the sublime
forces of nature.
Possibly the most impersonal gnomic poem is “The Wanderer”, where nothing is related
in the first person and all we see is the material ascent and descent of human possibility,
starting with the anticlimactic first verse: “Wreatlic Þes wealstan, wyrde gebrecan.” The style
and structure of the poem gives the impression of human greatness even in the process of
meditation on fate.
Another important gnomic concept is that of taciturnity, the outcast (“wreaccan”) who
in his exile (“wreacclas”) keeps all his thoughts to himself. It is the type of wisdom later echoed
(unconsciously and hazardly) in the works of Shakespeare (“Speak less than you know”…).
These artists were probably not inspired by Boethius’ “Consolation of Philosophy”, but
it paints a vivid depiction of the general mindset in which they lived. The fatalistic dimension
was ameliorated somewhat by fate, but more importantly by an idea of “all things in their
right place”(again, echoed in Shakespeare).
It is also important to note the distinction between the influences which nordic,
christian, and roman traditions had on the anglo-saxon mindset (most concisely depicted in
the Franks Casket). For example, the characters in Beowulf are pagan, but Grendl is marked
by “Cain’s kin” (Caines cynne).