Throughout human history, societies have consistently envisioned venerated, robust figures whose character traits are constructed to create the ultimate individual to whom many admire: the classic hero. It is inherit that unique standards are sought due to humanity's yearn for safety, social change, and human satisfaction. A time period's societal standards greatly affect who a hero is; ideas of modern-day heroes are vastly different than in the past. Beowulf, the most noteworthy Anglo-Saxon hero, illustrates the distinction between past and present heroes. Despite the obvious differences, some values have not changed: courageousness, leadership, and strength. The classic hero would not be themselves without an entity who opposes everything …show more content…
Monsters are the individuals that contain the traits that are feared and go against social standards. That is why today, our monsters are those who murder, rape, terrorize, and commit acts with evil intent. Anglo-Saxon monsters ultimately contain these characteristics as well; however, their portrayal shows the distinction between modern society and past societies. Past cultures made large amounts of references to mythical creatures when describing monsters, especially when compared to modern society. Notwithstanding their disparity with everyday-like monsters in modern society, past monsters still hold the same core facets which set them apart from our heroes: envy, greed, jealousy, and evil. Nonetheless, it is ultimately fear and the perception of those fears that gives the impression of who the monsters are. For example, a Middle Eastern civilian may view American soldiers as monstrous individuals for their unwelcome presence, but from an American’s point of view, the soldiers are heroic. Perception of fears is also where contemporary monsters and Anglo-Saxon monsters begin to differ. Because of the godly culture, Anglo-Saxon monsters typically include demonic traits represented in a variety of ways. They also contain traits that were deemed “sinful” in the eyes of the pious Anglo-Saxons. Grendel is an exemplar Anglo-Saxon monster through his portrayal
Monsters are born in literature through their words, origins, thoughts, and actions. Into Thin Air, by Jon Krakauer, as well as Burton Raffel’s Beowulf, contain such monsters that are large impediments to the hero’s quest. Also the expeditions or quests are affected in terms of intimidation by the monsters who are always overwhelming at first to the pessimistic eye such as how the Israelites viewed Goliath, the Philistine, when David went to fight him. A monster’s thoughts, origins, and words are often used to construct the description of monstrosity in literature and are very critical.
Monsters in today’s society can range from politicians to so-thought friends to your own thoughts. Today’s monsters do not necessarily ‘snatch[ed]’ or ‘rip[ped] at you, but they do impact you heavily. Some might argue that today’s monsters are indeed ‘born of Cain’, however they do not possess ‘claws’ or ‘powerful jaws’. From a young age, friends often come and go. More regularly than not, they leave a permanent scar – a mental one that is.
To answer the question of “Who is the monster?” when talking about “War of the worlds” and “Monsters”, one must understand what a monster is. A monster is not simply a creature so ugly or monstrous it frightens people, it can also be defined as a person or thing who excites horror by wickedness or cruelty. This second definition establishes that we, humans, can be classed as a monster even if we do not fit the stereotypical description of what a monster looks like. This question is an important
In Jeffrey Jerome Cohen’s Monster Culture (Seven Thesis), Cohen analyzes the psychology behind monsters and how, rather than being a monstrous beast for the protagonist of the story to play against, “the monster signifies something other than itself”. Cohen makes the claim that by analyzing monsters in mythology and stories, you can learn much about the culture that gave rise to them. In Thesis 1 of Monster Culture, Cohen proposes that “the monster’s body literally incorporates fear, desire, anxiety, and fantasy”, specifically the fear, desire and anxiety of the cultures that gave rise to it; for example, vampires, undead, represent a fear of death. Monsters are born of an intense fear, desire, or internal conflict, “at this metaphorical
Monsters will NEVER ever die: all cultures around the world have them and have had them since people first thought of them. Distinguished Professor of Philosophy at Columbia College Chicago, Stephen T. Asma, in his essay, Monsters and the Moral Imagination, describes how we look at and are drawn to monsters. But not just monsters, murderers and psychopaths also. Monsters never age, ranging from the first civilization to now. In Asma's essay he asks, "Why do monsters exist?
Both authors paint a grotesque picture of their creations and how they both desire to destroy beauty; Aesthetic Iconoclasm, that is shared between the two figures. However, both authors present their monsters separate to one another in philosophy; with Grendel being a mindless savage and the Monster being more contemplative and questioning the nature of its own creation. ‘Monster’ characters have always been a target of both folk tales and pagan myths since the dawn of humanity, the very concept of a monstrous creature harkens back to the primal fear instinct of facing a dangerous predator that presents a danger to humanity. Grendel from Beowulf is the perfect example of this hysteria and
Masculine Ideals in Anglo-Saxon Society The concept of a hero is prevalent through all generations because it presents a template for ethics and behavior. Beowulf is a pivotal epic told by poets throughout early european society and mirrors the manly nature of their ideal hero. The patriarchal values of the Anglo-Saxons are displayed through the epic Beowulf. The characters’ loyalty to their leaders as well as their conventional sense of masculinity indicate that the values of a society determine the values of an individual.
For centuries stories have been told about monsters. Stories that include monsters themselves as the main character, and stories that include a battle between a heroic figure and the monster to represent good vs. evil. The root word for “monster” is “monstrum”, which means that which reveals or warns. A monster is the product or symbol of a culture from which the monster comes from. They are more than their physical body and entertainment value that plays into these stories of the monstrous figure we read about or watch in movies or television.
Christopher Reeve (AKA the 1978 superman) said that, “A hero is an ordinary individual who finds the strength to persevere and endure in spite of overwhelming obstacles”. Both Beowulf and Modern day heroes are similar in that way in that they fight for the common good of people. That quote from Christopher Reeves on what a modern day hero is, also applies to the epic hero qualities that Beowulf has. Similarly Beowulf and a modern day hero defeat an evil so that good can prevail. Some examples are, Beowulf Slaying Grendel and Grendel's mother to save the land of the Danes, and soldiers fighting enemies that threaten the lives of a country, and police officers putting criminals behind bars.
Grendel is classified as a monster due to his outsider status of being an outcast, unreligious, and dishonorable, which establishes him as the antithesis of Anglo Saxon culture. As an outcast of society, Grendel represents the idea that in Anglo Saxon culture unity and cooperation is what holds society together. In a world classified by kinship and strong family lineage, Grendel is “conceived by a pair of those monsters born of Cain, murderous creatures banished by God” (Heaney 22). In a society focused upon blood lineage and strong family ties, to be related to a “monster“ in any form is something sinful, and cause enough for complete hatred.
In Jeffrey Jerome Cohen’s Monster Culture (Seven Thesis), Cohen analyzes the psychology behind monsters and how, rather than being a monstrous beast for the protagonist of the story to play against, “the monster signifies something other than itself”. Cohen makes the claim that by analyzing monsters in mythology and stories, you can learn much about the culture that gave rise to them. In Thesis 1 of Monster Culture, Cohen proposes that “the monster’s body literally incorporates fear, desire, anxiety, and fantasy”, specifically the fear, desire and anxiety of the cultures that gave rise to it;; fFor example, vVampires, undead, represent a fear of death. Monsters are born of an intense fear, desire, or internal conflict, “at this metaphorical
Molly Childree Fleischbein EH 102.147 Draft February 5,2018 Our world is full of monsters, some imaginary, but most are legitimate and terrifying. In his text “Monster Culture (Seven Theses)”, Jeffery Jerome Cohen examines the use of monsters in literate and cinema. Cohen makes the claim that the use of monsters, historically and presently, in forms of entertainment symbolizes more than just the fear they instill in audiences. A monster is no longer just a monster.
The monster archetype has been one of the most riveting archetypes that surrounds the concept of ‘evil’. It has been portrayed as a supernatural creature with grotesque features that normally brings disruption to the city and needs to be tamed or controlled to bring once again peace to the story. Due to this, it is most commonly depicted with a negative connotation, and with the idea of horror and fear. The monster has been present since the bible, which was written approximately 3,400 years ago, with the anecdote of Goliath. It has remained with its primary role of converting the protagonist into a hero and providing fear to the storyline.
From all this, we know that the perception of a hero from Beowulf’s time differs from our perception today. As we feel that the intentions define a hero while in Beowulf’s time the reputation and accomplishments are what makes a
A genuine definition of a monster is an "imaginary creature that is typically large, ugly, and frightening," but in the poem Beowulf a monster has much more meaning than just an imaginary creature. Monsters were commonly used in stories written during the pagan times. Throughout the plot of ‘Beowulf,' the protagonist Beowulf faces many obstacles that include fighting monsters: Grendel, Grendel's mother, and a Dragon. The monsters in Beowulf are present for a substantial reason to contribute towards the story, and they are symbolic of many qualities in the Anglo-Saxon culture.