The Beowulf poet doesn’t describe Grendel and his mother’s appearance because it makes people imagine how the giant monster is supposed to look like. Yes, the poet should have left a brief description of their appearance. When people can imagine the monster’s looks they can make it look scary by their standards. People have different ideas of what they would find scary, and if they get a detailed description of a monster they might not find that monster’s image as scared as it could be. They can imagine if Grendel’s claws are strength and sharp like a knife or are curved and thin like a cat’s claws.
When reading the poem “Taking off Emily Dickinson 's Clothes" by Billy Collins many individuals may gather from the poem that it is provocative because Collins is sharing his intimate experience with the public; when in fact the author is referencing how He is getting to know the poet through her work. With many poems there is always an underlying message that one has to explore to uncover and this exactly what Collins is trying to portray. When Collins is exploring Emily Dickenson’s clothes, He is using metaphors such as “and I proceeded like a polar explorer through clips, clasps, and moorings, 25 catches, straps, and whalebone stays, sailing toward the iceberg of her nakedness.” (23-26) to explain how he is undressing her work and digging
Many people change in certain situations they are presented in according to different cultures and religious views. Every culture has different perspectives and views of their heroes. In the epic Beowulf (Heaney 2000) and the film Beowulf and Grendel (Gunnarsson 2005) you can see how each have different values and beliefs of the mighty geat hero Beowulf. Even though they illustrate the same language and culture they differ in many ways. Throughout the film, Beowulf and Grendel, Beowulf’s character changes over the course of the film illustrating to us the idea that it is not easy to comprehend what the difference is between what is good and evil in a culture.
LAI: “... So massive no ordinary man could lift its carved and decorated length. He drew it from its scabbard, broke the chain on its hilt, and then, savage, now, angry and desperate, lifted it high over his head and struck with all the strength he had left, caught her in the neck and cut it through, broke bones and all….” Pg72.
What does this story tell you about marital abuse? The meat, case of domestic abuse “The meat” written by Janice Galloway is a very short story whose intent seems to be causing as much shock as possible to us readers. This can be noticed by the bitter feeling that stays with you after reading it, but why exactly? What’s in this story that’s so grotesque that leaves you with a weird feeling in your gut?
A constant and pertinent literary metaphor used throughout Beowulf, translated by Charles W Kennedy, is that of the sea. The sea in Beowulf is a single object that not only acts as a place for entertaining battles, but also serves as a plot device that reveals the poem’s contrasting views on religion and death. It also gives validity to Beowulf’s position of power, playing a vital role in his character development, as well as the development of the plot. It is vital for Beowulf, as the poem’s main protagonist, to have sufficient support and respect from the men he will be fighting with. When the integrity of Beowulf is questioned by a skeptical Unferth, the influential beast that is the sea takes front and center in the argument for the men’s
There is no one true Beowulf. Each representation and translation of Beowulf tells its own unique story. Even though renditions are derived from the original Old English oral poem, altering minor details based on perception results in differing stories. In the Old English version of the poem that is side by side with Heaney’s translation, the original scribe describes Grendel’s mother as a “he” rather than using a feminine pronoun. Both Seamus Heaney’s translation and Robert Zemeckis’s depiction display versions of Grendel’s mother derived from the Old English version.
Finally, the last women role in Beowulf’s poem is the Grendel's mother monster. The poet describes her as an evil, dangerous, scary, masculine, and the monstrous woman in the mead-hall. “She is also referred to using a term always used in reference to female humans, never animals, and usually reserved for noble women: ides. The use of this term indicates that Grendel's mother, though she is in some way cursed by God, and monstrous, is nevertheless a human.” (Porter)
Impending Doom The language and usage of various traditional Anglo-Saxon literary elements in “Beowulf,” translated by Charles W. Kennedy, help the reader to understand the purpose of the folk epic. When Beowulf arrives to kill Grendel’s mother in an underwater hall, he and his men see “on the rocky sea-cliff,/…slaughtered Æschere’s severed head./ The water boiled in a bloody swirling/ With seething gore as the spearmen gazed” (931-934).
In this passage of Beowulf, Beowulf and Grendel’s mother are fighting in an underwater cave. This passage is significant because it contradicts the image of Beowulf as a hero and Grendel’s mother as a villain. In the first part of the passage, the author contrasts qualities about Grendel’s mother and Beowulf by calling Beowulf a “hero” and Grendel’s mother a “that swamp-thing from hell.” The word “hero” is used to describe Beowulf as an honorable character as it is someone who endangers their own life in order to help others.