There are few other features that characterize Beowulf as a variety of deviations and separate episodes. While some scientists have tried to show that the disigns or at least some of them have something that does not fit into the main narrative and is harmful to the poetic value of Beowulf, this paper will argue that deigns and episodes are a conscious balance and unity , and in fact contributes to the artistic value of the poem. Beowulf scientist Adrien Bonjour divides deigns and episodes into four categories: the Scyld episode; Beowulf and Geats; historical or legendary deignations that are not related to Beowulf and the Geats; and Biblical deserts. It is in this structure where we reveal certain dimensions and determine their role in the poem.
Before examining specific deigns, it is important to briefly demonstrate their presence. As Bonjour notes, the poet is tactfully using the deigns to add to the coloring of the verse to film for a given situation, to contribute to historical interest and significance, to provide symbolic value, which contributes to poetry and enhances artistic influences. In addition, the deignations contain welcome information about the hero's life. By digitizing, the poet presents the values and perspectives that need to be understood. Action is ultimately only action.
As part of the deigns and episodes, Bonjour gave his own category to the Scyld episode, probably because it is the longest dimension in the main narrative of poetry and probably because of many questions. At first glance the opening of the poem written by Scyld and the opening of genealogy by the Danish kings seems strange in Beowulf, the hero of the Geatish hero. But after further studies, there was a significant parallel between Scyld and Beowulf. First of all, both Scyld and Beowulf came in a wonderful way to liberate the Danes. Scyld, the poet's first liberator, first presents Beowulf, who comes later. The second formulation of the two king's parallels is found in their unfair youth. Scyldet was found to be a miserable and abandoned child, and Beowulf is prominent for unfair young people. The unfortunate reversal is clearly emphasized by the poet.
Bonjour points out that another artistic goal in this episode is the praise of Scyldings. If Heor's disturbing state served as a single introduction to Beowulf's mission, this would have impressed Denmark's weakness. As we will see later, if the Danes were not glorified at the beginning of the poem, the size of Beowulf fell.
Finally, the striking contrast of burial scenes is a "symbolic value that enhances artistic value" and the unity of the whole verse. The beautiful description of the Scyld funeral suggests the beginning of a glorious future symbol. In contrast, Beowulf's funeral symbolizes the end of the glorious past, while in the future it is messed up.
The Scyld episode lets the poet use two of his favorite tools: parallelism and contrast. The contrast between Scyld and Beowulf is one of the most outstanding artistic achievements of the poem, and the parallelism of the two kings can be summed up in the form of a legendary cowboy legend, as JDA Ogilvy and Donald Baker signaled: "Bronco Bill has always been the best of the best."
Among Bonjour's categorical classes, the next involves the disengagement of Beowulf and Geats. The first such group we examine is Beowulf's fight against the guys. This shift is a dual purpose: it allows the hero to demonstrate, and at the same time gently associate with God. The direct purpose of mentioning the glorious role of Beowulf's early life is to show an example of his extraordinary strength and at the same time give a certificate of his arrival to the Danish court. He also defines Beowulf as a specialist in the fight against monsters: "I came from the battle where I tied five and destroyed a giant family …". The art of demonstration is important to the epic hero, as it presents its performance and glorifies its name. As Victor Bromberg mentions, man's name has a very important role in epic poetry because he will be equal to the sum of his achievements.
The second task of this shift is to be surprisingly ally with Beowulf with God. When Beowulf throws his power against the giants, he consciously joins the true God of Christianity. This gives dignity to the heathen hero who – without knowing it – eventually fights on the right.
In the dimension of Ecgtheow, we learn that Beowulf's father murdered Heatholaf, a member of the vast Wilving tribe, and began a dispute that the Geats could not defend and escaped the Hrothgar court. Hrothgar consequently pays for Wilfings. Bonjour states that this ambush serves two purposes: first, it creates a new bond between Beowulf and the Danes; on the other hand, offsets the fact that the Danes accept the help of Beowulf.
The Unferth episode serves primarily as a foil to emphasize the size of Beowulf. Despite the ominous voices of Unferth's reputation, the poet also shows a distinct tean. If Unferth had to be reduced to mere rifles, Beowulf's superiors would not be as much as they really are. In his essay "Beowulf: Monsters and Critics", Professor JRR Tolkien suggests that the young Beowulf's request in his youth [in this digression] refers to the hero we are dealing with. Beowulf's response to Unferth's criticism also states that he is a man whose words and swords are to be counted. So from this shift, we learn Beowulf's qualifications to purge Heorot and also that the hero is not just a great warrior, but a man who is able to conquer the Count's coup.
Bonjour notes that the first reference to a poem written in the fall of Hygelac is a good example of Beowulf's special contrast use. It is ironic that the first idea of the fall of Hygelac should be invoked by Beowulf's description of the treasures given to Beauulf after the victory over Grendel. It seems that there are already aspects of the same nature as in the Dragon's story where Bonjour notes that the beauty of the treasure of the Dragon stands out from the curse attached to it. Here in the necklace "[the finest] under the sky," but Hygelac was when he was killed.
Then we look at the relationship between Beowulf's decent youth and the tragedy of Heremod. The tragedy of Heremod is, in fact, outside the structure proposed by Adrien Bonjour, since it has nothing to do with Beowulf and Geat. However, the withdrawal of Heremod from the proposed structure, as it is so in contrast to the Beowulf tyrants.
A brief departure from Beowulf's pathetic youth is just another thing that contributes to the glorification of the hero. Insecure young people enhance the influence of their later glorious acts and make them even more remarkable. But this passage has a full effect when it is in opposition to Heremod's tragedy. In Hrothgar's speech to Beowulf, we learned that Heremod's strong, powerful hero, his office had a great promise, but he was a bad governor. But Beowulf first despised it, but now he has become a glorious hero. The tragic nature of Heremod again, though negative, determines how good a king should be. So Beowulf's weak start, followed by a magnificent raise followed by a strong promise (Heremod), which ended with an unfortunate defeat.
The next move examines the death of Hygelac in Friesland and Beowulf for swimming and Heardred's confidential guardianship. The poet says that Beowulf is fleeing from Friesland where the Hygelac is killed and thirty times moved back home to armored armor. Obviously, this part of the evasion further increases Beowulf's extra ability. Later we learn that Beowulf rejects Queen Hygd's offer to the throne of Geatish to support Heardred, the legitimate heir. Beowulf's rejection of the crown illustrates his moral magnitude. Here the Geats are surprisingly opposed to the Danes. Ogilvy and Baker suggest that, unlike Wealtheow, who is obsessed with the success of his sons to the throne, Hygd asks Beowulf to bring the throne to the benefit of his own son for the sake of the people. This contrast is even greater than the Danish court situation where Hrothulf seizes his uncle's throne. The history of the Danish legacy is a film: on one side there is a telling offense and the rejection of the crown from pure loyalty. With Beowulf's glorification, this evasion brings loyalty to the forefront.
In the search for Dragon's Dragon, Beowulf has a long speech in which he lives in his life from the moment he came to King Hrethel's kingdom when he was seven years old. The immediate purpose of Beowulf's long speech seems to be a break, so that the hero can gather strength and resolution, looking back on the life of brave things. But this passage goes deeper when the oldest son, Herebeald, who was accidentally murdered by his brother, Hæthcyn, was reading the ghost of King Hrethel. The possible murder would suggest the impenetrability of wyrd (fate) and, on the other hand, the gentle wailing of Hrethel will prepare the dominant mood of the end of the poem (Bonjour 34). The adoption of thematic "Christian" on the ground raises the premise of Beowulf's actions. He also accepts his fate. Bonjour states that the presence of wyrd here is of great significance as it is not only the competition but the end of the poem.
His last surviving speech was a mixture of the same piece of clothing: "The death of a fool has deprived many people." Tolkien states that the poet here handles an ancient theme: man, every man and every man, and all his works are dying.
The Wehstan (Wiglaf's father) is about to briefly learn about the story of Wiglaf's sword by killing Eanmund. The primary purpose of this evasion is to give us some Wiglaf pedigree and find that Wiglaf is not normal, the same blood as Beowulf. The foundation of the Wiglaf story is important because if this part is played by another Geat, the heroic courage of Beowulf seems to be a common man. There is also a strong parallel to Wiglaf's loyalty to Beowulf and Beowulf's loyalty to Hygelac.
The last jump we are investigating in this area is again concerned with the Fall of Hygelac and the Ravenswood Battle. Since the Hygelac raid, the hostility between the Franks and the Geats has survived. The Swedes do not have to trust either, as the death of Beowulf is likely to speed up their memory between them and the Geats. By opening the last jumble, Bonjour notes that the poet allows us to see what the future is for the Geats. Obviously, the author uses Wiglaf's messenger to predict the destiny of the Geatish nation.
The third withdrawal categories refer to historical or legendary deserts that are not directly related to Beowulf and Geats. The first departure from this category is Heor's fate. Soon the poet writes about Heor's glorious building as he came to the conclusion that he "waits for the throbbing of the vengeful fire." The reference to the dispute between Ingeld and Hrothgar. This is another example of the poet who tells his story with a structural iron that enriches with tragic events. Here William Alfred notes that Hrothgar is set up as the heroic king of the faithful comité, but suddenly, beginning as a description of the impressive halls of Heorot, he belongs to the account of the destruction of the fire. At this point, Bonjour mentions that the contrast between the harmonic situation and the brief account of the catastrophe gives the impression of melancholy, in which a large part of the poem is stuck.
After Beowulf killed Grendel, the scop improvised the home for the honor of Beowulf and compared it with Sigemund and Heremod. Sigemund's great killer and the greatest adventurer since the unfortunate Heremod. Beowulf, they say, is similar to Sigemund. Sigemund and Heremot are prompted to provide a level of comparison for Beowulf. Bonjour believes that this passage is certainly to be used to praise the hero.
The next departure will commence when Beowulf returns home from the Hrothgar yard. Before describing the Hygelac court before Beowulf arrives, the departure is here. In the corridor, Hygd, the Queen of Hygelac and Modthryth, the Queen of Offai, the King of Angels, are about to make comparisons with their move to England. At first glance, Modthryth may seem like Heremod to introduce only a bad character to increase his good virtues (Hygd). But Modthryth is more complex than that. He begins as a cruel and thorn princess, but once he moves to the throne of Anglican on Offai. This opposition creates a link between the episode and the tragedy of Heremod. However, Heremod and Modthryth's practitioners are in the opposite direction. This shifting serves several purposes: Modthryth is a foil for Hygd; the relationship with Heremod reiterates the topic of "abuse of power" and the start of Modthryth can be considered a parallel to Beowulf's predatory youth; an unpleasant beginning that blossoms at a glorious end.
The Finn and Ingeld episodes are examined together, as the parallel between the two is undisputed. The Finnish episode tells of the bloodshed between the Danes and the Friesians. Hnæf's sister, Hildeburh, is a Danish princess who married Finn Frigyes to abolish the feud. However, peace is short-lived, and the Finnish episode points directly to the uncertain armistice between the two peoples. The prophetic phrase of Ingeld's story in Beowulf suggests that the fighting alliance between the Danish princess Freawaru and Ingeld, the Duke of Heathobards, brings similar results. Bonjour claims that the central theme of the two episodes is exactly the same as tribal hostility, sooner or later he leaves for any human compromise attempt. In fact, this is one of the central themes of the whole poem.
The ultimate category in which it should be noted is the loss of biblical character. Their Christian element, the song of creation, and the reference to the giants – the war against God and the references to Cain all meet first.
The song of Creation appears almost simultaneously with the introduction of Grendel: "There he spoke, who could contact the beginning of men in time, said that the Almighty created the earth …". The song of creation dates back to the Biblical account of Genesis. His immediate purpose is quite clear – contradiction. The rare memory of joy in nature is deeply opposed to the melancholy inspired by Grendel's sad place of residence.
We now look at the references to Cain and the Giants, and it is important to note that monsters are presented in two ways. For pagan characters these creatures are Eotenas [giants] and scuccan [evil spirits] – all the terms of Germanic demonology. But in his own voice the poet tells the true genealogy of Grendelkin: the terrible descendants of Cain. The double-indebted matrix of monsters places them on a level like a dragon murdered by Sigemund, and at another level contains Satanic witches in which the Bible invests them. At this point it is a new scripture and an old tradition.
The destruction of the giants said it was carved on the magic accord, allowing Beowulf to kill Grendel's mother. Beowulf's fight now felt involved in the struggle between good and bad power. Earlier, it was said that both monsters were the same as the giants, but as Bonjour shows, we now know that God really helps the hero when he directs his attention to the magical sword, representing God's own action as a damn race. It is almost as if Beowulf has risen to the rank of God's champion. Beowulf, for whatever he is in the era of primitive heroes, suddenly [for a moment] is almost a Christian knight.
Bonjour concludes that Beowulf, when replacing a king, actually surpasses the image of an ideal king when sacrificing his life to his people, the importance of which is emphasized by Hrothgar's own approach to Grendel. But Hrothgar is an ideal king, so it will be easier to compare Beowulf with the Savior, the self-sacrificing King, with the prototype of the supreme perfection.
Scientist BJ Timmer, the poet's form, thanks to the poet's compromise, sees the glory of the two pagan and Christian elements. John Leyerle views this view as the theme of poetry "in the midst of the heroic society of the fatal contradiction," in which the striking code demands the hero's individual performance and glory, while society demands a king for the common good. But why is the necessary separation needed? Would not it be necessary for a heroic person to gain common prosperity? The Beowulf poet rightly does not do this separation.
In summary, it must be stated whether designees admire or not, we must recognize that they are part of the poet's methods, not the results of bias. Here I agree with Bonjour that the relationship between deigns and episodes to the main story is very varied, but as we have seen, all of them are relevant links that spin the main theme and background of an elite tapestry. Theodore M. Anderson sums up the significance of the deigns when he writes:
The poet draws his attitude from the location of the old heroes (19459004), but the traditional scenes with a moralized commentary on reflection, reflection, reflection and the persistent emphasis of unexpected reversals – those who emphasize the climaxes and valleys of human experience
A good dose of common sense must suppress the later beliefs of the skeptics that the poet's failures are reckless or that the poem's value is reduced. As we have seen in this study, there are simply too many prejudices, cautious contrasts and duplication for the disignations that they have neglected to throw into the mix. So, we conclude that behind all the deignations we find a definite artistic plan that is clear enough to agree with Bonjour that everyone has a useful role in the poem. In other words, it has been found that all differences are, in varying degrees, justified from an artistic point of view.