Epic Poetry and the Hero: A Study of Beowulf

Introduction: Defining the Epic

Epic is probably one of the most fascinating forms of ancient narrative, and its contribution to the growth and evolution of literature cannot be overestimated. To seek a clear definition of an epic is a difficult undertaking, since there appears to be less consensus on its definition than on almost any other major literary term. Philosophers, writers, and oral masters from the time of Aristotle to Seamus Heaney have argued about the critical features of an epic. While all agree that it is a long narrative eulogizing the heroic deeds of its protagonist, no clear definition has emerged that captures all of its essential features. Roughly speaking, epic is a term used by historians for "a number of works belonging to the earlier Middle Ages, and to the medieval origins of modern literature. 'Epic' is a term freely applied to the old school of Germanic narrative poetry, which in different dialects is represented by the poems of Hildebrand, of Beowulf, of Sigurd and Brynhild" (Ker 3).

While some critics consider epic a form of oral tradition transformed into literary narrative, others view "the heroic epic as a cultural rather than a literary phenomenon. Epic poems grew out of appropriate cultural conditions, the so-called Heroic Age bridging nomadic and sedentary stages of civilization" (Oinas 1).

The Epic Hero and the Debate Over Virtue

One reason for the disagreement and lack of consensus on the definition of the term "epic" originates from the character of the protagonist and the attributes he is assigned. Who is an epic hero? How is he different from other heroes, and is he supposed to be a virtuous being absolutely free of faults, or is he someone like Aristotle's tragic hero, who brings about his own downfall due to his character flaws? The answer to this question has given rise to a passionate debate on the definition of epic, as W. Macneile Dixon (1912) explained:

"The discussion of the hero's character exhibits similar disagreement. Unlike the hero of tragedy, who should not, according to Aristotle, be either faultless or a ruffian, the epic hero should be perfectly virtuous, says Tasso, but, argues Dryden, it is not necessary that the manners of the hero should be immaculate; they are practically good if they are of a piece, and though Achilles is the protagonist of the Iliad we must abhor his cruelty to a dead enemy, and the sale of that enemy's body, Hector's, to his father Priam." (3–4)

However, closer study of epic heroes does reveal some shared characteristics. They all exhibit a fearless spirit and are often more courageous in the face of danger than is good for them. They may or may not have character flaws: while Sir Gawain shows weakness on several occasions in Sir Gawain and the Green Knight, Beowulf is an epitome of virtue and morality. A hero's character flaw, where it exists, does not interfere with his blind ambition or his courageous pursuit of his goals. The nature of those goals may, however, differ from epic to epic.

References

Heaney, Seamus. "From Beowulf." (Critical Essay.) The American Poetry Review, 01/01/2000.

Lee, Terry. "'It made me think, seeing myself like that': Affective Literary Representations of the Inferior Masculine Self, or Good-bye, Billy Pilgrim." The Journal of Men's Studies, vol. 11, no. 2, 2003.

Kennedy, Charles W. Beowulf. Hand and Flower Press, Aldington, England, 1968.

Dixon, W. Macneile. English Epic and Heroic Poetry. J.M. Dent & Sons Ltd., London, 1912.

Oinas, Felix J. Heroic Epic and Saga: An Introduction to the World's Great Folk Epics. Indiana University Press, Bloomington, IN, 1978.

Ker, W.P. Epic and Romance: Essays on Medieval Literature. General Publishing Company, Ltd., New York, 1957.