The objective of a literary analysis is to study and, at times, assess a literary work or a facet of a literary piece. As with any analysis, one must disassemble the topic into its component elements. Examining the many components of a literary work is not a goal in itself, but rather a means to a greater appreciation and comprehension of the work as a whole. Any study of a poem could, for instance, focus on the many sorts of imagery or the link between tone and content. The attached extract is a piece from the Beowulf’s poem. The prologue contains extensive use of poetic elements, including imagery, alliteration, litotes, and kennings. The paper will discuss the extract’s key themes and characters, as well as its use of poetic techniques.
The prologue employs allegory to communicate a message that is not directly stated in the extract. Allegory, which comprises genres such as fable, metaphor, and apologue, may contain several layers of meaning that the reader must interpret to comprehend.1 Essentially, literary allegories illustrate circumstances and occurrences or represent abstract concepts via tangible things, people, and activities. This prologue exemplifies the personification approach, in which a fictitious figure in this instance, Wielder of Wonder, in line 18 openly embodies an idea or a type of a strong man.2 As in most allegories, the dramatic action “represents” something that is not explicitly expressed.
Old English literature, often known as Anglo-Saxon literature, is employed by Beowulf in the prologue. English literature for a description of this time within the context of the history of English poetry is used in the prologue.3 This is alliterative writing; one of its characteristics is the kenning, a metaphorical word used in place of a common noun (“spear-armed Danes “for “a strong man”) in line 2 of the extract. The kenning is an essential element of Old English poetry. A kenning is a typically stereotyped representation that defines one entity in context of another; for example, in Beowulf’s preamble, the sea is referred to as the whale path (Line 10). Another example of kenning in the Beowulf’s foreword is the phrase “mead-bench tore” (line 5), which describes a sturdy man, emulating the size of the seat at the Germanic feast.
Heroic poetry is a descriptive verse, which is exalted in tone and employs a noble, dramatic, and formal style to chronicle the exploits of magnificent warriors and kings. It is often improvised and sung or read to the accompaniment of stringed instruments. It is passed down from bard to bard verbally over decades.4 The known corpus of heroic poetry varies from very ancient to contemporary works created over a vast geographical region (the Danes). It contains what are likely the oldest forms of this verse: panegyrics honoring a hero’s ancestry and accomplishments, as well as laments on his death as described as,” awing the earls. Since erst he lay” (line 6).
The narrative is enlivened by Beowulf’s use of poetic elements like alliteration, hyperbole, and imagery. For instance, practically every sentence of the extract has alliteration. The recurrence of a letter that resonates with the phrase guarantees that each line stimulates the creativity and feelings of the listener, ultimately increasing the listening experience. Imagery from the extract from Beowulf’s poem is challenging and usually amusing, since it appeals to the senses. Beowulf uses powerful imagery when he relates how people saw him emerge from the wars by stating, “For he waxed under welkin, in wealth he throve” (Line 8). The frequent use of imagery in Beowulf’s extract also gives the epic poem vitality and zest. For example, the author compares the ocean to a whale-path (Line 10). Therefore, the inclusion of kenning enriches the epic prologue’s poem’s imagery.5
Furthermore, the prologue from Beowulf’s poem uses exaggeration, which makes the piece more interesting, captivating, and theatrical. The prologue, for instance, exaggerates Beowulf’s powers by describing him as, “the Wielder of Wonder, with world’s renown” (Line 17). This shows that, in the contest with the enemies, the poet relates the King’s powers and strengths to his, “the prowess of people-kings” (Line 1). This is an exaggeration as there is no evidence to the readers that the King is the strongest “world’s renown” (Line 17). The prologue also employs hyperbole to indicate an exaggerated statement. For example, the poet states that the King, “…waxed under welkin…” (Line 8). This is a hyperbole as the statement meant that he not only gained fame among his people, but also he grew in fame under the eyes of the heavens. In this case, the heavens are a perception of the mind, and cannot tell the exact activities within the heavens that made the King to be famous. Therefore, using poetic techniques not only gets the reader’s imagination going, but also makes the poem interesting to read.
The prologue also employs symbolism to represent a range of concepts. For instance, the poet claims, “Oft Scyld the Scefing from squadroned foes,” which is translated as the Shield Sheafson, the contemporary English connotation for the great-grandfather of Hrothgar, the King of the Danes, during Beowulf’s time. In this case, the first line of the prologue is devoted to the Scyld’s reign and to his intricate funeral. As such, Scyld Scefing is a mythical figure, meaning, Scyld was the originator of the tribe of the Scyldings long before Beowulf’s section began. Consequently, his ship funeral based on the prologue in the poem is a noteworthy ritual. Hrothgar, the aged king of the Danes, welcomes Beowulf’s support in fronting the menace of the enemy.
The title figure embodies one of the prologue’s primary ideas, which is fidelity. Beowulf is faithful throughout his whole life, which is one of the primary reasons Beowulf thrived as a king. Consequently, Beowulf felt obligated to repay charity by giving forth his son, “To him an heir was afterward born” (Line 12). Therefore, Beowulf is more devoted than driven by the virtues of the master and the lordship of the king. Allegiance to the King is also prominent in the prologue, making the rest of the Kingdom to the King’s leadership to be adored, “till before him the folk, both far and near.” To mean that the king had both friends and enemies, and in this regards, the servant leader, stays faithful to his king and aids the King in vanquishing the monster. Thus, Beowulf is more devoted than driven by the virtues of the master and the lordship of the king. Therefore, the prologue’s central topic is fidelity, loyalty and lordship.
The prologue shows that the extract is derived from an epic poem, which describes a lengthy narrative poem that designates a hero’s hardships and victories. The foreword describes Beowulf’s journey from wars to the Danes. Even the coast guard reports that in all the years he has served his King, he has never encountered a bigger and strong man in the king by claiming, “Wielder of Wonder, with world’s renown.” He has the demeanor of a magnificent leader, a champion, and maybe a prince, despite his youth by positing, “what honor the athelings won!… gave him gifts: a good king he!” The account demonstrates his extraordinary strength, bravery, and endurance.6 As a result, he faithfully serves the King with due respect and honor. The poem is an epic because it is mostly about how brave Beowulf is.
Litote is a figure of speech and a kind of oversimplification whereby a feeling is communicated humorously by denying its opposite. When a situation is downplayed, the reader or listener may better comprehend its gravity since their perception can be more horrifying than the scenario itself. During a storm, for instance, stating “It’s not the best weather today” would be an example of litotes, conveying via sarcastic subtlety that the weather is indeed terrible.7 In Beowulf’s prologue, the narrator uses litote in the line, “to favor the folk, feeling their woe.” In this case, it is a hyperbolical understatement to argue that the same folks that would receive favor are the same people that will be under woe, meaning distress, and sorrow.8 As such, the reader then imagines a tense scenario since the author encourages them to do so.
In conclusion, the Beowulf’s prologue is a balance of beginnings and ends, of youth and age, with Beowulf’s youth predominating. The preface is an epic since it covers Beowulf’s life and vividly depicts his heroic and amazing actions. While the epic has historical significance, it is more engaging as a powerful piece of art. The epic also employs poetic elements to enhance the reader’s experience. The frequent use of alliteration enhances the imagination of the listener, since the sound of the words resonates with the activities described by the poet in the epic. Additionally, the use of analogies, images, and exaggeration enhances the poem’s atmosphere. Symbolism is also prevalent, and it helps readers connect the items mentioned in a prologue to what they signify. Beowulf and King Hrothgar are primarily responsible for illustrating the notion of loyalty throughout the epic. Other key themes, such as vengeance and jealousy, depict how the culture of the period exhibited these two characteristics. As the author describes how several characters in the poem exchanged gifts as a sign of gratitude, it is clear that hospitality and charity are present. The preamble is historically significant, but it is more noteworthy as a strong piece of art.
Bibliography
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Ashurova, Shahnoza. “” Beowulf”-the largest monument of anglo-saxon epic poetry.” Chet tillarni o’qitishda dolzarb muammolar, innovatsiyalar, an’analar, yechimlar va badiiy adabiyotlar tahlili, vol. 1, no. 01 (2022): 75-78.
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Christensen, Alexander. “Beowulf and Litotes: A Pragmatic Approach.” Schwa (2020): 23.
Jenkins, Priscilla. “Conscience: The Frustration of Allegory.” In Piers Plowman, pp. 125-142. Routledge, 2019.
Park, Jong-Seong. “What Is an Oral Heroic Epic Poetry?–Overcoming The Limit Of The Iliad.” International Journal of Korean Humanities and Social Sciences 5 (2019): 57-65. Web.
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Footnotes
Jenkins, Priscilla. “Conscience: The Frustration of Allegory.” In Piers Plowman, p. 126. Routledge, 2019.
Buzec, Mihaela. “Functional Names in Beowulf: An Analysis.” Studia Universitatis Babes-Bolyai-Philologia 64, no. 4 (2019): 187.
Zálešák, Ján. “of Thesis: The Flaws of Heroism in Old English Literature.” (2022): 16.
PARK, Jong-Seong. “What Is an Oral Heroic Epic Poetry?–Overcoming The Limit Of The Iliad.” International Journal of Korean Humanities and Social Sciences 5 (2019): 58.
Arbi, Siti Angreini. “Analysis of Imagery in Five Selected Poems by Maya Angelou.” British (Jurnal Bahasa dan Sastra Inggris) vol.7, no. 1 (2019): 44.
Ashurova, Shahnoza. “” Beowulf”-the largest monument of anglo-saxon epic poetry.” Chet tillarni o’qitishda dolzarb muammolar, innovatsiyalar, an’analar, yechimlar va badiiy adabiyotlar tahlili 1, no. 01 (2022): 75-78.
Christensen, Alexander. “Beowulf and Litotes: A Pragmatic Approach.” Schwa (2020): 23.
Yuan, Ying. “Litotes and Repetition.” The Routledge Handbook of Language and Persuasion (2022).