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Beowulf
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In the epic poem Beowulf, women at first glance are often under-represented in the overall theme of the poem,
as they often play minimal characters and are frequently overshadowed throughout the first two-thirds of the poem. However as one takes the time to truly examine the poem it becomes evident that the women themselves are not only central to the furthering of the tale, but rather fundamental characters throughout the poem. Women throughout the poem could be categorized into one of two groupings: hostess or peaceweaver’s and monsters, yet no one grouping could truly sum up all the characters personas.
The poem places an emphasis on the role women play as gracious hostess and cupbearers. The women are often portrayed as using positive language and “mindful of customs” (613). However these customs are often used as tools, to further the female’s agenda in achieving what they are truly aspiring for. In Danish queen, Wealhtheow’s introductory scene, Wealhtheow uses her duty as a cupbearer to contact Beowulf in order to assure that he intends on fulfilling his promise of ridding Grendel, from the village. This introductory scene would play as a catalyst for what would latter indicate the “courteous wife’s” (615), true colors. Wealhtheow’s second appearance illustrates the strong and bold character she truly is. As she once again begins the scene as a cupbearer, by line 1169 she begins demonstrating her power and influence by speaking in front of the people in mead hall, a dominantly male grouping. The respected queen persists, in demonstrating her power over her husband, by making it evident that she no way intends to let Beowulf overtake the right to the thrown from that of her children, the rightful heirs. By maintaining the interests of both her and her own sons’ Wealhtheow is portrayed as an self-governing female character, able to insure that her empire would be hers to rule for a long period.
Hygd, queen of the Geats, also portrays duel roles in the poem. Although we are originally introduced to her as a hostess and cupbearer, a rather significant and lady like role amounts those whom dine within the hall. Hygd also carries with her a rather considerable amount of political influence, which is best, demonstrated with her offering Beowulf her husband’s kingdom. In line 2369 “Hygd offered the hoard and kingdom… she did not trust that her son could hold the ancestral seat,” demonstrating her ability to make decisions regarding the hall, a rather masculine undertaking. Together both Wealhtheow and Hygd demonstrate the fine line that women of the era would have to walk during the period. One would have to be able to exhibit the ability to present themselves as ladies and yet maintain what is in the best interest for their kingdoms, families and themselves.
Another vital role women in play within the kingdom are that of the peaceweaver’s. Peaceweaver are pertained to women who are given in marriage in order to secure peace amid rival kingdoms. The story of Hildeburh introduced on line 1071, is that of a peace weaving gone wrong. Hildeburh, daughter of Danes king, was married to Finn, king of the Jutes. In this unfortunate pairing, the peace weaving did not prevent the kingdoms from fighting, and Hildeburh subsequently was returned to her kingdom. However unfortunate the pairing concluded Hildeburh did in some aspects of her duty fulfill one of her obligations in that she bore a son, a representation of the merging of both tribes. Indicating once again the vital role that women play as mothers. To both Wealhtheow and Hildeburh securing a son to take over the kingdom is rather imperative, in insuring that the interest of not only them but of their kingdoms would be represented amongst the inevitable death of their current kings.
In contrast to honorable and respectful role that the majority of the women portray within the epic poem, is the role of the female monster, portrayed by that of Grendel’s mother. Although many would argue that Thryth wife of Offa would be considered a monster, guilty of horrendous crimes. She is nonetheless also illustrated as a “famous folk-queen” (1932), and even a peaceweaver; and for those purposes I will focus this discussion about the role women play as monsters on that of Grendel’s mother.
Throughout the poem Grendel’s mother is portrayed as a masculine, horrific woman, who never truly adheres to the femininity that the majority of the women portray. Although Grendel’s mother may be considered, to posses less human characteristics then that of her son, who is described as a descendent from that of Cain. It is not just this that defines Grendel’s mother as a monster but perhaps, her denunciation of the female norm that portrays Grendel’s mother as a monstrous female. By intruding into the hall, unannounced and attempting to avenge her kin, Grendel’s mother immediately undertakes masculine characteristics that no other female character would dare portray within the time period. The author of the poem continues to emphasize Grendel’s mother as masculine by making her a tougher opponent then that of her own son. In the battle between Beowulf and Grendel’s mother, Beowulf was forced to use a sword in destroying her, unlike the battle between Beowulf and Grendel in which he conquered him without any difficulties and with his bare hands, validating the masculinity of Grendel’s mother.
Published: January 14, 2008
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