Epic Heroes In Beowulf

Epic Heroes

As legendary as epic heroes may be, they are not so until they have been built by their conflicts and supported by their teller’s tone. The history of the Anglo-Saxons showed that even through a record of invasions, they grew to be responsible leaders of their people. The loyalty and relationships that the Anglo-Saxons are known for couldn’t have been developed without the complication of invasions, war, and plagues. The archetypal epic heroes in the stories they told are developed through the conflicts that each hero faces and their praise from the author. As the individual character of each epic hero is built, it is molded by the conflicts encountered throughout their quests. This unfoldment can be seen though Hector in The Iliad,

Conflicts build many different parts of stories, and the external conflict between man and nature is one specifically that highlights the epic hero of stories. From Beowulf, “Then he stepped to another Still body, clutched at Beowulf with his claws, Grasped at a strong-hearted wakeful sleeper —And was instantly seized himself, claws Bent back as Beowulf leaned up on one arm.” (Beers, lines 36-40). This is the introduction to Beowulf’s fight against nature as he and Grendel clash for the first time. This is the fight Beowulf came for. Because dragons are fantasy creatures, we view Grendel as a force of nature, even though he is the antagonist. “The battle was over, Beowulf Had been granted new glory: Grendel escaped, But wounded as he was could flee to his den, His miserable hole at the bottom of the marsh, Only to die, to wait for the end Of all his days. And after that bloody Combat the Danes laughed with delight.” (Beers, lines 108-114), is another example from Beowulf. An epic hero is one that wins, and this archetype is developed through the earned achievement of Beowulf’s defeat of Grendel. The Danes all recognized this victory under Beowulf’s name, the resolution of an external conflict. The Epic of Gilgamesh shows this, “Monstrous in his contortion, he aroused The two almost to pity. But pity was the thing that might have killed. It made them pause just long enough to show How pitiless he

These epic heroes are built through their conflicts and tones to become the archetype everyone loves. In Beowulf, “Horses, high-spirited stallions, and rode them Slowly toward Herot again, retelling Beowulf’s bravery as they jogged along.” (Beers, lines 145-147). Beowulf’s archetype of an epic hero is seen as he is one that is retold and remembered past his death. The people speak of his story and bravery, a method of passing down the epicness of Beowulf and helping to develop the archetype for such. “No Dane doubted The victory, for the proof, hanging high From the rafters where Beowulf had hung it, was the monster’s Arm, claw and shoulder and all.” (Beers, lines 123-126), is another example portraying the archetype in Beowulf. As the people of his time knew, Beowulf’s character is developed through the archetype to be one that was so great, his voiced achievements were believed without a doubt. Just the fact that Beowulf was able to complete such a feat enforces the courageousness of character needed to have the archetypal epic hero. The Epic of Gilgamesh displays this, “I will go ahead of you, and if I die I will at least have the reward Of having people say: He died in war Against Humbaba. You cannot discourage me With fears and hesitations.” (Beers, line 7-11). Gilgamesh’s lack of fear of death shows his valor in his ambition to destroy a monster that terrorizes his people. Enkidu, who is fearful of the