Sаmаrkаnd stаtе institutе оf fоrеign lаnguаgеs fоrеign lаnguаgе аnd litеrаturе

2.2. Perverted humanity: The cautionary monsters of Beowulf
It is through the presentation of positive human examples, through the virtuous conduct of the hero and others, and through the moralizing maxims of the poet that the horror of the monsters is established; the poem offers both implicit and explicit moral guidelines which the audience is encouraged to emulate. The introduction of virtuous characters and of gnomes stressing adherence to social standards promotes a notion of goodness inherent in humanity, Beowulf and his fellows representing humanity's potential for virtue, the gnomic intrusions delineating the importance of meeting that potential.
This is an important example of both explicit and implicit association of the two figures, explicit in that it states that HroOgar gained all of his power from the Deity, implicit given the simple apposition of their name and pronoun. This word order greatly affects the succeeding depiction of HroOgar's creation of Heorot. After the connection has been made between God and HroOgar, the origination of power switches. No longer does the Danish king labour under divine guidance. He has assumed the mantle of Godhead in creating Heorot. Hroagar, not God, weore gebannan. Similarly, Hroagar acquires God's defining capacity: seop him Heort naman. As God creates Earth and defines it, so does Hroagar, his hall. The wielding of power is remarkably similar in both God and the king. God wields the imaginative force which on mod bearn, while the king himself also wields this power through his vocalization of it: se ... his wordes geweald wide hrefde. While God is the force behind Hroagar, He is soon eclipsed by the presence of Hroagar's own (God-given) power. This transfer of power is an important factor in the poet's description of the virtue of humanity. The shift from divine guidance to human action makes goodness a human not a superhuman concern. God bestows power initially. However, it is the human king who must wield it well [21,90].
The inhabitants of Reorot are also marked by virtue and grace, at least prior to the attacks of the Grendel-Kin. The Danes enjoy happiness hludne in healle. Indeed their joy dates back further even than the creation of Hroogar's hall. From their beginning they are a favoured tribe: after perceiving their lordless suffering, God sende / folce to frofre a king. For this blessing the Scyldings are grateful. They repay the debt through loyalty to and respect for their lord, providing a marvellous burial ship at his death. Scyld; too, is mindful of honour. He monegum m~gpum meodosetla ofteah; orchestrating victories for his people. His son too is woroldare forgeaf granted world-honour, because of his fromum feohgiftum splendid treasuregiving, and the cycle of grace and repayment continues to Hroogar's time. Righteousness and generosity become the foundation of the Danish dryht. The Godgiven power of these kings is repaid through their proper use of that power.
This attention to virtue and conduct is exhibited in the poem's other human court also. During his reign in Geatland, Beowulf continues Hroogar's example of goodness. There is, though, little of the religious metaphorization surrounding Beowulf's kingship that is suggested of Hroagar's rule, despite the fact that the Geat has ginfrestan gife, pe him God seal de ample gifts which God gave him. In fact, during the Geatish adventure, Beowulf and God are almost negatively linked. While Hroagar has the Lord's favour, the king of the Geats worries that he has somehow displeased God: wende se wisa, pret he Wealdende / ofer ealde riht ecean Dryhtne / bitre gebulge the wise one thought that he had bitterly offended the Wielder, the Eternal Lord. At his death, he feels constrained, even, to prove his worthiness of God's favour: "me witan ne 6earf Waldend fira / mor6orbealo maga" ["the Wielder of men need not lay charge on me for the murder of kinsmen," [22,201].
Through the maxims which dictate and the examples which describe human virtue, the poet offers a paradigm of human existence for his audience to emulate. The positive values evident in most human endeavours in Heorot and Geatland imply a goodness at the center of human nature. Yet while good is a major presence in the poem, the existence of evil in humani ty is by no means denied. Such is obvious in any cursory glance at the monsters. Through them evil enters the human realm; the dark stain of the Grendel-Kin on the brightness of Heorot is the focus of Part I, much as the dragon's shadow circling Geatland is a major element of Part II. The monsters become metaphorical of human sin through their identification with the poem's human figures. They represent the evil potential of kings, queens and thanes, denying the social duties incumbent upon humanity. Their horrific existence is a metaphor of the horror of human denial of virtue. Grendel, his Mother and the dragon parody the roles which Wiglaf, WealhOeow and Beowulf present so virtuously, and so stand as a warning against the commission of such acts as they perform and against the display of such traits as they possess.
The metaphorical language which abounds in Beowulf is integral to the monsters' characterization. The perverse human ideals which they represent are visible through the allusive quality of the language. Through the careful construction of his character as both human and monster, Grendel becomes an important symbol of evil thanehood. The poet takes care to build up Grendel's monstrous and human characteristics simultaneously. It is through the balance of seemingly incongruous epithets that his evil actions and attitudes are conveyed. By merging human and monster, the poet displays the horror of ignoring social duty. Grendel is not merely an inhuman foe of the Scyldings who must be vanquished. Nor is he truly a human enemy of the tribe. It is the combination of these two aspects by the use of metaphorically significant words and phrases which allows a view of humanity gone awry. Grendel becomes the epitome of false thanehood in a human context while existing also as a monster far removed from any sort of human society. This distance adds to the horrible inhumanity of his actions as a parodic thane [23,112].
In a strictly literal or physical sense, it is difficult to describe exactly what
Grendel resembles. The combination of different categories of existence is so much a part of his character that a definitive description cannot be arrived at. He is
both an earthly monster and an analogue of satan/cain. The Beowulf poet is not so bold, though, as to attempt absolute identification of Grendel with any biblical figure. From the first mention of him (prior to his introduction by name), he is associated with Christian devils. He is se elleng~st ... pe in pystrum bad [the bold demon ... who dwelt in darkness. This brief introduction serves partly to define Grendel. The importance of this definition comes with the following lines detailing God's creation of the world: after the mention of lmihtiga the Almighty, Grendel, as the gost, is necessarily linked to a Christian perspective. The figures of God and Grendel are set side by side. The comparison, though inescapable, is subtle. However, the shadowy allusion is strengthened by the epithet next applied to Grendel. He is feond on helle, living beyond the precincts of man. This fact favours a comparison with the evil race of Cain, whose forefather fear forwroc, Metod ... mancynne fram [the Measurer banished far from mankind. Cain, protection of the human world: too, is sent outside his crime of fratricide warrants expulsion from God's Kingdom. Thus, like Grendel, he inhabits an area outside man's jurisdiction. Similarly, both the Cain figure and Grendel are warriors [24,89].
Beyond the religious overtones which his monstrous ancestry implies, Grendel is still a figure distant from humanity; his physical shape as a giant confirms this. Even his geographical placement on the periphery of society is an indication of his foreignness. Unlike the Danes who inhabit halls and live in a communal fashion, Grendel is cut off from a sense of brotherhood and community. He is mrere mearcstapa the notorious mark-stepper, walking the boundaries of human culture. His retreat is dygel land the way to which is uncu6 gelad men ne cunnan, / hwyder helrunan hwyrftum scripa. The places which the Grendel-Kin inhabit are outside of the knowledge of humanity. More importantly, their domain includes a bestial
community. Grendel occupies wulfhleapu, making his society one of monsters and beasts. l Grendel is excised from the human community by his literal placement outside of it; his geographical distance from men makes him inhuman. The metaphorical language of the poem creates the Mere as an unknown entity. Indeed, at points the human characters and even the narrator do not have the words to describe it. To them Grendel is sceadugenga pe in pystrum bad who dwelt in darknes. His haunt is so alien as to be indescribable. It is only as a site of secretive darkness that humanity can conceive of Grendel's dwelling place. The darkness and shadow of the Mere are directly opposed to Heorot, beahsele beorhta the bright ring-hall. His dwelling creates Grendel as a figure outside of and even opposed to mankind; while human regions are well-lit and well-known to men, his lair is a place of mystery and dark danger.
A related yet distinct element. In Grendel's characterization as a creature divided from humanity is his solitude. Though mention is made at times of his deofla gedrreg, Grendel is more often than not a solitary figure. As angengea, he is cast out of any relationship. His solitude is complete until his mother's introduction; before her entrance there is no mention of other Grendel-kin. The lack of familial ties and his oddly immaculate birth indicate a creature who exceeds the bounds of human normalcy. Grendel's solitude is such that there is not even contact between mother and son; the two creatures are never together in the poem while Grendel is alive. He is segregated from humanity proper and from the relationships which would make him similar to humanity. He exists beyond the normal parameters of human life, showing no concern for bonds of kin or duty [25,35].
Even his motiveless attacks defy human understanding; he has no reason for his razing of Heorot apart from an anger because dream gehyrde I hludne in
healle. His is an unknown evil, a malignance outside of normal human knowledge. That is to say, Grendel represents evil which operates on mankind rather than through it. The unreasoned attacks on Hroogar' s hall prove the almost purposeless enmity which Grendel holds against humanity. His actions exemplify the universality and inherence of evil in the world; through him evil exists outside of human action. his malevolence, being internalized and unmotivated, is counter to the justified or seemingly justified wars which are fought on a human level in Beowulf.
It is not simply as an enemy of mankind, though, that Grendel is anthropomorphized. There is a notion of humanity about him which is not contingent on his battle with the Danes. He is a miserable shape in the likeness of a man except that he was greater than any other man. His very appearance betokens some kinship to mankind, despite his superhuman stature. Indeed, his gigantic size is evident in human characters as well.

CONCLUSION

In this course work, I as a researcher has investigated some of the most reliable information about Beowulf, the epitome of social progress and federal might defeats the supernatural and decentralising forces of Grendel, Grendel‟s Mother, and the Dragon, resolving the central conflict between the supernatural and corporeal. Unfortunately, with the supernatural suppressed, the only enemies left are corporeal, the vast number of Swedes at their borders. Shield Sheafson and the various monsters of old are archetypal violent heroes and chaotic supernatural beasts. His descendents, Beow and Hrothgar, move away from a culture of fear to a centralised government built on fraternity and fidelity. Grendel‟s twelve-year war is a reaction against their progress. Grendel and Beowulf share the experience of facing exclusion from society by their ancesto’s sins [26,70].
Beowulf finds acceptance through his great deeds while Grendel violently rebels against his exile. He never attains acceptance in this world from other supernatural creatures and the human populace. Grendel‟s Mother represents the old familial obligations that bind the Geats and Dane. She battles Beowulf as a supernatural power in her own supernatural realm and is defeated by her own world‟s magic. The corporeal can defeat the supernatural by turning its own devices against itself. The remnant, the revived Dragon, an enslaved subterranean guardian, is destroyed through Beowulf‟s sacrifice. The Dragon‟s death cleanses society of the pagan monsters. However, Beowulf leaves behind a people beset on all sides by corporeal enemies that cannot be defeated through the wit and providence of a single man like Wiglaf or even all the thanes. Its corporeal enemies are less exciting tribulations than perhaps a dragon or sea monster but are still just as threatening.
Beow, Hrothgar, Beowulf and Wiglaf may have driven the supernatural underground but their people’s own traditions and feuds remain entrenched in the culture of the people, not matter how much centralisation and reform they muster, and will continue to harass their progress for years to come.
With the application of these early and late theories in the field of teratology I have proved the importance of the use of monsters in the poem as a way of enhancing the figure of the hero. As we have seen, the three monsters are not used lightly; instead we can see how they are more and more powerful with each battle. Although frightening, Beowulf found Grendel a weak opponent. He might stand as a representative of a basic and “natural” kind of monster, directly reflecting Cain’s basic instinct to kill his equal out of jealousy. Consequently, his powers are merely physical and he wields no weapons. This relationship between the hero and the monsters, the self-otherness relationship, is what makes this epic poem nowadays one of the most important ones and a key piece of literature in the Anglo-Saxon tradition. We could say that the poem itself is, in the good sense of the word, a monstrosity in English literature [27,88].
The poem's narrator calls for the attention of his audience and introduces his topic with a brief genealogy of the Scyldings (Danes). The tribe has taken its name from Scyld Scefing, a mythological hero who, many years earlier, reached their shores as a castaway babe on a ship mysteriously laden with treasure. Through industry, courage, and character, Scyld Scefing became a great leader and honored king. His son, Beow (sometimes called Beowulf but not to be confused with the epic's central hero), continued the successful reign after Scyld's death and sea burial. Beow ruled long and well, "beloved by his people". Beow's son, Healfdene, sired four offspring, the most notable of whom is Hrothgar, king of the Scyldings as the story unfolds. Hrothgar has been a great king and won many victories for his people. As a symbol of his success, he has built a great mead-hall, called Heorot, the finest of its kind. In Heorot, Hrothgar's men celebrate with joyful laughter and songs from the king's bard. The Scyldings prosper. An ogre named Grendel lives in the nearby moors and takes exception to his neighbors' excessive happiness. A descendant of Cain, he envies and resents mankind. One night he attacks without warning and slaughters 30 of Hrothgar's men. He returns the next night and soon drives the Scyldings from the great hall. His ruthless dominance lasts 12 years. It is often said that Beowulf begins and ends with a funeral, and that is very nearly the case. The narrator sets the heroic tone and introduces the setting through the founding character of Scyld Scefing; his most detailed early description is saved for Scyld's parting after death. The king's body is placed on a ship, surrounded by treasure and "war-dress" to accompany him into the unknown. Gold, silver, jewels, and the finest swords and armor are placed aboard with the corpse and then set afloat in the sea. The idea is to honor the king but also to provide him with objects that might prove useful in the afterlife [28,116].
Hrothgar's great hall (Heorot, "Hall of the Hart") functions as both symbol and setting. Symbolically, it represents the achievements of the Scyldings, specifically Hrothgar, and their level of civilization. It is a place of light and warmth in the dark, cold winters. Here Hrothgar celebrates his victories and rewards his thanes (warriors) with various rings and treasures. Heorot is no common beer hall; it is more of a palace, towering high like a cliff. Significantly, this is where Beowulf's first great battle for the Danes takes place. The hall also symbolizes the concept of comitatus, the honor code that exists between the king, or feudal lord, and his warriors. Thanes swear devotion to their leader and vow to fight boldly, to the death if necessary, for him.
If the leader should fall, his life must be avenged. For his part, the leader rewards his thanes with treasure, protection, and land. His generosity often is mentioned as one of his strengths of character.
The modern reader might think it odd that the poem's narrator interrupts his description of the glories of the hall to foreshadow the hall's eventual destruction by Hrothgar's son-in-law, but such digressions are common in Beowulf. Throughout the epic are the reminders of the sometimes grim whims of fate and the mutability of human existence.

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