INTRODUCTION

‘Beowulf’ may rightly be pronounced the great national epic of the Anglo-Saxon race. Not that it exalts the race so much as that it presents the spirit of the Anglo-Saxon peoples, the ideals and aims, the manners and customs, of our ancestors, and that it does so in setting before us a great national hero. Beowulf himself was not an Anglo-Saxon. He was a Geat-Dane; but he belonged to that confraternity of nations that composed the Teutonic people. He lived in an heroic age, when the songs of the wandering singers were of the great deeds of outstanding men. The absolute epic of the English people has yet to be written. To some extent Arthur, though a British King—that is to say, though he was King of the Celtic British people, who were subsequently driven into the West, into Cornwall and Wales and Strathclyde, by our Saxon ancestors—became nationalized by our Anglo-Norman ancestors as a typical King of the English people. He has become the epic King of the English in the poetry of Tennyson. It is always a mystery to the writer that no competent singer among us has ever laid hands upon our own Saxon hero, King Alfred. It is sometimes said that there is nothing new under the sun, that there is nothing left for the modern singer to sing about, and that the realm of possible musical production is fast vanishing out of view. Certainly this is not true of poetry. Both Alfred and Arthur are waiting for the sympathetic voice that will tell forth to the world the immortal splendour of their personalities. And just as the Anglo-Normans idealized Arthur as a hero-king of the English nation, though he really fought against the English, so the Saxon singer of Beowulf has idealized this Geatish chieftain, and in some way set him forth as the idealized chieftain of the Teutonic race.

Now it will be quite naturally asked, What do we learn from Beowulf of the genius and spirit of that race from which we are sprung?

The one outstanding fact, as it appears to the writer, is the co-operative principle. And this principle stands in almost violent opposition to the ruling principle of the modern world, in which society is divided into a number of mutually opposite sections or classes, whose interests clash with fatal results to individual and corporate well-being. In this poem we see the whole community, from the King to the churl, bound by one common interest. King and chieftain and thane and churl freely intermingle and converse. They eat and drink and sleep under one common roof, or at least in one common enclosure. Tempora mutantur! but the idea of social interaction and mutual interdependence never found more vivid or real expression than in the pictures presented in Beowulf of Hart, the Great Hall of Hrothgar, and in the Court and township of Hygelac, King of the Geats. In the Hall of Hart Hrothgar and his Queen and his courtiers sit at the high table on the dais, and the lower orders at the long table down the hall. The spears and shields adorn the walls. After the evening meal, the singer, or scop, as he is called, to the accompaniment of the harp, tells forth the deeds of some ancient feud, such as that of Finn and the Danes or the Fight at Finnsburgh, or the feud of the Danes and the Heathobards, in which Freawaru, Hrothgar’s daughter, and Ingeld figure so tragically. Then the benches are removed, and the rude beds are spread out on the floor of the Great Hall and they seek ‘evening rest.’ The whole is a picture of fraternal and paternal government. If Grendel, the Fen-monster, carries away one of their number, then there is weeping and lamentation. The King and the Queen and the nobility and the commonalty are all concerned in the tragedy. The loss of one is the loss of all. When Aeschere is slain by Grendel’s mother Hrothgar thus bewails his loss: ‘Seek no more after joy; sorrow is renewed for the Danish folk. Aeschere is dead, he who was my wise counsellor and my adviser and my comrade in arms, when in time of war we defended ourselves; ... but now the hand lieth low which bestowed every kind of joy upon you.’ And in the end of the poem it is said of Beowulf that he was ‘most gentle to his folk.’ The King was king only ‘for his folk.’ The interest of his folk, their physical and moral well-being, was his chief solicitude.

2. But not only was this so within any one nation or tribe, but there was a sense of comradeship and mutual responsibility among those of various tribes and nations. When Beowulf the Geat hears in Gautland of the raids of Grendel upon Hart, he commands his folk to make ready a boat that he may fare across the sea to the help of Hrothgar, because ‘he was lacking in warriors.’ Beowulf’s whole mission in Hart was the discharge of a solemn obligation of help from the strong to the weak. He announces to Hrothgar that he is come ‘to cleanse Hart of ill,’ and this he feels he must do. ‘Woe is me if I preach not the gospel!’ cried St. Paul. ‘Woe is me if I help not the weak and cleanse not the demon-infested palace of my kinsman!’ cried Beowulf. ‘Weird goes as he willeth’; that is, Fate must be submitted to. And Fate hath willed that he should help the weak and ‘cleanse the ill.’

3. Then there is the tremendous sense of loyalty on the part of the folk to their king or chieftain. The idea of the ‘Comitatus’ bound the folk to their leaders. Nothing more disgraceful could be conceived than the desertion of the leader. Terrible were the reproaches hurled at the trembling cowards who had hurried away into the woods, to save their own skins, whilst their King Beowulf wrestled with the dragon, the enemy of the people. ‘Yea, death is better for any earl than a life of reproach.’ Loyalty, a passionate loyalty to the King, was the greatest of virtues, and disloyalty and cowardice the greatest of vices. Society was an organic whole, bound together by the bands of loyalty and devotion to the common good.

5. And closely allied to this sense of Destiny is the sombre view of life that is characteristic of the Teutonic peoples. There is none of that passionate joy in beauty and in love that we find in the Celtic literature. Life is a serious thing in Beowulf and with us of the Anglo-Saxon race. The scenery of Beowulf is massive and threatening and mist-encircled. Angry seas are boiling and surging and breaking at the foot of lofty and precipitous cliffs. Above the edge of the cliffs stretch mysterious and gloomy moorlands, and treacherous bogs and dense forests inhabited by malignant and powerful spirits, the foes of humanity. In a land like this there is no time for love-making. Eating, drinking, sleeping, fighting there make up the business of life. It is to the Celtic inflow that we owe the addition of love in our modern literature. The composer of Beowulf could not have conceived the Arthur Saga or the Tristram love-legend. These things belong to a later age, when Celtic and Teutonic elements were fused in the Anglo-Norman race. But we still find in our literature the sombre hues. And, after all, it is in the forest of sorrow and pain that we discover the most beautiful flowers and the subtlest perfumes.

I desire to express my indebtedness to A. J. Wyatt and William Morris for their translations; to A. J. Wyatt for his edition of the poem in the original; to Thomas Arnold for his terse and most informing work on Beowulf; to the authors of articles in the Encyclopaedia Britannica and in Chambers’s Encyclopaedia and The Cambridge History of English Literature.

Ernest J. B. Kirtlan.

Brighton, November, 1913.