Abstract

The spirit of the epic poem Beowulf is propelled by two distinctly different myths: the Christian imagination and the Germanic tradition. The strong presence of both the tradition of kinship and Christian elements do not coalesce in one synthesized myth, but rather both retain their original significance and energy in the body of the epic poem. Such accommodation of multiple worldviews and myths is particular to the capabilities of the epic mode. 

Louise Cowan’s article, “Epic as Cosmopoesis” provides a lens through which the epic mode and genre are considered.   Since Cowan is largely concerned with how epic poetry springs forth a “full and complete cosmos,” the main component of this cosmos is the material imagination of the society. 

The poet activates the tension between the two myths in the beginning of the poem.  The tension persists in the representation of evil in the poem, and the corresponding destruction of it.  The depiction of good, especially in Beowulf as protagonist, further complicates the relationship between the two myths.  Thus, I will argue that Beowulf is cognizant of the tension between the two myths in his society.  Finally, Beowulf’s burial, which appears at the end of the poem, is carefully analyzed as well as the burial which opens the poem, that of Shield.

The end of the poem demonstrates the relationship between the myths more clearly.  The impending Christian conversion (perhaps also in cultural myth) is inevitable, and the Anglo-Saxon society of ring-giving must end.  However, that society must also be celebrated for its vigor, delight and accomplishment.