Heorot and the Plundered Hoard: a Study of Beowulf

248 Pages·1974·9.256 MB·English

by  Willem Helder

HEOROT AND THE PLUNDERED HOARD
HEOROT AND THE PLUNDERED HOARD:
A STUDY OF BEOWULF
By
WILLEM HELDER
A Thesis
Submitted to the School of Graduate Studies
in Partial Fulfilment of the Requirements
for the Degree
Doctor of Philosophy
McMaster University
September 1974
©
Willem Helder 1974
DOCTOR OF PHILOSOPHY McMASTER UNIVERSITY
(English) Hamilton, Ontario
TITLE: Heorot and the Plundered Hoard: A Study of Beowulf
AUTHOR: Willem Helder, B.A. (McMaster University)
M.A. (McMaster University)
SUPERVISOR: Dr. Alvin A. Lee
NUMBER OF PAGES: x, 237
ii
ABSTRACT
During the age in which Beowulf was written, Christianity was
the prevailing cultural force. Since early medieval religion was
rooted in biblical typology, the principles of which were widely
disseminated by the liturgy of the Church, we may assume that the
resulting Weltanschauung also influenced Old English literature. While
it is increasingly being recognized that the poetry of the Anglo-Saxons
is the product of the typological imagination, Beowulf is usually
regarded as somewhat of an exception. Until now, no typological study
of the poem as a whole has appeared.
In order to interpret its major symbols and illuminate its
perennial cruces, Beowulf needs to be studied in its literary context.
An understanding of the poem is therefore promoted by a consideration
of its relationship to the literature of the typology-based tradition:
other Old English poetry (which is mostly biblicul or hagiographic in
theme), the liturgical texts (in which the Scriptures, especially the
Psalms, are the prominent sources), as well as the exegetical and homi
letical writings of the Church Fathers and their medieval successors.
The soundness of taking such material into account in the study of Beowulf
is demonstrated by the fact that this method yields not only explanations
of many individual elements but also a unified interpretation of the poem
in its entirety.
The meaning of Heorot, the goldhall, can thus be determined by
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iii
comparing it to structures that are discussed in similar terms in the
literature known to the Anglo-Saxons -- for example, the temple or the
newly created earth when it is described as a building. As a result
it can be shown that, contrary to what some have argued, neither the
perfect beginning of the hall nor the misery subsequently caused by
the monster Grendel is evidence of the sinful pride of Hrothgar, its
builder. Heorot•s typological -- and, hence, also baptismal -- conno
tations lead us to the conclusion that Hrothgar's seemingly reprehensible
inertia in the face of Grendel •s attacks is entirely appropriate in one
who, like the mournful ones in the Old English Advent, can only await
deliverance. A discussion of the spring motifs in the poem helps to
identify Beowulf as the heroic redeemer which the situation calls for.
Numerous other details, when examined in a typological perspective, help
to confirm this identity.
Furthermore, Beowulf can be defended against those who cast
aspersions on his desire to defeat the dragon and win its gold for his
people. The role of the thief provides important clues to the meaning
of Beowulf's own spoiling of the dragon's hoard. It can be shown that
Christ's rifling of the devil's hoard constitutes the paradigm. Like
Beowulf's cleansiny of Heorot, the plundering is a redemptive activity.
Moreover, since the poet presents it as a doomsday motif, it forms an
extension of the Flood and baptism typology to which he repeatedly
alludes in the earlier presentation of Beowulffs fights with the Grendel
kin.
Time and again the Beowulf poet's choice of words and details
•.
iv
reveals that he practised his craft within a tradition in which his
creativeness was bound and disciplined by the objectiveness of a
particular structure of images. We perceive in all the rich variety
of his work the unifying effect of the typological imagination. It is
in the typological.mode of Beowulf that the key to its meaning and
artistry is to be found.
To
ANNE
vi
ACKNOWLEDGEMENTS
It was Dr. Alvin A. Lee who first introduced me to Old English
studies ten years ago. Since that time I have on countless occasions
enjoyed the lively stimulation of his scholarly guidance. I should
like to thank Professor Lee especially for his encouraging interest
throughout the preparation of this thesis.
•. vii
T A B L E 0 F C 0 N T E N T S
ABSTRACT iii
ACKNOWLEDGEMENTS vii
NOTE ON THE ENUMERATION OF PSALMS ix
ABBREVIATIONS x
INTRODUCTION 1
I. HEOROT AND THE SONG OF CREATION 7
II. HROTHGAR AND THE YEARNING HART 48
III. ICE-BONDS AND THE RISING SUN 84
IV. BEOWULF AND SPRINGTIME HEROISM 123
V. DOOMSDAY AND THE PLUNDERED HOARD 182
BIBLIOGRAPHY
1. Primary Sources 223
2. Secondary Materials 228
viii
NOTE ON THE ENUMERATION OF PSALMS
It is appropriate in any study of medieval literature to refer
to the Vulgate rather than to the Authorized Version or other English
translations of the Scriptures. In view of the differences in enumera
tion which are found especially in the Book of Psalms, the following
table may be helpful:
Vulgate English Bible
1-8 1-8
9 9 and 10
10-112 11-113
113 114 and 115
114 116 (verses 1-9)
115 116 (verses 10-end)
116-145 117-146
146 147 (verses 1-11)
147 147 (verses 12-end)
148-150 148-150-
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