Beowulf: More than just an Antiquated Story

There's no doubt that Beowulf is an incredible piece of literature. Granted, most long poems or novels about or by white men are considered similarly, because white men have long decided which literature is great. However, Beowulf exhibits unique views into the human condition through the story of an epic hero fighting monsters. Pair that with the incredibly crafted form full of figurative language, and it is easy to see why this poem has a lot of merit. It's probably my favorite story from ancient or medieval literature. 

Beowulf is the longest Old English epic poem that we have recorded. It might also be the most famous epic in Old English. Yet, the poem as it exists today is only written on a single manuscript. This is, of course, excluding the numerous copies that have been translated, reproduced, and republished. On the manuscript, there is no author's name to be found, nor a completion date. Scholars still argue about when it was published. J.R.R. Tolkien, a scholar of the old texts and Old English, places it in the 8th century (Tolkien also has his own translation of the poem, which was published recently). Others say it was written as late as the 11th century. 

The story is set in the 6th century and exhibits many traits of pagan ideology and traditions. However, the story is an amalgamation of paganism and Christianity, and references to both can be seen throughout the poem. The poem also exhibits traits of the oral tradition. Epic poems were often sung or recited as entertainment, because the poetic form was more easily remembered. The poem begins in media res ("into the middle of things"), which suggests this story is one that is being told. So, it is believed that through much retelling throughout the years, it evolved and absorbed Christianity along with the already older pagan ideals. This also means multiple versions of the story have existed, even just through the oral tradition. 

Despite all of this mystery behind it, Beowulf is highly regarded. It exists in numerous translations and in many languages. Plenty of film adaptations of the work have also been made, although mostly poorly. 

As I mentioned before, it isn't just the action that makes this story. Through its strong representations of warrior culture, it can give us a clearer view of some of the ideals of the time. The titular character defeats the monster Grendel, Grendel's mother, and then later a dragon. The battling and culture in the story show us manhood was hinged on being strong and mighty, because the hero Beowulf was the ultimate example of a man. 

However, if you read the story through the women characters it is much easier to critique that very culture. The women characters, Grendel's mother and Hildeburh (a woman in a song one of the character sings), are affected by the warrior culture in horrible ways, as they both lose family members to battles and war. The loss and harrowing sadness they felt is such a jarring shift from the protagonist's efforts to fight and slay. It shows us the story is not a simple one, but it offers multiple perspectives of the life of war. 

Beowulf shows that literature a millennium old can still offer unique and compelling accounts of the human condition. As we read the accounts of these people from the past, and of 'monsters' battling the hero, it also reveals that our humanity cannot be bound by time, and is not something found within our DNA. It connects us to the people of the past, and shows that we aren't much different now. 

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Sources: 

Acocella, Joan. "Slaying Monsters." The New Yorker. June 2, 2014. Accessed September 15, 2016. http://www.newyorker.com/magazine/2014/06/02/slaying-monsters.

"Beowulf - The British Library Shop." The British Library. 2014. Accessed September 15, 2016. https://www.bl.uk/collection-items/beowulf.

Humans Not Heathens: The History Channel's "Vikings"

This photo provides images of the characters along with major themes. These themes include: strong women in the home and on the battlefield, amalgamation of heathens and Christians, and a power struggle between kings and brothers.

The TV series Vikings, which airs on the History channel, is based on the legendary leader and king of the Northmen, Ragnar Lothbrok. Although the topic and focus of this series may come off as self-explanatory the characters are complex as they follow a deeply entwined story-line during a critical period in the development of the British Isles. The main Vikings are Ragnar, Rollo (brother), Lagertha (first wife), and Bjorn (son).[1] This show is focused on the Viking’s perspective. Therefore, the foreigners are the Anglo-Saxon and Frankish kings Ecbert of Wessex, Aella of Northumbria, and Charles of Frankia. As the series unfolds it follows Ragnar and his family through their raids first into Northumbria, then Wessex, and finally to Paris (Frankia). Through the period of Viking raids, beginning in year 793, the Anglo-Saxon Kingdoms faced not only invasion but occupation.[2]  Through this period there were power struggles between kings and a supernatural battle between the gods of the Northmen and the Christian God. 

Characters ordered from right to left: Ragnar, Lagertha, Rollo, and Bjorn

All of these themes and ideas are what the TV series Vikings focuses on. Despite its presence in popular culture and use of dramatization, I argue that Vikings is helpful in gaining a basic understanding of historical figures and the events that happened during the ninth and tenth centuries. This includes major characters in the period and commonly agreed upon themes such as a desire for expansion and religious confusion.

Vikings offers exposure to characters of the past. Although sources do not confirm the proven existence of a King Ragnar Lothbrock, twelfth century sagas do reveal the story of Ragnar. Sagas and folklore accredit Ragnar as the father of many famous and recorded Viking leaders during the ninth century including Bjorn Ironside, Ivar the Boneless, Halfdan Ragnarsson, Sigrud Snake in the Eye, and Ubba. All of these men were leaders of the Great Heathen Army which invaded the Anglo-Saxon kingdoms in 865.[3] According to the sagas, along with being depicted in the series, these men were all the sons of Ragnar Lothbrok. Concerning Ragnar’s foes in the TV series, King Ecbert was an actual king in Wessex. And, as depicted in the series, Ecbert’s son was Aethelwolf. Despite the dramatization within the series concerning his son’s legitimacy, Aetholwolf did have a son named Alfred who eventually became Alfred the Great. The character of Alfred the Great is important to the contribution Vikings makes for a historical understanding and connection to Medieval Europe because the unification of the Anglo-Saxon kingdoms is greatly attributed to the actions of King Alfred the Great.[4] Finally, just as it is depicted in Vikings, King Charles was a king in Frankia. Within the series King Charles is depicted as the grandson of Charlemagne. According to records a grandson and a great-grandson of Charlemagne were both kings in Frankia and they were both named Charles. So, not only do the names line up, but, similar to the role Alfred and his family play, King Charles contributes to the understanding of the importance of Charlemagne in this period. Historical records explain that kings following Charlemagne such as Otto II and Otto III were so concerned with him that Otto II was buried in the same church and Otto III descended into the tomb of Charlemagne.[5] In Vikings, King Charles is haunted as much as he is praised for being the descendant of Charlemagne because of the expectations that bloodline was believed to uphold. Today, we know that Charlemagne played one of the most essential roles in the foundation and organization of northern Europe. Therefore, the constant reminder of King Charles’ ancestry in Vikings adequately portrays the importance and legacy of Charlemagne in this period. 

King Ecbert, pictured to the right of Aethelstan, is granting
 Lagertha land for a Northmen's settlement in Wessex.

Next, Vikings shows the concern of more than raiding and pleasure by Ragnar for his purpose in raiding new lands. In the first season Ragnar shows his curiosity in what else is out in the world. This is a major fact that is typically glossed over and ignored in films depicting Vikings. A large amount of popular culture depicts Vikings as solely desiring war and money. However, in their homeland Vikings main economic source was farming and livestock, and due to large estates owned by few people the Northmen faced a shortage in land availability.[6] As a result, along with some other factors, the Northmen went in search for farmland as Ragnar does in Vikings.

Finally, Vikings does contain inadequacies that harm its representation of medieval culture. First, King Ecbert is extremely interested in the Roman artifacts that surround him. In the second season of Vikings King Ecbert uses a monk, Aethelstan, that Ragnar had captured during the first season to transcribe scrolls and translate them from Latin. He makes comments about the “wonders” and “insight” of the Romans. Through King Ecbert’s character the writer for Vikings ignore the argument that many people saw the kingdoms of Europe as a continuation of the Roman Empire not a recession from the Romans’ achievements. In a letter to an Abbot, Charlemagne describes himself no only as king but also as the, “Patrician of the Romans.”[7] This statement by Charlemagne reveals a sense of continuation rather than cessation from the Roman period. Despite this variance, King Ecbert and the monk Aethelstan do reveal a struggle between a full faith in the Christian God and the idea of pagan gods having power and influence in the world. This could be used to show Bennett’s argument about the Irish missionaries that worked within the Anglo-Saxon kingdoms and their lack of forceful repentance from cultural traditions. As a result of the amalgamation of Christianity and cultural traditions a coexistent belief could have been present which King Ecbert and Aethelstan reveal in their characters. 

Another inaccuracy is the strong presence of shield maidens, or female warriors. In Vikings there are many women shown on the battlefield fighting alongside women and although the sagas and folklore highlight a presence of shield maidens many scholars argue their presence was a rarity. Bennett explains that the society of Northmen was very patriarchal and states that men raided but men and women settled.[8] Therefore, the use of women on the battlefield as a commonality is inadequate but showing their importance in the process of holding and settling the land following a raid is not. As a result, there may not have been shield maidens but many arguments do claim that the women of Viking culture were present and played a major role during the Viking period.                                     

Overall, Vikings may not be chronologically correct, and some of the characters may be based off of sagas from this period rather than historical records but it can reveal the relation of the different rulers in the Anglo-Saxon kingdoms along with the importance of Charlemagne to Frankish royalty. This series also displays that there were push factors, such as a need for more land, along with pull factors, gold, that drew the Northmen to raid the mid-European kingdoms. And finally, despite its inaccuracies, Vikings shows that there could have been a development of coexistent religious beliefs and that there was a role for women within the Northmen’s culture. Although Vikings embellishes and dramatizes some aspects of the early Medieval Anglo-Saxon period, it shows viewers many aspects that spark interest and escape the traditional thought of Vikings as blood thirsty gold seekers.    

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[1] Relations are in reference to the individuals’ relationship to Ragnar in the series Vikings. 

[2] Date provided by: Judith M. Bennett, Medieval Europe: A Short History (New York: McGraw Hill Education, 2010), 109.

[3] "Ragnar Lodbrok", Wikipedia, last modified September 8, 2016, https://en.wikipedia.org/wiki/Ragnar_Lodbrok. 

[4] Judith M. Bennett, Medieval Europe: A Short History (New York: McGraw Hill Education, 2010), 112.

[5] Class notes.

[6] Judith M. Bennett, Medieval Europe: A Short History (New York: McGraw Hill Education, 2010), 107.

[7] Charlemagne, Letter to Baugulf, Abbot of Fulda. Course Packet, ed. Shelley Wolbrink (2016): 28-29.

[8] Judith M. Bennett, Medieval Europe: A Short History (New York: McGraw Hill Education, 2010), 109.

Sacred Geometry: Charlemagne's Aachen Cathedral

There is an old saying, many of those who read this have probably heard, that is, words have power. The intention of this saying or proverb, if you will, is to cause a moment of pause prior to speaking. This encourages people to think about the effects their words can cause. A similar thought came to mind when looking at Charlemagne's Aachen Cathedral. The idea that numbers have power. The first thing that struck me about this church is the use of an octagon in the central room. This is drastically different than the design of halls for feasting during this period, which better represent the long naves that Cathedrals traditionally have for their central rooms. However there does seem to be significance to the geometry of Aachen Cathedral.




Research shows that the number eight (8) is used within Christian tradition to relate to the resurrection of the Christ Jesus. Therefore this number is the number to represent the full cycle of God's plan. Although the number seven (7) is usually thought of as the holy number because of the completion of Creation and the Sabbath being on the seventh day, the number eight is the next step. Research also shows that this was a common practice, specifically for the design of baptisteries. The use of eight sides in a baptistery is very interesting because within Christianity it is believed that professing Jesus as Lord and following that with baptism is the process of rebirth. So the question is, was this intended by Charlemagne and his architects? Historians argue that it was intentional. That the knowledge of eight symbolizing the resurrection of Christ Jesus was used to possibly even show the place on earth for spiritual renewal or rebirth for humans. This would suggest a closeness to God through a physical presence within the octagonal structure. Which leaves me with one question for the readers. Knowing that many monasteries were built upon hilltops for physical representation and a spiritual closeness to God, would Charlemagne's use of an octagon in the Aachen Cathedral provide the same effect?


Sources:
"Aachen Cathedral." Wikipedia, Sep. 6, 2016. https://en.wikipedia.org/wiki/Aachen_Cathedral

"Numbers and Their Meanings." crystalinks.com, 2004.  http://www.crystalinks.com/numerology2.html

"The Sabbath Day, Sunday and the Eighth Day." Saint Spyridon Greek Orthodox Church, Mar. 30, 2013. http://www.stspyridons.org/the-sabbath-day-sunday-and-the-eighth-day/

Close Enounters of the Ecclesiastical Kind

To date the most boring paper I have ever written involved framing the Venerable Bede's Ecclesiastical History of England as an early form of propaganda. Reading the work of a medieval monk is not the most interesting task, but I don't blame Bede for the dullness of my writing. Reflecting on the event my 'thesis' was a stretch at best. I thought it made me sound intelligent (it didn't). 

The paper has since been lost. 

So when Bede was mentioned in Medieval History it was like revisiting an acquaintance who you only remember vaguely. I was inspired to revisit The Ecclesiastical History.

An image of a copy of Ecclesiastical History held at the British Library
https://www.bl.uk/collection-items/bedes-ecclesiastical-history

Regardless of my personal feelings on Bede his contribution to history is undeniable. He published many works, but I find The Ecclesiastical History of the English People, or more formally Historia ecclesiastica gentis Anglorum has the most meat. Created in 731 The Ecclesiastical History, or the EH (for the purposes of this blog) covers the conversion of the English people to Christianity. Bede's account begins with the invasion of Julius Caesar and spans into the conversion the Anglo-Saxons across the kingdoms of Britain. Bede lived a monastic life in which he published the EH and other works. The British Library considers the EH as "...the chief source of information about English history from the arrival of St Augustine in Kent in 597 until 731" (https://www.bl.uk/collection-items/bedes-ecclesiastical-history) and the Bennett textbook mentions that the EH is, "...historically reliable" (Bennett 46). The lasting nature of the work speaks to Bede's intelligence and careful research. The copy of the EH presented in this blog is not a 'first edition', but an edition produced after Bede's death and one of several copies in the British Library. 

All that said, why should we care about a document I once wrote a so-called snooze worthy essay about? 

The EC is important to us, Medievalists, because it carefully traces roots of Christianity in England and the transitions that occurred as a result. The EH even gives some insight into the 'medieval experience' although most of those experiences involve the lives of saints. On top of that the diligent documentation and historical accuracy of Bede's work should instill doubt in the strongest believers in the the myth of the dark ages .

So thank you, Bede, for The Ecclesiastical History and for giving us insight into the lives of your contemporaries. May I never again attempt to write a paper on your admirable works. 

Sources 

"Bede's Ecclesiastical History - The British Library Shop." The British Library. The British Library, 22 Dec. 2014. Web. 12 Sept. 2016.

Butler, Judith M. Medieval Europe: A Short History. 11th ed. New York: McGraw-Hill, 2011. Print.

Illuminating the Darkness

The Book of Kells is a beautifully illuminated manuscript of the four gospels created in the 800s. According to the Oscar-nominated animated movie The Secret of Kells, it is also "the book that turned darkness into light."  The Secret of Kells follows a young monk named Brendan as he tries to help a famous illuminator, Brother Aiden, finish the Book of Kells while Vikings invade Ireland.  This movie combines history and fantasy to tell a compelling story of bravery, the combination of Catholicism and Celtic Mythology, and the importance of cultural and religious objects.

The Secret of Kells draws on historical facts to serve as the backbone of its story.  The abbey of Kells, where the events take place, was a real monastery in Ireland.  Though in the movie the Vikings, or "Northmen," are portrayed demonic figures, more monster than men, Viking invasions did happen, beginning in the late 700s, and monasteries were a favorite target.  In the movie, the abbey of Kells takes in Brother Aiden and other refugees fleeing from the Northmen, which the real abbey also historically did.  Brother Aiden escapes with from a monastery in Iona, where Vikings were pillaging, to finish it in the Kells, which is the most prevalent theory among scholars on how the Book of Kells was made.  The scenery in The Secret of Kells was based on history; the beehive huts used by the monks and the abbey of Kells mirror the real buildings found in Ireland. Brother Aiden's cat, Pangur Bán, is also a historical reference; in the 800s, a Irish monk in Reichenau Abbey wrote a little poem about his cat, Pangur Bán, in the margins of a manuscript.  Since the creation of the Book of Kells is shrouded in mystery, the creators of the movie had to add their own flair to history; the specific story the movie relates never happened.  However, they did use historical facts to provide a basis for their narrative.

 

While The Secret of Kells incorporates historical elements to set up the story, it also uses fantasy to build on the narrative and demonstrate the mixing of Catholicism and Celtic Mythology.  In the enchanted forest, Brendan befriends a fairy, Aisling, and battles the Dark One, Crom Cruach.  In Irish writing, an aisling is a poem about a dream where Spring personified helps the dreamer.  Crom Cruach was a pagan deity worshipped before Christianity came to Ireland, and blood sacrifice was probably included in rituals dedicated to him.  Paganism and Catholicism live side-by-side in Brendan's world, which reflects the religion and culture of Ireland in the 800s.  Catholic monks would  try to assimilate pagan beliefs with their own, which Pope Gregory I advised.  Pagan festivals would become church holy days and temples created for pagan deities would be used to conduct Mass.  The movie is not animated realistically; instead, it is flat and intricate, which mimics the illuminations in the Book of Kells. The Book in the movie is given almost divine status; whoever sees it has an awestruck expression, the monks protect it at all costs, and the pages shine with light.  This treatment of the book could represent the importance of knowledge, faith, and the unique Irish culture.  While the fantastical elements in the movie may not be realistic, they do illuminate what life may have been like in the 800s.

 

The Secret of Kells utilizes both history and fantasy to relate Brendan's journey to finish the Book of Kells.  While not always historically accurate, it provides a look into what it must have felt like to live in the 800s in Ireland, where Catholicism and Paganism blended together, Vikings attacks were a feared danger, and an exquisitely illuminated book could create a lasting cultural impact.

Sources:

Bennet, Judith M. Medieval Europe: A Short History. 11th ed. New York: McGraw-Hill, 2011. Print.

Orizaga, Rhiannon Y. "The Secret of the Kells." Latest Films. Mnemonic Productions, n.d. Web. 11 Sept. 2016. <http://www.filmstory.org/films/27>. 

"The Book of Kells." Book of Kells. Library of Trinity College Dublin, 10 June 2016. Web. 11 Sept. 2016. <https://www.tcd.ie/Library/manuscripts/book-of-kells.php>.