Beowulf Hero Quotes

She always did like tales of adventure-stories full of brightness and darkness. She could tell you the names of all King Arthur's knights, and she knew everything about Beowulf and Grendel, the ancient gods and the not-quite-so-ancient heroes. She liked pirate stories, too, but most of all she loved books that had at least a knight or a dragon or a fairy in them. She was always on the dragon's side by the way.

It's patterns," he said. "If they think you're a hero, they're wrong. After you die, you don't get to be Beowulf or Perseus or Rama anymore. Whole different set of rules. Chess, not checkers. Go, not chess. You understand?

There are no true enemies, only potential allies — hearts and minds yet to be won, “peaceful people” being deprived of their natural right to fast food, wall-to-wall carpet and high definition pornography. There are no more statues of heroes because no true villains can be acknowledged. There is no Beowulf because there are no monsters or dragons — only outsiders who are disenfranchised and misunderstood. Monuments can only be raised to mythic martyred unifiers like Jesus Christ or Martin Luther King or Abraham Lincoln. This

Except in the life of a hero, the whole world's meaningless. The hero sees the value beyond what's possible. That's the nature of a hero. It kills him of course, ultimately. But it makes the whole struggle of humanity worthwhile. (p.77)

This fight was old, Shadow thought, older than even Mr. Alice knew, and he was thinking that even as the creature's talons raked his chest. It was the fight of man against monster, and it was old as time: it was Theseus battling the Minotaur, it was Beowulf and Grendel, it was the fight of every hero who had ever stood between the firelight and the darkness and wiped the blood of something inhuman from his sword.

What are the deeds of heroes, except a few frightened people doing the best they can in the circumstances?

Yes, every evening. Your mother enjoyed it. That evening she chose Inkheart. She always did like tales of adventure – stories full of brightness and darkness. She could tell you the names of all King Arthur's knights, and she knew everything about Beowulf and Grendel, the ancient gods and the not-quite-so-ancient heroes. She liked pirate stories, too, but most of all she loved books that had at least a knight or a dragon or a fairy in them. She was always on the dragon's side, by the way. There didn't seem to be any of them in Inkheart, but there was any amount of brightness and darkness, fairies and goblins. Your mother liked goblins as well: hobgoblins, bugaboos, the Fenoderee, the folletti with their butterfly wings, she knew them all. So we gave you a pile of picture books, sat down on the rug beside you, and I began to read.

For Tolkien’s taste there were too few dragons in ancient literature, indeed by his count only three – the Miðgarðsorm or ‘Worm of Middle-earth’ which was to destroy the god Thor at Ragnarök, the Norse Doomsday; the dragon which Beowulf fights and kills at the cost of his own life; and Fafnir, who is killed by the Norse hero Sigurd.

The ruinous deeds of the ravaging foe (Beowulf) The best-known long text in Old English is the epic poem Beowulf. Beowulf himself is a classic hero, who comes from afar. He has defeated the mortal enemy of the area - the monster Grendel - and has thus made the territory safe for its people. The people and the setting are both Germanic. The poem recalls a shared heroic past, somewhere in the general consciousness of the audience who would hear it. It starts with a mention of 'olden days', looking back, as many stories do, to an indefinite past ('once upon a time'), in which fact blends with fiction to make the tale. But the hero is a mortal man, and images of foreboding and doom prepare the way for a tragic outcome. He will be betrayed, and civil war will follow. Contrasts between splendour and destruction, success and failure, honour and betrayal, emerge in a story which contains a great many of the elements of future literature. Power, and the battles to achieve and hold on to power, are a main theme of literature in every culture - as is the theme of transience and mortality. ................ Beowulf can be read in many ways: as myth; as territorial history of the Baltic kingdoms in which it is set; as forward-looking reassurance. Questions of history, time and humanity are at the heart of it: it moves between past, present, and hope for the future, and shows its origins in oral tradition. It is full of human speech and sonorous images, and of the need to resolve and bring to fruition a proper human order, against the enemy - whatever it be - here symbolised by a monster and a dragon, among literature's earliest 'outsiders'. ....... Beowulf has always attracted readers, and perhaps never more than in the 1990s when at least two major poets, the Scot Edwin Morgan and the Irishman Seamus Heaney, retranslated it into modern English. Heaney's version became a worldwide bestseller, and won many awards, taking one of the earliest texts of English literature to a vast new audience.

Now there are no heroes, no soothing music, No harp, no hawk soaring through hall, No swift horses trampling green grass. We existed; now we’re extinct.

The good fighter, the hero, the man who wins the most precious of all treasures, fame, is the man who never gives up, and who does not worry about the possible consequences of bravery

I am mad with joy.--At least I think it's joy. Strangers have come, and it's a whole new game. I kiss the ice on the frozen creeks, I press my ear to it, honoring the water that rattles below, for by water they came: the icebergs parted as if gently pushed back by enormous hands, and the ship sailed through, sea-eager, foamy-necked, white sails, riding the swan-road, flying like a bird! O happy Grendel! Fifteen glorious heroes, proud in their battle dress, fat as cows!

The Greek’s told the story of Orpheus who descended into the underworld to rescue his bride Eurydice from Hades. The Nordic people had their hero-warrior Beowulf, and the Sumerians wrote of Inanna who battled her sister in the dark world.

Last, but not least, Unferth, Hrothgar's left-handed man, unexpectedly stanned for Beowulf, and handed him his heirloom, Hrunting, an ancient hilted sword, written with runes of ruin, iron blade emblazoned with poison shoots, each bud reddened with enemy blood. In war, it never failed to score flesh, had never been wrested from the fist of him who held it. It was a sublime solider's sword, meant to limb enemies, and this wasn't the first time it urged a hero to perform a feat.

It was the fight of man against monster, and it was as old as time: it was Theseus battling the Minotaur, it was Beowulf and Grendel, it was every hero who had ever stood between the firelight and the darkness and wiped the blood of something inhuman from from his sword.

Now shall the hard war-helm bedight with the gold Be bereft of its plating; its polishers sleep, They that the battle-mask erewhile should burnish: Likewise the war-byrny, which abode in the battle O'er break of the war-boards the bite of the irons, Crumbles after the warrior; nor may the ring'd byrny After the war-leader fare wide afield On behalf of the heroes: nor joy of the harp is, No game of the glee-wood; no goodly hawk now Through the hall swingeth; no more the swift horse Beateth the burg-stead. Now hath bale-quelling A many of life-kin forth away sent.

In ancient times, soldiers called it going amok—a descent into the battle craziness that took you out of yourself and dropped you into the warrior’s world of blood and darkness. Going amok was a form of insanity prized by the Greeks and Spartans and Vikings—it made for great warriors. Thus did Achilles slay Hector, Beowulf defeat Grendel. But unless you bring your heroes back to themselves—with a ritual purification or with a journey of some sort, like Odysseus’s long struggle home or World War II vets taking weeks to sail back across the sea together—there is a price to pay when the bloodied warrior returns. These days, soldiers return from Iraq and Afghanistan alone and in a matter of hours. We drop them back into society as if they were widgets that have simply gone missing for a while. But a lot of the widgets are bent hopelessly out of shape.

This was not merely the cellar maze crafted by Ronny Jessup, but also the labyrinth below Crete, where the Minotaur prowled and ate the flesh of those who dared enter its realm, but also Grendel’s far northern lair where Beowulf ventured, also the huge catacombs beneath the Mountains of Madness, where the Old Ones of Lovecraft’s story still waited to be called out of the depths of time or from another dimension, and this was as well the tunnel system under the terraforming atmosphere factories where brave Ripley had gone with a team of high-tech colonial marines on a bug hunt, to learn what happened to the colonists on the planet called LV-426. This was both reality and myth, concrete and symbol, the maze of homicidal desires and lust and hunger for power that spiraled to infinity within the deepest darkness of the human heart, male and female alike, here given dimension and immediacy. It was inhabited by a Grendel named Ulrich and a would-be hero who knew himself to be no hero at all, but only an imperfect man with something to prove to himself.

He felt like a character in a book. He thought of Mary Lennox as she discovered her secret garden. The blackberry bushes had become too thick to ride through and Percy dismounted, leaving Prince beneath the shade of a thick-trunked oak tree. He chose a strong whip of wood and started carving his way through the knotted vines. He was no longer a boy whose legs didn't always do as he wished; he was Sir Gawain on the lookout for the Green Knight, Lord Byron on his way to fight a duel, Beowulf leading an army upon Grendel. So keen was his focus on his swordplay that he didn't realize at first that he'd emerged from the forested area and was standing now on what must have been the top of a gravel driveway. Looming above him was not so much a house as a castle. Two enormous floors, with mammoth rectangular windows along each face and an elaborate stone balustrade of Corinthian columns running around all four sides of its flat roof. He thought at once of Pemberley, and half expected to see Mr. Darcy come striding through the big double doors, riding crop tucked beneath his arm as he jogged down the stone steps that widened in an elegant sweep as they reached the turning circle where he stood.

If only others knew that Lady Calpurnia Hartwell, proper, well-behaved spinster, entertained deep-seated and certainly unladylike thoughts about fictional heroes. She sighed again with self-deprecation. She was well aware of how silly she was, dreaming of the heroes in her books. It was a terrible habit, and one she had harbored for far too long. It had begun when she had first read Romeo and Juliet at age twelve and followed her through heroes great and small- from Beowulf and Hamlet and Tristan to the dark, brooding heroes of gothic novels. It didn't matter the quality of the writing- Callie's fantasies about her fictional heroes were entirely democratic.

Of course, the simpler, more straightforward definitions with which I began this article are still often the easiest rules to isolate the epic fantasy novel from the rest of the herd. In this, as in much of the realm of speculative fiction, Tolkien’s books set the standard and throw a long, long shadow over the entire field (no pun intended!!). Authors who have come after him have to negotiate that legacy, even as they chose different ways to break from his model—-by complicating the moral clarity of their stories’ conflicts, or by letting more speaking roles go to women, to give a couple examples. It is well to remember, though, that important as Tolkien continues to be in defining the genre, he himself was well-acquainted with the traditions of epic poetry and his own books did not spring out of nothing but instead owe a lot to poems like Beowulf. Ultimately, when we try to settle the question of what counts as epic fantasy, we shouldn’t ask how long the book is, or whether or not it describes heroes joined in massive battles, but rather, in the spirit of the epic tradition, how significant is the change it marks on its world? How big is the scope of its conflict, and how significant the power of its eventual resolution? - Chloe Smith “What Makes 'Epic Fantasy' epic?

Most of what we think of as traditional or natural gender roles are actually constructed by our society, and often almost totally arbitrary. For instance, our culture is actually the exception for thinking that it’s unmanly to cry. Japanese samurai, medieval heroes, and even Beowulf himself cried like babies throughout their adventures. As recently as the nineteenth century, male tears were actually celebrated as a sign of honesty, integrity, and strength. And not in the “You’re brave enough to show your weakness” way, but just as a symbol that you actually gave a crap. Odysseus (the guy who killed a Cyclops and frickin’ won the Trojan War) would break down into tears periodically, at least once just because he listened to an emotional song. 3.D