myth is not easily to be pinned on paper by analytical reasoning. It is at its best when it is presented by a poet who feels rather than makes explicit what his theme portends; who presents it incarnate in the world of history and geography, as our poet has done. Its defender is thus at a disadvantage: unless he is careful, and speaks in parables, he will kill what he is studying by vivisection, and he will be left with a formal or mechanical allegory, and, what is more, probably with one that will not work. For myth is alive at once and in all its parts, and dies before it can be dissected. It is possible, I think, to be moved by the power of myth and yet to misunderstand the sensation, to ascribe it wholly to something else that is also present: to metrical art, style, or verbal skill. Correct and sober taste may refuse to admit that there can be an interest for us – the proud we that includes all intelligent living people – in ogres and dragons; we then perceive its puzzlement in face of the odd fact that it has derived great pleasure from a poem that is actually about these unfashionable creatures. Even though it attributes ‘genius’, as does Mr Girvan, to the author, it cannot admit that the monsters are anything but a sad mistake.
It does not seem plain that ancient taste supports the modern as much as it has been represented to do. I have the author of Beowulf, at any rate, on my side: a greater man than most of us. And I cannot myself perceive a period in the North when one kind alone was esteemed: there was room for myth and heroic legend, and for blends of these. As for the dragon: as far as we know anything about these old poets, we know this: the prince of the heroes of the North, supremely memorable – hans nafn mun uppi meðan veröldin stendr – was a dragon-slayer. And his most renowned deed, from which in Norse he derived his title Fáfnisbani, was the slaying of the prince of legendary worms. Although there is plainly considerable difference between the later Norse and the ancient English form of the story alluded to in Beowulf, already there it had these two primary features: the dragon, and the slaying of him as the chief deed of the greatest of heroes – he wæs wreccena wide mœrost. A dragon is no idle fancy. Whatever may be his origins, in fact or invention, the dragon in legend is a potent creation of men’s imagination, richer in significance than his barrow is in gold. Even to-day (despite the critics) you may find men not ignorant of tragic legend and history, who have heard of heroes and indeed seen them, who yet have been caught by the fascination of the worm. More than one poem in recent years (since Beowulf escaped somewhat from the dominion of the students of origins to the students of poetry) has been inspired by the dragon of Beowulf, but none that I know of by Ingeld son of Froda. Indeed, I do not think Chambers very happy in his particular choice. He gives battle on dubious ground. In so far as we can now grasp its detail and atmosphere the story of Ingeld the thrice faithless and easily persuaded is chiefly interesting as an episode in a larger theme, as part of a tradition that had acquired legendary, and so dramatically personalized, form concerning moving events in history: the arising of Denmark, and wars in the islands of the North. In itself it is not a supremely potent story. But, of course, as with all tales of any sort, its literary power must have depended mainly upon how it was handled. A poet may have made a great thing of it. Upon this chance must be founded the popularity of Ingeld’s legend in England, for which there is some evidence.10 There is no inherent magical virtue about heroic-tragic stories as such, and apart from the merits of individual treatments. The same heroic plot can yield good and bad poems, and good and bad sagas. The recipe for the central situations of such stories, studied in the abstract, is after all as ‘simple’ and as ‘typical’ as that of folk-tales. There are in any case many heroes but very few good dragons.
Beowulf’s dragon, if one wishes really to criticize, is not to be blamed for being a dragon, but rather for not being dragon enough, plain pure fairy-story dragon. There are in the poem some vivid touches of the right kind – as þa se wyrm onwoc, wroht wœs geniwad; stone œfter stane, 2285 – in which this dragon is real worm, with a bestial life and thought of his own, but the conception, none the less, approaches draconitas rather than draco: a personification of malice, greed, destruction (the evil side of heroic life), and of the undiscriminating cruelty of fortune that distinguishes not good or bad (the evil aspect of all life). But for Beowulf, the poem, that is as it should be. In this poem the balance is nice, but it is preserved. The large symbolism is near the surface, but it does not break through, nor become allegory. Something more significant than a standard hero, a man faced with a foe more evil than any human enemy of house or realm, is before us, and yet incarnate in time, walking in heroic history, and treading the named lands of the North. And this, we are told, is the radical defect of Beowulf, that its author, coming in a time rich in the legends of heroic men, has used them afresh in an original fashion, giving us not just one more, but something akin yet different: a measure and interpretation of them all.
We do not deny the worth of the hero by accepting Grendel and the dragon. Let us by all means esteem the old heroes: men caught in the chains of circumstance or of their own character, torn between duties equally sacred, dying with their backs to the wall. But Beowulf, I fancy, plays a larger part than is recognized in helping us to esteem them. Heroic lays may have dealt in their own way – we have little enough to judge by – a way more brief and vigorous, perhaps, though perhaps also more harsh and noisy (and less thoughtful), with the actions of heroes caught in circumstances that conformed more or less to the varied but fundamentally simple recipe for an heroic situation. In these (if we had them) we could see the exaltation of undefeated will, which receives doctrinal expression in the words of Byrhtwold at the battle of Maldon.11 But though with sympathy and patience we might gather, from a line here or a tone there, the background of imagination which gives to this indomitability, this paradox of defeat inevitable yet unacknowledged, its full significance, it is in Beowulf that a poet has devoted a whole poem to the theme, and has drawn the struggle in different proportions, so that we may see man at war with the hostile world, and his inevitable overthrow in Time.12 The particular is on the outer edge, the essential in the centre.
Of course, I do not assert that the poet, if questioned, would have replied in the Anglo-Saxon equivalents of these terms. Had the matter been so explicit to him, his poem would certainly have been the worse. None the less we may still, against his great scene, hung with tapestries woven of ancient tales of ruin, see the hœleð walk. When we have read his poem, as a poem, rather than as a collection of episodes, we perceive that he who wrote hœleð under heofenum may have meant in dictionary terms ‘heroes under heaven’, or ‘mighty men upon earth’, but he and his hearers were thinking of the eormengrund, the great earth, ringed with garsecg, the shoreless sea, beneath the sky’s inaccessible roof; whereon, as in a little circle of light about their halls, men with courage as their stay went forward to that battle with the hostile world and the offspring of the dark which ends for all, even the kings and champions, in defeat. That even this ‘geography’, once held as a material fact, could now be classed as a mere folk-tale affects its value very little. It transcends astronomy. Not that astronomy has done anything to make the island seem more secure or the outer seas less formidable.
Beowulf is not, then, the hero of an heroic lay, precisely. He has no enmeshed loyalties, nor hapless love. He is a man, and that for him and many is sufficient tragedy. It is not an irritating accident that the tone of the poem is so high and its theme so low. It is the theme in its deadly seriousness that begets the dignity of tone: lif is lœne: eal scœceð leoht and lif somod. So deadly and ineluctable is the underlying thought, that those who in the circle of light, within the besieged hall, are absorbed in work or talk and do not look to the battlements, either do not regard it or recoil. Death comes to the feast, and they say He gibbers: He has no sense of proportion.
I would suggest, then, that the monsters are not an inexplicable blunder of taste; they are essential, fundamentally allied to the underlying ideas of the poem, which give it its lofty tone and high seriousness. The key to the fusion-point of imagination that produced this poem lies, therefore, in those very references to Cain which have often been used as a stick to beat an ass – taken as an evident sign (were any needed) of the muddled heads of early Anglo-Saxons. They could not, it was said, keep Scandinavian bogies and the Scriptures separate in their puzzled brains. The New Testament was beyond their comprehension. I am not, as I have confessed, a man so diligent as duly to read all the books about Beowulf, but as far as I am