{"id":8100,"date":"2021-10-27T12:00:00","date_gmt":"2021-10-27T16:00:00","guid":{"rendered":"https:\/\/sites.nd.edu\/manuscript-studies\/?p=8100"},"modified":"2022-01-21T22:25:03","modified_gmt":"2022-01-22T03:25:03","slug":"grendels-last-journey-to-heorot-from-shadow-monster-to-human-warrior","status":"publish","type":"post","link":"https:\/\/sites.nd.edu\/manuscript-studies\/2021\/10\/27\/grendels-last-journey-to-heorot-from-shadow-monster-to-human-warrior\/","title":{"rendered":"Grendel’s Shapeshifting: From Shadow Monster to Human Warrior"},"content":{"rendered":"\n

Of all the horrifying scenes, which activate what Michael Lapidge has termed the psychology of terror in Beowulf<\/em>,[1]<\/a> none are more terrifying than the scene of Grendel\u2019s approach <\/a>from the night, through the marsh and to the hall. Translations and adaptations of Beowulf<\/em> approach Grendel in a variety of ways\u2014from emphasizing his monsterization as a eoten<\/em> \u201cgiant\u201d (761) and \u00feyrs <\/em>\u201ctroll<\/a>\u201d (426) to more humanizing treatments that focus on his status as a wonsaeli wer<\/em> \u201cunfortunate man\u201d (105).<\/p>\n\n\n\n

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Monster from the Nowell Codex’s ‘Wonders of the East’, British Library, Cotton Vittelius a.xv, f101v. <\/figcaption><\/figure>\n\n\n\n

This Halloween, in continuing our series on Monsters & Magic<\/a>, I offer a translation and recitation<\/a> of the monster\u2019s haunting journey to Heorot. This scene has been well-treated in the scholarship, and Katherine O\u2019 Brien O\u2019Keeffe has noted that once the monster finally enters the hall, there is a potential \u201chorror of recognition\u201d by the audience who is then able to identify Grendel as human.[2]<\/a> <\/p>\n\n\n\n

This blog will focus closely on the Old English poetic language and how Grendel shape-shifts as he draws nearer to Heorot, seemingly coming ever better into focus and transforming to match the space in which he inhabits. I will consider three major sections of his approach, signaled by the thrice repeated verb com<\/em> \u201che came\u201d (703, 710, 720), and I will reflect on the ways in which Grendel is described in each leg of his journey.<\/p>\n\n\n\n

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Image of Grendel as a Shadow Monster from Gareth Hind’s graphic novel adaptation of Beowulf<\/em> (1999)<\/figcaption><\/figure>\n\n\n\n

In the first passage, Grendel com on wanre niht<\/em> \u201ccame in the dark night\u201d (702), and he is characterized as sceadugenga<\/em> \u201cshadow-walker\u201d (703): either a \u201cgoing shadow\u201d or \u201cone who goes in the shadows\u201d (both at available options based on the poetic compound). His movement is described as scri\u00f0an<\/em> \u201cslithering\u201d or \u201cgliding\u201d (703), further emphasizing his portrayal as a shadow monster. Later, when Grendel is named a synsca\u00f0a<\/em>: either a \u201crelentless\u201d or a \u201csinful ravager\u201d (707), depending on how one interprets the polysemous Old English syn <\/em>in the compound,[3]<\/a> the monster is described as pulling men under shadow, characterizing Grendel as a night terror shrouded in darkness.  Indeed, when Grendel comes from the dark night, he is represented by the narrator as a shadow monster that hunts and haunts after sundown.<\/p>\n\n\n\n

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Image of Grendel by J. R. Skelton from “Stories of Beowulf<\/em>” (1908).<\/figcaption><\/figure>\n\n\n\n

In the second passage, when Grendel \u00f0a com of more under misthleo\u00feum<\/em> \u201cthen came from the marsh under misty-slopes\u201d (710), the monster emerges from the swamp and is addressed by his name: Grendel (711). I imagine the silhouette of the monster taking shape in the mist\u2014perhaps a human shape\u2014corresponding to his characterization as mansca\u00f0a<\/em>, which likewise plays on polysemous Old English man<\/em> in the compound, (either m\u0101n<\/em> meaning \u201ccriminal\u201d or man<\/em> meaning \u201chuman\u201d).[4]<\/a> The alliteration in line 712 seems to stress the possibility of monstrous mansca\u00f0a<\/em> as \u201cravager of humans\u201d or a \u201chuman-shaped ravager\u201d since mansca\u00f0a<\/em> alliterates with the monster\u2019s intended prey, manna cynn<\/em> \u201cthe kin of humans\u201d or \u201cmankind\u201d (712).<\/p>\n\n\n\n

The mist rising from the marsh continues to obscure the audience\u2019s view as Grendel wod under<\/em> wolcnum<\/em> \u201cwent under the cloud\u201d (714) maintaining the suspense generated in the scene by suspending knowledge of Grendel\u2019s ontology. Nevertheless, in this second leg of his journey, Grendel\u2019s form seems to come into focus as he shifts from sceadugenga<\/em> \u201ca shadow-walker\u201d (703) into mansca\u00f0a <\/em>\u201ca mean, man-shaped, ravager of men\u201d (712).<\/p>\n\n\n\n

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Grendel portrayed as human in Sturla Gunnarsson’s ‘Beowulf & Grendel’ (2005)<\/figcaption><\/figure>\n\n\n\n

In the third passage, Grendel finally arrived at the hall and the audience learns at long last what Grendel is: rinc dreamum bed\u00e6led<\/em> \u201cmany bereft of joy\u201d (720-21). During the last leg of his journey, Grendel\u2019s humanity is laid bare leading to the ultimate realization identified by O\u2019Brien O\u2019Keeffe, when Beowulf appears to recognize Grendel\u2019s humanity after the monster bursts open the door of the hall.<\/p>\n\n\n\n

Throughout the next twenty lines, in addition to Grendel (720), the term rinc<\/em> \u201chuman warrior\u201d is repeated: twice in reference to the Geatish troop as a whole (728, 730), once in reference to the sleeping man Grendel cannibalizes when he arrives, who the audience later learns is Hondscio (741), and once in reference to Beowulf himself (747). This repeated use of rinc<\/em> \u201chuman warrior\u201d highlights how Grendel is a mirror for the hero and the Geatish warriors, characterized in identical terms.<\/p>\n\n\n\n

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Grendel killing Hondscio in Sturla Gunnarsson’s ‘Beowulf & Grendel’ (2005)<\/figcaption><\/figure>\n\n\n\n

Similarly, when Grendel approaches from the shadows, Beowulf is described as bolgenmod<\/em> \u201cswollen-minded\u201d and angrily awaiting battle (709); however, once the monster arrives at the hall, Grendel becomes gebolgen<\/em> \u201cswollen (with rage)\u201d as he enters the hall ready to glut himself upon the men sleeping inside (723). This parallel description interweaves the respective emotions and behaviors of both hero and monster in Beowulf<\/em>.<\/p>\n\n\n\n

The interplay between hero and monster continues when Beowulf and Grendel struggle together, both called re\u00fee<\/em> renweardas<\/em> \u201cferocious hall-guardians (770) and hea\u00f0odeore<\/em> \u201cbattle-brave ones\u201d (772) during their epic battle that nearly destroys the hall. The fusion of hero and monster together into a shared plural subject and object respectively helps to underscore their mutual affinity: the hall must contend against the fury of both warriors and each is a fearsome\u2014yet overconfident\u2014conqueror, who intends to overcome any enemy he encounters.<\/p>\n\n\n\n

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Grendel from the cover of John Gardner’s novel, ‘Grendel’ (1980).<\/figcaption><\/figure>\n\n\n\n

We know that this is Grendel\u2019s final chance to haunt the hall, and the monster is at least able to feast on one last human, this time a Geat and one of Beowulf\u2019s own warriors (Hondscio). Sadly for Grendel, once Beowulf finally decides to enter the fray, and after a relatively brief struggle, the monster is fatally disarmed and retreats to die at home in the marshes.<\/p>\n\n\n\n

Naturally, vengeance follows. Unfortunately for the Danes, and especially Hro\u00f0gar\u2019s best thane \u00c6schere, the audience soon learns that Grendel has a mommy, and anyone who messes with her baby boy, will have to answer to her.

Richard Fahey
PhD in English
University of Notre Dame
<\/p>\n\n\n\n

Further Reading:<\/em><\/strong><\/p>\n\n\n\n

Brodeur, Arthur G. The Art of Beowulf<\/em>. Berkeley, CA: University of California Press, 1959.<\/p>\n\n\n\n

Fahey, Richard. \u201cMedieval Trolls: Monsters from Scandinavian Myth and Legend<\/a>.\u201d Medieval Studies Research Blog<\/em>. Medieval Institute: University of Notre Dame (March 20, 2020).<\/p>\n\n\n\n

\u2014. “Enigmatic Design & Psychomachic Monstrosity in Beowulf<\/em>.” University of Notre Dame: Dissertation, 2020.<\/p>\n\n\n\n

\u2014. \u201cMearcstapan: Monsters Across the Border.<\/a>\u201d Medieval Studies Research Blog<\/em>. Medieval Institute: University of Notre Dame (July 20, 2018).<\/p>\n\n\n\n

Gwara, Scott. Heroic Identity in the World of Beowulf. <\/em>Leiden, Netherlands: Brill, 2009.<\/p>\n\n\n\n

Johansen, J. G. \u201cGrendel the Brave? Beowulf<\/em>, Line 834.\u201d English Studies<\/em> 63 (1982): 193-97.<\/p>\n\n\n\n

Joy, Eileen, Mary K. Ramsey, and Bruce D. Gilchrist, editors. The Postmodern Beowulf<\/em>: A Critical Casebook<\/em>. Morgantown, WV: West Virginia University Press, 2006.<\/p>\n\n\n\n

Kim, Dorothy. “The Question of Race in Beowulf<\/em><\/a>.” JSTOR Daily<\/em> (September 25, 2019).<\/p>\n\n\n\n

K\u00f6berl, Johann. The Indeterminacy of Beowulf<\/em>. Lanham, MD: University of America Press, 2002.<\/p>\n\n\n\n

Lapidge, Michael. \u201cBeowulf<\/em> and the Psychology of Terror.\u201d In Heroic Poetry in the Anglo-Saxon Period: Studies in Honor of Jess B. Bessinger,<\/em> edited by Helen Damico and John Leyerle, Studies in Medieval Culture<\/em> 32, 373-402. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 1993.<\/p>\n\n\n\n

O\u2019Brien O\u2019Keeffe, Katherine. \u201cBeowulf<\/em>, Lines 702b-836: Transformations and the Limits of the Human.\u201d Texas Studies in Literature and Language<\/em> 23.4 (1981): 484-94.<\/p>\n\n\n\n

Orchard, Andy. Pride and Prodigies: Studies in the Monsters of the Beowulf-Manuscript<\/em>. Toronto, ON: University of Toronto Press, 1995.<\/p>\n\n\n\n

Sharma, Manish. \u201cMetalepsis and Monstrosity: The Boundaries of Narrative in Beowulf<\/em>.\u201d Studies in Philology<\/em> 102 (2005): 247-79.<\/p>\n\n\n\n

Ringler, Richard N. \u201cHim S\u0113o W\u0113n Gel\u0113ah: The Design for Irony in Grendel\u2019s Last Visit to Heorot.\u201d Speculum<\/em> 41.1 (1966): 49-67.<\/p>\n\n\n\n

\n\n\n\n

[1]<\/a> Michael Lapidge, \u201cBeowulf<\/em> and the Psychology of Terror,\u201d 373-402.<\/p>\n\n\n\n

[2]<\/a> Katherine O\u2019Brien O\u2019Keeffe, \u201cTransformations and the Limits of the Human,\u201d 492.<\/p>\n\n\n\n

[3]<\/a> Andy Orchard raises the possibility of polysemy in synsca\u00f0a<\/em>, see Pride and Prodigies<\/em>, 38.<\/p>\n\n\n\n

[4]<\/a> Orchard also raises the possibility of polysemy in mansca\u00f0a<\/em>, see Pride and Prodigies<\/em>, 31.<\/p>\n","protected":false},"excerpt":{"rendered":"

Of all the horrifying scenes, which activate what Michael Lapidge has termed the psychology of terror in Beowulf,[1] none are more terrifying than the scene of Grendel\u2019s approach from the night, through the marsh and to the hall. Translations and adaptations of Beowulf approach Grendel in a variety of ways\u2014from emphasizing his monsterization as a … <\/p>\n

Continue reading “Grendel’s Shapeshifting: From Shadow Monster to Human Warrior”<\/span><\/a><\/p>\n","protected":false},"author":1886,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[56012,483881,73957,469271],"tags":[73920,484020,484019,264347,17913,469303,484004,484025,484028,484022,460582,484027,73935,483957,41728,484030,484029,484023,484021,484026,17907,246730],"class_list":["post-8100","post","type-post","status-publish","format-standard","hentry","category-english","category-monsters-wonders","category-north-seas","category-puzzles-enigmas","tag-beowulf","tag-beowulf-grendel","tag-gareth-hinds","tag-grendel","tag-halloween","tag-haunting","tag-hero","tag-horror","tag-j-r-skelton","tag-john-gardner","tag-monster","tag-monstrosity","tag-multimedia","tag-nowell-codex","tag-poetics","tag-shadow-man","tag-shadow-walker","tag-shapeshifting","tag-sturla-gunnarsson","tag-terror","tag-translation","tag-wonders-of-the-east"],"_links":{"self":[{"href":"https:\/\/sites.nd.edu\/manuscript-studies\/wp-json\/wp\/v2\/posts\/8100","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.nd.edu\/manuscript-studies\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.nd.edu\/manuscript-studies\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.nd.edu\/manuscript-studies\/wp-json\/wp\/v2\/users\/1886"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.nd.edu\/manuscript-studies\/wp-json\/wp\/v2\/comments?post=8100"}],"version-history":[{"count":60,"href":"https:\/\/sites.nd.edu\/manuscript-studies\/wp-json\/wp\/v2\/posts\/8100\/revisions"}],"predecessor-version":[{"id":8316,"href":"https:\/\/sites.nd.edu\/manuscript-studies\/wp-json\/wp\/v2\/posts\/8100\/revisions\/8316"}],"wp:attachment":[{"href":"https:\/\/sites.nd.edu\/manuscript-studies\/wp-json\/wp\/v2\/media?parent=8100"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.nd.edu\/manuscript-studies\/wp-json\/wp\/v2\/categories?post=8100"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.nd.edu\/manuscript-studies\/wp-json\/wp\/v2\/tags?post=8100"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}