The Monsters and the Critics. Литагент HarperCollins USD

an allegory (political or mythical), or most often, an epic; or to disappointment at the discovery that it was itself and not something that the scholar would have liked better – for example, a heathen heroic lay, a history of Sweden, a manual of Germanic antiquities, or a Nordic Summa Theologica.

      I would express the whole industry in yet another allegory. A man inherited a field in which was an accumulation of old stone, part of an older hall. Of the old stone some had already been used in building the house in which he actually lived, not far from the old house of his fathers. Of the rest he took some and built a tower. But his friends coming perceived at once (without troubling to climb the steps) that these stones had formerly belonged to a more ancient building. So they pushed the tower over, with no little labour, in order to look for hidden carvings and inscriptions, or to discover whence the man’s distant forefathers had obtained their building material. Some suspecting a deposit of coal under the soil began to dig for it, and forgot even the stones. They all said: ‘This tower is most interesting.’ But they also said (after pushing it over): ‘What a muddle it is in!’ And even the man’s own descendants, who might have been expected to consider what he had been about, were heard to murmur: ‘He is such an odd fellow! Imagine his using these old stones just to build a nonsensical tower! Why did not he restore the old house? He had no sense of proportion.’ But from the top of that tower the man had been able to look out upon the sea.

      I hope I shall show that that allegory is just – even when we consider the more recent and more perceptive critics (whose concern is in intention with literature). To reach these we must pass in rapid flight over the heads of many decades of critics. As we do so a conflicting babel mounts up to us, which I can report as something after this fashion.⁵ ‘Beowulf is a half-baked native epic the development of which was killed by Latin learning; it was inspired by emulation of Virgil, and is a product of the education that came in with Christianity; it is feeble and incompetent as a narrative; the rules of narrative are cleverly observed in the manner of the learned epic; it is the confused product of a committee of muddleheaded and probably beer-bemused Anglo-Saxons (this is a Gallic voice); it is a string of pagan lays edited by monks; it is the work of a learned but inaccurate Christian antiquarian; it is a work of genius, rare and surprising in the period, though the genius seems to have been shown principally in doing something much better left undone (this is a very recent voice); it is a wild folk-tale (general chorus); it is a poem of an aristocratic and courtly tradition (same voices); it is a hotch-potch; it is a sociological, anthropological, archaeological document; it is a mythical allegory (very old voices these and generally shouted down, but not so far out as some of the newer cries); it is rude and rough; it is a masterpiece of metrical art; it has no shape at all; it is singularly weak in construction; it is a clever allegory of contemporary politics (old John Earle with some slight support from Mr Girvan, only they look to different periods); its architecture is solid; it is thin and cheap (a solemn voice); it is undeniably weighty (the same voice); it is a national epic; it is a translation from the Danish; it was imported by Frisian traders; it is a burden to English syllabuses; and (final universal chorus of all voices) it is worth studying.’

      It is not surprising that it should now be felt that a view, a decision, a conviction are imperatively needed. But it is plainly only in the consideration of Beowulf as a poem, with an inherent poetic significance, that any view or conviction can be reached or steadily held. For it is of their nature that the jabberwocks of historical and antiquarian research burble in the tulgy wood of conjecture, flitting from one tum-tum tree to another. Noble animals, whose burbling is on occasion good to hear; but though their eyes of flame may sometimes prove searchlights, their range is short.

      None the less, paths of a sort have been opened in the wood. Slowly with the rolling years the obvious (so often the last revelation of analytic study) has been discovered: that we have to deal with a poem by an Englishman using afresh ancient and largely traditional material. At last then, after inquiring so long whence this material came, and what its original or aboriginal nature was (questions that cannot ever be decisively answered), we might also now again inquire what the poet did with it. If we ask that question, then there is still, perhaps, something lacking even in the major critics, the learned and revered masters from whom we humbly derive.

      The chief points with which I feel dissatisfied I will now approach by way of W. P. Ker, whose name and memory I honour. He would deserve reverence, of course, even if he still lived and had not ellor gehworfen on Frean wœre upon a high mountain in the heart of that Europe which he loved: a great scholar, as illuminating himself as a critic, as he was often biting as a critic of the critics. None the less I cannot help feeling that in approaching Beowulf he was hampered by the almost inevitable weakness of his greatness: stories and plots must sometimes have seemed triter to him, the much-read, than they did to the old poets and their audiences. The dwarf on the spot sometimes sees things missed by the travelling giant ranging many countries. In considering a period when literature was narrower in range and men possessed a less diversified stock of ideas and themes, one must seek to recapture and esteem the deep pondering and profound feeling that they gave to such as they possessed.

      In any case Ker has been potent. For his criticism is masterly, expressed always in words both pungent and weighty, and not least so when it is (as I occasionally venture to think) itself open to criticism. His words and judgements are often quoted, or reappear in various modifications, digested, their source probably sometimes forgotten. It is impossible to avoid quotation of the well-known passage in his Dark Ages:

      A reasonable view of the merit of Beowulf is not impossible, though rash enthusiasm may have made too much of it, while a correct and sober taste may have too contemptuously refused to attend to Grendel or the Fire-drake. The fault of Beowulf is that there is nothing much in the story. The hero is occupied in killing monsters, like Hercules or Theseus. But there are other things in the lives of Hercules and Theseus besides the killing of the Hydra or of Procrustes. Beowulf has nothing else to do, when he has killed Grendel and Grendel’s mother in Denmark: he goes home to his own Gautland, until at last the rolling years bring the Fire-drake and his last adventure. It is too simple. Yet the three chief episodes are well wrought and well diversified; they are not repetitions, exactly; there is a change of temper between the wrestling with Grendel in the night at Heorot and the descent under water to encounter Grendel’s mother; while the sentiment of the Dragon is different again. But the great beauty, the real value, of Beowulf is in its dignity of style. In construction it is curiously weak, in a sense preposterous; for while the main story is simplicity itself, the merest commonplace of heroic legend, all about it, in the historic allusions, there are revelations of a whole world of tragedy, plots different in import from that of Beowulf, more like the tragic themes of Iceland. Yet with this radical defect, a disproportion that puts the irrelevances in the centre and the serious things on the outer edges, the poem of Beowulf is undeniably weighty. The thing itself is cheap; the moral and the spirit of it can only be matched among the noblest authors.⁶

      This passage was written more than thirty years ago, but has hardly been surpassed. It remains, in this country at any rate, a potent influence. Yet its primary effect is to state a paradox which one feels has always strained the belief, even of those who accepted it, and has given to Beowulf the character of an ‘enigmatic poem’. The chief virtue of the passage (not the one for which it is usually esteemed) is that it does accord some attention to the monsters, despite correct and sober taste. But the contrast made between the radical defect of theme and structure, and at the same time the dignity, loftiness in converse, and well-wrought finish, has become a commonplace even of the best criticism, a paradox the strangeness of which has almost been forgotten in the process of swallowing it upon authority.⁷ We may compare Professor Chambers in his Widsith, p. 79, where he is studying the story of Ingeld, son of Froda, and his feud with the great Scylding house of Denmark, a story introduced in Beowulf merely as an allusion.

      Nothing [Chambers says] could better show the disproportion of Beowulf which ‘puts the irrelevances in the centre and the serious things on the outer edges’, than this passing allusion to the story of Ingeld. For in this conflict between plighted troth and the duty of revenge we have a situation which the old heroic poets loved, and would not have sold for a wilderness of dragons.

      I