[The following are sample Reading Question responses from students enrolled in ENG208--Survey of British Literature: Beginnings to 1789 at Southern Illinois University-Edwardsville. Please note that not all the responses are equal in terms of fullness or quality of observation, but they all meet the criteria of being either a "better than average" or "excellent" response.]
1. What is an epic? Do you think Beowulf fits the classic epic mode? Why, or why not?
An epic is a long, serious, narrative written in meter. The epic most often deals with very large and active issues, such as war, or the happenings shortly after a war has ended (such as Vergil’s Aenid, or Wayne Lanter’s At Float on the Ohta Gawa), or as is the case in Beowulf, saving a kingdom by battling a monster. Beowulf, like other epics, is written in an impersonal voice, as if a god or gods inspire it. Because it is written in meter, the epic easily includes songs written into the narrative (such as a scop singing in court of Beowulf’s victory) to illustrate the hero’s accomplishments. Because Beowulf and other epics were composed in an oral culture, the epic incorporates the epic catalogue (lists of people, things and attributes) as well as formulaic verse, (a repetition of words or phrases) to improve audience understanding and recall. In a keynote address at the CCHA convention in Chicago three years ago, Derek Walcott, when discussing his book Omeros, suggested that Homer recited his work while holding a large stick or cane. Each time the poet came to the end of a line, he tapped the stick on the floor to signify the line’s end. This, like music and the meter of the poem itself, would clearly mark the rhythm of the piece.
Epics also include epic machinery, i.e., intervention by a higher power. Beowulf is a pagan upholding the monotheistic ideals of Christianity, and because of this he is successful. The narrator mentions that the Danes are still praying to their pagan gods, and subtly implies this is the reason Grendel continues to attack them. Beowulf also fits into other categories of the epic. He is a traveler, both above and below the sea. He has nationalist ambitions, or at least political ones. He wishes to repay King Hrothgar for offering asylum to his father, and he also wishes to solidify the bond between the Geats and the Danes. In this way, Beowulf satisfies the epic definition of communal ethos. He thinks of the Geats and the Danes as one community, in fact, upon leaving the Danes he tells them he will return if needed. Beowulf also chooses to be a lone warrior, i.e., when Grendel attacks, he tells his men he will fight Grendel alone, with no weapons.
2. What are Grendel's and Grendel's mother's main attributes as characters in Beowulf? Do you have any empathy with them? Why, or why not?
In the first few lines the reader is introduced to Grendel as “a powerful demon, a prowler through the dark,” “a fiend out of hell,” and one of “Cain’s clan, whom the Creator had outlawed and condemned as outcasts” (34). He was described as a greedy and grim “God-cursed brute who was creating havoc” (35). Grendel’s mother was painted as “a swamp-thing from hell, a tarn-hag in all her terrible strength” (65). Grendel’s and Grendel’s mother’s terrorism and destruction upon innocent people were completely unmerited. They were ugly, cruel monsters who killed mercilessly because they were filled with pure hate. It is very possible that the reader is given absolutely no reason to feel empathy with them because their role in the poem is to be pure evil and to be hated. This allows the hero to be fully supported and beloved for his deeds. If an antagonist is seen as “true evil”, then a protagonist looks exceptionally valiant and heroic and can restore the reader’s faith in that which is “true goodness.” The role of these monsters in Beowulf was to be terrible and despised so that the hero of the story could prevail and represent great deeds done by man.
3. In Sir Gawain and the Green Knight, how would you explain the relationship between the hunting exploits of Bercilak and the different sort of hunt going on in Gawain's bedroom?
It was interesting to note how the hunt switched back and forth from the bedroom scene and back to the hunt as if there was some comparison going on here. It seems that whenever something significant was going on in the hunt, something of intrigue was going on in the bedroom.
In the first hunt, Bercilak is after deer. There is a pretty descriptive part of the poem, Line 1330, of the dressing of the deer. How the innards were exposed and how, "at the shoulders with sharp blades they showed their skill" (1337). This reminds me of the skill Lady Bercilak had in seducing Sir Gawain. Exposing a little skin and with her sharp wit and skill she tried to get Sir Gawain to lay down his defenses and make love. As the hunt continues the next day with the Boar and then the Fox, you can also see this parallelism.
4. How is Gawain as a character different than Beowulf? How are they similar--what values do they share?
There are some similarities between Beowulf and Gawain. They are both from a far away land and have epic travels to other lands, where they join other societies (although Gawain is not really an epic – it’s closer to a romance or fairy tale). They are both of legendary/celebrity status. However, Beowulf wasn’t confronted with the sort of challenges Gawain was confronted with; the time was very different. Beowulf was from a different part of the world – from a culture that was still very tribal. Gawain is from a culture that, I suppose, is more ‘advanced’ (or at least is presented this way). In this light, it seems like Gawain’s travels are documented in a much more human and believable fashion. He is not as recognized or decorated as Beowulf (the greatest warrior, etc…) for his time, but he faces challenges (most notably social challenges) that Beowulf never encountered. The element of sexual tension is stamped all over the text and notes. It would be interesting to see how Beowulf would have responded in Gawain’s situation and to Gawain’s set of challenges, and likewise how Gawain would fare if he were thrust into Beowulf’s storyline.
5. What kind of book was The Courtier, and what seems to be its main subject matter?
“The Courtier” is a courtesy book, which is basically a manual for becoming the perfect gentleman of the Renaissance court (578:1, “Perhaps I am able to you what a perfect Courtier ought to be, but not to teach you how ye should do to be one”). The main subject matter seems to be the correlation between life and art…how to do things artfully and with elegance (579:1, “And that is to eschew as much as a man may, and as a sharp and dangerous rock, Affectation or curiosity, and, to speak a new word, to use in everything a certain Recklessness, to cover art withal, and seem whatsoever he doth and sayeth to do it without pain, and as it were, not minding it….”). This type of work came about in the humanist period. The Humanist theory was that positive social change could be achieved by the perfection of each individual.
6. How would you describe Astrophil's relationship to Stella in Sidney's sonnet sequence Astrophil and Stella?
Astrophil's tone regarding Stella is one of admiration. She is the inspiration for the piece. Stella's eyes are mentioned to be "Nature's chief work." He incorporates Diana (patron of chastity) and Venus (goddess of beauty and love) into his sonnets. It seems like a complicated love circumstance, although not unrequited love (he declares that his "lips are sweet, inspired with Stella's kiss"). The poems seem to be an attempt at impressing Stella, acknowledged by the author as he toils over his work ("'Fool,'" said my Muse to me, 'Look in thy heart and write'"). An interesting aspect of his admiration is the pain associated with it: "Love gave the wound, which while I breathe will bleed." In general, I would describe Astrophil's relationship with Stella as an obsession. Stella is like a model that he is either painting or sculpting. After completing his work, he falls in love with her (Sonnet 6). Knowing that she is in love with someone else (Sonnet 20) and not able to do anything about it, he confesses his love for her but can't act on it. Finally, he gets the courage to act on it, and she denies it (fourth song). In the end, there's only anger as he can only gaze upon the picture he has created.
7. In King Lear, Lear makes a critical error in the first scene--what is it, exactly, and what are its ultimate ramifications?
Lear's critical error in the first scene of the play is in his insistence that his kingdom be divided. An Elizabethan audience would have been troubled immediately by the division, having lived through the reign of Mary, in which the country was divided based on religion. It might be said Lear's decision is based on his perception of how much each daughter loves him (false flattery), but Lear's decision has already been made before he asks his daughters to profess their love. He loves Cordelia the most, and wants to give her the central section of his kingdom. At this point, Lear is not certain who will be Cordelia's husband, so he is in fact risking giving the central area of his kingdom to a French king. Also, Lear does not understand his connection with other people. He fails to realize his office gives him respect and feigned love, not love of his person.
8. Do you think there is a hero in King Lear? Why, or why not?
In my opinion there are five characters in King Lear who deserve to be described as heroic. To me, being heroic entails risking personal harm in order to help someone else. The first character to meet this criteria is Kent. He is exiled for speaking out on Cordelia's behalf; he then risks his life by disguising himself and ignoring the decree of exile in order to remain in the service of Lear. Edgar also disguises himself to avoid legal repercussions, but his heroic acts come in the form of caring for his blind father. Gloucester is third on the hero list; he disobeys a royal edict and offers shelter to a dispossessed king. In exchange, his eyes are taken from him. The fourth character to receive the accolade of hero is, in my opinion, the most profound example in the play. This character is not even given a name, and is known only as "servant." He is Cornwall's servant and he tries to stop Cornwall from blinding Gloucester. This is profound because it is unthinkable for a servant to question his master's decisions. Not only does this servant instruct his master that his behavior is evil, but he actually takes up a sword and gives Cornwall his mortal wound. Cordelia is the next addition to my list of heroes. She ignores the dangers that are associated with warfare to fight for the father who banished her.