Paper Example: Loyalty, Reputation, Envy, and Revenge in 'The Triple Fool' and 'Beowulf'

Introduction

Literate works have been there for a long time. It seems appropriate to mention that the medieval poetry period was paramount in developing foundational literature. In the Medieval period, poems were sacred, composed by priests—most of them used in religious activities and temples. Minstrels read many of the medieval poems. According to historians, literature was foreign, rather than local in the Middle Ages (Louviot, 2016). Medieval poetry has been torn up class lines and generally, not a language, though the church's language and educational language is Latin. In itself, medieval poetry was rather distinct. Therefore, this paper shall analyze one of the poems written within several periods majorly on the thematic interpretations.

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In 'The Triple Foold of John Donne, the speaker either does not offer a lot of positive press of affection or of writing poetry. Although this poem is not even so much a love poem as a lament on what happens as art spills into a whole world, it nevertheless resonates today with the notion of what a "love poem" is. The contemporary definition of the word is familiar to much of what Donne's speaker says about the essence of love poetry. As in the Triple Fool, we say poetry more often when you speak about 'Sex poetry' rather than other loves, such as the sex of family and friends or god. We are talking about romantic or sexual love. Love poetry as defined in this paper is real, vocal, formally complicated (the "revolt"), and heterosexual, giving expression to individual feelings and longings, with a male poet writing about an object of feminine interest and desire.

Theme of Loyalty

The theme of loyalty is evident in this poem. Beowulf's allegiance is one of its core subjects and is reflected in its title. Loyalty is the driving virtue of Beowulf in every step of his career. For complex causes, Beowulf came to the rescue of the Danes (Scyldings). He certainly needs to boost his reputation and win his honor and award in Geatland for his own Roy. We soon note that the main reason is a family debt owed to Hrothgar by Beowulf. The young Great is dedicated to the old King, for the aid of Beowulf’s father, Ecgtheow, which was granted to Hrothgar years earlier. Today, Ecgtheow has died in a blood feud, murdering a chief from another tribe. Hrothgar, then a smaller king, took refuge in Beowulf’s father and ended the conflict, paying homage, in the form of "fine old jewels" (472), to the enemies of Ecgtheow as the tribe sought revenge. Even as a boy, Hrothgar recalls Beowulf. Beowulf is happy to offer his allegiance. The friendship between the families goes back many years.

Theme of Reputation

Beowulf is understandably worrying from the outset about how the world will perceive him in the rest of the world. He poses himself with the Scyldings, claiming accomplishments for which he and his Brother have been honored. If an intoxicated Unferth threatens Beowulf verbally at the first banquet, the hero's reputation is in question. The slur of Unferth is Beowulf's greatest insult since his fame is his most precious asset. Reputation is also a special attribute of his longevity after death. That is why Beowulf later leaves the gold under the cave, after beating the mother, and instead of a treasure with the head of Grendel and his mystical sword. He has treasures gathered and continues to collect; he aims to create his popularity now. Beowulf accuses Unferth of stupidly competing as a kid in a 7-day swimming race on the open sea and losing. Unferth says he will not beat Grendel if Beowulf cannot win such a game.

The theme of Envy and Revenge

Despite the cheerful rating of Unferth at the first banquet, Grendel is the extreme archetype of jealousy in the poem. The Danes have attacked Hrothgar's people for 12 years, so they will never share in the human race's happiness or excitement. The inspiration of the monster is one of the few factors that the epic undeniably Christians have. Grendel is a descendant of Cain, Adam, and Eve's biblical son, whose envy had killed Abel (Genesis 4) (Kiernan, 2018). The legend, Cain's offspring, are the creatures of the world, who are damned forever. Since God blessed them, but never punished them, Grendel resents man. Hrothgar's splendid mead hall, Heorot, especially annoys the Ogre, for it is flashing lights and sounds of joy. Grendel is furious because it reminds him of the light and salvation of Heaven's birth and the failure of Cain's sins. In Grendel's "Song of Birth" Grendel pauses to devour the Danes and occupies Heorot nightly as a form of vengeance.

Revenge works as a driving force in the poem, first of all, stirring Grendel and his wife. Grendel is looking for vengeance on humanity for his legacy. He delights in raiding Heorot because it is the emblem of everything that he fears about men: their accomplishment, their enjoyment, their fame, and their favor in God's eyes. The vengeance of Grendel's mother is more particular. She assaults Heorot because her son was killed by someone (Currie, 2019). While she is less strong and smaller than Grendel, she is inspired by a mother's rage. Beowulf has the benefit of pursuing him in her domain as she follows him in the mere. When she pulses him under the lake into her basement, her vengeance peaks, for that is the man who murdered her baby. Only the extraordinary talents of Beowulf as a warrior and God's help or sorcery will beat her.

References

Currie, E. (2019). Hygelac’s Raid in Historiography and Poetry: The King's Necklace and Beowulf as 'Epic.' Neophilologus, 1-10.

Kiernan, K. S. (2018). The Conybeare-Madden Collation of Thorkelin’s Beowulf. In Anglo-Saxon Manuscripts and their Heritage (pp. 117-136). Routledge.

Louviot, E. (2016). Direct speech in Beowulf and other Old English narrative poems (Vol. 30). Boydell & Brewer.