Women's Roles In Beowulf

Grendel’s mother is portrayed in a negative and objectified image. First, she has a sexual appeal. Grendel’s mom wears no clothes; her skin is gold, which covers her body. She is half woman and half monster. She has a promiscuous look that draws in attention from the opposite sex. In addition, she has a sexual attitude. Right when Beowulf enters the

Within the patriarchal society of early western cultures, women were often forced to submit to their male counterparts in all matters. Despite this, women were not completely powerless in society and often had many clever and subversive means of fulfilling their wishes. Though not as prominent or outwardly recognizable as a man’s display of power, women in early western culture were certainly able to persuade men to do their bidding. By looking at three period texts, examples of this manipulation can be seen. Within “The Wife of Bath’s Prologue and Tale,” Lanval, and Beowulf there is evidence of women’s roles in society as well as their methods of harnessing power.

As the poems of Beowulf and Sir Gawain and the Green Knight show, women have always had power, yet not as overt a power as wielded by their masculine counterparts. The only dynamic of women’s power that has changed in the later centuries is that the confines and conditions in which women have wielded their power has become more lax, thus yielding to women more freedom in the expression of their power. The structure, imagery, and theme in the excerpts from Beowulf (lines 744-71) and Sir Gawain and the Green Knight (lines 2309-30) support the concept of more power in the later centuries, by contrasting the restriction of Wealhtheow and the power she practices in Beowulf with the Lady’s more direct assertion of power in Sir Gawain

Women have had many different roles in the history of European literature but have generally been restricted to the roles assigned to them in a largely patriarchal society. As a result of this society, these roles have often been powerless ones. This calls into question the constitution of a powerful woman in literature: in Beowulf, being a powerful woman means becoming the bond between families and alliances; in Lanval, power comes from assertion and control-- a powerful woman is a woman in charge. The primary difference between the representation of women in Beowulf and Lanval is that the latter transcends overarching patriarchal boundaries, and the former does not; the reason for their respective representations lies in the literary time periods in which the stories were written. From this, one can see that the introduction of romance as a central theme gave way to new representations and roles of women in predominantly heteropatriarchal English literature and gives new meaning to the analysis of stories like these.

The battle between Beowulf and Grendel's mother has its similarities and differences as well. Throughout the movie, clues are given about Grendel’s mother when encountering mysterious hands breaching the water while

Within the pages of the well-known epic poem are many extraordinary and warring narratives of the Middle Ages. Beowulf is important because it is one of the most ancient European epics written in the vernacular, or native tongue. The seemingly super natural heroes of this exciting and famous writing have a great impact on the typical roles of their women. As declared through out the many lines of the astonishing poem, the women have many purposes and serve a variety of roles. Wealhtheow, Hygd, Hildeburh, Freawaru, and Grendel’s Mother give examples of the historical roles that are expected of the women of this ancient time. The women in “Beowulf” have the significant roles of hostess, peaceweaver, and mother.

The Anglo-Saxon wife was in charge of the store-rooms of the house; offering the cup may have symbolized the generosity of the royal couple (Page 72). Wealhtheow and Hrothgar's daughter, Freawaru, also shares in the cup-bearing, perhaps as a sign that she is of age to take on the duties of managing the household (she is already engaged to be married to the king of the Heathobards). While presenting Beowulf with the gifts, Wealhtheow takes the opportunity to ask Beowulf to be a "kind counselor" and "kind friend" to her sons. She also speaks to Hrothgar, telling him that she had heard that he was considering "having this hero [Beowulf] as a son" and to "make use of generous rewards... but leave the people and the kingdom to your kinfolk" (Hieatt 47). In other words, she asks him not to take gratitude too far and name Beowulf heir over their own sons. That she is bold enough to make both requests without hesitation or question shows that she was accustomed to authority and had some power of her own. Another indication of the power wielded by queens is the respect accorded to Hygd. She is beautiful, wise and young. Beowulf gives her the necklace that Wealhtheow had given him as well as three horses. That may have been a gesture meant to win her support within the court.

Beowulf is an epic tale written over twelve hundred years ago. In the poem, several different female characters are introduced, and each woman possesses detailed and unique characteristics. The women in Beowulf are portrayed as strong individuals, each of whom has a specific role within the poem. Some women are cast as the cup-bearers and gracious hostesses of the mead halls, such as Wealhtheow and Hygd, while others, Grendel's mother, fulfill the role of a monstrous uninvited guest. The woman's role of the time period, author's attitude, and societal expectations for women are evidenced throughout the poem.

A peace-weaver was a woman who married a son or brother from another clan to keep peace between two tribes. According to Helwig, “It is believed that, through birth, a women wove peace by mixing her blood with the blood of another tribe. Hence, the name peace-weaver.” Because these marriages were not always successful, they could lead to divorce. In Anglo-Saxon times, women (like women still do today) had the right to take the land, house, or leave with their children. In Beowulf, the story of Hildeburh is told. She is a Danish woman who is married to the lord of the Finns as a peace-weaver. After her relatives are slain on both sides of a battle, she returns to her own people.

Beowulf, the defender of Hrothgar and Heorot, exhibits far more complicated (and less sincere) shades of revenge than the Grendel’s mother. At the end of the day, Beowulf’s goal is to become the preeminent warrior in all the land. In his society, the only way to gain such widespread celebrity is through courageous and self-endangering acts. Beowulf masks these deeds with a façade of seeking revenge; he supposedly comes to Heorot to save the Danes from Grendel’s terror, but his true motives lie in becoming a hero. His reward is not the pride of doing a good deed; Beowulf is rewarded with lavish and expensive gifts.

However, as queen, Wealhtheow shows her intelligence and ability to control men, to some degree, despite her limited powers; accordingly, the author expands her role from that of a traditional Anglo-Saxon woman to include gift-giver and guardian of the throne. Following Beowulf's fearless victory over Grendel, Wealhtheow offers a toast to the Geats and gives Beowulf rewards for his heroism. She tells Beowulf, "Have luck with this neck-ring beloved Beowulf / accept these gifts gold-gleaming treasures / and use them well&emdash;may you win always / make known your strength and save for these boys / wise counsel-words&emdash;I'll reward you for that" (ll.1216-20). Wealhtheow cleverly uses this opportunity to safeguard her two children from Hrothulf, their mischievous older cousin. Should the king meet an untimely death, Wealhtheow needs to guarantee that Hrothulf

Beowulf and “The Wife of Bath’s Tale” are both narratives in which gender acts as an important theme within their individual communities; yet they use different tools to define the roles of men and women within a good community. Or, in other words, both stories paint a vivid picture of the role of women, by suggesting that one gender had more power over the other. However, these two narratives vary in their expression of such views; Beowulf conveys its message through what is missing, while “The Wife of Bath’s Tale” incorporates satire and uses explicit narrative when relaying the experience of a woman that is highly different from that of other women of her time. Furthermore, another difference that is apparent to the reader is that men become the heroes in Beowulf, while “the wife” becomes

The major women that appear in Beowulf are: Wealhtheow, Hildeburh, Freawaru, Thyrth and Grendel’s mother. Wealhtheow and Hygd are the only two female characters whom are royalty. Wealtheow and Hygd are seen as hostesses; rather she is the instrument that reaffirms social customs and publicly establishes the status of the men who are in the presence of the king

In the epic poem Beowulf majority of the characters are males; with the exception of a few females in the poem. When going back to the

The most prominent role of women throughout the poem is devoted wives and queens, which is reflected in the portrayal of Queen Wealtheow. When she is first introduced, Wealtheow “went on her rounds, queenly and dignified, decked out in rings, offering the goblet to all ranks, treating the household and the assembled troop” and then “with measured words she welcomed the Geat and thanked God for granting her wish that a deliverer she could believe in would arrive to ease their afflictions” (lines 620–28). The anonymous poet paints a picture of Wealtheow as gracious, regal, and put together, everything that an ideal queen should be. Not only is she physically perfect, but she is also an ideal hostess – one who tends to everyone, welcomes guests warmly, and ensures that everything is running smoothly for her husband. Later in the poem, Wealtheow gives a toast, “enjoy this drink, my most generous lord; raise up your goblet, entertain the Geats duly and gently, discourse with them, be open-handed, happy and fond” (lines 1168–71). Similar to this one, Wealtheow often gives speeches or toasts throughout the poem, something that, though not entirely masculine, is usually reserved for kings to give to his