"Беовульф: Монстрлар мен сыншылар" лекциясының маңызы

1936 lecture by J. R. R. Tolkien that transformed Beowulf criticism

"Beowulf: The Monsters and the Critics" was a 1936 lecture given by J. R. R. Tolkien on literary criticism on the Old English heroic epic poem Beowulf. It was first published as a paper in the Proceedings of the British Academy, and has since been reprinted in many collections. Tolkien argues that the original poem has almost been lost under the weight of the scholarship on it; that Beowulf must be seen as a poem, not just as a historical document; and that the quality of its verse and its structure give it a powerful effect. He rebuts suggestions that the poem is an epic or exciting narrative, likening it instead to a strong masonry structure built of blocks that fit together. He points out that the poem's theme is a serious one, mortality, and that the poem is in two parts: the first on Beowulf as a young man, defeating Grendel and his mother; the second on Beowulf in old age, going to his death fighting the dragon. The work has been praised by critics including the poet and Beowulf translator Seamus Heaney. Michael D. C. Drout called it the most important article ever written about the poem. In it, Tolkien speaks against critics who play down the monsters in the poem, namely Grendel, Grendel's mother, and the dragon, in favour of using Beowulf solely as a source for Anglo Saxon history. Tolkien argues that rather than being merely extraneous, these elements are key to the narrative and should be the focus of study. In doing so he drew attention to the previously neglected literary qualities of the poem and argued that it should be studied as a work of art, not just as a historical document. The essay is a redacted version of a series of lectures that Tolkien delivered to Oxford undergraduates in the 1930s. Notes for these lectures exist in two manuscript versions published together in 2002 as Beowulf and the Critics, edited by Michael D. C. Drout; these offer some insight into the development of Tolkien's thinking on the poem, especially his much quoted metaphor of the material of the poem as a tower.

Tolkien begins by noting that the original book has almost been lost under the extensive "literature" (he uses scare quotes) on the subject. He explains that Beowulf had mainly been quarried as "an historical document", and that most of the praise and censure of the poem was due to beliefs that it was "something that it was not – for example, primitive, pagan, Teutonic, an allegory (political or mythical), or most often, an epic;" or because the scholar would have liked it to be something else, such as "a heathen heroic lay, a history of Sweden, a manual of Germanic antiquities, or a Nordic Summa Theologica." Tolkien gives an allegory of a man who inherits a field full of stone from an old hall. He builds a tower with some of it, but when people find the stones are older than the tower, they pull it down "to look for hidden carvings and inscriptions". Tolkien quotes at length what the scholar W. P. Ker thought of Beowulf, namely that "there is nothing much in the story", and that "the great beauty, the real value, of Beowulf is in its dignity of style". Tolkien notes that Ker's opinion had been a powerful influence in favour of a paradoxical contrast between the poem's supposed defect in speaking of monsters, and (in Tolkien's words) its agreed "dignity, loftiness in converse, and well wrought finish". Tolkien cites other critics, such as Raymond Wilson Chambers and Ritchie Girvan, who objected to the poem's "wilderness of dragons" and its unworthy choice of theme. Tolkien finds it improbable that "a mind lofty and thoughtful", as evidenced by the quality of the poetry, "would write more than three thousand lines (wrought to a high finish) on matter that is really not worth serious attention". He notes that heroic human stories had been held to be superior to myth, but argues that myth has a special value: "For myth is alive at once and in all its parts, and dies before it can be dissected." Finally Tolkien states directly "We do not deny the worth of the hero by accepting Grendel and the dragon."

In Tolkien's view, the poem is essentially about a "man at war with the hostile world, and his inevitable overthrow in Time". The underlying tragedy is man's brief mortal life. Grendel and the dragon are identified as enemies of a Christian God, unlike the monsters encountered by Odysseus on his travels. What had happened is that Northern courage, exultant, defiant in the face of inevitable defeat by "Chaos and Unreason" (Tolkien cites Ker's words), fuses with a Christian faith and outlook. The Beowulf poet uses both what he knew to be the old heroic tradition, darkened by distance in time, along with the newly acquired Christian tradition. The Christian, Tolkien notes, is "hemmed in a hostile world", and the monsters are evil spirits: but as the transition was incomplete in the poem, the monsters remain real and the focus remains "an ancient theme: that man, each man and all men, and all their works shall die". Tolkien returns to the monsters, and regrets we know so little about pre Christian English mythology; he resorts instead to Icelandic myth, which he argues must have had a similar attitude to monsters, men and gods. The Northern gods, like men, are doomed to die. The Southern (Roman and Greek) pagan gods were immortal, so to Tolkien (a Christian), the Southern religion "must go forward to philosophy or relapse into anarchy": death and the monsters are peripheral. But the Northern myths, and Beowulf, put the monsters, mortality and death in the centre. Tolkien is therefore very interested in the contact of Northern and Christian thought in the poem, where the scriptural Cain is linked to eotenas (giants) and ylfe (elves), not through confusion but "an indication of the precise point at which an imagination, pondering old and new, was kindled". The poem is, Tolkien states, "an historical poem about the pagan past, or an attempt at one", obviously not with modern ideas of "literal historical fidelity". The poet takes an old plot (a marauding monster troubling the Scylding court) and paints a vivid picture of the old days, for instance using the Old Testament image of the shepherd patriarchs of Israel in the folces hyrde (people's shepherd) of the Danes.

The general structure of the poem is then clear, writes Tolkien. "It is essentially a balance, an opposition of ends and beginnings. In its simplest terms it is a contrasted description of two moments in a great life, rising and setting; an elaboration of the ancient and intensely moving contrast between youth and age, first achievement and final death." Part A (youth) is lines 1 to 2199; part B (age) is lines 2200 to 3182 (the end). A secondary division of the poem occurs, Tolkien writes, at line 1887, after which all the earlier story is summarized, so a complete account of Beowulf's tragedy is given between 1888 and the end, but without the account of the gloomy court of Heorot, or of the contrast between the young Beowulf and the old Hrothgar. The poem's metre, too, is founded on a balance of two halves to each line, "more like masonry than music". Tolkien argues that the poem is not meant to be an exciting narrative, nor a romantic story, but a word picture, "a method and structure that approaches rather to sculpture or painting. It is a composition not a tune." Far from being weakly structured, it "is curiously strong".