1. What genres do the following texts belong to?
Voluspa, Volsunga Saga, Beowulf, The Hobbit and Lord of the Rings.
Give some examples from these texts that support your identification (for example: "Voluspa is an example of the _____ genre, as the following references to gods from the poem illustrate: "Hear my words / you holy gods' (l.1) "By Odin's Will I'll speak the ancient lore" (l.3), etc).
2. What are some possible features of residual (or "secondary") orality preserved in Voluspa, according to the criteria Ong (1982) advances?
3. Identify a central incident that happens in at least four of the above texts, and discuss how it is both similar and different in each example (remember to site from the original texts).
4. How did Tolkien draw on the Old Norse and Old English texts in his Hobbit and Lord of the Rings fantasy novels? Provide some concrete examples.
5. Discuss how Tolkien's use of "tradition" (e.g. older literary sources) differs from the techniques and agendas of modernism (see Week 7 in your Reader).
6. What place do the old myths have in the modern world?
7. How does the film Beowulf and Grendel "problematise" the hero-myth of Beowulf ?
8. Discuss what you think any of these texts desire (in the sense of their intention, how they wish to be received, what pleasures they offer).
"7. How does the film Beowulf and Grendel "problematise" the hero-myth of Beowulf?"
ReplyDelete"Beowulf and Grendel" puts a microscope to the glaring flaw that so many hero stories suffer from: that the hero is always inherently good and the bad guy is always inherently evil. But in reality people's actions are driven by a complicated web of motivations.
"Beowulf and Grendel" begins humanizing Grendel by actually making him a real human and then by having the Danes needlessly murder his father in Act 1. In Act 2 we see his playful side when he's bowling for skull, and we learn that he has a strict moral code...stricter than Beowulf's in fact because Grendel will only harm those who have harmed him. In Act 3 we see learn that Grendel is a family man trying to protect his family whereas Beowulf becomes a home wrecker by killing Grendel and his mother and then just leaving the mess that he's made and sailing off to more machismo adventures.
It's worth noting that John Gardner problematized the Beowful myth in his 1971 novel "Grendel." So the topic of this movie wasn't entirely groundbreaking. It's also worth noting that Hollywood movie producers are notorious for not taking chances and only producing movies based on a proven track record. So I have to wonder if the runaway success of Gregory's Macguire's 1995 novel "Wicked," which humanizes the Wicked Witch of the West played a role in motivating the movie executives responsible for "Beowulf and Grendel" to tackle the sympathetic antagonist genre.
Stories reflect the cultures that produce them. The original Beowulf was produced by a culture with a relatively cut and dry concept of right and wrong. Granted, Hollywood will produce mountains of formulaic crap this year, but as a general rule the line between hero and villain is blurring farther than it ever has before. This isn't just a literary fad. It also reflect an evolution in human culture.
Personally, I think that "Grey" or morally ambiguous stories have been around for a long time, and have seemingly had success with their audiences as well.
DeleteFor instance a lot of Shakespeares works, contain antagonists who you can relate to, even though he expected the audience of the time to write them off as simple villains. For example, Iago in Othello, is looked over for promotion by Othello and thus drives him to revenge. Or Jewish money lender Shylock in the merchant of Venice, who is mocked with racist comments, constantly by the lead Antonio.
There are more examples of these sorts of Antagonists throughout history, although I guess it is only recently where there has been a very deliberate effort to make the audience care for these characters, where as in the past, although the writer wrote them sympathetically, expected the majority of his audience to hate them.
I like that stories are being manipulated and subverted to humanize a character that could have possibly been framed in the wrong light. I never thought to draw a comparison between Grendel and Elphaba (The Wicked Witch of the West) and I think it's a great correlation. I also agree with your statement about the 'line between hero and villain is blurring' and perhaps this is what is pointing Hollywood producers in this general direction. Telling the stories of those characters who were/are previously marginalized.
DeleteI like that you mention that Grendel seems to have a stricter moral code than Beowulf-a really interesting point. Empathy is often referred to as a social imagination; being able to imagine being in someone else's shoes, so it's interesting that more writers/filmakers are choosing to inhabit characters previously written off just as evil, as you say. The cynical part of me however sometimes thinks that writers and filmakers just like the idea of exploring previously unexploited territory in a story. Definitely a theme of our time.
Delete3. Identify a central incident that happens in at least four of the above texts, and discuss how it is both similar and different in each example (remember to site from the original texts).
ReplyDeleteThe central incident that happens in these texts, is the slaying of dragon's, or serpents. These creatures are often the cause of destruction to human settlements, or people in general, in most of these texts, in Voluspa "Midgard's defender dies triumphant, but the human race no longer has a home" and in Beowulf "The dragon began to belch out flames and burn bright homesteads; there was a hot glow that scared everyone, for the vile sky-winger would leave nothing alive in his wake." This theme is the most common amongst the texts, obviously giving reason for the dragon slayer to seek out these serpents to slay them. The only text with dragon slaying present, Volsunga saga, the extract does not mention that the serpent was being hunted for any the previous stated reasons, rather the reason for Sigurd to slay the beast, is to gain fame "...and so do him to death, and win thee great fame thereby, although the dragon Fafnir did cause people to fear him "A countenance of terror I bore up before all folk..."
Although probably the most similar incident of dragon slaying is the Hobbit and Volsunga saga. Firstly the place where the battle's take place are near water in Volsunga saga "...and folk say that thirty fathoms was the height of that cliff along which he lay when he drank of the water below." and the Hobbit "The bride was gone, and his enemies were on an island in deep water...".
Secondly the biggest similarity is how the dragon is killed, in Volsunga saga Sigurd drives his sword through its heart "Sigurd thrust his sword under his left shoulder, so that it sank in up to the hilts;" and in the Hobbit Bard fires his arrow into Smaugs weak spot "The black arrow sped straight from the string, straight for the hollow by the left breast where the foreleg was flung wide."
Lastly as the dragons are slain, the heroes are in danger from its death throes "Now when the might worm was ware that had his death wound, then he lashed out head and tail, so that all things soevfer that were before him were broken to pieces." and in the Hobbit "And that was the end of Smaug and Esgaroth, but not of Bard." In the next scene, the villagers think that Bard was killed but he emerges unharmed ""Bard is not lost!" he cried. "He dived from Esgaroth, when the enemy was slain..."".
Another similarity that comes to mind is why the dragons begin to rampage in Beowulf and the Hobbit. in Beowulf the dragon hunts for a thief that has stolen from its hoard "...though with a thief's wiles he had outwitted the sleeping dragon and driven him to a fury..." This happens similarly in the Hobbit, if I remember correctly, as it is not on the extract provided, where the party of adventurers awaken Smaug in his lair with the intention of taking its treasures.
In the Hobbit, Bilbo enters the dragon's lair alone and wakes him, but the dragon can't see him because he's wearing an invisibility cloak.
ReplyDeleteDragons seem to be the first super villains. As much material as modern writers borrow from ancient texts I'm surprised more James Bond villains (and their like) haven't been written as allusions to dragons.
although, it is a very common in all media, to portray a villain who embodies elements of greed and wanton destruction.
DeleteSo i guess you could say that this black and white villain has carried over since literature of old.
What place do old myths have in the modern world?
ReplyDeleteThere are many branches of the mythology tree that have transcended time and language to play an important role in contemporary society, but Norse mythology has played a large part in dealing with high fantastical adventure stories still circulating bookshelves and movie theatres in today’s world.
Whether it is a modern adaptation of these mythological texts that keeps true to the original story (as evidenced in Peter Jackson’s Lord of the Rings trilogy), or something that takes a few liberties in a characters storyline, the backbone to Nordic mythology stays in tact. For instance Marvel comic’s depiction of Thor is based on the Thor of Norse mythology. but similarities are likely to stop at the iconic hammer and the defender of mankind status assimilated with Thor’s presence. From here recent writers have taken liberties with the finer characteristics making him more relatable.
Although other comparisons may not be as obvious, Nordic mythology seeps into music, comics, movies and even contemporary television series. The New Zealand series ‘The Almighty Johnsons’ centres around one family, who are all Norse gods, one being the god Odin, who is the father of Thor.
All these adaptations incorporate the themes innate to Norse mythology. One of which is to defend the world from complete destruction, another being the use of a ‘hero’ that saves the world from said destruction. The usual ‘destroyer’ of the world is a dragon that is required to die in order for the world to be safe but alas, the ‘hero’ is likely to meet his fate after his triumphant event. These key aspects of mythology are evidenced in Volsunga saga and Beowulf, whose heroes both meet their destiny once they have slain the monster. Whereas Lord of the Rings has it’s hero destroy a ring in order to save Middle Earth and Thor kills a dragon.
These timeless tales, have been incorporated into the modern world because they have the ability to connect with generation after generation due to their captivating qualities and their depiction of a ‘hero’.
I totally agree with this.
DeleteHollywood stodios such as Marvel productions have adapted such tales as thor, because the conecpt of having a 'Hero' to save the world brings about a sense of hope. Hope of a greater ending, hope of a promising future, Hope of a better tomorrow.
Its something audiances live for, something that captures them, no matter the generation. You could argue that so called myths are old fashion and are no longer relevent. But in todays world, people just might need a little old fashion.
Agree with you both, and definitely with what you said, Sheldon. Hope definitely seems like a backbone of the human condition, and I don't think that there's many people who don't enjoy the idea of a hero, saving our world. Go the Avengers! :P
Delete2. What are some possible features of residual (or "secondary") orality preserved in Voluspa, according to the criteria Ong (1982) advances?
ReplyDeleteThe introduction of Voluspa is very telling of the deeply oral history it is rooted in. Voluspa refers to itself at the beginning of the vulva's (oracle's) recitation as an oral text, something modern readers/hearers would not be used to; "Hear my words, you holy gods, great men and humble sons of Heimdall; by Odin’s will, I’ll speak the ancient lore, the oldest of all that I remember." It also references the superiority of remembered, and traditional wisdom.
The introduction is interesting, as it almost has a showmanship feel, intended to draw listeners in. With no visuals to accompany, it would have to have a dramatic, and also communal appeal, to draw many listeners in. The reference to "you holy gods, great men and humble sons of Heimdall" incorporates residual orality in this appeal to all classes of society. Ong (1982:45-46) maintains that orality is "empathetic and participatory rather than objectively distanced".
The end of the Voluspa's tale, with her vision of the end of the world (Ragnaroc) gives another example of residual orality preserved in this story. In the horror of this vision, it seems particularly interesting that there is a section with a particular focus on the destroying of communities, even before talking about the deeds of the Gods. "Brothers will die, slain by their brothers, kinsmen betray their close kin" (Voluspa). These two lines especially, written in the present text, would be especially abhorrent to a close-knit, community-minded view of the world. No wonder it was put at the beginning of the vision.
Discuss what you think any of these texts desire (In the sense of their intention, how they wish to be received, what pleasure they offer.)
ReplyDeleteNorse mythology has and will always play a big part in adventurous exploits.
These texts showcase many different lucrative features; it allows you, as the reader to journey through the world of fantasy. It gives you a something to hope for, as you walk and face the challenges with the characters within the story. These various branches of mythologies/texts bring about their own sense of identity that resonates to audiences, no matter the age, race or gender.
Each text has its own taste of reality.
For example, J.R Tolkien’s ‘The Hobbit’ provides mid evil, life thriving, loving, tale like entertainment.
The novel (through the extract provided) itself, however, helps to create order in this simple multiplicity by providing transitional formulas at three points in the story, dividing the adventure into four major parts. (Glenn, Jonathan A. 1991)
J.R.R Tolkien is known to be the epitome of storytellers, so I think in this particular myth/story/text of ‘The Hobbit’ J.R Tolkien’s intentions was to simply take the reader on an epic journey. This novel is purely the ultimate adventure story.
I agree. It's not like a person intends to read a book and feel a sense of longing or emptiness. Tolkien manages to capture the spirit of adventure in his readers and enthrall them as they travel alongside the characters on their different quests. Whether that story be 'The Hobbit' or his trilogy 'Lord of the Rings' (a story close to the heart of the majority of New Zealander's) it transports you to his high-fantastical realm of mythical creatures.
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