Beowulf And The Dragon: Which Is More Human?

Beowulf, regardless of the time, place, or form of the translation, at the very least follows
the same plot every time it is recreated. This includes the main characters legendary battle and
eventual triumph over a mythical and terrifying dragon. In the scenes in Seamus Heaneys
translation following the beasts death, as well as the heros, Beowulfs followers come in to
inspect the corpses created from the battle in the dragons home, his barrow. (205) In this
moment, the dragon and his barrow are meant to directly refer to Beowulf in several ways,
illustrated through specific diction, symbolic imagery, and semi-vague use of pronouns. This
correlation draws the ideas of monster and human closer together to show that mankind can
be just as monstrous as the beasts we create through fiction, or conversely, that these beasts can
be equally human. When we compare the classic Seamus Heaney translation to the far more
recent Robert Zemeckis film adaptation, we can see that this idea has lasted for over a
millennium as a comment on society at the time of each version, showing that time may change
Beowulf, but not us.

To begin, there are several obvious relations between the dragon and Beowulf in lines
3040 to 3050 of Heaneys translation. First and foremost, the dragon is given the description of
being fifty feet long; this stands out on its own without considering its deeper implications
because, unlike nearly any other character throughout the poem, the appearance of the dragon is
described. This on its own stands out as peculiar, which serves as bait to the audience to look
further at the proceeding lines. Then can be noticed that the number fifty appears solely one other
time: to describe Beowulfs reign as king of the Geats, one foot for every year. The next sentence
furthers the likeness by explaining that the dragon shimmered forth [once], then winged back
down to its den, just as the prince of the Geats had once shone with the light of triumph in his
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youth when he conquered both Grendel and the demons mother, but then returned to his
Geatland den. (Heaney, 205)

To continue, the second half of the passage contains strong imagery and use of
personification to suggest the replication of a human funeral for the supposed monster. The
treasures that inhabit the dragons barrow are said to be standing, silent, and have waited;
all are given human traits through the context provided. (Heaney 205) These inanimate objects
becoming human has the effect of likewise making this pseudo-memorial service rather like that
of a humans, even similar to that of Beowulfs in the following pages. This subtle, yet effective
personification thus opens the door to a deeper meaning for the passage as a whole.

The idea of the passage is drawn together, though, through the pronouns scattered
throughout the four sentences, in which the dragon is only expressly determined to be the subject
once. All proceeding instances make use of he or him, leaving it open to debate who exactly is
being referred to, the supposed monster or the supposed human. (Heaney, 205) Considering the
previously mentioned similarities between the dragons life and Beowulfs, either option is just
as possible.

The film adaptation directed by Robert Zemeckis takes a different, but in this situation no
less valid approach, to blurring the line between man and beast. By introducing a love affair
between lustful Beowulf and Grendels temptatious mother, the makers of the film were able to
justify the dragon not only being able to transform into a golden human figure, but also being
Beowulfs son. Being half human, half monster, this demon takes blurring the distinction
between the two types to a whole new level by being a physical manifestation of the idea itself. It

also goes without saying that the monster literally being able to take the form of a human assists
in the argument towards some sort of sameness between the two enemies. The fact that his
human form is colored pure gold also indicates a purity or perfection about him, that which
surpasses the quality of mankind. In fact, heros of this time seek gold and treasure above all else;
this golden man represents what mankind wants to become. (Zemeckis, Beowulf)

It is clear that both Heaney and Zemeckis draw on this central idea; however, it must be
reemphasized that while Zemeckis's version strays from the original text (but is no less valid a
form of Beowulf), Heaney maintains a relatively direct translation of the base poem. With this in
mind, it can been seen that the border between monster and human has been disputed for over a
millennium, standing as a comment not only on the characters of this work of fiction, but on
society itself. Certainly, mankind has committed some heinous acts throughout history worthy of
the title monstrous, with genocides, wars, and much, much more; the job of Beowulf, then, is to
remind its audience of such transgressions in an artistically subtle way, in hopes of lessening or
even preventing potential misdemeanors in the future, through speaking to individuals.
Ultimately, individuals induce change, as can be seen during each crucial moment of Beowulf,
where the hero chooses to take each enemy unaccompanied by his countless followers. Even in
his final moments, when the dragon claims victory over Beowulf, it is the single loyal adherent
Wiglaf who turns the tide of the battle. (Heaney, 183) In a metaphorically similar fashion, only
individual readers, listeners, or watchers of any particular version of Beowulf possess the power
to bring about change, even if they do so through the inspiration of crowds; because every crowd
is filled with individuals.

Beowulf remains, after 1500 years of history, a reminder to each audience it has ever held
to consider the actions of mankind just as critically as those in the poem. Though the form it
takes may change, as well as some ideas it attempts to illustrate, the modification will always be
suited to its place in history; it will be adjusted to meet what is needed of it. As Professor Martin
Foys always says, each generation gets the Beowulf they deserve.

Citations

Heaney, Seamus. Beowulf. New York: W. W. Norton, 2000. 183, 205. Print.

Zemeckis, Robert, dir. Beowulf. 2007. Film.