Ancient Equines

Odin Rides to Hel - W.G Collingwood (1908)

I've loved horses my whole life, and from a young age I was writing pretty class poems about them ("Big horse, little pony, fast trot, slow walk" - literary genius) and they are pretty much the inspiration for 99% of things I draw/paint, so why has it taken me so long to write a post about them?! They are wonderful, beautiful animals, they are extremely powerful, and most of them are extremely willing, they have fluffy ears and the softest loveliest noses, and they are afraid of silly things (gutters, leaves, things that weren't there yesterday), and they can mess you up if they want, and they can be complete assholes sometimes, and they make your life so much better. Respect, yo.

So, did the Ancient Everybodies love and respect horses as much as many people do today (I stress many, because there's too many who don't)? Today, there are still stories of horses from the ancient world and ancient mythologies, which seem to show that back in the day, horses mattered. Well, of course they did - they were handy for transport and war and keeping the lawn trimmed. But besides that, I want to look at some more famous horses.

Alexander and his Horse Bucephalus - Hans Sebald Beham

Let's start with Bucephalus, who was the horse of Alexander the Great. Plutarch tells the story of how Philonicus the Thessalian brought the horse to Alexander's father Philip, but when they went to catch him, they found that he was batshit crazy and decided he was useless. Alexander, 13 at the time, noticed that he was a fine horse and said he would tame Bucephalus, to which everyone sniggered and muttered "lolz, ya rite", and if he failed, he would pay the full price for the horse: 

Alexander ran to the horse, and laying hold on the bridle, turned him to the sun; for he had observed, it seems, that the shadow which fell before the horse, and continually moved as he moved, greatly disturbed him. While his fierceness and fury abated, he kept speaking to him softly and stroking him; after which he gently let fall his mantle, leaped lightly upon his back, and got his seat very safe. Then, without pulling the reins too hard, or using either whip or spur, he set him a-going (Lanhornes' translation)

Alexander comes to us as some sort of Ancient horse whisperer of sorts. Seeing his son's taming of Bucephalus, Philip exclaims that Macedonia is too little for his son. And he was right, wasn't he - by the time he was 30 he had one of the biggest empires in the world.

Bucephalus is said to have been a huge, jet black horse, with a white star on his forhead, no doubt an inspiration to Anna Sewell when she wrote Black Beauty, and an obvious influence on Walter Farley's The Black Stallion, which tells of a boy, Alec, taming a black stallion (durr) on an island.
Bucephalus apparently died at the age of 30, which is a ripe old age even for horses these days, perhaps at battle. After the death of his beloved horse, Alexander founded the city Bucephala, in modern day Pakistan, to keep his memory alive. Unfortunately, it didn't remain as Bucephala, so so much for that.

One of my favourite people in history to read about is the Roman emperor Caligula, because he was pretty crazy (a bad crazy), but he was also crazy about his horse, Incitatus.... also perhaps a bad crazy. Caligula was so enamoured by his grey horse that he apparently had a stable made out of marble, a manger made of ivory, and a headcollar made from precious stones. Dio Cassius claimed that the horse had its own servants and was fed oats mixed with gold flakes. That's why I feel like Incitatus every time I drink goldshlager. It is also rumoured that Caligula planned to make Incitatus consul. However, it is disputed whether this was down to Caligula's insanity or his way of making a satire of the men in government. There is all sort of stories concerning Incitatus, some saying he was a racehorse from Spain, some saying he had his own house and gardens and that he held dinners for dignitaries. It is debated whether his treatment of his horse is accurate, or whether those who wrote about his life were exaggerating his folly in order with Clau-Clau-Claudius' (who succeeded him, also his uncle) regime. To which I would recommend reading I, Claudius by Robert Graves - a great book full of debauchery and so many characters that its hard to keep up.

Possibly Caligula and Incitatus

I'll finish off with two mythological horses, the first of which is Pegasus - we couldn't leave him out! Pegasus's birth is a bit of a strange one, firstly because he is the son of Medusa (out of her union (possibly rape) with Poseidon), and was born at the same time as his brother Chrysaor. Even stranger again is that the two brothers were born when Perseus beheaded Medusa, and they somehow sprung out of her neck. Here is a depiction of it on an ancient Greek thing (although it leaves out Chrysaor):

Source

Pegasus is usually depicted as a pure white stallion (the horse world is still debating whether white horses actually exist, but well give him this, seen as he's mythological to begin with), his most important feature being his wings and his ability to fly. He was captured by Bellerophon with the help of Athena and Poseidon, and flew the hero to defeat the Chimera. Bellerophon is said to have fallen off Pegasus when Zeus sent a fly to sting him (the horse) - it hurts bad enough falling off a horse that can't fly, so I can only imagine. Pegasus then flew to Olympus where he was used as a pack horse to carry Zeus' thunderbolts. Noble ending, eh? Because of his loyalty, he was honoured with the legacy of becoming a constellation. 

A fresco from Pompei  depicting Bellerophon, Athena and Pegasus

Last, but not least, is the surprisingly not so famous Sleipnir, horse of Odin. Sleipnir has an even weirder birth and lineage than Pegasus, leading to many humorous Mother's Day Cards. Anyway, how did Sleipnir come about - a builder offered the gods to build a fortification to keep out invaders in exchange for Freyja, the sun, and the moon. The Gods agree, but only if the builder can build it within three seasons, with the help of no other men. He requests help from his horse Svaðilfari, and this is allowed, under the persuasion of Loki. The stallion turns out to be extremely strong and the Gods begin to panic, as the builder made fast progress. Three days before he is to finish the work, the gods gather around and point the finger at Loki and threaten him with death if he cannot find a way out of this. Basically the Gods are awful unfair cheaters. 

So...this is where it gets weird - Loki decides to turn into a mare, and seductively neighs to Svaðilfari, who being a stallion, cannot control himself and runs off with the mare and they frolic about for the night, causing the builder to fail in his challenge. A few months later, Loki gives birth to a lovely grey foal with eight legs (the kind of incident that would result in talks about genetic mutation and pollution and weird worship in modern times), described as the best horse among the gods and men.

 Loki and Svaðilfari by Hardy

Sleipnir is described numerous times as visiting Hel, with Odin and with Hermóðr. In the Prose Edda, Odin rides Sleipnir to Jötunheimr, land of the giants, where he encounters Hrungnir, who despite admitting that Sleipnir looks like a fine horse, that his own horse Gullfaxi (meaning "golden mane", no doubt an influence on Tolkiens Shadowfax), is much faster. Intending to attack Odin, he gallops after the two, only to find that he has chased the faster Sleipnir into the gates of Asgard.

Odin and Sleipnir by John Bauer

Unfortunately, there doesn't seem to be any famous horses from the Anglo-Saxon era. There were numerous different words for "horse", basically describing their different roles. It's unfortunate that there is no records of any famous horses, but a horse burial was found by Sutton Hoo, where a man was buried with his harnessed horse, who had a bucket of food by its head. Which is somewhat heart-warming. 

From the Staffordshire Hoard

Female power in Vikings Season 2

It is now half way through the second season of Vikings (for those who live in Canada or the US and for those who have few qualms regarding downloading). Obviously there will be spoilers, especially for those of you who are resigned to watching it in RTE 2! Suckers.

As she was in the first season, Lagertha is still my favourite character. This season also has a few more female characters of a bit more importance, most notably Aslaug, and it appears that the girl who Bjorn has his eye on may have a bigger role soon (But I can't help but be reminded of that absolute disaster The Legend of Hercules whenever I see her. Horrid flashbacks!). There are a few noteworthy moments involving the women of Vikings so far in the season:

Firstly, is Lagertha's decision to leave Ragnar, as Aslaug arrives on their doorstep with a bellyful of children. She has the dignity to walk away from Ragnar and start a new life with no drama involved, which is a nice change to the usual catfighting women screaming at one another over a man (even if he is as wonderful as Ragnar). In the actual mythology, Ragnar divorces Lagertha and there is a different woman, Þóra borgarhjörtr, in between her and Aslaug, but to be honest, that would make him look a bit too bad!

Four years later we see Lagertha with a new husband, Earl Sigvard, who is frankly, a bit of a dick. She stands up to his advances and his attempt to rape her and shows him where to shove it. As always, she does as she pleases, and returns to help Ragnar to reclaim Kattegat from Jarl Borg (as also happens in the myth - she comes to his aid with 120 ships, and saves his ass). 

In the last episode so far (episode 6), Lagertha returns to her second husband, despite still being in love with Ragnar (who is unwilling to choose just one wife). After getting his men to brutally beat her during the night, he attempts to publicly shame her by trying to show everyone at the table what lovely breasts she has. Unfortunately for him, she grabs a knife and turns around to stick it in his eye. Hell yeah! He is then beheaded by one of his own men (who I don't trust either...). In the myth, she is also responsible for her second husband's death; "the presumptious and self-indulgent woman would rather rule without her husband than share the glory with him" (Saxo Grammaticus). As you can see, the television series views her somewhat more sympathetically! Of course, this is as far as the mythology surrounding Lagertha appears to go, from what I can find, so its up to the series now! 

Another important scene takes place in Wessex in England (where attempts at speaking Old English are made...I understood cyning . . . so proud!) with Athelstan, the hot monk taken as a slave (and later made a free-man by Ragnar, and later captured by the people of Wessex), in episode 5. When a woman who is beaten because her husband thinks she has been unfaithful to him comes to King Ecgbert for counsel, the King asks him what the craic is with the pagans in such situations - Athelstan says that "if she was a free-woman, they would believe her word, and make judgement on her behalf". Ecgbert replies thinking that "surely her husband has every right over her, surely she belongs to him, to do with as he sees fit." Well, not according to the pagans! The open-minded Ecgbert (Athelstan has heard he is like Ragnar...and unlike the misogynistic Anglo-Saxons it would seem!) follows this pagan law and goes in the woman's favour. 

In general it would seem that the vast majority of main characters are somewhat "feminist" characters...to an extent. The Norse peoples, or as Ecgbert would say, the "pagans" have a more equal society than the Anglo-Saxons, allowing women to partake in raids and battle, and seemingly allowing them equal judgement in the eyes of the law. Of course, this didn't stop the vikings raping all around when they were on their raids, but this may also be seen as a "weapon of war" against the men, as much as it is seen as an act of violence against the women.

With regards to Aslaug, I am happy that this season is making a bit more of an attempt to flesh out her character, althoug it is not enough. Aslaug's character in mythology is pretty interesting - she is the daughter of Sigurd (who killed the dragon Fafnir) and Brynhildr, the shield-maiden, who I wrote a post on a few months back. As a child she was taken care of by a foster father, Heimer, and hid in a giant harp. Her next foster parents Ake and Grima, who killed Heimer as they thought there were valuables in the harp, found her hiding inside and raised her as their own, covering her in tar to hide her beauty (and therefore her noble birth). It is at this point that she meets Ragnar Lodbrok.
    Interestingly, Ragnar proposes to her, but she refuses him until he accomplished his mission in Norway. It is also, only after giving him three sons, that she reveals her true noble blood to him (after she hears that he has planned to marry Ingeborg), and promises to give birth to a child that bore a snake's eye, Sigurd Snake-In-The-Eye!

In the series, although she is not so much the "Other Woman" as she was at the end of season one, she is still portrayed as a bit of a princess, complaining about dirt and playing the jealous wife when Ragnar speaks to other girls. Hopefully we will get a more rounded character as we go along.


Also, GAME OF THRONES IS BACK, BYE

Can translation ever convey the original adequately?

My simple answer is....no!

I think the whole range of translations, along with the articles about these translations, even for Beowulf alone, is proof enough of this. Of course, nobody ever knows when it's a language like Old English, and until someone invents a time machine and returns to the Anglo-Saxon era, then we never will, and even then, it would still be impossible to truly convey the exact meaning and feel of the original. And who knows how much you'd even learn when the most readily available drinking source was ale.

Source

When reading translations of modern literature, like Haruki Murakami or Mikhail Bulgakov, I actually spend a lot of time thinking how I will never know if this is how the author wanted to convey it exactly (so deep)...and I know it can never be perfect, for the simple reason that languages are different and have different sounds, and cultures are different and have different meanings and values. The English translation of Norwegian Wood, for example, is beautifully written, but it's not going to sound anything like the Japanese. How can I know myself, that that is what Murakami wanted to convey exactly. This is especially true for works that put a lot of emphasis on words and use particularly poetic language - yes, we can recreate the alliteration, but then we lose the exact meaning - so which do we pick - we lose something in the end. When I read translations, I often think that yes, this is so-and-so's ideas and story, but it's not necessarily their language. Does that ruin these books for me? Not really, but it is something that is in the back of my mind. First world problems, eh?

As Jay Rubin, the translator of Murakami's English publications states: "When you read Haruki Murakami, you're reading me, at least ninety-five percent of the time". And at that, Rubin has the advantage of being able to discuss translating with the author, whereas for things like Beowulf, we can't exactly phone up the scribe and ask him "what exactly did you mean on line 1294? Oh, is that so? Cheers lad, nice one". Imagine how more accurate Beowulf translations would be if the author was still alive? And yet it would still not be able to accurately convey everything because, at the end of the day, if we can't accurately translate a godamn author who is alive and living in the 21st century (even if it is Japan, and we all know how weird Japan is), then what hope do we have? Nada. And at least if we want to read the 'most accurate' translation of Bulgakov's The Master and Margarita or Dostoevsky's Crime and Punishment, we can look up the hundreds of threads and blog posts about it, and yet, even when that language is still in use today, we can still never be satisfied.

The much awaited Tolkien translation, to be released this May. Yipee

Some translators of Beowulf may decide that taking the route that recreates the metre and the alliteration is the best, most accurate way to go, others will decide that a literal prose translation is the best way to go. Others may try to find a middle-ground. But in the end, nobody is really going to give us Beowulf as it was received by the Anglo-Saxons.

No matter what way someone goes about it, there's always going to be some criticism of something being lost in the process. It can't be faithful in every single way - it cannot maintain all alliteration, all metrical idiosyncracies, all syntax etc, while still maintaining the most accurate and literal translation of the language itself. As a French critic once said, translations are like women, they can be beautiful or faithful, but not both (certainly, he was full of crap). As a female, I like to think of beautiful but unfaithful translations as the Jude Law's of translation.

And even if there was some way of doing this, we still cannot understand the poem how Anglo-Saxons would have. We simply don't have the same culture or beliefs anymore (although maybe if you lived in one of those modern day Viking communes in Norway you might have a better understanding!). A good example, as John D. Niles points out, is the problem of the word cuþ, "known". He asks "how can a translator express the emotive force" that this word had "for an Old English speaker, who seems to have viewed the unknown as something terrifying and who placed exceptional value on the comforts of familiar surroundings". For a culture that (most likely)believed in dragons and panotti and blemmyae, the "known" had a completely different significance!

Even if we think of this issue from an Irish point of view and look at Irish writers like Flann O'Brien (Brian O'Nolan) for instance, whose writing has a particularly Irish feel about it (the syntax, the humour). Is it possible for another culture to 'get' it as much as an Irish person would 'get' it? I'm not so convinced. 

Good feckin' luck to ya

Niles, John D. “Rewriting Beowulf: The task of Translation.” College English 55.8 (1993): 858-878. Print.

Grendel's Mother: Warrior Princess!

Unlike most of my friends, I wasn't very much a television child, and so I missed out on Xena: Warrior Princess (along with Saved by the Bell, The Fresh Prince of Bel Air, and Friends - which apparently makes me a freak of nature, causing people to gasp when I admit to these facts). But, little did I know that when I was doing my MA I would be faced with the program which I associated so much with strange costumes and even stranger shouting.

I am in China now? Whut? I share your confusion, Xena.

Anyway, strangely enough, Xena appears to be one of the very few out of the many adaptations that presents Grendel's Mother to us in an explicitly positive light. Even when she looks like the giant cockroach from Men in Black, we still think she's pretty okay. 

So, Grendel's Mother appears in three episodes of Xena from 2000 - "The Rheingold", "The Ring" and "Return of the Valkyries". She appears as Grinhilda, chief of the valkyries and lover of Odin. Beowulf and Grendel (who appears as Grindl) also appear in these three episodes but don't really have much importance...cause...well, it's Xena. 

At the start of "The Rheingold" we see Grinhilda through a flashback, where she appears as the extremely powerful giant turd/cockroach fighting Xena for possession of the Rheingold (a magical ring from Richard Wagner's 19th century opera, Das Rheingold, itself influenced by Norse and Germanic mythology - the Rhine gold can be made into a ring which will let its bearer rule the world, so long as he or she has renounced love). 

Grinhilda

Xena and Grinhilda have a bit of a tussle before Xena manages to lock Grinhilda in a cave. We are then taken to the present day, where the story of Grinhilda is recited by the character Brunhilda (prepare yourselves for a long-winded and probably confusing retelling of these episodes): 

Back in what is known as Xena's "dark days" (try not to laugh), Xena is chosen by Odin as a valkyrie. Unlike the peaceful Grinhilda, Xena is absolutely gagging for some fightin' and blood spill. In her attempt to gain more power, Xena visits the three Rhein maidens and steals the Rheingold from them, and smelts it into a ring (as the dwarf Alberich does in Wagner's Ring Cycle). Grinhilda, being a good girl, tries to stop Xena from using the ring, and so, places it on her own finger, where we see her transformed into the monster she has become, for she has not forsaken love. The ring destroys that which is most loved by the wearer - in this case, it is Grinhilda's own beauty and humanity. 

Grindl - and what a handsome boy he is

We are then brought back to the present day, where Xena and Beowulf (who has called on her help) are seen fighting a monster who is revealed to be Grindl (Grendel - and presumably Odin's son). They manage to kill him and we are shown Grinhilda mourning his death, and presumably intent on revenge (who would Grendel's Mother be without revenge?), and she then shows up, along with Odin, to fight Xena. Xena then places the ring of power on her finger, but, surprise surprise, it turns out the Xena has not forsaken love either, and loses her memory. 

The next episode presents to us the amnesiac Xena who is now known as 'Wealthea' (an obvious reference to Wealhtheow) and is marrying Hrothgar. Thankfully, Beowulf shows up and reminds her who she really is, and she can go back to fighting Grinhilda. Rather than fighting with her however, she convinces Grinhilda of her former humanity, and she is transformed back into her good old self. Funnily enough, with this, all is forgiven (even Xena's killing of her son...) and Grinhilda returns to her former valkyrie job. 

So! That's that. A rather confusing retelling, interlaced with a lot of Norse and Germanic Mythology and obviously influenced very much by Wagner's opera. But... it must be said, it's original, if a bit silly at times - but then again, it is Xena. It is very much like Parke Godwin's Tower of Beowulf, with its strong threads of Norse mythology as well as a very complex Grendel's Mother,, but that is for another day.

I'm going to focus more on Grendel's Mother as she is depicted here. I know I said she was explicitly positive in this, and then went on to talk about how she was a giant turd-monster, BUT, this is a positive retelling of her character, because it's not her fault that she turns into a monster (it's actually Xena's fault), and her extreme humanity and noble background are very much pushed in this. She is physically cursed and turned into a monster, very much like critics and translators have turned the Grendel's Mother of Beowulf into a monster (I'm getting deep here). Also important, is the fact that unlike Zemickis's or Baker's adaptations, her human form is not capitalised upon, and she is not overly sexualised.

Ride of the Valkyries by Arthur Rackham

And what about Grendel's Mother as a valkyrie, one of the "choosers of the slain"? Although it seems like a bit of an unorthodox view, and simply another norsification of the story, it's not an unfounded view, as Helen Damico (in "The Valkyrie Reflex in Old English Literature") argues that the valkyries were "half-mortal, half-supernatural beings called idisi in Old High German, ides in Old English and dis in Old Norse". Damico believes that the Beowulf poet is characterising Grendel's Mother as one of these "deadly battle demon[s]". She is after all, called an ides aglæcwif and a wælgæst wæfre, which Damico translates as "roaming slaughter-spirit". Damico also suggests that Grendel's Mother's protective covering may relate to the helm and byrnie of the valkyries. 

Although I'm not necessarily agreeing with this view of Grendel's Mother as a valkyrie, I am pointing it out as a possible influence on Xena's depictions of her, as, I feel, many adaptations, especially film or television adaptations, are often not given credit for researching their sources or the scholarship surrounding them. Of course, the writers of Xena may not have even heard of Helen Damico, but I will give them the benefit of the doubt, and either way, such depictions, whether or not based on an already established theory, can offer new possibilities and new ways of viewing the original poem. 

Overall, for once, Grendel's Mother plays a pretty important role, one more important than both her son and Beowulf. In general, Xena (along with shows like Buffy) is one of those shows that differs from the rest, in that its centred on female figures, but as well as that, it's characters rely less on their sexuality (as so many unfortunately do) than on their physical strength and cunning - they are some of the few accessible feminist role models available in mainstream culture (Girl Culture). And there is nothing bad about that, no matter how cringey Xena may be.

Raping the darkness, d-d-death by his side

So I have had the misfortune to hear Marillion's SEVENTEEN minute long song 'Grendel'. About one minute in I couldn't help but be reminded of Spinal Tap's 'Stonehenge' (except at least that's actually good). Apologies in advance to any Marillion fans. Let's agree to disagree.

Grendel: 

I. Heorot's plea and Grendel's awakening 

Midnight suns bid moors farewell, retreats from charging dusk 

Mountain echo, curfews bell, signal ending tasks 

They place their faith in oaken doors, cower in candlelight 

The panic seeps through bloodstained floors as Grendel stalks the night 

Earth rim walker seeks his meals 

Prepare the funeral pyres 

The shaper's songs no longer heal the fear 

Within their eyes, their eyes 

Wooden figures, pagan gods, stare blindly cross the sea 

Appeal for help from ocean fogs, for savior born of dreams 

They know their lives are forfeit now, priestly head they bow in shame 

They cannot face the trembling crowd that flinch in Grendel's name 

Earth rim walker seeks his meals 

Prepare the funeral pyres 

The shaper's songs no longer heal the fear 

Within their eyes, their eyes 

As Grendel leaves his mossy home beneath the stagnant mere 

Along the forest path he roams to Hrothgar's hall so clear 

He knows that victory is secured, his charm will testify 

His claws will drip with mortal blood as moonbeams haunt the sky 

Earth rim walker seeks his meals 

Prepare the funeral pyres 

The shaper's songs no longer heal the fear 

Within their eyes, their eyes 

II. Grendel's Journey 

Silken membranes span his path, fingerprints in dew 

Denizens of twilight lands humbly beg him through 

Mother nature's bastard child shunned by leaf and stream 

An alien in an alien land seeks solace within dreams 

The shaper's lies his poisoned tongue malign with mocking harp 

Beguiling queen her innocence offends his icy heart 

III. Lurker at the Threshold 

Hounds freeze in silence bewitched by the reptile spell 

Sulphurous essence pervades round the grassy dell 

Heorot awaits him like lamb to the butcher's knife 

Stellular heavens ignore even children's cries 

Screams are his music, lightning his guide 

Raping the darkness, death by his side 

Chants rise in terror, free round the oaken beams 

Flickering firelight portraying the grisly scene 

Warriors advance, prepare for the nightmare foe 

Futile their sacrifice as even their hearts must know 

Heroes delusion, with feet in the grave 

Lurker at the threshold, he cares not for the brave, he cares not for the brave 

So you thought that your bolts and your locks would keep me out 

You should have known better after all this time 

You're gonna pay in blood for all your vicious slander 

With your ugly pale skins and your putrid blue eyes 

Why should I feel pity when you kill your own and feel no shame 

God's on my side, sure as hell, I'm gonna take no blame 

I'm gonna take no blame, I'm gonna take no blame 

So you say you believe in all of Mother Nature's laws 

You lust for gold with your sharpened knives 

Oh when your hoards are gathered and your enemies left to rot 

You pray with your bloodstained hands at the feet of your pagan gods 

Then you try to place the killer's blade in my hand 

You call for justice and distort the truth 

Well I've had enough of all your pretty pretty speeches 

Receive your punishment, Expose your throats to my righteous claws 

And let the blood flow, and let the blood flow, flow, flow, flow

And there you have it. I'm not sure what makes me more embarrassed; the picture chosen for the video, the comments that say things like "Most unique, beautiful, fantasy, heroic song ever" or "Breath taking. gasping for air!" or the awful lyrics.
I feel bad for being so critical of this, but it really is awful. Apologies again to Marillion fans (as if any exist). On a good note however, the song is obviously influenced by Gardner's Grendel and some of the lyrics (despite their cheesiness) are....thought provoking? The last section of the song at least. 

Unfortunately for Grendel, his name hasn't had much look in the music industry, with the likes of this. It's also of little surprise that there's a Finnish power metal band also named Grendel. Those Finnish lads are crazy anyway. Whereas at least Grendel's Mother gets a good song, which I previously posted about. 

I think this explains everything

This is the kind of stuff you're driven to listen to (and write about) when you're supposed to be doing an assignment. But hey, at least I'm not doing something completely irrelevant. 

Grendel and Cain

Grendel was the name of this grim demon haunting the marches, marauding round the heath and the desolate fens; he had dwelt for a time in misery among the banished monsters, Cain's clan, whom the Creator had outlawed and condemned as outcasts (Beowulf, trans Seamus Heaney)

I'm finally going to talk about Grendel, who is probably more interesting to most people than Grendel's Mother (except when she's Angelina Jolie, of course). There's lots of different views on Grendel, mostly whether he's human or beast or human-beast or a bipedal dragon (seriously). I haven't quite made my mind up about Grendel - I do know I am sympathetic to his character, but I'm not certain how human he is. I don't think I can be quite so certain about Grendel as I am with Grendel's Mother, but I'm sure within the next year of studying my arse off I will have a better idea!

So...what we know about Grendel from his first introduction is that he is of Cain's clan, or at least lives with the feckers. From Cain also sprang the orcs and the elves and the giants (or as translated by Edwin Morgan (presumably while on an intense high), "kobolds and gogmagogs, lemurs and zombies"....eh, sure). So, for the purposes of this post, we'll say he is of Cain's descent, because let's face it, I wouldn't be writing this otherwise.

Cain slaying Abel, by Peter Paul Reubens

We all know Cain - he's the feen who killed Abel, his brother, for some reason or another, and thus became the first murderer and the first to fall under a curse. As a punishment, he was exiled and so were all who descended from him, and bore the "mark of Cain" (not necessarily a physical mark).

So, as one theory goes, the sons of God (conflicted ideas of whether these are men of Seth or the "Watchers") mated with the daughters of men (Cain) and produced the Nephilim, a race of giants who inhabit the earth in Genesis. However, there are conflicting ideas about this theory - it never says directly that the Nephilim were the offspring of the sons of God and daughters of men. Grendel being a giant, and being a descendent of Cain, means he is possibly connected to the Nephilim, but, the only problem here is that these giants were washed away in the Great Flood of Cork in 2014...or whatever time frame it was that Noah was around.

HOWEVER, fear not ( I know you were), another door lies somewhat ajar here. There are some roads leading from the statement in Genesis about the earth having to open her mouth and receive Abel's blood, quite the cannibalistic image. This is also repeated in the Old English Geneis A; "Feud occurred for the kin of men, since the earth first swallowed Abel's blood". In the Book of Enoch (aka I Enoch), a book which, judging what the good old Bede says, was somewhat popular with the Anglo-Saxons, it is said that the race of giants born from the daughters of men "devoured one another's flesh and drank the blood from it". It is possible that Beowulf was written in a time in Anglo-Saxon England when everyone from Ælfric to Bede and Wulfstan were freeaaking out about blood and laying down prohibitions about drinking it (this was mostly to do with animals in case you are wondering), along with major issues such as eating while taking a dump. Bede himself said that consuming blood was the greatest sin of the giants. And, finally getting to the point...Grendel also consumes blood - so in this way, he is linked to the Genesis giants and Cain.

The Great Flood, by Bonaventura Peeters

Yes, but still, the Great Flood. Well, apparently, Ham (or Cham), son of Noah, was the first person to be cursed after the Flood, as he inscribed secrets into stone and metal to preserve them from the Flood: "When the Flood was over he sought them out with the same curiosity for sacrilegious things with which he had hidden them, and transmitted the seeds of perpetual wickedness to later generations" (Book of Cassian). Similar episodes can also be seen in a number of Irish works, including the Middle Irish Sex aetates mundi, which states that Cham is the "heir of Cain after the Flood, and from him sprang leprechauns, and giants, and horseheads, and in general every unshapely form that men have", which is extremely, in a too-good-to-be-true way, really similar to the line in Beowulf about "ogres and elves and evil shades - as also the giants" (Alexander's trans). I really love that leprechauns and horseheads bit though. Kind of makes me wonder why I didn't study ancient Irish texts...too feckin' late now though.

The Fall of the Rebel Angels by Pieter Bruegel the Elder

According to Andy Orchard (who I owe much thanks to in this post: Thanks, man), there is another possible link in the sword that is found in Grendel's mere, the one Beowulf uses to finally kill Grendels Mother. In the Book of Enoch we are told about "The Watchers" or "Grigori", the fallen angels who are credited with teaching metalwork and weapon-making to men: "And Azâzêl taught men to make swords, and knives, and shields, and breastplates, and made known to them the metals of the earth and the art of working them . . . And there arose much godlessness, and they committed fornication, and they were led astray, and became corrupt in all their ways." (I Enoch, Chapter 8). Such an inscription on a metal sword depicting the Flood and the giants may also be linked to Cham's inscription on the metals and stone of the earth. Although, a bit of a weaker link, but I am clutching at straws here!

So, with texts like the Book of Enoch floating about (a latin translation from Britain dating from around the possible time of Beowulf) and these numerous Irish texts with similar features, it's not impossible that Beowulf, and in particular the story of Grendel was influenced by them. Either way, it makes for some interesting reading (in my warped mind at least)

Grendel  by Robert Ingpen

PhD, or Goodbye Outside World

This will definitely be me

So, next week I start my PhD, and so, the end of my life as a free-woman shall ensue. There will pretty much be no changes to my blog seen as I'm concentrating on Beowulf and modern media, but I will be expanding my interests to Beowulf and Grendel, and not just the love of my life, Grendel's Mother. I am kind of wondering what the hell I have gotten myself into and if I'll get out of this alive, but fingers crossed I will get through this and emerge as someone who will hopefully be able to get a job, hopefully in my area of interest - best case scenario.

I started this blog for myself, as a means of trying to throw around ideas for this PhD notion I'd got into this head of mine, and cringe at my attempts at humour, and it has really helped me, and has grown into an empire with TWO followers (they're not even people I know personally, wow!). I would like to thank my friends who read my posts for god-knows-why reason, and I especially want to say a big thank you to Angelina Jolie for generating most of my page views...oh, and Eowyn's boobs of course!:

A screen print of the search keywords in the last month

Odin-speed