Consistently proven throughout the Anglo/Saxon Era, from 449 to 1066, the reemergence of Christianity and the role of Alfred the Great combine to unity Anglo/Saxon England. Many Anglo/Saxon declare that the ability to recite poetic stories exist as important a skill as fighting. Fame in mournful poetry- and the community’s memory- remains a hero’s only consolation against death. During the seventh century Anglo/Saxon poem, "Widsith", the unknown author gives an account of the wanderings of a Germanic minstrel and of the legends he relate. The poem gives an excellent description of minstrel life in the Germanic Hero Age. The good and evil of the minstrel and the Germanic society display throughout the avenged tale. Anglo/Saxon literature also consists of the epic tale of Beowulf which many critics call timeless.
For instance, writers often consider Beowulf as the first great work of the English National Literature. As it uses a host of traditional motifs and reoccurring elements, Beowulf associates with heroic literature all over the world. The author displays the theme of good and evil throughout the entire work. For example, Beowulf and Grendel represent the opposing forces. Chaucer chooses to classifies Grendel an "ellgeast" or a bold demon, universal symbol for evil, and also a "scynsapa" or a doemon foe whou haunts remote places. The author also refers to him as a "foend on helle" [dark death-shadow] who "sinniste heold mistige moras" [in the endless night held the misty doors] (Wright 257-259). Using opposites, distinctly calling Grendel a figure or monster of darkness, the author states that Hrothgar’s councilors cannot expect a "bright remedy" from the slayer, Beowulf, or the cure [good]. Chaucer chooses to compare Grendel and Beowulf to the sun and moon, night and day, and Heaven and Hell, all complete opposites.
Within the work, Chaucer uses his diction and imagery to display the aforementioned theme. For example, in the precluding statement he refers to Heaven and Hell, as "The Almighty" refers to God and the "demons" refer to hellish figures. He writes of evil spirit, goblins, etc opposing God and all that remains good.
Also, to reiterate the good in Beowulf, his final words before the battles with Grendel remain that "God shall award the victory as He thinks fit." Later he adds, 'the truth is well known, that God Almighty has always ruled over the race of men" (Wright 260). God does, and always will, remain the ultimate universal symbol for good. After Grendel vanishes, Chaucer places a repeat emphasis on gold- in the tapestry hanging on the walls, the weaponry, the banner, and the trappings of steeds presented to Beowulf; also, the armor, arm rings, and the collar that Wealthlecow-while wearing a golden crown herself- awards the hero. The symbolism of the gold represents wealth and power, all that dwells as good. The same dramatic sense of color and contrast proves evident after Boewulf assures Hrothgar of the death of both Grendel and his mother. The next morning, the black raven announces the return of the "sun." This function seems unusual for a bird that people normally associate with death to symbolize light and life. It regards as another example of the employment of a symbol. It regards as another example of the employment of a symbol for the triumph over darkness and death, or evil. Light therefore remains predominantly that of the sun or of the metal which approaches most closely to it in the appeal to the edge.
The poem dwells on his suffering, anxiety, and despair, [evil]. For instance, Chaucer states that his (Beowulf s) heart remains sad, restless, and ready for death. Fate remains exceedingly near to seek the treasures of his soul and to part as under life from the body. The essential weakness of material strength once again exposes itself by the coming of Grendel's mother to the hall. In the second fight, against Grendels's mother Beowulf chooses to use a sword where in the first fight, he trusts in Meagan and in God; this shows a sign of Grendel's weakness and adds to his difficulties. By contrast, darkness in a metaphorical sense transfers to the mind of Beowulf. Nearing the end When Beowulf faces the dragon, the light or his enthusiasm that shines so freely in the narration of his youthful exploits vanishes. The treasures of the dragons heard commit to the darkness of the earth, and gold no longer associates with human pleasure, but with a deadly curse or the misery of captivity. In the end, the fiery glow of the dragon [evil] soon becomes a symbol of danger, one that inevitably predominates in the latter part of the work. Chaucer then declares, "His parting from life did not seem painful to any of the men." They find joy in Beowulf s heroism. The fluctuation of joy and sorrow throughout the work remains closely related the coming and going of light and darkness in Beowulf. The joy intermingles within the social life of the rulers and warriors. The opposites of the work contribute to a fundamental unity and theme, as the poem advances, with the deafening of the elegiac strain, sorrow gets the upper hand, and all else lies subordinate. Hrothgar and his people receive relief and confidence on the arrival of Beowulf; however, the somber mood occurs frequently in their relationship. Grief weighs heavily on the aged Danish king. In spite of his warlike prowess, he can do nothing to keep Grendel at bay. But despite the dragons [evil] conquer of Beowulf, the people still rejoice in his [Beowulf s] honor.