The epic poem Beowulf was created by an unknown author but undoubtedly reached a very wide and diverse audience. Critics generally accept that Beowulf was first communicated in the oral tradition. If this is the case, the language is very graphic, keeping the audience captivated for the entire time the storyteller is speaking, and helps the listeners more effectively imagine the story. Moreover, Beowulf blends a unique combination of Pagan and Christian allusions and vocabulary, suggesting that the audience, too had blended aspects within their spirituality. The allusions to a higher power (a god) are especially diverse, and are indicative of a potentially large audience with myriad ideas regarding god and religion. The intense variety of terms for “God” used by the original author in Beowulf might have allowed a greater universal appeal than if the diction were limited.

In the original old-English text, there are several expressions used to name God. For example, God is described as a “Protector,” and “the King of Glory” (Chickering 59). In the modern English translation, the diction is retained. In the modern versions of Beowulf, authors like Chickering and Heaney appear not to change the diction or add too much of their own poetic style. For other examples, in Heaney’s version of Beowulf, god is described as the “Father” and “Almighty Judge,” as well as “High King of the Word” (36). Thus, the modern translations are faithful to the old-English text. Since nothing seems to be added or embellished, modern readers get a truer sense of the story of Beowulf as the authors of the first written documentation of the epic legend presented it.

As virtually any writer knows, words are a very powerful tool, conveying many meanings and symbolism. When translating an older work, it is oftentimes difficult to know the author’s intent for their work. Neither can we be sure of the connotations and meanings of the words they’ve chosen. Because similar words are used between the older manuscript and the modern writing in Beowulf, the effect of the language remains, as well as the tenor and meaning of the author.

The author’s motivation for using numerous religious- oriented terminologies may have several reasons. First, the variety of word choice that is present in the earliest Beowulf manuscript suggests that the original author intended to portray the concept of god in several ways. This method makes the poem meaningful to people whatever their spiritual beliefs. The listener (or reader) can interpret god in whatever form they choose. Moreover, individual audience members can disregard or accept any adjectives used for god depending on his or her personal beliefs. Such religious flexibility transforms Beowulf into an exciting epic with spiritual underpinnings while allowing people in the audience to take from it whatever message they wish.

Secondly, diverse diction makes Christian ideas presentable to a potentially mostly- pagan audience. Biblical events are alluded to, such as the Last Judgment, and the Flood (Bjork 177), but the focus is on Beowulf’s adventures against the monsters and for his people. Again, this becomes a matter of diction; there is enough variety and contexts to allow the audience to take what it wishes from the work. The liberal treatment of Christianity by the author is also apparent because there are references to god and religious events, but Beowulf in whole does not appear as a treatise solely on the virtues of Christianity.

This mixture is a clue to the liberality of the audience, too. It is very possible that early civilizations and Christian believers used a combination of Pagan and Christian faith (Bjork 179). The original author of Beowulf plays into this through the blending of religious ideologies. The audience’s familiarity with Pagan symbolism and emerging Christian theology allows them to merge their own views within the context of Beowulf’s adventures and perils. The author’s implication appears to be that to defeat the monsters, Beowulf requires both the old beliefs along with the new. The fiends are too strong for our hero to only have one type of faith. Listeners and readers of the Beowulf epic would have enjoyed the varying spiritual references. The diction creates an air of mystery and excitement that would not otherwise be present if the author had used solely Pagan or Christian terminology. The intended audience of Beowulf seems to be very willing to suspend any religious convictions to enjoy a good story.

Thirdly, the author may have used a large vocabulary to keep the story exciting and to prevent audience boredom. A good writer knows how to use a variety of words to keep their writing interesting and unusual. The readers and listeners stay interested in the story. Although much of the diction has a spiritual undertone, all audience members can enjoy Beowulf, regardless of their religion. Also, using multiple names for a character is a hallmark of the epic tradition (Thayer interview).

Word choice is a powerful tool in any type of writing. When Beowulf was first conveyed in the oral tradition, bards could use inflections in their voices, as well as exciting language to get the desired reaction from the audience. When the Beowulf legend was written down, the language was left intact to preserve the thrill of an oral telling. The written version of the Beowulf story can be enjoyed by many more individuals, but cannot really be changed or altered by the whims of an oral storyteller. The author who documented the work on paper used the words he or she wanted to tell the story. Despite this, the epic tradition is left intact because of the ongoing appeal of adventure tales and the interest that using such a diversity of words brings to the table.

Beowulf is one of the most enduring legends in literary history. The original author used diction to produce an extensive universal appeal that might not have been possible if only Christian or Pagan terms ideologies had been used. The author was able to merge the intrigue of an adventure tale with the knowledge that only a divine force can truly save someone from peril. Words are an important tool for communication. The audience that experiences a written work uses their personal ideas and past, as well to understand the story and form opinions about it. Beowulf is a story that invokes many beliefs and emotions in the readers. As an audience, we understand the spiritual aspect of the tale; a hero is up against terrible odds and relies on personal faith to overcome danger. On another level, it is simply a good story with beautiful language. Either way a reader wants to enjoy it, he or she understands that language and words create those feelings.

The author of Beowulf specifically chooses the language to appeal on many levels to a wide variety or individuals. The author knew the power that his or her words would have, and also understood that the effects would not be as profound if the diction had been limited.

Works and People Consulted

Thayer, J.D., EWU Medieval Literature professor. Personal interview.
A Beowulf Handbook. Eds. Bjork, Robert E., and John D. Niles. Lincoln: University of Nebraska, 1997.
Chickering, Howell, D. Beowulf: A Dual-Language Edition. Garden City, NY. Anchor Books, 1977.
Heaney, Seamus. “Beowulf.” Norton Anthology of English Literature: Middle Ages. Eds: David, Alfred, M.H. Abrams, and Stephen Greenblatt. New York: Norton. 2000. 32- 99.

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Language Creates Beowulf