pagan elements. The world pictured in Beowulf is dominated by warriors, men who placed their faith primarily in two things -- their leader (their "thane") and in "wyrd" (a

in defending his people. It is a story that has its origins in pagan culture, but it was recorded by a Christian scribe (Saupe 97). Therefore there are "overlays" that

dragon; when the two halves of the poem are viewed in conjunction with one another, its mythic intent becomes apparent as it draws upon both Anglo-Saxon and Christian values to

text, a supernatural force, and the celebration of the hero. Structurally speaking, an epic is "a long narrative poem on a great and serious subject" (Lucas). A primary epic

overall situation and conflict between the pagan and Christian religions which existed in England at that time. The heavy Christian influence in the poem however, is reflected in the Christian

as connectors, or "verbal doorways" which link the poem and its legends with larger worlds. Digressions The digressions in this poem seem to work at three levels. We have

Aeneas is bound by the heroic values of a warrior class. However, while Aeneas first inclination is to fight the invading Greeks, he is presented with portents and powerful visual

as the Last Survivors Speech. This melancholic and fatalistic monologue brings about a profound tonal shift in the poem, reversing the previous tone of Anglo-Saxon bravado which champions the values

the Church deemed it proper to allow them to retain many of their former customs, providing those customs were not explicitly forbidden by the Bible. The same approach applies

great mead-hall Heorot, which is ruled by Hrothgar. Section VIII of the poem pictures Beowulf addressing the assembly and bragging extravagantly about his own brave, skill and heroism. He says,

are representative of the earnest attempts required for such characters of this particular genre to assert their worthiness; indeed, when one looks carefully at the inference of such supreme power

bravery and loyalty in Anglo-Saxon culture, will become the primary focus of the entire work. To understand the mechanism of this change, it is first necessary to understand the role

might compare Heaneys "the kings who ruled them had courage and greatness" in line 2, which prepares the reader for the unfolding of a historical genealogy with Raffels "the glory

inhabitants of England with the Christian influence that were undoubtedly added by the unknown poet who set the oral epic to paper. Nevertheless, despite the additions of Christian influence, the

is a woman so evil that she deserves death. Through the poem, Grendels mother is pictured as an "evil, masculine, monstrous woman" (Porter). The Beowulf poet uses the word