Anglo Saxon Heroic Poetry

Anglo – Saxon heroic poetry

Anglo – Saxon heroic poetry  are actually epical poems which deal with national themes at some lengths and do not allow the elegiac tone to predominate over heroic and historical matter. 

 

It seems likely that there exited quite a large number of poems of this type. But only a few of them have survived, and the oldest among them, Widsith and the Deor’s Lament seem to be epic reminiscences with a strong personal infusion. They purport to be songs of two different scope living on the continent in an age which had already become fabulous.  

 

Widsith

Anglo – Saxon heroic poetry

                 

                            In Widsith, the ‘great traveler’ wondered from tribe to tribe and he gives a list of the princes who made him famous. As he produces names who sometimes stand at a distance of two and a half centuries from each other, it is natural to conclude that Widsith is no historical figure. He is a typical scope and bringing together names amusing history and legends.

 

                             The Deor’s Lament is a lyrical outburst of a poet in trouble. The poet here presents himself as a displaced minstrel who has been deprived of his rights and lands by a rival poet. But the scope finds consolation for his ill luck in the thought that search inconstancy is the normal course of fortune. He recalls heroes’ and gods who survived physical and mental sufferings. Each stanza ends with the consolatory refrain;

                                                     “That passed away; so can this”

This is the earliest use of refrain in Germanic literature.

                    Apart from these the only remain of national epic poetry which have survived are a short but fine fragment (50 lines) of Finnsburh and two still shorter fragment (32 and 31 lines) of Weldere. The extant fragment of Finnsburh, told from the Danish view port, recounts nearby an assault on the Danish. The bold impressionistic battle scene  has sometimes been compared to those in Beowulf.

                    The two fragment of Waldere, on the other hand, contain christian allusion. The first is taken up  with a speech by a lady in which Waldere is exhorted to prepare himself to a coming fight. She tells Waldere not to have any doubt about his sword,as it the Weland . The second is occupied with an alteration between Guthere  and Waldere states, in which the former praises Waldere's coat of mail Wedere states that victory comes to the fateful from above at the will of God. The religious note in Waldere announces the gradual end of epic poetry.

                The Battle of Brunanburh (937AD) celebrates the victory of the English under Athelestan over  the combined forces of Scots and Vikings. The poem is notable  for its portrait flavour.  It is done with technical skill, the transitions in particular show the poet's mastery of his medium. It is a poem of praise and does not describe the course of the battle in any details.

            Another poem, The Battle of Maldon, rises magnificently to the tragic occasion. The battle was fought in the year 991 and its hero was Byrhtnoth, Earl of  Essex. The poet does not name the leaders of the Vikings envadors . After parleying, the chivalrous  zeal withdraws his troops to purmit the Norse to form their battle line on the mainland. The mighty Earl and many of his thanes fall .while some Anglo-Saxon warriors flee in cowardice . The Norse Phyrric victory.

            After the Christianity brought its massage of peace and a philosophy of resignation the chief source of heroic poetry- war, adventure and love - gradually began to dry up. Only the Epic reminiscence remained. The old ideas disappeared with the old minstrels.       

 

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