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Attempt has been made by me in this paper to critique the intrigues and the designs of the epic work through which a power portrayal of the protagonist has been intended.
The objective of the write-up is to show Beowulf as a hero driven not by personal glory but by affection and duty.
In his Introduction to his beautiful translation of Beowulf for Broadview Press (2000), Roy M.
Liuzza has written that "Beowulf is frustratingly ambivalent--it is not quite mythical enough to be read apart from the history it purports to contain, nor historical enough to furnish clear evidence for the past it poetically recreates" (16).
(16)It will be one of our aims, as readers and thinkers working together in this seminar-style course, to investigate Liuzza's description of Beowulf as "a monumental exercise of the historical imagination," and to see if we can discover some of the ways in which history and art are ineluctably enmeshed, and even "speak" past, over, and around each other.