Journal 11: Grendel's Philosophies

Journal 11: Grendel’s Philosophies

                In Gardner’s Grendel, Grendel becomes the perfect character to judge the centuries of philosophies that develop within the novel. The fact that Grendel is a monster and is not human means that he has no affiliation with one philosophy or the other.  Throughout the novel, Grendel is searching for what he believes in and the best way to live in the world. As a result, Grendel goes through several different philosophies. The different philosophies in the novel are presented in a variety of ways. Some are lived out by Grendel for a time or are exposed and developed in other characters. Each chapter and its affiliated astrological sign give clues to the philosophies that are being developed. Grendel’s actions and observations that are exposed in the novel allow the reader to see the history of philosophies develop.

                The first chapter in which the reader can see the introduction of a philosophy is chapter two. In this chapter, whose astrological symbol is the Taurus or Bull, Grendel describes a flashback to his youth. He speaks of his initial journey into the world and his first encounter with man. Grendel eventually speaks of when he got his foot stuck between two oaks and was attacked by the bull. The bull in the story represents the astrological symbol of the chapter, Taurus. According to Alan Leo, those who are Taurus believe in the “objective and concrete” and base their action on “extreme materialist thought.” The description of Taurus in combination with Grendel’s own realization that “The world is all pointless accident…I exist, nothing else,” helps the philosophy of solipsism come into view. Solipsism denies everything in the world except for the solipsist himself. In this case, solipsism is the philosophy that best fits with the ideals of Taurus and is clearly indicated in the words of Grendel.

In the coming chapters, Grendel’s solipsism is challenged by the words of the Shaper. The Shaper brings a reality to Grendel’s world. He creates religion, history, and brings order to the so called “pointless accident” as Grendel described the world. In fact, the Shaper is so influential that Grendel himself begins to believe the Shaper’s stories and is so compelled as to accept the Shaper’s view although it characterizes Grendel as the evil in the world. The next significant philosophy that is introduced is nihilism in chapter five. In chapter five, Grendel goes to visit the Dragon in the hope of discovering his role in the new world that the Shaper has created. This chapter is the chapter of the Leo, the dramatizer, which gives hint at the dramatic difference in philosophies that the dragon creates. The Dragon and his advice are extremely characteristic of a nihilist, and as a result, push Grendel from existentialism to the more extreme nihilism. Grendel no longer just believes that no God exists in the world but now believes that all existence is useless. The Dragon explains that the world has no inherent meaning or value. For example, when the dragon describes importance he says that it is “limited to a finite occasion, importance ceases to be important.” Eventually the words of the dragon stop Grendel from believing the ideas of the shaper.

In chapter six Grendel is reborn to become a sceptic who looks at and doubts everything with moral fevor. In this chapter Grendel finds his place in the order as the destroyer of all hypocritical orders created by men. He acknowledges the existence of others but classifies them as enemies. This chapter which is the chapter of the harvest virgin hints at the rebirth of Grendel and his beliefs. Next, is chapter seven in which Grendel’s scepticism is put up against faith. This chapter is the chapter of Libra or conciliators. Wealtheow is this symbol of a conciliator; she brings harmony to the situation. The order and purpose that Wealtheow stands for and believes in provides a stark contrast to the chaos and futility that Grendel believes in.

 The next philosophy that Grendel embodies is Nietzchean philosophy in chapter 10. This chapter which is the chapter of Capricorn, who are supposed to be pessimistic, shows the sudden downfall of Grendel’s belief in religion and the stories the Shaper has created. As the shaper dies the stories go with him, and as a result, he feels that”we’re on our own again. Abandoned.”The shaper had created the world and without him Grendel feels despair and comes to a conclusion of emptiness in the world. Overall, Grendel’s despair and conclusions are what make Nietzchean philosophy evident in this chapter.  Finally, Grendel’s philosophical journey comes to a culmination in chapter 12, the chapter of Pisces and the end of the astrological cycle. This in a way marks Grendel return to his original philosophy. Grendel is forced into empiricism by Beowulf as Beowulf forces Grendel to sing of the wall. Grendel can no longer say that he and he along exists in the world. He comes to an understanding after he has given up his old philosophy that all knowledge, truth, and art come from contact with reality. By having his head smashed against the wall, Grendel realizes that he does not merely imagine the things around him. Empiricism is considered to be closely related to solipsism with the biggest difference being that in empiricism the existence of objects are accepted while solipsism denies objects concrete existences.

In the end, Grendel has experienced and developed many different philosophies throughout the story. As Grendel searches for his true purpose he inevitably goes through the different philosophies and changes as new circumstances arise. Each chapter and its astrological sign help to hint at the philosophies that were showcased. The combination of events, characters, and motives all contribute to the development of Grendel and his beliefs. Influences from the shaper, the dragon, and others all push Grendel to his next philosophy. In the end, Beowulf has the final say in what Grendel’s ultimate philosophy will be. Grendel’s encounter with Beowulf forces Grendel into empiricism which is the Grendel’s final philosophy. In conclusion, the events and people that Grendel deal with throughout the novel help him to move through the history of philosophies and come to his final philosophy of empiricism. 

Journal 10: Grendel the Narrator

Journal 10: Grendel the Narrator

                The fact that Gardner used Grendel as the narrator in his story is very important. While the epic, Beowulf, is told from the point of view of Beowulf and the Danes, Grendel, gives insight into his own side of the story. In Beowulf, Grendel is depicted as a horrible, murderous, and evil monster, but in Grendel the reader can see that Grendel is actually much different. Grendel’s actions, thoughts, and motives are all revealed by having Grendel as the narrator. As his actions, thoughts, and motives are revealed a new picture of Grendel is created. Also, the fact that Grendel is a monster makes Grendel look at the world differently. The fact that Grendel looks at the world differently, in turn affects the way the story is told. Gardner takes advantage of having Grendel as the narrator to immerse the reader in an entirely new story from Grendel’s point of view. Overall, Gardner probably made the decision to use Grendel as the narrator because of the new point of view Grendel provided as a monster.

                Grendel, the antagonist in the story, is also the narrator and a monster. All of these aspects are important in the way that Gardner decides to tell the story. By having Grendel as the narrator, Gardner is able to reveal Grendel’s true character. While Grendel is depicted as an evil monster in Beowulf, in Grendel, Grendel is shown as a kind, sympathetic, and naïve young creature. In fact, when meeting with the dragon Grendel almost resolves not to terrorize the humans up until the dragon convinces him otherwise. Grendel is still searching for who he is and what he believes in. Throughout the story he is enveloped by the philosophies of the shaper and the dragon and is learning and deciding as he goes. Grendel’s want to not be alone in the world is a strong motivating force behind many of his actions. All of these motives and ideals are very important in the way Gardner develops Grendel from the point of view of Grendel. Equally as important is the fact that Grendel is a monster. If Grendel were simply another human then the reader would not be provided with a new way of looking at the situation. Since Grendel is, in fact, a monster the reader can see a completely different point of view. Possibly one in which the monster is not looked upon as a menace but simply as a creature trying to find his or her place. In Grendel, this creature is of course, Grendel. Overall, the use of Grendel as the narrator reveals aspects of his character that are not seen in Beowulf and provide the reader with a completely new point of view.

                Gardner’s use of Grendel was a smart way of introducing the reader to a different side of the story between Beowulf and Grendel. Grendel’s own thoughts and motives are revealed through his actions and Grendel’s own commentary. By using Grendel as the narrator Gardner is able develop a story vastly different from that depicted in Beowulf. In Grendel, Grendel is not a hideous, murderous, and evil monster but rather a creature trying to find his place in the world. Unfortunately, it just so happens that in the process of finding his place he ends up in a bitter “war” with the humans. On the other hand though, the fact that he is this monster that the humans must fight is also important in the point of view that Gardner takes by making Grendel the narrator. Since Grendel is considered a monster, the ideas of that monster differ greatly than that of humans. As a result, the reader gets a look into the mind of a monster, Grendel, instead of seeing Grendel through the eyes of humans. In conclusion,  Gardner’s decision to use Grendel as the narrator was probably made to provide an entirely new point of view. 

Journal 8: Grendel as a Parody

Journal 8: Grendel as a Parody

                The novel Grendel, by John Gardner, has many aspects that allow it to be classified as a parody of Beowulf. A parody is a humorous imitation of style produced for comic effect. In the case of Grendel, this comic effect is created mainly through the use of the character Grendel. The imitation of the story line and characters, along with the stark contrast between the Grendel of Beowulf and the Grendel of Grendel are the main aspects that define Grendel as a Parody. Overall, Grendel is a Parody of Beowulf because it copies the style, story, and characters of Beowulf in such a way as to create a humorous contrast to Beowulf.

                In the two stories, Beowulf and Grendel, the character of Grendel is depicted in extremely different ways. In Beowulf, Grendel is an evil, horrendous, and murderous monster. Grendel terrorizes the Danes and is motivated, according to the Danes, by “his lust for evil.” He is a ruthless killer whose sole purpose is of revenge.  On the other hand, in Grendel, Grendel is depicted initially as a naïve young child and develops into a sort of intellectual as the story develops. Grendel is not simply a murderous and destructive monster, but one who is looking for his place in the world and who desperately wishes to communicate, especially with the humans. He spends a large portion of his time around humans to learn about them and their philosophies. Grendel only starts to attack the Danes once he is told by the Dragon that he is the Danes “brute existence,” and that he creates the religion and ideals of the Danes.  Unlike the motivations described by the Danes in Beowulf, in Grendel, Grendel is not motivated to attack the Danes for revenge but because he is following an ideal and philosophy imbued by the Dragon. Grendel believes that his attacks are necessary to the continuation of the religion and stories of the Danes. As can be seen, in Beowulf, Grendel is an evil and murderous creature while in Grendel, Grendel is simply a creature searching for his rightful place in the world; this obvious contrast between the two stories is what allows Grendel to be considered a parody of Beowulf.

                Another aspect of Grendel that allows the story to be considered a parody of Beowulf is the fact that the underlying storyline is essentially the same. Grendel starts out with and goes through the war that Grendel has had with the Danes for nearly “twelve years.” Unlike Beowulf though, Grendel is told from the point of view of Grendel and not from the point of view of the Danes. As a result, different motives for the actions in the story are given. These different motives are drastically different from the motives given by the Danes. Also, at the end of Grendel is the appearance of Beowulf and Grendel’s demise. Both stories have these events, but in Grendel, Grendel’s final death is seen in a completely different light as a result of the different point of view. Overall, the similar story line but different point of view between the two stories makes Grendel a parody of Beowulf.

                The story of Grendel has many aspects that clearly make it a parody of Beowulf. The extreme differences in the way that Grendel is depicted in either story, the similar story lines between the two stories, and the contrasting point of views are all aspects that contribute to making Grendel a parody. The similar story lines in combination with the contrasting views allow for comedic effect. Grendel is able to ridicule the depiction of Grendel in Beowulf by depicting Grendel as a naïve creature who is eager to learn. This stark contrast in character descriptions makes the description of Grendel in Beowulf seem ridiculous and thus creates a humorous effect. In conclusion, the similarities and differences between the two stories such as the similar story line but the different point of views are what make Grendel a parody of Beowulf.

                

Journal 6: One in the same: “The Seafarer,” “The Wander,” and Beowulf Anglo-Saxon Themes

Journal 6: One in the same: “The Seafarer,” “The Wander,” and Beowulf 

                The poems of the Anglo-Saxon period such as “The Seafarer” and “The Wanderer” have many themes and techniques in common with heroic narratives like Beowulf. Since all of these works have Anglo-Saxon origin they inevitably will share many common themes and virtues. Across all types of Anglo-Saxon literature one will be able to see common ideals. “The Seafarer” and “The Wanderer” are extremely similar poems which deal with things like exile, faith in god, and journeys. Likewise, Beowulf also covers these same topics of exile and journey. On top of that, both the poems and the heroic narrative have similar tones and use many of the same literary devices. Overall, Anglo-Saxon poems such as “The Seafarer” and “The Wanderer” have many literary elements in common with heroic narratives like Beowulf.

                The Anglo-Saxon poem “The Seafarer” is

about a man exiled from his home land on a sort of journey to heaven. The man believes that earthly comforts are no match for the joys of heaven and as a result resolves to endure his exile in hopes of comforts in heaven. The overall story is an allegory about the journey of life. His exile and trip on the sea are like the trials and tests of life, while his overall goal is eternal life in heaven.  The harshness of earthly life is evident in the narrator’s exile and the melancholy tone that is used. This leads into another aspect of “The Seafarer” and that is the fact that it is an elegy, or a poem that mourns the death of a person or laments something lost. Also, “The Seafarer” uses literary devices such as alliteration, kennings, and caesuras throughout. Like Beowulf, “The Seafarer” is about the journey of life. In Beowulf, the journey of life can be seen in the way Beowulf matures through his younger years, adulthood, and old age. Also the harshness of life on Earth is also evident in Beowulf. The deaths of the Danes and their struggles are one example of this harshness. Finally, Beowulf has a melancholy tone much like “The Seafarer” and uses kennings, alliteration, and caesuras.

                The next Anglo-Saxon poem “The Wander” is extremely similar to “The Seafarer.” In “The Wanderer” the narrator is also exiled to sea. Similarly to “The Seafarer” and Beowulf, “The Wanderer has a melancholy tone and uses the story line to tell of the journey of life. The poem also uses literary device like kennings, caesuras, and alliteration. On top of these similarities between the two poems, there are also other aspects that “The Wanderer” has in common with Beowulf. For example, in “The Wanderer” the narrator talks of losing kinsmen. The loss of his kinsmen is what drives his exile as he is “hoping to find a place, a people, a lord to replace.” Similarly in Beowulf, the Danes have lost many a kinsmen and many have been forced into exile far away from their homes as a result of fear. As one can see, there are many similarities between “The Wanderer”, “The Seafarer”, and Beowulf.

                Overall, “The Wanderer”, “The Seafarer”, and Beowulf share many themes and techniques. Of the most prominent themes found within all of these Anglo-Saxon works is that of the journey of life. For example, in “The Seafarer” the journey of life is described as the narrator’s journey across the sea towards life in heaven. Then, in “The Wanderer” while the narrator still goes on a journey across the sea, the motive behind his Journey is more about the loss of kinsmen and his journey to replace them in his heart. Finally, in Beowulf the journey is one of learning as Beowulf develops through his younger years all the way to his old age.  Themes are not the only aspect that these works share. They also share many techniques including the use of the same literary devices and tone. The tone of all three of the works is melancholy. Also, all three works use many of the same literary devices such as kennings, caesuras, and alliteration. In conclusion, Anglo-Saxon poems such as “The Wanderer” and “The Seafarer” share many aspects with heroic narratives such as Beowulf. 

Journal 3: Grendel’s Language

Journal 3: Grendel’s Language

                In Grendel, by John Gardner, Grendel both admires and hates language. As the story progresses, each successive, chapter and the events found within the chapters, help to promote Grendel’s changing attitude towards language. Grendel’s love of language comes from his desire to communicate and build relationships, especially among humans. Unfortunately, Grendel’s inability to communicate creates a love and hate relationship between him and language. Grendel begins in a simple narrative style, but as the story progresses, Grendel evolves to use different forms and elaborate techniques such as soliloquies. Overall, Grendel’s love and hate relationship with language and his changing attitude can be seen as the novel develops.

                In the beginning, Grendel has yet to develop an in depth understanding of language. Grendel recognizes a common language between him and the humans but cannot fully comprehend what they are saying. Grendel’s desire to learn about philosophies and to create relationships causes him to spend many nights listening to the humans. His observations help him to develop his own language and allow him to better comprehend the humans. Eventually, the humans influence on Grendel can be seen in Grendel’s language. For example, in chapter 4 Grendel uses human profanity and claims that they were “Words I picked up from men in their rage.” Grendel’s development can also be seen in the use of parenthesis and italics that are used to give insight into Grendel’s mind.

                As the story continues, Grendel begins to use even more complex forms of language. Gardner is playing with language through Grendel and his development.  Grendel shows how far he has developed as he begins to use forms such as script writing or play writing. Grendel sets up scenes and cuts as he experiments with language. The soliloquies of Hrothulf and Wealtheow that are put into the novel are another prime example of Gardner playing with Grendel’s elaborate language. Grendel loves language and takes pride in showcasing his mastery of it, but Grendel still longs for people to talk to with his language.  Grendel cannot speak with humans due to their fear of him and cannot even speak with his own mother as she knows no language. His frustration at being unable to share his language creates the hate that Grendel feels towards language. The only relief Grendel receives is when Unferth seems to understand Grendel in the meadhall. Grendel is shocked and surprised that a human could understand him and is probably the reason why Grendel spares Unferth’s life. In conclusion, Grendel develops his language throughout the story into a complex and elaborate style, and his attitude toward language ranges from admiration to abhorrence as he learns but is unable to use this language.

                Overall, Grendel’s attitude toward language changes as the story progresses. Grendel starts out as a naïve young creature with a limited knowledge of language. His desire to communicate and build relationships pushes him to learn more and also spurs his love of language. Eventually, Grendel’s constant observation of humans influences his own language, and Grendel becomes quite the connoisseur of language. Unfortunately, Grendel’s love of language is undermined by his inability to use it. Grendel cannot speak with humans because they fear him, and he also cannot speak with his mother as she does not speak. This inability to use the language he has so painstakingly learned fuels the disgust that Grendel has for language. In conclusion, Grendel’s attitude towards language becomes one of admiration and frustration as he learns and develops his language. 

Journal 2: Who is Grendel?

Who is Grendel?

                There are many important characters in Beowulf, but of the most important is the character of Grendel, the antagonist of the epic. The character of Grendel can be described as antagonistic, static, and flat. Grendel’s grotesque and horrible actions, motives, and symbolism make Grendel the antagonist of the story. He is constantly terrorizing and killing the Danes and is the monster that Beowulf will eventually face. The lack of insight into Grendel’s thoughts and the lack of change in Grendel make Grendel a flat and static character. Grendel doesn’t truly change throughout the epic which can be seen through the actions of Grendel. Also, the motives of Grendel are given according to the Danes, but the true ideals of Grendel and his mind are not exposed in the story, making him a flat character. Finally, what Grendel symbolizes in combination with his actions and motives make Grendel the antagonist in the epic. The character of Grendel is antagonistic, static and flat. This can be seen through the actions, motives, and symbolism of Grendel.

                The actions of Grendel are a vital aspect in discovering the characteristics of Grendel. Grendel’s first encounter with the Danes comes when he enters Herot, the mead-hall of the Danes. In Herot, he finds the warriors sleeping and in greed “snatches up thirty men, smashed them” and ate them. Grendel then continues to murder and terrorize the Danes for years to come.  In fact, Grendel has caused “twelve winters of grief for Hrothgar, King of the Danes.” This quote shows that Grendel has continued his murdering for 12 years. Grendel’s incessant murdering shows how he is a static character. Throughout these twelve years, Grendel has never had a change of heart. He does not feel sympathy for the Danes and simply continues his killing. If Grendel had stopped his murdering and lost his taste for revenge, then he could have been considered a round character, but Grendel’s lack of change constitutes him as a static character. Also, the actions of Grendel are important in him becoming the antagonist to Beowulf. Without him terrorizing the Danes there would be no need for Beowulf. As a result, Grendel’s murdering is one important aspect of him becoming the antagonist. Overall, the actions of Grendel are extremely important for two reasons. First of all, the constant acts of murder that Grendel commits over the 12 years shows his lack of change and supports the fact that he is a static character. Finally, without the acts of murder that Grendel commits it would be impossible for him to become the antagonist.

                Grendel’s motives are also very important in the discovery of Grendel’s characteristics. In Beowulf, the Danes describe Grendel’s motives as a curiosity for what occurs in the mead-hall and revenge for exile. In Beowulf, Grendel is described as “A powerful monster, living down in the darkness, growled in pain, impatient as day after day the music rand loud in that hall.” This quote exposes Grendel’s extreme curiosity in Herot, the mead-hall. This curiosity eventually drives Grendel to explore the mead-hall which leads to him murdering and eating the warriors.  Also, Grendel is said to be “conceived by a pair of those monsters born of Cain, murderous creatures banished by God.” The significance of this quote is that it shows why Grendel is so eager for revenge. Grendel resents his exile and as a result, Grendel’s exile fuels Grendel’s want of revenge. Consequently, this want of revenge fuels Grendel’s acts of murder. Overall, these motives push Grendel to perform the acts of murder that make him the antagonist.  While the motives given by the Danes may prove true, the reader never truly gets any insight into the mind of Grendel himself. The motives given in Beowulf are told from the perspective of the Danes, while Grendel’s own motives are never exposed. As a result, Grendel is a flat character because his traits and motives are confined to what the Danes tell the reader. The traits of Grendel never expand beyond what the Danes believe. Overall, the motives given to the reader by the Danes show why Grendel is so inclined to murder the Danes and is important in Grendel becoming the antagonist.  Also, the narrow set of motives and traits given by the Danes make Grendel a flat character. Overall, the motives are extremely important in developing Grendel as the antagonist and as a flat character.

                What Grendel symbolizes is extremely important in defining the character of Grendel.  Grendel is clearly a symbol of evil and revenge. In the story Grendel is described as being “so set on murder that no crime could ever be enough, no savage assault quench his lust for evil.” The fact that Grendel commits so many acts of evil and that he is described as having a “lust for evil” helps to support the idea that Grendel is in fact a symbol of evil. Also, the fact that Beowulf must fight Grendel to save the Danes helps to enforce the idea that Grendel symbolizes evil. On top of evil, Grendel also represents revenge.  Grendel’s resentment towards exile and his hate shows that he symbolizes revenge. In the epic it states that “hate had triumphed” and of how Grendel “relished his savage war on the Danes keeping the bloody feud alive, seeking no peace.” This feud comes as a result of Grendel’s want of revenge for exile. Grendel’s motive of revenge makes him a perfect symbol for revenge. Overall, the symbolism found within Grendel is the final aspect in making Grendel the antagonist. By making Grendel a symbol and evil and revenge, Beowulf is given the opportunity to defeat these ideals.

                The actions, motives, and symbolism behind Grendel were all very important in developing Grendel as an antagonistic, static, and flat character. The actions of Grendel, in particular the killing, are extremely important in defining Grendel as a static character. Grendel’s motives are also very important. The motives provided by the Danes helps to define Grendel as a flat character because Grendel’s traits and own true motives are not exposed. This leaves Grendel with a very narrow set of motives and traits. Finally, what Grendel symbolizes in combination with Grendel’s actions and motives develop one of the most important aspects of Grendel’s character—that Grendel is the antagonist. Without the actions, motives, or symbolism behind Grendel there would be no need for Beowulf because there would be no antagonist. Grendel’s character is vital in the story of Beowulf as Grendel’s static and flat nature allow him to become the antagonist to Beowulf.

Beowulf Journal #1: The Modern Dragon Slayer

                In the story of “Beowulf,” Beowulf embodies the archetype of a dragon slayer. The dragon slayer is someone who faces death in order to save a community.  Beowulf faces death in the form of Grendel and Grendel’s mother in order to save a community, the Danes. As can be seen, Beowulf clearly fits the description of a dragon slayer.  Since the dragon slayer is in fact an archetype, this same pattern has been used throughout fiction and movies and can even be seen in reality. The “dragon slayer” can be seen in reality with the soldiers who fight for our lives every day. Then, in movies such as Harry Potter and books and stories such as Robin Hood, one can see even more examples of dragon slayers. Overall, the archetype of a dragon slayer embodied by Beowulf can be seen in modern works.

In reality, soldiers as an entity are the dragon slayer. While one man is not really strong or powerful enough to act as the dragon slayer, the soldiers together are very powerful. While people may disagree on the “dragon” that the soldiers are sent to slay, it is hard to argue that soldiers are not definitely sent out to protect communities. Not only do they protect Americans at home but they also play roles in protecting foreign communities. They face death nearly every day but continue to fight for our freedom and for the protection of those foreign communities.  Overall, the power those soldiers have as an entity and their dedication to protecting communities at home and abroad make them an example of a modern dragon slayer.

Many movies and books also have great examples of a dragon slayer. In the Harry Potter series, Harry, is in fact, a dragon slayer. Harry, who is the “chosen one,” has a power so great that he is the only one who can stop Lord Voldemort, the “dragon” in this particular scenario. Harry is not necessarily physically stronger but his bravery and intuition are what help him in his mission to protect his community. Throughout the series of books and movies Harry goes through many life threatening tests and trials that eventually lead up to him killing Lord Voldemort. By killing Lord Voldemort, Harry saves his community at Hogwarts along with the rest of the magical kingdom from oppression by Lord Voldemort.  Other examples of dragon slayers include Robin Hood and Batman. In Robin Hood, Robin Hood faces exile and execution to help protect and save his community of the poor. He does so by fighting and robbing the rich, who are the “dragons.” Robin Hood is very clever and skilled in things like archery. These skills are what help him become the dragon slayer that protects the poor. In Batman, especially in “The Dark Knight” series, Batman becomes the Dragon Slayer. Batman is physically superior much like Beowulf is but Batman also depends on his brains and gadgets to become the “dragon slayer.”  The dragon that he is trying to slay is the organized crime and villains that have plagued his city, Gotham. Speaking of Gotham, the city is the community that Batman is trying to protect. Batman sacrifices his health and faces death to clean up Gotham to create a city that its Citizens could feel safe and proud to live in.

As one can see, there are many examples of dragon slayers that can be seen in modern works and in reality. The soldiers are just one great example of dragon slayers in reality. There are many other influential and powerful people and entities that protect many different communities. Likewise, Harry Potter, Robin Hood, and Batman are just a few of the movies and books that have examples of dragon slayers.  Each one of these dragon slayers has their own unique characteristics but they all have one purpose and that is to protect their community. Overall, the archetype of a dragon slayer can be seen in real life, movies, and books of today.