specifically his relationship to darkness, arguing that “The simpleassociation <strong>of</strong> darkness with Grendel…runs consistently throughthe poem…Grendel’s darkness is to a marked degree the blindness<strong>of</strong> intellectual and moral confusion” (Irving 98). Irving points out,however, that it is not only Grendel’s association with dark buthis contrast with Beowulf’s light that is particularly suggestive <strong>of</strong>the <strong>of</strong> people’s belief in the symbolism <strong>of</strong> light versus dark (Irving98). This contrast between light and dark is parallels ChristianTheology, and God’s light versus Satan’s dark. Beowulf takes placeduring a time when the people were at a crossroads between theirpagan religions and Christianity, starting to make the switch fromone to the other but not yet wholly immersed in either. The peoplewere both literally confused, as Irving suggests, and also were stilllargely ignorant <strong>of</strong> the light <strong>of</strong> religion, still blinded in their darkpagan ways, or so the Beowulf text suggests. Grendel is “A fiendfrom hell” (Liuzza 56) who is the enemy <strong>of</strong> God. “In the dark hecame creeping, the shadow-goer. It was well-known to men thatthe demon foe could not drag them under the dark shadows if theMaker did not wish it” (Liuzza 74). The text is constantly showing itsreaders the battle between God (represented in Beowulf, the light)and Satan (through Grendel and the dark), or the battle betweenChristianity and Paganism, between ignorance and enlightenment.Irving rightly argues that, “Grendel comes in darkness, a darknessthat stands not only for the evil he represents and the terror hecauses but also for the ignorance and delusion in which he moves”(Irving 102). These people are beginning to come out <strong>of</strong> the darkages <strong>of</strong> ignorance and terror and are coming into the light, which isshown through Grendel and Beowulf and their associated symbols<strong>of</strong> Dark and Light.After this transition is made there is very gradual change overthousands <strong>of</strong> years to a view that becomes much more recognizablefor modern people. The best way to observe this change in peoplelauren apt 63
is to look at the same character, Grendel, and his more modernassociations with darkness, as well as how he is connected withmodern society. John Gardner’s Grendel (1971) represents acharacter equally steeped in darkness, but the purpose <strong>of</strong> which isquite different. Gardner’s Grendel describes himself as both literallyand figuratively <strong>of</strong> the dark. He lives in darkness, and he tells hisaudience that he enjoys visiting the outside world, “challenging theterrible forces <strong>of</strong> night on tiptoe.” However, “At dawn I fled back”(Gardner 16). Grendel is just as afraid <strong>of</strong> the light <strong>of</strong> day as humansmight be <strong>of</strong> the dark <strong>of</strong> night. He is blinded by the light, “Morningnails my eyes” (Gardner 13), but says “In darkness, I alone see clearas day” (Gardner 12). The night is as familiar and comfortable tohim as day time would be for us. Grendel is also told, and believes,that he is figuratively <strong>of</strong> the darkness as well. He hears from theShaper “<strong>of</strong> an ancient feud between two brothers which split all theworld between darkness and light. And I, Grendel, was the darkside” (Gardner 51). Jennifer Kelso Farrell asserts that, “Grendel isindeed <strong>of</strong> the dark, but not so much because he is evil but becausehumans need him to be evil” (Farrell 942). Gardner confirms herclaim through the character <strong>of</strong> the dragon, who tells Grendel “Youimprove them my boy!…You are, so to speak, the brute existent bywhich they learn to define themselves” (Gardner 73). The dragonechoes Cohen’s belief as well that monsters are our children who areessential to understanding who we are and how we define ourselves(Cohen 20). Grendel believes he must inhabit the dark, evil parts <strong>of</strong>history and the world, and yet from the reader’s perspective he is lessevil than, perhaps, he should be. What Gardner strives to achieveis to make us more comfortable with the dark and the monstrous.He tries to illustrate the ability <strong>of</strong> the monster to be less a terrifyingbeast and more a rational, necessary part <strong>of</strong> the world. Gardnershows modern society’s attempt to integrate the monster and givehim a purpose, making him, as a result, much less scary. Gardner’s64 afternoons <strong>of</strong> alterity
- Page 1 and 2:
Afternoons of Alterity A Codex of t
- Page 4 and 5:
Table of ContentsFrom Medieval Mars
- Page 6 and 7:
From Medieval Marsh Monsters toFutu
- Page 8 and 9:
imagination, we must first attempt
- Page 10 and 11:
seed of monstrosity within themselv
- Page 12 and 13:
essence as a monster, it seems reas
- Page 14 and 15:
she bore two sons, one from the imp
- Page 16 and 17:
perhaps, anti-heroes) of the futuri
- Page 18 and 19: to watch the murder and mutilation
- Page 20 and 21: and modern audiences through their
- Page 22 and 23: Works Cited“Bushwhacked.” Firef
- Page 24 and 25: Projecting Otherness ontothe Disabl
- Page 26 and 27: in any systematic structuration. An
- Page 28 and 29: The idea of the monstrous’ vulner
- Page 30 and 31: not us and are in the proximity of
- Page 32: they want to be treated. The interv
- Page 36: Monstrosity and theIrruption of Rea
- Page 39 and 40: describing his fears of this place
- Page 41 and 42: stained with sin” (Spearing 221).
- Page 43: often and at will to show man somet
- Page 46 and 47: What’s Love Got To Do With It?The
- Page 48 and 49: story than as the beginning? What f
- Page 50 and 51: It is textual content like this tha
- Page 52 and 53: through the story as the Green Knig
- Page 54 and 55: the first advocating voices for end
- Page 56 and 57: “capable of seeing things objecti
- Page 58 and 59: Darkness: The True Monster ofLitera
- Page 60 and 61: the way they can make us feel, but
- Page 62 and 63: not only closes out, extinguishes,
- Page 64 and 65: and temptation, most especially for
- Page 66 and 67: hours “led to the term ‘night
- Page 70 and 71: humanization of Grendel draws the r
- Page 72 and 73: subconscious the message may be. Th
- Page 74 and 75: Serial MonstrosityEmily Mastrobatti
- Page 76 and 77: is clear that they are monsters and
- Page 78 and 79: murderer that he once was. He has b
- Page 80 and 81: of the killing, “When investigato
- Page 82 and 83: ook “contains recipes from the bo
- Page 84 and 85: asks Charles Manson to marry her, t
- Page 86 and 87: Monstrous Mothers andObjectified Da
- Page 88 and 89: and her sisters plot to kill their
- Page 90 and 91: easons for “otherness.” On top
- Page 92 and 93: The original ideas are still intact
- Page 94 and 95: objectified creature. “Cultures o
- Page 96 and 97: Works CitedAcker, P. Horror and the
- Page 98 and 99: Grendel: A Manifestation ofMedieval
- Page 100 and 101: ut never was his physicality hinted
- Page 102 and 103: to wander in the darkness and the c
- Page 104 and 105: Magic could not resurrect Grendel t
- Page 106 and 107: Works CitedBeowulf. Trans. RM Liuzz
- Page 108 and 109: The Monster Under the BedThe Creati
- Page 110 and 111: to procreate but the accepted manif
- Page 112 and 113: Cain had/killed his father’s son
- Page 114 and 115: can, without a doubt, be placed int
- Page 116 and 117: The vagina’s ability to function
- Page 118:
Ed. Barbara K. Gold, et all. Albany
- Page 121 and 122:
To understand precisely how states
- Page 123 and 124:
a strict delineation between each g
- Page 125 and 126:
monstrous and societal rules to fol
- Page 127 and 128:
Gawain is willing to accept his mis
- Page 129 and 130:
survive, challenge, and defeat. Esp
- Page 131 and 132:
governmental standards, then are we
- Page 134 and 135:
They Walk Among UsOccupational Viol
- Page 136 and 137:
sports and regard our members of th
- Page 138 and 139:
modern readers are not part of the
- Page 140 and 141:
otherness and disdain for humanity.
- Page 142 and 143:
are underpaid and for the most part
- Page 144 and 145:
Home and Spatial IdentityPhysical t
- Page 146 and 147:
closeness among the people that the
- Page 148 and 149:
Into the dark gorge I ventured; the
- Page 150 and 151:
the treasures that fill up their ho
- Page 152 and 153:
threatened by the very existence of
- Page 154 and 155:
and draped in damp, shaggy moss, an
- Page 156 and 157:
individual. Home resides within the
- Page 158:
Works CitedArmitage, Simon. Sir Gaw