The story of Beowulf has remained a significant work for centuries not only because it is one of our first lengthy works of English, but also because of the timelessness of the themes it contains and its applicability to a modern audience, regardless of the period in which ‘modern’ is denoted. One of the major themes of the story still applicable today is the concept of honorable courage, doing the right thing for the benefit of the many even though it may mean the sacrifice of the self.
This theme is particularly brought out when Beowulf faces the dragon toward the end of the saga. Comparing this scene as it appears in the ancient poem with its portrayal in the recent film Beowulf released in 2007 reveals that while there are some significant changes made to the action as the literature is brought into a filmic context, this same theme of self-sacrifice for the greater good remains a central element. By comparing the film and the book, similarities between the two stories can be traced as well as differences which can then be analyzed as to how each strives to make this theme evident.
In both the book and the film, Beowulf’s encounter with the dragon begins with the removal of a golden cup from his hoard. While this is an unidentified and otherwise meaningless cup accidentally removed by a peasant in the book, the return of a profoundly significant cup in the film helps to establish a connection between the earlier battles with Grendel and his mother and the upcoming battle with the dragon.
In each case, Beowulf goes to face the dragon with a group of men but arrives at the dragon’s lair with only a single helper, a young kinsman in the book, and an aging friend in the film. Many of the key events of the actual battle between dragon and man remain the same as well. Beowulf is driven off by flame, is failed by his sword, and must then attack using little more than a stabbing knife. Beowulf is burned horribly by the dragon’s fire as he attempts to kill it and knows of the dragon’s certain death before he dies himself of the wounds received during the battle.
However, in the book, Beowulf is assisted in killing the dragon by his second, the young kinsman Wiglaf, without whom he would have lost the fight leaving the dragon free to continue terrorizing the people. In an attempt to encourage his other warriors to assist him in helping Beowulf, Wiglaf tells the other men, “I had far rather that the flame should enfold my flesh-frame there alongside my gold-giver – as God knows of me.
To bear our shields back to our homes would seem unfitting to me unless first, we have been able to kill the foe and defend the life of the prince of the Weather-Geats” (2650-2656). Rather than running as all of the other thanes had done, Wiglaf boldly stands beside Beowulf and rushes in to defend Beowulf when the dragon manages to get him between his jaws. In the actions of Wiglaf, the Beowulf poet demonstrates the necessity for courageous men to go out and defend the public who may or may not even know what was put at stake for the individual in doing so. Because the dragon is killed and Beowulf remains alive long enough to see the dead carcass, Wiglaf is granted kingship over Beowulf’s lands as the only man willing to stand and defend them from whatever may attack.
The film does not provide Beowulf with this helpful younger man at his side in his moment of near-failure. The epic battle between Beowulf and the dragon takes place primarily in the air, with Beowulf clinging to the dragon’s hide with the help of a sword plunged deep into the skin of the beast but otherwise causing it little damage. As a result, Wiglaf, having aged as much as his leader, can do little to help but gallop after the flying dragon and save the two women important enough to Beowulf to cut off his own arm in order to reach the dragon’s heart and kill it. In his headlong and harrowing attempt to catch up with Beowulf and the dragon, Wiglaf does demonstrate the same kind of unfailing loyalty to his lord demonstrated in the book, but Beowulf himself provides the lesson regarding honorable courage. Although he is now old, he has learned the lesson Hrothgar did not. In failing to provide the water demon with a new young hero to seduce, Beowulf dies with the hope that the wiser Wiglaf might prevail against her. He knows he is going to his death in attempting to fight the dragon, but he faces the challenge with a steady heart, knowing he is working for the greater good of his kingdom. The film ends with the water demon attempting to seduce Wiglaf, who involuntarily steps into the water but retains his suspicious glance.
While the film has managed to change the epic battle between the dragon and Beowulf to a great deal, it does so as a means of addressing one of the most glaring holes in the poem, which is a connection between the early battles of Beowulf’s younger days with his tremendous battle at the end of the poem.
In attempting to communicate with a more sophisticated and worldly audience, the filmmakers provided enough difference and depth in their few amendments to convey the same sense of courage in the face of death that was conveyed to earlier audiences who did not require the same degree of intrigue and continuity as today’s media-saturated crowd.
Works Cited
Beowulf. Michael Alexander (Trans.). New York: Penguin Classics, 1973.