There are few other features that characterize Beowulf as a variety of deviations and separate episodes. While some scientists have tried to show that the disigns or at least some of them have something that does not fit into the main narrative and is harmful to the poetic value of Beowulf, this paper will argue that deigns and episodes are a conscious balance and unity , and in fact contributes to the artistic value of the poem. Beowulf scientist Adrien Bonjour divides deigns and episodes into four categories: the Scyld episode; Beowulf and Geats; historical or legendary deignations that are not related to Beowulf and the Geats; and Biblical deserts. This structure is within where we reveal certain dimensions and determine their role in the poem.
Before examining specific deigns, it is important to briefly demonstrate their presence. As Bonjour notes, the poet is tactfully using the deigns to add to the coloring of the verse to film for a given situation, to contribute to historical interest and significance to provide symbolic value that contributes to poem and enhances artistic influences. In addition, designees contain welcome information about the hero's life. The poet presents the values and perspectives that need to be understood. Action is ultimately only action.
In splitting deigns and episodes, Bonjour makes the Scyld episode one's own, probably because it is the longest departure from the most important narrative of the poem and perhaps because it raises many questions. At first glance, the verse written by Scyld and the genealogy of the Danish kings seems strange in the poem Beowulf, the Geatish hero. But after further studies, there was a significant parallel between Scyld and Beowulf. First of all, both Scyld and Beowulf came in a wonderful way to liberate the Danes. Scyld, the poet's first liberator, first presents Beowulf, who comes later. The second formulation of the two king's parallels is found in their unfair youth. Scyldet was found to be a miserable and abandoned child, and Beowulf is prominent for unfair young people. Bonjour points out that another artistic goal in this episode is to glorify the Scyldings. If the Beorszulf mission was the only introductory in Heorot's miserable state, this would have impressed Denmark's weakness. As we will see later, if the Danes were not glorified at the beginning of the poem, the size of Beowulf fell.
Finally, the striking contrast of burial scenes has a "symbolic value that enhances the artistic value" and the unity of the entire verse. The beautiful description of the Scyld funeral is a beginning and a symbol of a glorious future. In contrast, Beowulf's funeral symbolizes the end of the glorious past, while the future reveals the future.
The Scyld episode allows the poet to use two of his favorite tools: parallelism and contrast. The contrast between Scyld and Beowulf may be one of the most outstanding artistic achievements of the poem and the parallelism of the two kings in the form of a legendary cowboy legend, as described in J.D.A. Ogilvy and Donald Baker: "Here lies the Bronco Bill, always the most defeated."
Among Bonjour categorical divisions, the following are considered to be a disignation of Beowulf and Geat. The first group we examine is Beowulf fighting the giants. This shift is a dual purpose: it allows the hero to have the pride convention and at the same time gently associates the hero with God. The immediate purpose of the glorious action in Beowulf's early life is to give an example of his extraordinary power and at the same time give a certificate of his arrival to the Danish court. He also defines Beowulf as a specialist in the fight against monsters: "I came from the battle where I tied five and destroyed a giant family …". The art of pride is important to the epic hero, as he presents his achievements and glorifies his name. As Victor Bromberg points out, man's name is very important in epic poetry because it will be equal to the amount of performance.
The second function of this evasion is to secretly associate Beowulf with God. When Beowulf throws his power against the giants, he consciously joins the true God of Christianity. This gives dignity to the pagan hero, who ultimately falsely fights on the right. During Ecgtheow's defeat, we learn that Beowulf's father murdered Heatholaf, a member of the great Wilfing tribe, and began the consequences of which the Geats could not defend and escaped to the Hrothgar court. Hrothgar consequently pays for Wilfings. Bonjour states that this ambush serves two purposes: first, it creates a new bond between Beowulf and the Danes; Secondly, it counteracts the fact that the Danes accept the help of Beowulf.
The Unferth episode is primarily used as a foil to emphasize Beowulf's magnitude. Despite the ominous voices of unferth's reputation, the poet is also distinguished by thane. If Unferth were to be replaced by mere rifles, Beowulf's superiority would not have meant as much as he would. "Beowulf: The Monsters and Critics", J.R.R. Tolkien suggests that the Beowulf conqueror in his youth refers to the nicor [in this digression] to the hero we are dealing with. Beowulf's response to Unferth's critique justifies him as well as a man who counts with words and swords. So from this outbreak, we learn Beowulf's ability to purge Heorot and also that the hero is not just a great warrior, but a man capable of carrying a count of coup in a clever fight. [Bonjour] notes that the first reference to the poem of Hygelac's Fall is a good example of Beowulf's special contrast use. Ironically, the first idea of the fall of Hygelac has to be invoked to describe Beckulf's treasures after Beowulf's victory over Grendel. It seems that there are already aspects of the same nature as the Dragon's story where Bonjour notes that the treasure of the treasure of the Dragon is different from the curse attached to it. Here the necklace is "[the finest] under the sky," but it was Hygelac when he was killed.
We then look at the relationship between Beowulf's confused youth and Herendod's tragedy. The tragedy of Heremod is in fact outside the structure proposed by Adrien Bonjour as it has nothing to do with Beowulf and Geat. However, Heremod's outgrowth was taken from the proposed structure, as it is an important contrast to Beowulf's confused youth.
A brief departure from Beowulf's confused youth is just another thing that contributes to the glorification of the hero. Insecure young people enhance the influence of their later glorious acts and make them even more remarkable. But this passage is full effect when it is in opposition to Heremod's tragedy. In Hrothgar's speech at Beowulf, we learn that Heremod is a strong, powerful hero whose career has shown great promise but later proved to be a bad governor. But Beowulf first despised it, but now he has become a glorious hero. Heremod's tragedy is reborn, albeit negatively, as good a king. So it is Beowulf's weak start, followed by a magnificent rise followed by a strong promise (Heremod) and a miserable failure ends.
The next expiration with the death of Hystenac Friesland and the return of Beowulf was later Heardred's guardianship. The poet tells that Beowulf is fleeing from Friesland where Hygelac is killed when he returns to his country with thirty-two armored armor. Obviously, this part of the outbreak further increases Beowulf's extraordinary abilities. Later we learn that Beowulf rejects Queen Hygd's offer to the throne of Geatish to support Heardred, the legitimate heir. Beowulf's rejection of the crown illustrates his moral magnitude. Here the Geats are surprisingly opposed to the Danes. Ogilvy and Baker suggest that, unlike the Wealtheow, who is obsessed with the inheritance of his sons to the throne, Hygd asks Beowulf to bring the throne to his own son for the benefit of the people. This contrast is even greater than the Danish court situation where Hrothulf seizes his uncle's throne. The history of the Danish legacy is a film: on one side there is a telling offense and the rejection of the crown from pure loyalty. With Beowulf's glory, this shift brings the topic of loyalty to the forefront.  Beowulf seeks a long talk in the Dragon of the Dragon, in his life, from the moment he came to his paternal grandfather King Hrethel's seven-year-old. The immediate goal of Beowulf's long speech seems to be a break, the hero collecting his strength and resolution, looking back on the life of brave things. But this passage goes deeper than King Old Hrethel has read his eldest son, Herebeald, who was accidentally murdered by his brother Hæthcyn. Accidental assassination suggests the impenetrability of the wyrd (fate) and, on the other hand, the gentle wailing of Hrethel prepares the dominant mood of the poet's end (Bonjour 34). The adoption of the thematic "Christian" of the earthly troubles predicts the logic of Beowulf's actions. He also accepts his fate. Bonjour states that the presence of wyrd here is of great importance as it is not only the end of the poem, but the full end of the poem.
His last surviving speech is a mixture of the same dress: "Baleful death has let go of many kinds of people." Tolkien states that here the poet treats an ancient theme: man, every human being, every man and every work he dies.
Weohstan (Wiglaf's father) and Eanmund killing the history of the sword of Wiglaf. The primary purpose of this evasion is to give us the origin of Wiglaf and to determine that Wiglaf is not normal, the same blood as Beowulf. The foundation of Wiglaf's story is important because if this part is played by some other Geat, Beowulf's heroic courage seems to be a common man. There is also a definite parallel to Wiglaf's loyalty to Beowulf's and Beowulf's loyalty to Hygelac
The last dimension to look at this area is to deal again with the fall of Hygelac and the battle at Ravenswood. Since the Hygelac raid, hostilities between the Franks and the Geats have survived. We can not trust the Swedes either, because Beowulf's death is likely to resume their memory between them and the Geats. By opening the last jumble, Bonjour notes that the poet allows us to see what the future is for the Geats. Obviously, the author's Wiglaf's messenger uses the fate of the Geatish nation as a foresight.
The third group of deviations refers to historical or legendary deserts that are not directly related to Beowulf and Geats. The first departure from this category is Heor's fate. Soon the poet writes about Heor's glorious building as he came to the conclusion that he "waits for the throbbing of the vengeful fire." The reference to the dispute between Ingeld and Hrothgar. This is another example of the poet who tells the story of a structural irony that enriches with tragic events. Here William Alfred notes that Hrothgar is set up as the heroic king of the faithful comité, but suddenly, beginning as a description of the impressive halls of Heorot, he belongs to the account of the destruction of the fire. At this point, Bonjour mentions that the contrast between the harmonic situation and the short communication of the catastrophe gives the impression of melancholy, in which a large part of the poem is stuck.
After Beowulf killed Grendel, the scop improvises the layman Beowulf in honor and compares him with Sigemund and Heremod. Sigemund's great killer and the greatest adventurer since the unfortunate Heremod. Beowulf, they say, is similar to Sigemund. Sigemund and Heremod are compared to Beowulf. Bonjour believes that this passage will surely glorify the heroes.
The next move we are investigating begins suddenly when Beowulf returns home from Hrothgar's yard. Before describing the Hygelac yard before the arrival of Beowulf, here is the departure. In the corridor, Hygd, the Queen of Hygelac and Modthryth, the Queen of Offai, king of England, deals with comparison before moving to England. At first glance Modthryth may seem like Heremod to be merely a bad character, which leads to the enhancement of the virtues of the good virtues (Hygd). But Modthryth is more complex than that. He begins as cruel and patient princess, but once he moves to the throne of Anglican. This opposition creates a connection between the episode and Heremod's tragedy. At the same time, Heremod and Modthryth's career are in the opposite direction. This shifting serves several purposes: Modthryth is a foil for Hygd; the relationship with Heremod repeatedly emphasizes the theme of "abuse of power" and the beginning of Modthryth can be seen as a parallel to Beowulf's disgraceful youth; an unpleasant beginning that blossoms to the end of glory.
The Finnish and ingested episodes are examined together, as the parallel between the two is undoubtedly the case. The Finnish episode tells of the bloodshed between the Danes and the Friesians. Hnæf's sister, Hildeburh, is a Danish princess who married the King of the Frisians to break the feud. However, peace is short-lived, and the Finnish episode points directly to the uncertain armistice between the two peoples. The prophetic phrase of Ingeld's story in Beowulf suggests that the fighting alliance between the Danish princess Freawaru and Ingeld, the Duke of Heathobards, brings similar results. Bonjour claims that the central theme of the two episodes is exactly the same as tribal hostility, sooner or later he leaves for any human compromise attempt. In fact, this is one of the central themes of the whole poem.
The ultimate category in which to note the dimension of biblical characters. Because of their Christian element, the song of creation and the war of the giants against God and the references to Cain are all in the first line.
The song of creation appears almost simultaneously with the introduction of Grendel, "There he spoke, who could contact the beginning of men over time, said that the Almighty was created …". The song of creation dates back to the Biblical account of Genesis. His immediate purpose is quite clear – contradiction. The rare memory of the joy of nature is deeply opposed to the melancholy inspired by Grendel's sad place of residence.
We'll now look at Cain and Giants' warnings, and it's important to note that monsters are presented in two ways. For pagan characters these creatures are Eotenas [giants] and scuccan [evil spirits] – all the terms of Germanic demonology. But in his own voice the poet tells the true genealogy of Grendelkin: the terrible descendants of Cain. These two-level representations of monsters place them on a level like the dragon that Sigemund had killed, and at another level is a satanic deception in which the Bible invests them. At this point, new biblical and ancient traditions merge.
The destruction of the giants is said to be carved into the heel of the magical sword, allowing Beowulf to kill Grendel's mother. Beowulf's battle will be felt as part of the struggle between good and bad power. Earlier, it was said that both monsters were the same as the giants, but Bonjour shows, now we know that God himself really helps the hero when he directs his attention to the magical sword, representing God's own action against the damn race. It's almost as if Beowulf was raised to the rank of God's own champion. Beowulf, for all that he did in the life of primitive heroes, is a Christian knight.
Bonjour came to the conclusion that Beowulf, when a king's situation really crosses an image of an ideal king, sacrificed his life to his people, the importance of which is emphasized by Hrothgar's own attitude towards Grendel. But Hrothgar is the shape of the ideal king, so it is easier to compare Beowulf with the Savior, the self-sacrificing King, with the prototype of the ultimate perfection.
Scientist BJ Timmer views the verse as wrong because the poet has attempted to compromise both pagan and Christian elements. John Leyerle views this view as the theme of poetry "in the midst of the heroic society of the fatal contradiction," in which the striking code demands the hero's individual performance and glory, while society demands a king for the common good. But why is the necessary separation needed? Would not it be necessary for a heroic person to gain common prosperity? The Beowulf poet rightly does not do this separation.
Consequently, it must be mentioned whether the disillusionment is amazed or not, and we must recognize that it is part of the poet's methods, not of the results of incompetence. Here I agree with Bonjour that the relationship between deigns and episodes for the main story is very varied, but as we have seen, all relevant links make the main theme and background to a elaborate gobelin. Theodore M. Anderson summarizes the significance of the deigns when he writes: The poet of the old heroic painting repertoire
lay, but the traditional scenes were spun with a moralization
commentary in the form of deigns, flashbacks, boast, reflective
speeches and constant emphasis on unexpected reversals – nurturing everything
to underline the peak of human experience and its valley.
A good dose of common sense must suppress the beliefs of the doubters that the poet's failures are accused or that the verse A decreases. As we have seen in this study, there are simply too many prejudices, cautious contrasts and duplication for the disignations that they have neglected to throw in the mix. So, we conclude that behind all the deignations we find a definite artistic plan that is clear enough to agree with Bonjour that everyone has a useful role in the poem. In other words, it has been found that all differences are, in varying degrees, justified from an artistic point of view.