Here are the questions for weeks 1 - 3. Please use the comments section to post your answers. Do not make a new blog:
1. What genres do the following texts belong to?
Voluspa, Volsunga Saga, Beowulf, The Hobbit and Lord of the Rings.
Give some examples from these texts that support your identification (for example: "Voluspa is an example of the _____ genre, as the following references to gods from the poem illustrate: "Hear my words / you holy gods' (l.1) "By Odin's Will I'll speak the ancient lore" (l.3), etc).
2. What are some possible features of residual (or "secondary") orality preserved in Voluspa, according to the criteria Ong (1982) advances?
3. Identify a central incident that happens in at least four of the above texts, and discuss how it is both similar and different in each example (remember to site from the original texts).
4. How did Tolkien draw on the Old Norse and Old English texts in his Hobbit and Lord of the Rings fantasy novels? Provide some concrete examples.
5. Discuss how Tolkien's use of "tradition" (e.g. older literary sources) differs from the techniques and agendas of modernism (see Week 7 in your Reader).
6. What place do the old myths have in the modern world?
7. How does the film Beowulf and Grendel "problematise" the hero-myth of Beowulf ?
8. Discuss what you think any of these texts desire (in the sense of their intention, how they wish to be received, what pleasures they offer).
Voluspa, Volsunga Saga, Beowulf, The Hobbit and Lord of the Rings.
Give some examples from these texts that support your identification (for example: "Voluspa is an example of the _____ genre, as the following references to gods from the poem illustrate: "Hear my words / you holy gods' (l.1) "By Odin's Will I'll speak the ancient lore" (l.3), etc).
2. What are some possible features of residual (or "secondary") orality preserved in Voluspa, according to the criteria Ong (1982) advances?
3. Identify a central incident that happens in at least four of the above texts, and discuss how it is both similar and different in each example (remember to site from the original texts).
4. How did Tolkien draw on the Old Norse and Old English texts in his Hobbit and Lord of the Rings fantasy novels? Provide some concrete examples.
5. Discuss how Tolkien's use of "tradition" (e.g. older literary sources) differs from the techniques and agendas of modernism (see Week 7 in your Reader).
6. What place do the old myths have in the modern world?
7. How does the film Beowulf and Grendel "problematise" the hero-myth of Beowulf ?
8. Discuss what you think any of these texts desire (in the sense of their intention, how they wish to be received, what pleasures they offer).
Q2: What are some possible features of residual (or “secondary”) orality preserved in Voluspa according to the criteria Ong (1982) advances?
ReplyDeleteAccording to Ong (1982), secondary orality is ‘a more deliberate and self-conscious orality, based permanently on the use of writing and print’ (p.136).
At its simplest form it is essentially oral communication that is made available through technological advances, specifically through literacy. As we reside in a world that is literacy dominated, it is difficult to comprehend orality as a sole form of communication due to the written culture of today.
Television, radio and broadcasts are prime examples of orality which has been infused with the written word as it is dependent upon it for its existence. Additionally, Ong (1982) suggests oral tradition can exist with the absence of writing, however, ‘writing never without orality’ (p.8).
Voluspa is an epic poem which suggests its original form were that of orality. Its opening lines make reference to its mode of communication (spoken) hinting to its era.
“Hear my words”…”I’ll speak”… “I remember”.
Typically found in oral cultures, stories are not only meant to be heard once and forgotten, but rather, told in a way to allow the audience to actively participate through memorization. This leads to these stories being passed down through generations.
The telling of a tale is not meant to be a solo performance. Ong (1982) states orality is ‘empathetic and participatory rather than objectively distanced’ (p.45-46).
‘Hear my words, you holy Gods/ great men and humble sons of Heimdall’
The beginning of the poem hints to a communal experience in which the poem were told. The narrator addresses all ranks of individuals, ‘Gods’, ‘men’ and ‘humble sons’ which places the audience on the same level. If we think about it in terms of storytelling on paper, in comparison to a narrator speaking to a collective audience, there is an obvious isolation that occurs through the literate culture which oral cultures eliminate. The interaction between the narrator and audience is apparent and connects individuals within a community, which is opposed through the literate culture of today.
Reference
Ong, W.J. (1982). Orality and Literacy: The Technologizing of the word. Routledge
Hey Thyra,
DeleteI love your response to the question. As someone who couldn't really grasp Ong's (1982) concept of secondary or primary orality while reading it, this has given me a new understanding of it.
I definitely agree with your last paragraph about Voluspa hinting to a 'communal experience' I felt that as I was reading it. As if there was a town center and there was one speaker reading the poem out to the whole town.
My only constructive criticism would be to have maybe one or two more references than you did. I felt as if I needed more justification to some of the points you made and where the ideas would of developed from for them.
Overall a great response to the question, the structure of it has actually given me ideas on how I want to write mine!
Good feedback, Monique. Learning how to back up our points is ongoing. The communal experience is fascinating. Do we we get it now with rock concerts and sports games, maybe going to the movies?
DeleteHi Thyra,
DeleteI really enjoyed your response! Until I had read yours I really didn't have a firm grasp of the question but your answer showed great understanding and it was easy to follow.
I definitely agree that our society today heavily depends on the written word as means of effective communication, so it's interesting to consider a world before us that only passed on their stories orally!
Good work, Thyra. You show a real gasp of Ong's thought and you are able to comment on the oral nature of Voluspa. The fact this poem/song? comes from a woman points to the more equal position of women in Celtic culture.
ReplyDeleteIts interesting because initially after reading the poem, I just assumed the narrator were male! Due to preconceived ideas society has in place, its definitely refreshing to see a female holding a role of authority, and view how times have changed.
ReplyDeleteYes, and not always for the best. We assume that these ancient cultures were patriarchal, but clearly that's not exactly so.
DeleteQ: How does the film Beowulf and Grendel ‘problematize’ the hero-myth of Beowulf?
ReplyDeleteThe notion of ‘good versus evil’ is distorted in the film adaptation of Beowulf. Unlike the original epic poem, which depicted a very concrete villain in the forms of a terrorizing monster and later a dragon, the film blurs these lines through the empathetic portrayal of the enemy.
The opening scenes of the film allow the viewer a glimpse into the back story behind the monster, Grendel. The depiction of a young beast/human playing with his father is soon ambushed and he witnesses the vicious killing of his father by the Spear-Dane invasion.
Grendel is instantly humanized, not only in physical appearance but additionally as the audience immediately sympathizes with his character. We can no longer simply view him as a villain archetype as his actions and motives of vengeance can now be arguably justified.
Traditional Hero-myths, including that of Beowulf, allow for distinct differences between the opposing forces. The hero stands in the light; strong, courageous and honest, whereas, the villain is undoubtedly infused with evil. Yet the film problematized this due to the blurring of lines, it is no longer black and white. How ‘right’ and ‘good’ could the Danes be in killing Grendel’s father in cold blood?
The film highlights this issue as the hero Beowulf questions the motives of Grendel, doubting his absolute evil nature that the Danes proclaim.
‘So nothing was done to the troll itself?’
‘Oh Beowulf, it’s a fucking troll! Maybe someone looked at it the wrong way!’
‘Some Dane?’ (Cowan & Gunnarsson, 2005).
This steers towards a more complex relationship between the hero and villain. What was once a linear connection becomes more complicated as the hero delves into the motives of the opposing character.
Modern times have been far more tolerant in portraying a less antagonistic villain, for example, vampires and zombies, which have once been viewed as horrific are now seen under a less judgmental light.
Scholars have agreed that Gardner’s ground breaking novel, Grendel (which retells the story through the villain’s perspective) can be credited to highlighting the muddled ‘moral clarity of good hero against evil monster’, hinting to a blurred distinction as ‘Beowulf might be seen as monstrous’ (Livingston & Sutton, 2006, p. 10).
The film adaptation could be seen as aligning with this statement as Beowulf succeeds in killing Grendel, leaving behind a defenseless young.
In contrast, this is an interesting notion as the original poem would most likely disagree, especially in regards to Beowulf as a hero, a noble warrior fighting for a just cause.
References
Cowan, M.L & Gunnarsson, S. (2005). Beowulf and Grendel. [Motion Picture]. Canada: Starz & Anchor Bay.
Livingston, M. & Sutton, J.W. (2006). Reinventing the Hero: Gardner’s Grendel and the Shifting Face of Beowulf in Popular Culture. Studies in Popular Culture. 29(1), 1-16.
Another excellent comment, Thyra
ReplyDeleteThe movie even managed to be political, suggesting that the displacement of indigenous people from their homelands lies behind the myth of the monster. Adds to the pathos of the film, and the problematical of any simple goodie/badie division.
8. Discuss what you think any of these texts desire (in the sense of their intention, how they wish to be received, what pleasures they offer).
ReplyDeleteVoluspa captures the reader with a sense of desire. The poem has a powerful start to it "Hear my words, you holy gods" It doesn't just translate as words on the page but something spoken aloud and then recorded down. This desirable technique dabbles into Ong's (1982) theory of orality "that oral verbalization was essentially the same as the written verbalization they normally dealt with..."
We live in a world which is dominated by many different types of literature and to read something like Voluspa and also understand it is quite enlightening. The reader would feel a sense of desire but also the poem is so powerful that desire is therefore produced by the reader. "But literary texts are not only about desire: they also produce or solicit desire" (Bennett, A. & Royle, N, 1999).
Voluspa gives the reader a chance to produce the desire to be a hero. Going through the hero's (Thor) journey to save the earth "Far-famed Thor, the son of Earth, the son of Odin, goes forth to fight the snake" The poetic language is enchanting and the pauses keep the reader interested. This highlights desire being produced and then followed through with.
The poem intends to capture the reader and bring them into feeling like they want to be the hero or love the hero. The hero is followed closely through the poem which keeps the reader desiring more than just a new story to learn.
Lastly, the poem wants the reader to leave with a sense of community. As if they were present when the story was being told but also feeling an emotional pull to the story. "A river bears westward through a baneful valley spears and swords; its name is Fear".
References:
Bennett, A. & Royle, N (1999). Introduction to Literature, Criticism and Theory. London: Prentice Hall, p.170-171
Ong, W.J. (1982). Orality and Literacy: The Technologizing of the word. Routledge
Some really good points here, Monique! I like the idea of Voluspa striking up the desire for the audience to make a connection between themselves and the 'hero'. This is definitively not an unfamiliar notion, and may be even more vital in a oral culture to sustain listener attention.
DeleteI think the presentation of the poem/song would not only inform (as their mythology were sought to be truths) but also be a form of entertainment. I can imagine a weekly gathering where stories/poems/songs were shared for the sole purpose to entertain and capture attention for long periods of time.
On the right track, Monique. A useful concept here is identification. The pleasure of the text arising from our identification with the hero or some other figure. The pleasures are vicarious, lived through the adventures of the heroes.
DeleteYour first paragraph is a bit wobbly because it's a bit vague. Intros are always hard. You need to state your orientation here with a bit more clarity.
Your insights are fine. Bennet and Royal are nicely quoted
3) Identify a central incident that happens in at least four of the above texts, and discuss how it is both similar and different in each example.
ReplyDeleteAn incident that proved prevalent in all of the provided texts was the slaying of a dragon. This is a recurring theme that is still evident in texts of today, including animated movies such as Shrek, as it is a feat associated with courage, bravery, skill and sacrifice, attributes acquired to that of a hero.
In epic poem Voluspa, Thor, protector of Midgard, kills Loki’s serpent Jormungand at Ragnarok. However as a result of this great feat, Thor too receives his death wound; “Far-famed Thor…Midgard’s defender dies triumphant…nine steps beyond the Serpent’s body, Thor, wounded, walks in pride” (p. 5). Thor, serving as Midgard’s defender, sacrificed himself for the good of his people, proving to be a hero as well as a God. This self-sacrifice for the greater good is replicated in literature throughout time.
Beowulf, for example, is another epic tale in which a noble warrior must sacrifice himself for the greater good. Beowulf, however, is the story of a human becoming a hero, making his story perhaps more relatable for an audience, as it encourages them to aspire to greater things. “After many trials, he was destined to face the end of his days in this mortal world; as was the dragon, for all his long leasehold on the treasure.” Both Thor and Beowulf sacrificed themselves for the greater good and received their death wounds from dragons. The dragon seems more central in the plot, the heroes mere characters lingering on the outsides. (Tolkien, 1997).
Similarly, in The Hobbit by J. R. R. Tolkien, a dragon is angered and inspired to attack. Unlike Beowulf and Thor in Voluspa, the town rallies together as a unit in a conscious effort to survive. Although Smaug is slayed by Bard’s last arrow, making him the hero in theory, the town serves as an army instead of nominating a lone warrior. Perhaps the town working together symbolises the value of a team, rather than the need for an individual hero.
In Tolkien’s Lord of the Rings: Two Towers, the dragon is metaphorical rather than physical, presented in the form of Grima the wormtongue, who serves as an advisor to King Theoden. One can consider Grima a dragon due to his danger and cunning. Like in the other narratives, Grima proves dangerous to the kingdom because he is a threat to the health of the king, as pointed out by Gandalf who exclaims “See, Theoden, here is a snake! With safety you cannot take it with you, nor can you leave it behind. To slay it would be just.” (p. 509). Instead of slaying him though, they allow Grima to run, a true reflection of his cowardice.
Tolkien, J. R. R. (1997). The monsters and the critics: and other essays. HarperCollins
Excellent reply Eilidh. Your answer was specific and answered the question clearly and accurately. Interesting this move from actual to symbolic dragons. Modernism moved from external enemies to internal psychological forces as antagonists.
DeleteYou are more than on the right track here, you have hit the nail on the head.
Q4: How did Tolkien draw on the Old Norse and Old English text in his Hobbit and Lord of the Rings fantasy novels? Provide some concrete examples.
ReplyDeleteTolkien draws upon Old Norse and Anglo-Saxon sources in the creation of his own storytelling. Beowulf and Vulsunga Saga were two ancient texts which heavily influenced the development of Tolkien’s work. Similarities between Beowulf and the Tolkien’s (Hobbit) include:
(-)Hero enters the dragon’s lair and steals a golden cup
Beowulf - ‘He had handled and removed a gem-studded goblet;’…’the sleeping dragon and driven him to a fury…’ (Beowulf, cited in Critical Reader, Week 1, p.6)
The Hobbit – ‘Bilbo enters the dragon's lair, and steals a golden cup for them. Smaug, the dragon, wakes and kills their ponies.’ (Tolkien, 1937, p.27-28)
(-)Villain/monster are both exiled
Glenn (1991) suggests ‘Gollum is, like Grendel’s ancestor, a fratricide who has been exiled from his home to live in a subterranean “mere”. (p.28)
Similarities between Vulsunga Saga and the Lord of the Rings
(-)The idea of a cursed ring and the violence the character possesses to obtain it
In Vulsunga Saga, Fafnir slits his own father’s throat to get the ring,
In The Lord of the Rings, Gollum murders his brother over the ring. We see the violent obsession he has for the ring as he happily murders to possess it.
These similarities in storylines suggest Tolkien received inspiration from these sources however it is interesting the differences between the Beowulf’s hero and that of Tolkien’s.
Glenn (1991) claims the character of Bilbo Baggins, in the Hobbit, opposes the ‘Beowulfian hero’ with deliberation. Tolkien claims ‘all-by-himself acts don’t slay dragons’ (p.31). Although Bilbo was the one to identify the weak spot in the dragon, allowing Bard to shoot the killing arrow, he is not considered the big hero. He is able to return home and almost slot right back into his little world unnoticed.
This backs up the good point made above as to the whole town coming together to destroy the enemy, rather than a sole warrior that takes on the dragon himself. Beowulf claims 'This is not your adventure, nor anyone's, save mine alone'). In the case of Beowulf and Thor these heroic acts ultimately lead to their demise.
References
Glenn, J.A. (1991). To Translate a Hero: The Hobbit as Beowulf retold. PAPA 17:13-34.
Tolkien, J.R.R. (1997; 1937). The Hobbit, London: HarperCollins.
Hey Thyra,
DeleteAgain, another great response, you've made some really cool points.I had never picked up the theme of the villain/monster being exiled, but Gollum was a great example!
I do agree that Tolkien apposed the solo hero stereotype in having the entire town team up to defeat Smaug, which in turn meant that his hero's survived. I think this proves interesting in determining success in our every day lives, for it can be difficult to triumph challenges if we attempt to succeed by ourselves.
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ReplyDelete6. What place do the old myths have in the modern world?
ReplyDeleteMyths have served as inspiration for literature throughout countless generations, and are still relevant in popular culture today, what with Marvel comics and action blockbusters featuring the likes of Thor and Loki. Stories of powerful Gods who prevail against evil or sacrifice themselves in the face of danger are replicated to fulfill society’s need for a hero (Myers, 2014) and promote a stable show of masculinity in a diversified community (Bainbridge & Yates, 2005).
Literature requires a protagonist in order to form any type of narrative, and over time a formula has been constructed that simultaneously entertains an audience whilst delivering a moral message; the protagonist either prevails over evil to live out their happy ending, or they sacrifice themselves and their memory serves as inspiration to others.
The theme of heroism and sacrifice is prevalent in Norse mythology, what with Odin sacrificing an eye for knowledge, and later stabbing and hanging himself from a tree for nine days and nine nights to obtain magical runes (Gottesman, 2010).
Furthermore, Thor, defender of Midgard, sacrificed himself at Ragnarok in order to kill Jormungand; “Far-famed Thor…Midgard’s defender dies triumphant…nine steps beyond the Serpent’s body, Thor, wounded, walks in pride” (Voluspa, p. 5).
These shows of dedication and courage serve as inspiration for (typically male) heroes of a current generation, especially in popular culture. Norse mythology depicts women in high regard, however men were ultimately dominant (Jorybu, 2013), and one can assume that this has encouraged the male-dominant hero literature of today; “Big-budget action movies and shows — be they spandex-clad or not — simply don’t get made without straight, male, (usually) white protagonists.” (Riesman, 2013).
Jung (1934) states “people always long for a hero, a slayer of dragons, when they feel danger” (p. 178), which would explain the constant portrayal of individuals in literature with almost supernatural strength, intelligence and, above all, courage in the face of evil (e.g. Indiana Jones, Harry Potter, Captain America). These heroes inhabit the qualities one aspires to have and the goals one wishes they could achieve (LaBarge, n.d.), therefore serve as inspirations for an audience to satisfy their personal limits.
The tribulations experienced by Gods in Norse mythology are replicated in popular culture, not only to provide an opportunity of escapism (Myers, 2014), but also to deliver messages of moral integrity and inspire individuals to succeed the limits of personal aspirations (LaBarge, n.d.). One can assume that the timeless message and influence will forever grant myths a place in the modern world.
(References in following post due to word limit.)
Another spot on reply. Jung, who you quote, coined the term archeype to describe those deeper images of the mind, images or impulses that can drive our behavior. Look up the word and get a feel for it. the theory of archetypes is really an attempt to describe the symbolic structure of the human mind.
DeleteGreat answer
6. What place do old myths have in the modern world?
ReplyDeleteReferences
Bainbridge, C. & Yates, C. (2005). Cinematic symptoms of masculinity in transition memory, history and mythology in contemporary film. Psychoanalysis, Culture & Society 10, 299-318
Dickey, J. (2014). Nice try Hollywood, but a female superhero won’t solve your gender problem. Retrieved March 25, 2015, from http://mashable.com/2014/08/05/female-superhero-hollywood-spider-man/
Gottesman, B. (2010). 10 disturbing episodes from Norse mythology. Retrieved March 25, 2015, from http://mentalfloss.com/article/26051/10-disturbing-episodes-norse-mythology
Jorybu. (2013). Vikings: women in Norse mythology. Retrieved March 25, 2015, from http://www.dailykos.com/story/2013/10/27/1250982/-Vikings-Women-in-Norse-Society#
LaBarge, S. (n.d.). Heroism: why heroes are important. Retrieved March 25, 2015, from http://www.scu.edu/ethics/publications/ethicsoutlook/2005/heroes.html
Myers, S. (2014). The hero myth in international conflicts. Retrieved March 25, 2015, from http://steve.myers.co/the-hero-myth-in-international-conflicts/
Riesman, A. (2013). Marvel’s diversity issue: screen output doesn’t reflect open-minded comics. Retrieved March 25, 2015, from http://www.vulture.com/2013/10/marvel-diversity-problem-avengers-shield-comics.html
Terry, P. (trans). (1990, 1966). Poems of the Elder Edda. Philadelphia: University of Pennsylvania Press
8. Discuss what you think any of these texts desire.
ReplyDeleteThe Story of the Volsungs (Volsunga Saga).
Overall this section of the Vulsunga Saga presents a lot of interesting aspects such as greed, envy, deception and also ambition in order to capture the listener or readers attention as these traits invoke intrigue and lessons learned through the characteristics and actions of the characters.
Each of the main characters present in this section of the saga possess very different personality traits. One may also conclude that each of these traits were intentionally chosen to represent numerous characteristics of men and beasts that were present during the creation of this saga which we can also relate to and compare with the some of the characteristics present in modern societies.
Sigurd possess some of the typical characteristics of an archaic hero. His character represents an ordinary man of humble beginnings. The typical hero transforms his impoverished life into one of success by embarking on journeys which result in the slaying of a much feared beast. A statement that clarifies this is found during the conversation between Fafnir and Sigurd after Fafnir has been slain and is dying, in which Fafnir states ‘for few bondsmen have the heart for the fight’ (Morris and Magnussun (1998). The desire of the creation of heroes such as Sigurd is to create a character that represents ‘the people’ and enable readers to hope for his success.
Archaic heroes are usually depicted as stout hearted and unafraid, as is the character of Sigurd, as stated in paragraph 10 ‘but Sigurd was neither trembled nor was adrad at the roaring of him’ (Morris and Magnussun (1998). Sigurd also possesses the ambitious nature of mankind which is made apparent during his conversation with Regin. Regin encourages him to pursue the death of the dragon in order to ‘win thee great fame thereby.’ (Morris and Magnussun (1998). Sigurd claimed his victory over the death of Fafnir and then sought to steal his gold which is made apparent in the last paragraph which states ‘I will ride now to thy lair and take to me that treasure of thy kin.’ (Morris and Magnussun (1998). Archaic heroes are usually victorious as was Sigurd. His ambition to attain fame and wealth is comparable to much of the ambitions present in today’s societies. Although personal goals differ individually, characters such as Sigurd represent the longing all of human kind possess to succeed, which makes stories such as this adaptable to listeners and readers of all eras.
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ReplyDeleteRegin accompanied Sigurd whilst they rode towards Fafnir and he advised Sigurd of how to kill Fafnir, but Regin did not join Sigurd in the killing of the dragon which was made apparent on paragraph 7 which stated ‘Then Sigurd rides over the heath; but Regin gets him gone, sore afeard.’(Morris and Magnussun (1998). Regin portrays a scheming and envious character that cowers in the background. Regin is fuelled by greed for the dragon’s treasure. Ultimately, the victory of the dragon’s death resulted in no reward for Regin. In my opinion, the moral of Regins character is to represent the lack of reward for individuals who scheme their way to success.
ReplyDeleteThis section of the saga offers lessons to be learned from each of the main characters. The intention of this section is to entertain the listener or reader and to also offer morals and advice, such as to strive to succeed. Overall the Vulsunga Saga offers excitement and thrill at the sense of adventure and it achieves the ability to entice readers hundreds of years after its creation.
During the creation of this saga the intensity of the story would have been very different from the literary form it is offered in today. According to Ong (1982), oral cultures indeed produce powerful and beautiful verbal performances of high artistic and human worth, which are no longer even possible once writing has taken possession of the psyche.’ Indeed, the desires of the saga would have originally had a different effect on listeners when the saga was administered in oral form, although one can conclude that the overall intention of the saga is to offer amusement as well as instruction as to the outcome of the possession of different qualities and characteristics.
References
Morris, W., Magnussun, E. (1888). The story of the volsungs (volsunga saga). London, England: Walter Scott Press
Ong, W. (1982). Orality and literacy: the technologizing of the word. London, England: Methuen
Question 6: What place do the old myths have in the modern world
ReplyDeleteIn today’s modern society I believe that old myth’s play a significant role. Every country and society have their own myths and they are passed down through generations. Some tell stories of how the land was formed or influence peoples characteristics. They are as ever popular in present day through pop culture in a mix of multimedia. Including films, graphic novels, comics and television shows. Such as Thor, Lord of the Rings, The Hobbit and Hercules. The fantasy genre is influenced greatly by ancient myths and tales. I find reading a wide variety of these myths, they have spouts of history imbedded through them within the language and writing style of traditional myths.
The older myths originate from Norse mythology, which come from the Northern part of Europe, such as Sweden, Norway and Iceland. Myths depict a world of Gods, giants and strong brave men who battle each other and their internal conflicts, with much destruction to the physical world or else the saving of the Earth. The main theme in Norse mythology is bravery. There is always a focus on a main character who overcomes or fights something and is then labelled the hero. Such as Beowulf who hears of the tragedy Grundel is causing and volunteers to go and battle. Beowulf triumphs over evil, several times.
The structure, adventures, characters and beasts of these myths have allowed them to live on. Through glorification, exaggeration and change, there has been many adaptions of old myths such as the film of Beowulf. This has allowed these tales to live on a become popular within another generation. I think that majority of old myths indirectly teach people about the past and of traditions.