Beowulf whose irresistible and crushing grasp made Grendel sing the wild song of death? No, but it is the Beowulf who had such a thrilling adventure with the “she-wolf of the seas,” that it could on no account be left out of the list. Adventures in the old cycles were not made to modern order; and it was something of a triumph to combine the meagre account of the killing of Grendel, described as almost a bagatelle for the hero, with the far more detailed and interesting account of the desperate struggle under water. Probably this hulking, swamp-haunting Grendel was originally no relative whatever of the vicious but indomitable old “she-wolf,” and their adventures were absolutely distinct. The poet, in one of the more modern passages, tells of their kinship and describes their home; and it is not unlikely that he sought by this method of combination, which gave at the same time scope to his poetic fancy, to bring about unity in structure and conformity of general treatment. This assumption, moreover, would credit him with the description of Hrothgar’s court, the events there, the scene in which riders chant Beowulf’s praise and a minstrel makes the lay about him, and, on the whole, a very handsome portion of the epic at large. The poet’s invention cannot be denied.
In short, the best way to regard all the inconsistencies in the epic account of Beowulf is neither to split him into equal parts of hero and god, nor yet to divide him among many poets, but simply to think of him as a hero who not only has his own fairly authentic story, but has attracted a whole cycle of more or less alien adventures into his sphere. There is ample analogy in the round of popular tales. Many a champion now fights in fierce
