formula a bright, capable, precocious boy; his grandfather loves him as an own child; he performs, to his great renown, a prodigious feat of swimming when he is a mere lad.[1] On the other hand, conforming to the type of many popular tales, he is described[2] as “slack” in youth, a shiftless, clumsy, disregarded encumbrance, whom the king will not honor and whom the retainers despise: but the inevitable change comes, the hero bursts into full glory. Here is another formula. If it is not easy for modern criticism to fit these stories with one another and with their subject, let it be remembered how hard was the task which confronted the poet in his constructive problem. Unity of character was no object of the old lays; vigorous narrative of action was all they attempted. Yet this poet strove manfully to make Beowulf a consistent character throughout the epic; and in view of the divergence of the different stories told of all heroes, one is inclined to think that the Northumbrian bard did his work fairly well. On the large plan he works out his design with evident intention of harmony. Parts match parts; scenes answer to scenes; the pattern is plain. In detail, to be sure, he makes many a blunder. Grendel “in his folly” despises weapons; yet it is explained that he is “safe” against them all,—and where is the folly? Beowulf, in another place, will take no mean advantage by bearing arms against one who knows nothing of their use![3] Grendel, again, terrible as he is to the Danes, never has a shred of chance with Beowulf, who is victor from the start; yet with the mother, who is expressly described as far less formidable than her offspring, the hero is hard put to it, and nearly overcome. He trusts now in his sword, which fails. Is this the
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