The funerals and burials of Jesus and Beowulf: is Beowulf likened to Christ?
The deferential posthumous treatment of Beowulf elevates the warrior beyond mere mortality. When juxtaposed with the burial of both Christ and the cross in ‘the Dream of the Rood,’ Beowulf is seemingly imprinted with the mythical and transcendental status similar to that of Christ that accentuates his heroic nature. In ‘the Dream of the Rood,’ the essence of Christ is attributed both to his corporeal form and that of the cross; it is through the treatment of both body and cross that Beowulf’s burial and funeral is investigated, as the parallels from both highlight the similarities between Beowulf and Christ. When contrasted with archaeological evidence found in Anglo-Saxon barrows, and references to the crucifixion of Christ in translations of the Vulgate Bible, the treatment of Beowulf’s funeral and burial liken him to Christ without edging into the dangerous territories of orthodox theology for the Anglo-Saxons. The similarities of treatment of Christ in ‘the Dream of the Rood’ and Beowulf in ‘Beowulf’ serve to engorge the legendary status of the warrior-lord and paint him as something beyond that of a mere mortal.
The figure of Beowulf is characterised in a similar way to the Christ of ‘the Dream of the Rood.’ Given the deeds of Beowulf in the poem, it is of no wonder that he is described as ‘wígend weorðfullost’ (the most-worthy warrior, 3099). His character is constructed as the greatest of heroes, one that takes it upon himself to slay Grendel, his mother, and the dragon. The closing line of the poem labels Beowulf as being lofgeornost (eager for honour), further accentuating his heroic characterisation. Battle itself is seen is seen as a field of honour, and Beowulf set himself above the rest. In ‘the Dream of the Rood,’ Christ is portrayed in a way contrary to the Bible. He is described as beorn, which translates either to ‘hero’ or ‘warrior’. This is an unusual epithet for Christ and construes a parallel between both he and Beowulf. Similarly to Beowulf, Christ’s eagerness for ‘battle,’ or his crucifixion, is relayed. He is described to efstan ene mycle (hasten with great zeal, 34) as he ascends the cross. Much like Beowulf hastening to his struggle to rid the world of the supernatural force of the dragon, Jesus hastens to ascend the cross and rid the world of sin. Once Jesus is lowered from the cross, having died, he is described as being meðe œfter ðam miclan gewinne (weary after the great battle, 65). Even the treatment of their ‘deaths’ are approached similarly. Both seem to transcend to a higher plain of existence. Christ is described as having his gast onsended (set forth his spirit, 49). The past participle onsended indicates that it was Christ that sent his spirit to Heaven, and thus nullifies the impact of his death. Beowulf, in contrast, him of hœðre gewāt / sāwol sēcean / sōðfœstra dōm (his soul went from his heart to seek the judgement of the righteous, 2819-20). Both are seen as warriors and heroes, and both ascend to Heaven before their bodies are afforded their fates in the burials. Another key observation to the juxtaposition of Christ and Beowulf is that after the death of Beowulf and his burial in the barrow, battle brave sons of nobles rode around his barrow. The significance of this is that there were ealra twelfa (twelve in all, 3170). This is perhaps the most obvious parallel to Christ as he, too, had twelve disciples. By likening Beowulf to Christ, the Beowulf-poet is constructing perhaps biblical levels of greatness to the heroic nature of Beowulf, and using it as a measure of developing his heroisms.
‘The Dream of the Rood’ is described as being ‘representative of the golden age of Anglo-Saxon culture,’ and brings with it a depiction of Christ through his burial that is marred by an appreciation of the theological perspectives of the day. As a fore-note to analysis of Christ’s burial, it is worthy of note that Anglo-Saxons had conflicting views on the mortality of Christ. The poet could offend neither the Eutychans, who stressed Christ’s inability to feel suffering, or the Severans, who insisted on the frailty of Christ. The poet uses the cross as a device onto which the agony of Christ is transplanted as to not represent Christ in a manner that would offend those with either perspective. Christ’s humanity is transferred to the cross. The personified cross insists that ‘Þurhdrifan hi me mid deorcan næglum’ (they pierced me with dark nails), that the pain afflicted upon Christ is described instead as belonging to the cross. The inwidhlemmas (wounds of malice) are also on the cross. Given this attribution of personality to the inanimate object, which was commonplace in Anglo-Saxon England, then the treatment of the cross after the death of Christ is also of great significance. They sing the ‘sorhleoð galan’ (sorrow-song) for him, and he ‘Reste he ðaer mœte weorode’ (rested there with little company). This, for the death of humanities’ saviour, is a rather small affair. While there is significance that the tomb was carved especially for him, it is an event that radiates humility. There is great mourning, but it is the cross that is afforded luxury as it is adorned with ‘gold on seolfre’ (gold and silver). The orthodox view of Christ is that he was humble and lived without extravagance, so attributing the indulgence of gold and silver would appear blasphemous. It would also be contradictory to readings from the Bible. In the Douay-Rheims translation of the Vulgate Bible, the Vulgate being the prolific translation of the Bible during this period, Christ is described as being bound in ‘linen clothes, with the spices, as the manner of the Jews is to bury.’ ‘The Dream of the Rood’ is keeping within biblical traditions, as not to cause offence. The ‘Dream of the Rood’ poet gives no detail as to what Christ is buried with, but rather emphasises that his tomb was ‘curfon’ (66 carved) for especially for him from ‘beorhtan stane’ (bright stone) and that he was set in it, just as the Bible describes Christ being placed in ‘a new sepulchre, wherein no man yet had been laid.’ This is done with all the humility and respect beholden to Christ without erring into the extravagant.
Beowulf, hero of the Geats, falls to the last in the tripartite of monsters he encounters. What follows is a burial that contains many parallels with that of both Christ and the cross in ‘the Dream of the Rood.’ While it was earlier described that both ‘ascended’ before their respective burials, the impact of this on Beowulf’s cremation shows another thread of similarity with Christ. Beowulf hardly shies away from the gruesome. In the Finnsburg funerals, hafelan multon (heads melted, 1120) and blód ætspranc (blood sprang out [of the bodies], 1121). Beowulf, in contrast, spares these details just as ‘the Dream of the Rood’ did with Jesus. Instead of his head melting, the fires rage against his corpse until his bánhús / gebrocen hæfde (bone-house had broken). The following line harks back to his soul ascending, in that he was hát on hreðre (hot at heart), echoing “the hærðre of line 2819.” This similar treatment to Christ shows the respect both of the poet and characterises those around him. During the cremation of Beowulf, the swógende lég (roaring flames, 3145) were wópe bewunden (woven with weeping, 3146). Similar to the weeping before the cross in ‘the Dream of the Rood,’ it is clear that Beowulf was, too, loved greatly.
When it comes to the burial of Beowulf’s ashes, he is treated both akin to Christ and the cross from ‘the Dream of the Rood.’ A barrow is made for Beowulf just as Christ’s tomb is carved. He is buried with the unburnt treasure of the dragon in what appears to be an attestation to his greatness, just as the cross is adorned with gold and silver as there is no taboo associated with Beowulf. This burying with treasure, however, can be further investigated when viewed through the lens of archaeological evidence. The archaeologist Knut Stjerna’s analysis, in accord with later archaeological evidence, showed that the practice of burying unburnt grave-goods was certainly unusual in England. Those unburnt grave-goods found in folk-cemeteries by archaeologists are usually of a more personal nature – some, such as bone combs and metal tweezers, show more a more utilitarian nature. However, the cemetery at Sutton Hoo, believed to be an 6th or 7th century royal burial site, is perhaps of the most importance to ‘Beowulf’. In this barrow were many person items such as ivory boxes, bone gaming pieces and vessels. These items, then, suggest that perhaps the treasure was considered personal to Beowulf. Beowulf isn’t afforded the extravagance the Dream of the Rood-poet was so careful to avoid. Should this be the case, the burial of Beowulf with the treasure shows great respect to him and deference that draws parallels with that of both Christ and the cross in ‘the Dream of the Rood.’
The immense similarities in the characterisations of Christ in ‘the Dream of the Rood’ and Beowulf, as well as the stark parallels in their treatment during their ‘funerals’ and burials, serve to accentuate the heroism of Beowulf and the lofty heights to which he was held. His burial is similar to that of the Sutton Hoo burials that archaeologists have come to associate with royalty. Through the parallel of Christ’s heroic and warrior-like persona in ‘the Dream of the Rood’ to the dichotomy of their ascensions, Beowulf tussles with mortality. Through the Beowulf-poet likening Beowulf to Christ, through wilfully sacrificing himself and how loved they both were, he is attempting to immortalise Beowulf in the pantheon of the world’s heroes alongside Christ.