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297:, who objected to the poem's "wilderness of dragons" and its unworthy choice of theme. Tolkien finds it improbable that "a mind lofty and thoughtful", as evidenced by the quality of the poetry, "would write more than three thousand lines (wrought to a high finish) on matter that is really not worth serious attention". He notes that heroic human stories had been held to be superior to myth, but argues that myth has a special value: "For myth is alive at once and in all its parts, and dies before it can be dissected." Finally Tolkien states directly "We do not deny the worth of the hero by accepting Grendel and the dragon."
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653:—detailed, philological, historical, and infinitely painstaking. Yet the most influential of Tolkien's discussions of the poem are those in which he makes the greatest unsupported (or lightly supported) generalizations and in which he discusses the poem in the broadest possible terms. Tolkien would perhaps have seen a fundamental continuity between the detailed and philological and the broader and more interpretive work, but because of the accidents of publication—and because of Tolkien's great gift for rhetoric—only the latter has shaped the field of
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towards vindicating the structure of the poem by arguing that it was a balance of contrasting and interlocking halves. His thesis not only convinced many critics but inspired them to follow his example, with the result that
Tolkien's own position has been outflanked. Whereas previous generations of scholars, Tolkien included, had been quite prepared to explain what they considered structural and stylistic blemishes as interpolations, modern writers seek evidence of artistic refinement in some of the poem's least promising features.
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365:(elves), not through confusion but "an indication of the precise point at which an imagination, pondering old and new, was kindled". The poem is, Tolkien states, "an historical poem about the pagan past, or an attempt at one", obviously not with modern ideas of "literal historical fidelity". The poet takes an old plot (a marauding monster troubling the
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Tolkien assumed that the poet had felt his way through the inherited material – the fabulous elements and the traditional accounts of a heroic past – and by a combination of creative intuition and conscious structuring had arrived at a unity of effect and a balanced order. He assumed, in other words,
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was already antiquarian, in a good sense, and it now produces a singular effect. For it is now to us itself ancient; and yet its maker was telling of things already old and weighted with regret, and he expended his art in making keen that touch upon the heart which sorrows have that are both poignant
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Tolkien takes a moment to dismiss another criticism, that monsters should not have been made to appear in both halves. He replies he can see the point of no monsters, but not in complaining about their mere numbers; the poet could not, he argues, have balanced
Beowulf's rise to fame through a war in
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poet uses both what he knew to be the old heroic tradition, darkened by distance in time, along with the newly acquired
Christian tradition. The Christian, Tolkien notes, is "hemmed in a hostile world", and the monsters are evil spirits: but as the transition was incomplete in the poem, the monsters
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The poem's metre, too, is founded on a balance of two halves to each line, "more like masonry than music". Tolkien argues that the poem is not meant to be an exciting narrative, nor a romantic story, but a word-picture, "a method and structure that ... approaches rather to sculpture or painting. It
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was not an actual picture of
Scandinavia around 500 AD, but was a self-consistent picture with the marks of design and thought. This might leave the reader wondering, commented Shippey, what exactly Tolkien meant by that. Shippey argued that there was evidence from the chronology given in the 2014
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The general structure of the poem is then clear, writes
Tolkien. "It is essentially a balance, an opposition of ends and beginnings. In its simplest terms it is a contrasted description of two moments in a great life, rising and setting; an elaboration of the ancient and intensely moving contrast
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Tolkien pushed the monsters to the forefront. He argued that they represent the impermanence of human life, the mortal enemy that can strike at the heart of everything we hold dear, the force against which we need to muster all our strength – even if ultimately we may lose the fight. Without the
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is in its dignity of style". Tolkien notes that Ker's opinion had been a powerful influence in favour of a paradoxical contrast between the poem's supposed defect in speaking of monsters, and (in
Tolkien's words) its agreed "dignity, loftiness in converse, and well-wrought finish". Tolkien cites
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studies back to 1936", meaning to
Tolkien's essay, which he called "eloquent and incisive". Niles argued that the essay quickly came to be a starting point, as scholars from then on assumed—with Tolkien—that the poem was "an aesthetic unity endowed with spiritual significance." In Niles's view,
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from the irrelevant fringes to the very centre of the Anglo-Saxon thought world. This naturally encouraged a pre-existent tendency to square the poem with what else was known of the 'serious' levels of Anglo-Saxon thought – chiefly the Latin scholarship of the Church. Secondly, Tolkien went far
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must be seen as a poem, not just as a historical document; and that the quality of its verse and its structure give it a powerful effect. He rebuts suggestions that the poem is an epic or exciting narrative, likening it instead to a strong masonry structure built of blocks that fit together. He
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studies has been quite the same." However, Wormald continues: "The arguments of
Tolkien's paper were not universally accepted, and some of its effects would perhaps have been disowned by the author, but its general impact could be summarized by saying that most critics have learnt to take the
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criticism. ... The strategies ... control the fundamental assumptions of Old
English scholarship for the next fifty years." R.D. Fulk commented that "No one denies the historical importance of this lecture. ... opening the way to the formalist principles that played such a vital role in the
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in which a young hero crushes a human-handed monster called
Grendel. Against the scorn of critics, Tolkien defends the centrality and seriousness of literary monsters, declaring his own belief in the symbolic value of such preternatural representations of sheer evil." Weinreich added that
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to be that "man, each man and all men and all their works shall die," a theme consistent with the heathen past but one that "no Christian need despise." It was this theme, Tolkien argued, that brought the great dignity to the poem that even scholars who had regretted the monsters had
555:". He argues that if myth can condense and hold the deepest sources of tension between self and the social order, and dramatises current ideologies by projecting them into the past, then even the hero Beowulf's mythic fights are at the same time throwing light on society and history.
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Tolkien thought that the battles with monsters and the sombre, elegiac tone of the poem expressed the "artistic designs of a deep thinker, religiously enlightened, who let his mind play over a lost heroic world of the imagination", in other words that the
273:." Tolkien gives an allegory of a man who inherits a field full of stone from an old hall. He builds a tower with some of it, but when people find the stones are older than the tower, they pull it down "to look for hidden carvings and inscriptions".
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A secondary division of the poem occurs, Tolkien writes, at line 1887, after which all the earlier story is summarized, so a complete account of Beowulf's tragedy is given between 1888 and the end, but without the account of the gloomy court of
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has still essential kinship with our own, it was made in this land, and moves in our northern world beneath our northern sky, and for those who are native to that tongue and land, it must ever call with a profound appeal – until the dragon
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and remote. If the funeral of Beowulf moved once like the echo of an ancient dirge, far-off and hopeless, it is to us as a memory brought over the hills, an echo of an echo. There is not much poetry in the world like this;
535:(1998) "the most influential literary criticism of the poem ever written". George Clark calls it "The most influential critical essay on the poem", stating it without qualification or justification as a known fact.
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elements and heroic combats at the center of the modern reader's appreciation of the poem." Liuzza at once went on to write, however, that "the separation of the poem into 'mythical' and 'historical' elements is a
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criticism. ... Tolkien was so influential ... because he developed a big-picture reading of the poem that has found favour with several generations of critics. ... made the first widely accepted case for viewing
341:) pagan gods were immortal, so to Tolkien (a Christian), the Southern religion "must go forward to philosophy or relapse into anarchy": death and the monsters are peripheral. But the Northern myths, and
698:, calls it "a paper that many people regard as not just the finest essay on the poem but one of the finest essays on English literature." She adds that "Tolkien preferred the monsters to the critics."
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wrote that "Tolkien's manifesto and interpretation have had more influence on readers than any other single study, even though it has been challenged on just about every one of its major points."
263:– for example, primitive, pagan, Teutonic, an allegory (political or mythical), or most often, an epic;" or because the scholar would have liked it to be something else, such as "a heathen heroic
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scholars with the "myth of the poet as brooding intellectual, poised between a dying pagan world and a nascent Christian one." Niles noted that Tolkien's view of the melancholic vision of the
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Tolkien's manifesto and interpretation have had more influence on readers than any other single study, even thought it has been challenged on just about every one of its major points.
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In Tolkien's view, the poem is essentially about a "man at war with the hostile world, and his inevitable overthrow in Time". The underlying tragedy is man's brief mortal life.
345:, put the monsters, mortality and death in the centre. Tolkien is therefore very interested in the contact of Northern and Christian thought in the poem, where the scriptural
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No one denies the historical importance of this lecture . opening the way to the formalist principles that played such a vital role in the subsequent development of further
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479:"has its own individual character, and peculiar solemnity;" and would still be powerful even if it came from some unknown time and place; but that in fact its language,
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wrote of the essay: "it would be no exaggeration to describe as one of the most influential works of literary criticism of that century, and since which nothing in
845:, has been linked to the essay. Shippey has argued that the translation throws light on "what Tolkien really thought in 1936". Tolkien stated, for instance, that
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as literature. Heaney argued that Tolkien "took for granted the poem's integrity and distinction as a work of art", and showed how the poem achieved that status:
735:, describes the paper as "still well worth reading, not only as an introduction to the poem, but also because it decisively changed the direction and emphasis of
462:, against death by dragon. Similarly, he dismisses notions that the poem is primitive: it is instead a late poem, using materials left over from a vanished age:
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were symbolic (not allegorical) representations of chaos and night, set in opposition to stability and civilization. ... Thus, Tolkien interpreted the theme of
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had mainly been quarried as "an historical document", and that most of the praise and censure of the poem was due to beliefs that it was "something that it was
209:; these offer some insight into the development of Tolkien's thinking on the poem, especially his much-quoted metaphor of the material of the poem as a tower. "
440:'. No terms borrowed from Greek or other literatures exactly fit: there is no reason why they should. Though if we must have a term, we should choose rather '
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called it the most important article ever written about the poem. Scholars of Anglo-Saxon agree that the work was influential, transforming the study of
317:, exultant, defiant in the face of inevitable defeat by "Chaos and Unreason" (Tolkien cites Ker's words), fuses with a Christian faith and outlook. The
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points out that the poem's theme is a serious one, mortality, and that the poem is in two parts: the first on Beowulf as a young man, defeating
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poet, and of the heroic fatalism of the poem's leading characters, was not wholly new, but that his view of the poet himself as a hero was.
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between youth and age, first achievement and final death." Part A (youth) is lines 1 to 2199; part B (age) is lines 2200 to 3182 (the end).
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scholarship. Up to that point it had been used as a quarry of linguistic, historical and archaeological detail". Garth notes that
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observed that "Bypassing earlier scholarship, critics of the past fifty years have generally traced the current era of
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scholarship. Much of this influence is because of the enormous success of , which is viewed as the beginning of modern
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Languages, Myths and History: An Introduction to the Linguistic and Literary Background of J. R. R. Tolkien's Fiction
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remain real and the focus remains "an ancient theme: that man, each man and all men, and all their works shall die".
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criticism . The strategies control the fundamental assumptions of Old English scholarship for the next fifty years.
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Tolkien begins by noting that the original book has almost been lost under the extensive "literature" (his
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Tolkien argues that the original poem has almost been lost under the weight of the scholarship on it; that
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monsters, the peculiarly northern courage of Beowulf and his men is meaningless. Tolkien, veteran of the
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Bypassing earlier scholarship, critics of the past fifty years have generally traced the current era of
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Heaney called the paper's literary treatment "brilliant". He suggested that it had changed the way that
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In his view, the meaning of the poem had been ignored in favor of archeological and philological study.
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poet was an imaginative writer rather than some kind of back-formation derived from nineteenth-century
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that Tolkien delivered to Oxford undergraduates in the 1930s. Notes for these lectures exist in two
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643:: The Monsters and the Critics" is in some ways ironic. The great majority of Tolkien's work on
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and the dragon are identified as enemies of a Christian God, unlike the monsters encountered by
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history. Tolkien argues that rather than being merely extraneous, these elements are key to the
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444:'. It is an heroic-elegiac poem; and in a sense all its first 3,136 lines are the prelude to a
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studies. In it, Tolkien speaks against critics who play down the monsters in the poem, namely
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Clark, George (1998). "The Hero and the Theme". In Bjork, Robert E.; Niles, John D. (eds.).
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wrote that the essay "was seized upon eagerly, even gratefully, by generations of critics".
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and should be the focus of study. In doing so he drew attention to the previously neglected
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Le, Alvin A. (1998). "Symbolism and Allegory". In Bjork, Robert E.; Niles, John D. (eds.).
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poet was a man much like Tolkien. Niles cited George Clark's observation that Tolkien left
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Tolkien argued powerfully that, for the Germanic mentality that gave birth to the myth of
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is a composition not a tune." Far from being weakly structured, it "is curiously strong".
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213:: The Monsters and the Critics" is available in various collections including the 1983
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Tolkien returns to the monsters, and regrets we know so little about pre-Christian
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1888:"In Short: THE MONSTERS AND THE CRITICS: And Other Essays. By J. R. R. Tolkien"
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1008:(Tolkien's translation of the poem, with extensive commentary, written before "
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and his mother; the second on Beowulf in old age, going to his death fighting
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1650:"J. R. R. Tolkien, Beowulf and the Critics. Ed. Michael D. C. Drout (Review)"
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was valued, and that it had started "a new era of appreciation" of the poem.
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commented that Tolkien's essay "is usually credited with re-establishing the
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similarly names it "his widely influential critical discussion of the poem".
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Times of Bede: Studies in Early English Christian Society and its Historian
1368:(1998). "Structure and Unity". In Bjork, Robert E.; Niles, John D. (eds.).
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similarly describes the essay's importance and arguments, writing that it
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court) and paints a vivid picture of the old days, for instance using the
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like other ancient legends, served to nourish Tolkien's imagination."
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scholarship. ... the methodology ... remains a model for emulation.".
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1012:: The Monsters and the Critics", edited by Christopher Tolkien, 2014)
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was seized upon eagerly, even gratefully, by generations of critics.
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book, supported by the work of scholars such as the archaeologist
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Works originally published in Proceedings of the British Academy
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wrote that the essay "may well be the originary piece of modern
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qualities of the poem and argued that it should be studied as a
132:: The Monsters and the Critics", initially delivered as the Sir
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as aesthetically successful, and he showed how the monsters in
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1924:"JRR Tolkien's translation of Beowulf: bring on the monsters"
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scholarship . the methodology remains a model for emulation.
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by new leaders, at that time, just as portrayed in the poem.
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The Ring of Words: Tolkien and the Oxford English Dictionary
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Drout then remarks on the paradoxical success of the essay:
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The work has been praised by critics including the poet and
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that same year, is regarded as a formative work in modern
1025:(Tolkien's essay of advice to any translator of the poem)
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Scholars and critics agree on the work's wide influence.
1996:"JRR Tolkien's Beowulf with Dr. Tom Shippey - Lecture 3"
1826:(2nd ed.). Ontario, Canada: Broadview. p. 17.
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and Contemporary Critical Theory". In Bjork, Robert E.;
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was of the sort represented by the textual commentry in
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appropriate enemies for a great hero, and thus shifted
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poet a great deal more seriously". Wormald added that
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Translating Beowulf: Modern Versions in English Verse
82:, and has since been reprinted in many collections.
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216:The Monsters and the Critics, and Other Essays
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2187:The Homecoming of Beorhtnoth Beorhthelm's Son
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3026:J. R. R. Tolkien: A Descriptive Bibliography
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3033:The Lord of the Rings: A Reader's Companion
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2605:Chaucer as a Philologist: The Reeve's Tale
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1503:(1991). "Preface". In Fulk, R. D. (ed.).
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3261:Tolkien's Art: 'A Mythology for England'
3047:The J. R. R. Tolkien Companion and Guide
3040:J. R. R. Tolkien: Artist and Illustrator
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2006:from the original on 17 November 2021
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1584:"Slaying Monsters: Tolkien's Beowulf"
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1052:
1050:
1048:
1005:Beowulf: A Translation and Commentary
842:Beowulf: A Translation and Commentary
605:... Tolkien's shadow looms long over
226:
191:The essay is a redacted version of a
18:Beowulf: the Monsters and the Critics
2467:The History of The Lord of the Rings
2271:List of Tolkien's alliterative verse
2123:
1499:
1436:
1291:
839:, published posthumously in 2014 as
581:, the monsters of the poem were the
452:
42:: The Monsters and the Critics, 1936
3160:Understanding The Lord of the Rings
2917:Janice Bogstad & Philip Kaveny
1990:
1490:
1218:
835:Tolkien's own prose translation of
255:) on the subject. He explains that
24:
2965:Tolkien, Race and Cultural History
1886:Weinreich, Regina (17 June 1984).
1852:Wormald, Patrick (15 April 2008).
1406:
1397:
1045:
878:Proceedings of the British Academy
519:subsequent development of further
385:(people's shepherd) of the Danes.
143:Proceedings of the British Academy
79:Proceedings of the British Academy
25:
4047:
3254:Tolkien and the Invention of Myth
2030:"Mead-Halls of the Eastern Geats"
1678:: The Monsters and the Critics".
1647:
968:Fulk, Robert Dennis, ed. (1991).
937:Nicholson, Lewis E., ed. (1963).
876:: The Monsters and the Critics".
475:Tolkien finishes by arguing that
3820:Beowulf: A New Verse Translation
3786:
3421:Languages constructed by Tolkien
2460:The Lost Road and Other Writings
1824:Beowulf: Facing page translation
244:. Late 19th century portrait by
27:1936 lecture by J. R. R. Tolkien
3530:Poems and Songs of Middle Earth
3333:Tolkien and the Classical World
2694:Sir Gawain and the Green Knight
2575:Sir Gawain and the Green Knight
2256:The Legend of Sigurd and GudrĂşn
1791:Anglo-Latin Literature, 600-899
1714:
1667:
1206:
1194:
1182:
1170:
1158:
1146:
1134:
1122:
1110:
1098:
1086:
1074:
1062:
3844:: The Monsters and the Critics
3126:Tolkien: A Cultural Phenomenon
2822:Tolkien: Maker of Middle-earth
2808:The Worlds of J. R. R. Tolkien
2615:: The Monsters and the Critics
2591:Ancrene Wisse and Hali MeiĂ°had
2202:The Adventures of Tom Bombadil
1654:San Francisco State University
951:University of Notre Dame Press
53:" was a 1936 lecture given by
51:: The Monsters and the Critics
13:
1:
4036:Reception of J. R. R. Tolkien
3275:J. R. R. Tolkien Encyclopedia
2786:J. R. R. Tolkien: A Biography
1034:
752:
3448:Elvish Linguistic Fellowship
2789:(1977, authorized biography)
2578:(Middle English text, 1925)
2399:The Father Christmas Letters
2312:The Lay of Aotrou and Itroun
2071:The Monsters and the Critics
1762:University of Nebraska Press
1467:University of Nebraska Press
1417:University of Nebraska Press
1378:University of Nebraska Press
1332:University of Nebraska Press
1238:
916:The Monsters and the Critics
771:The Monsters and the Critics
492:
313:. What had happened is that
156:, Grendel's mother, and the
7:
3586:
3455:Tolkien's impact on fantasy
2488:The Peoples of Middle-earth
2453:The Shaping of Middle-earth
2431:The History of Middle-earth
1674:Tolkien, J. R. R. (1983). "
1270:J.R.R. Tolkien Encyclopedia
997:
872:Tolkien, J. R. R. (1936). "
865:
542:The scholar and translator
497:
389:Structure: youth versus age
232:Rebuttal of earlier critics
120:
10:
4052:
4006:Essays by J. R. R. Tolkien
3460:Tolkien and the modernists
2545:The Nature of Middle-earth
2336:The Fellowship of the Ring
2168:Songs for the Philologists
2057:
1318:, Truth, and Meaning". In
1039:
914:Tolkien, J. R. R. (1997).
889:Tolkien, J. R. R. (1983).
776:
635:The massive influence of "
392:
4026:Academic journal articles
3939:
3888:
3795:
3784:
3619:
3596:
3538:Language and Human Nature
3516:Works inspired by Tolkien
3391:
3344:
3219:
3171:
2891:
2838:
2801:Tolkien and the Great War
2772:
2765:
2682:
2563:
2513:The History of The Hobbit
2388:
2288:
2277:
2155:
2131:
1322:; Niles, John D. (eds.).
827:New light from Tolkien's
436:', nor even a magnified '
246:Johnston Forbes-Robertson
3324:Sandra Ballif Straubhaar
3311:The Road to Middle-Earth
3090:The Keys of Middle-earth
2584:The Devil's Coach Horses
1686:George Allen & Unwin
1512:Indiana University Press
1510:. Bloomington, Indiana:
1265:: Tolkien's Scholarship"
980:Indiana University Press
897:George Allen & Unwin
684:
329:; he resorts instead to
184:. Later critics such as
136:Memorial Lecture at the
3851:Beowulf and the Critics
2735:Beowulf and the Critics
787:in the introduction to
748:, knew that it was not.
407:manuscript, c. 975-1025
380:
359:
351:
311:Odysseus on his travels
291:Raymond Wilson Chambers
289:other critics, such as
202:Beowulf and the Critics
164:solely as a source for
3076:Master of Middle-Earth
2439:The Book of Lost Tales
2378:Smith of Wootton Major
2352:The Return of the King
1350:studies back to 1936 .
975:: A Critical Anthology
817:
774:
750:
659:
629:
592:
490:
473:
450:
408:
395:On Translating Beowulf
373:image of the shepherd
301:Man in a hostile world
248:
43:
3404:Francis Xavier Morgan
3149:Elizabeth Whittingham
2705:(translations, 1975)
2521:The Story of Kullervo
2505:The Children of HĂşrin
2481:The War of the Jewels
2446:The Lays of Beleriand
2328:The Lord of the Rings
2240:The Road Goes Ever On
1860:John Wiley & Sons
1624:. pp. 6, 15–17.
1469:. pp. 328, 330.
1465:. Lincoln, Nebraska:
1415:. Lincoln, Nebraska:
1376:. Lincoln, Nebraska:
1330:. Lincoln, Nebraska:
800:
777:Further information:
760:
741:
633:
599:
573:
485:
464:
430:
402:
393:Further information:
239:
160:, in favour of using
37:
3952:Anglo-Saxon paganism
3809:List of translations
2853:Matthew T. Dickerson
2537:The Fall of Gondolin
1275:Taylor & Francis
1257:Drout, Michael D. C.
375:patriarchs of Israel
3957:Battle of Finnsburg
3901:Michael D. C. Drout
3525:(biographical film)
3482:The Tolkien Society
3475:Tolkien fan fiction
3269:Michael D. C. Drout
2935:Janet Brennan Croft
2903:Douglas A. Anderson
2848:Stratford Caldecott
2816:Catherine McIlwaine
2553:The Fall of NĂşmenor
2320:Farmer Giles of Ham
1727:Beowulf: An Edition
1551:North Landing Books
1543:Solopova, Elizabeth
1514:. pp. xi–xii.
1505:Interpretations of
971:Interpretations of
779:Translating Beowulf
595:Michael D. C. Drout
533:Beowulf, An Edition
403:First folio of the
221:Christopher Tolkien
207:Michael D. C. Drout
182:historical document
111:Michael D. C. Drout
4031:Literary criticism
3606:Alliterative verse
3443:Mythopoeic Society
3319:Elizabeth Solopova
2991:A Question of Time
2780:Humphrey Carpenter
2370:The Tolkien Reader
2264:The Fall of Arthur
1893:The New York Times
1757:A Beowulf Handbook
1366:Shippey, Thomas A.
1277:. pp. 59–60.
1029:Tolkien's monsters
982:. pp. 14–43.
775:
711:The New York Times
409:
249:
227:Tolkien's argument
193:series of lectures
59:literary criticism
44:
3993:
3992:
3554:
3553:
3387:
3386:
3191:Carl F. Hostetter
3181:Anthony Appleyard
3104:A Tolkien Compass
3065:Charles A. Huttar
2984:Interrupted Music
2954:Bradford Lee Eden
2922:Picturing Tolkien
2913:Bradley J. Birzer
2665:English and Welsh
2529:Beren and LĂşthien
2248:Bilbo's Last Song
2086:978-0-261-10263-7
2065:Tolkien, J. R. R.
2026:Rundkvist, Martin
2000:Signum University
1968:Faber & Faber
1922:(22 March 2014).
1869:978-0-470-69265-3
1833:978-1-55481-113-7
1805:978-1-85285-011-1
1723:Robinson, Fred C.
1721:Mitchell, Bruce;
1559:978-0-9816607-1-4
1549:. New York City:
1284:978-0-415-96942-0
531:call it in their
453:A singular effect
327:English mythology
242:William Paton Ker
16:(Redirected from
4043:
3965:and Middle-Earth
3896:Nora K. Chadwick
3877:Finn and Hengest
3865:
3828:J. R. R. Tolkien
3790:
3771:Grendel's mother
3581:
3574:
3567:
3558:
3557:
3511:Tolkien research
3369:Michael Martinez
3328:Hamish Williams
3186:Helge Fauskanger
3112:John D. Rateliff
3016:Wayne G. Hammond
2998:Splintered Light
2878:Fleming Rutledge
2770:
2769:
2719:Finn and Hengest
2706:
2643:
2622:On Fairy-Stories
2579:
2415:Unfinished Tales
2407:The Silmarillion
2283:
2125:J. R. R. Tolkien
2118:
2111:
2104:
2095:
2094:
2090:
2074:
2052:
2051:
2049:
2047:
2042:on 16 March 2015
2041:
2035:. Archived from
2034:
2022:
2016:
2015:
2013:
2011:
1988:
1982:
1981:
1956:
1941:
1940:
1938:
1936:
1916:
1905:
1904:
1902:
1900:
1883:
1874:
1873:
1849:
1838:
1837:
1816:
1810:
1809:
1788:(January 1996).
1786:Lapidge, Michael
1782:
1776:
1775:
1751:
1745:
1744:
1718:
1712:
1706:
1700:
1699:
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1353:
1352:
1320:Bjork, Robert E.
1308:
1289:
1288:
1253:
1233:
1232:, pp. 33–34
1227:
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1204:
1198:
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1120:
1119:, pp. 19–20
1114:
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1096:
1090:
1084:
1083:, pp. 13–14
1078:
1072:
1071:, pp. 10–11
1066:
1060:
1054:
1024:
993:
964:
948:
941:An Anthology of
933:
910:
885:
852:Martin Rundkvist
702:Regina Weinreich
650:Finn and Hengest
529:Fred C. Robinson
383:
364:
356:
315:Northern courage
270:Summa Theologica
180:, not just as a
126:J. R. R. Tolkien
55:J. R. R. Tolkien
21:
4051:
4050:
4046:
4045:
4044:
4042:
4041:
4040:
3996:
3995:
3994:
3989:
3935:
3926:Geoffrey Russom
3916:Leonard Neidorf
3884:
3863:
3858:On Translating
3798:
3791:
3782:
3621:
3615:
3592:
3585:
3555:
3550:
3495:Tolkien Studies
3383:
3364:Glen GoodKnight
3340:
3240:Perilous Realms
3224:
3215:
3167:
3144:Richard C. West
3139:Anna Vaninskaya
3121:Brian Rosebury
3117:Robin Anne Reid
3060:Thomas Honegger
3020:Christina Scull
2941:Tolkien on Film
2894:
2887:
2834:
2830:Charles Moseley
2761:
2691:
2684:
2678:
2672:Jerusalem Bible
2641:
2636:On Translating
2572:
2565:
2559:
2390:
2384:
2284:
2275:
2158:
2151:
2150:
2127:
2122:
2087:
2060:
2055:
2045:
2043:
2039:
2032:
2023:
2019:
2009:
2007:
1989:
1985:
1978:
1957:
1944:
1934:
1932:
1917:
1908:
1898:
1896:
1884:
1877:
1870:
1850:
1841:
1834:
1817:
1813:
1806:
1798:. p. 273.
1783:
1779:
1772:
1764:. p. 279.
1752:
1748:
1741:
1731:Wiley-Blackwell
1719:
1715:
1707:
1703:
1696:
1672:
1668:
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1632:
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1582:(2 June 2014).
1577:
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1522:
1498:
1491:
1477:
1444:
1437:
1427:
1419:. p. 240.
1405:
1398:
1388:
1380:. p. 163.
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1017:On Translating
1000:
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967:
961:
936:
930:
913:
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871:
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833:
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687:
560:Patrick Wormald
553:false dichotomy
537:Michael Lapidge
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234:
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138:British Academy
134:Israel Gollancz
123:
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3906:Robert D. Fulk
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3470:Tolkien fandom
3467:
3465:Tolkien Estate
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3379:J. E. A. Tyler
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3234:Marjorie Burns
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3134:Amy H. Sturgis
3131:
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3095:
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3081:
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3070:Paul H. Kocher
3067:
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3052:
3051:
3050:
3043:
3036:
3029:
3013:
3008:
3006:Michael Foster
3003:
3002:
3001:
2994:
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2978:Verlyn Flieger
2975:
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2908:Nicholas Birns
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2598:Sigelwara Land
2594:
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2558:
2557:
2549:
2541:
2533:
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2501:
2493:
2492:
2491:
2484:
2477:
2474:Morgoth's Ring
2470:
2463:
2456:
2449:
2442:
2427:
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2411:
2403:
2394:
2392:
2386:
2385:
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2344:The Two Towers
2340:
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2305:Leaf by Niggle
2301:
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2198:
2195:A Walking Song
2191:
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2085:
2059:
2056:
2054:
2053:
2017:
1983:
1976:
1970:. p. xi.
1960:Heaney, Seamus
1942:
1906:
1875:
1868:
1862:. p. 35.
1839:
1832:
1811:
1804:
1777:
1770:
1746:
1740:978-0631172260
1739:
1713:
1701:
1694:
1666:
1637:
1631:978-1843842613
1630:
1612:Magennis, Hugh
1603:
1588:The New Yorker
1580:Acocella, Joan
1564:
1534:
1520:
1489:
1475:
1455:Niles, John D.
1435:
1425:
1396:
1386:
1354:
1340:
1312:Niles, John D.
1290:
1283:
1242:
1240:
1237:
1235:
1234:
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1205:
1193:
1181:
1169:
1157:
1145:
1133:
1121:
1109:
1097:
1085:
1073:
1061:
1059:, pp. 5–8
1043:
1041:
1038:
1036:
1033:
1032:
1031:
1026:
1013:
999:
996:
995:
994:
988:
965:
959:
949:. Notre Dame:
934:
928:
911:
905:
886:
867:
864:
832:
825:
754:
751:
695:The New Yorker
686:
683:
637:The Homecoming
558:The historian
525:Bruce Mitchell
499:
496:
494:
491:
454:
451:
432:It is not an '
390:
387:
331:Icelandic myth
302:
299:
295:Ritchie Girvan
233:
230:
228:
225:
122:
119:
38:Title page of
26:
9:
6:
4:
3:
2:
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4032:
4029:
4027:
4024:
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2005:
2001:
1997:
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1796:A&C Black
1793:
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1771:0-8032-6150-0
1767:
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1711:, p. 26.
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1476:0-8032-6150-0
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1341:0-8032-6150-0
1337:
1334:. p. 5.
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929:0-261-10263-X
925:
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920:HarperCollins
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906:0-04-809019-0
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806:
799:
797:
793:
792:
786:
785:Seamus Heaney
780:
772:
768:
767:Seamus Heaney
764:
761:The poet and
759:
749:
747:
740:
738:
734:
733:
729:, writing in
728:
724:
722:
717:
713:
712:
707:
703:
699:
697:
696:
692:, writing in
691:
690:Joan Acocella
682:
680:
676:
672:
667:
663:
662:John D. Niles
658:
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371:Old Testament
368:
363:
362:
357:(giants) and
355:
354:
349:is linked to
348:
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186:Hugh Magennis
183:
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107:Seamus Heaney
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60:
56:
52:
50:
41:
36:
32:
30:
19:
3985:Nowell Codex
3962:
3875:
3870:Sellic Spell
3859:
3849:
3841:
3840:
3832:
3818:
3799:
3729:Waegmundings
3587:
3543:
3536:
3528:
3520:
3493:
3435:
3374:Charles Noad
3331:
3309:
3302:
3293:Gergely Nagy
3273:
3259:
3252:
3238:
3221:Medievalists
3211:Allan Turner
3158:
3124:
3102:
3088:
3074:
3055:Randel Helms
3045:
3038:
3031:
3024:
2996:
2989:
2982:
2973:Jason Fisher
2963:
2959:Dimitra Fimi
2939:
2920:
2868:Holly Ordway
2863:Peter Kreeft
2858:Colin Duriez
2820:
2806:
2799:
2784:
2753:
2748:Sellic Spell
2741:
2733:
2725:
2717:
2709:
2692:
2670:
2655:
2647:
2637:
2612:
2611:
2573:
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2535:
2527:
2519:
2511:
2503:
2495:
2486:
2479:
2472:
2465:
2458:
2451:
2444:
2437:
2434:(1983–1996)
2429:
2421:
2413:
2405:
2397:
2376:
2368:
2360:
2350:
2342:
2334:
2326:
2318:
2310:
2295:
2262:
2254:
2246:
2238:
2224:The Sea-Bell
2217:Fastitocalon
2200:
2185:
2175:
2166:
2139:Bibliography
2070:
2044:. Retrieved
2037:the original
2020:
2008:. Retrieved
1992:Shippey, Tom
1986:
1963:
1933:. Retrieved
1929:The Guardian
1927:
1897:. Retrieved
1891:
1854:
1823:
1814:
1790:
1780:
1756:
1749:
1726:
1716:
1709:Tolkien 1997
1704:
1680:
1675:
1669:
1657:. Retrieved
1648:Sharp, Tom.
1616:
1606:
1598:
1591:. Retrieved
1587:
1546:
1537:
1527:
1525:
1508:
1504:
1482:
1480:
1462:
1458:
1450:
1430:
1412:
1408:
1391:
1373:
1369:
1347:
1345:
1327:
1323:
1315:
1268:
1262:
1230:Tolkien 1997
1215:, p. 31
1213:Tolkien 1997
1208:
1203:, p. 30
1201:Tolkien 1997
1196:
1191:, p. 28
1189:Tolkien 1997
1184:
1179:, p. 27
1177:Tolkien 1997
1172:
1167:, p. 26
1165:Tolkien 1997
1160:
1155:, p. 25
1153:Tolkien 1997
1148:
1143:, p. 23
1141:Tolkien 1997
1136:
1131:, p. 21
1129:Tolkien 1997
1124:
1117:Tolkien 1997
1112:
1107:, p. 17
1105:Tolkien 1997
1100:
1095:, p. 15
1093:Tolkien 1997
1088:
1081:Tolkien 1997
1076:
1069:Tolkien 1997
1064:
1057:Tolkien 1997
1018:
1009:
1003:
974:
970:
944:
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891:
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846:
840:
836:
834:
828:
820:
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801:
795:
790:
782:
770:
762:
742:
736:
732:The Guardian
730:
725:
720:
715:
709:
705:
704:, reviewing
700:
693:
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557:
541:
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515:
508:Alvin A. Lee
501:
486:
476:
474:
467:
465:
456:
431:
426:
414:
410:
404:
381:folces hyrde
378:
342:
324:
318:
304:
285:
281:
275:
268:
260:
256:
253:scare quotes
250:
214:
210:
205:, edited by
200:
190:
161:
147:
141:
129:
124:
114:
102:
100:
86:
84:
77:
71:
48:
47:
45:
39:
31:
29:
4011:1936 essays
3947:Adaptations
3931:Tom Shippey
3797:Translating
3601:Old English
3298:Tom Shippey
3248:Jane Chance
3226:Classicists
2773:Biographers
2683:Posthumous
2600:" (1932–34)
2389:Posthumous
2177:Bagme Bloma
2046:4 September
2010:4 September
1935:23 November
1920:Garth, John
1820:Liuzza, Roy
1622:D.S. Brewer
1593:23 November
1501:Fulk, R. D.
1447:Lerer, Seth
831:translation
765:translator
504:Tom Shippey
481:Old English
280:thought of
178:work of art
166:Anglo-Saxon
105:translator
63:Old English
4000:Categories
3776:The Dragon
3756:Wealhtheow
3722:Ongentheow
3624:characters
3411:Influences
3354:Lin Carter
3201:David Salo
3196:Tom Loback
3011:Nick Groom
2795:John Garth
2497:Roverandom
2297:The Hobbit
2075:. London:
1899:30 January
1684:. London:
1659:30 January
1035:References
918:. London:
895:. London:
884:: 245–295.
860:mead-halls
753:Translator
727:John Garth
657:criticism.
544:Roy Liuzza
512:Seth Lerer
219:edited by
197:manuscript
128:'s essay "
96:the dragon
3762:Monsters
3697:Scylfings
3675:Healfdene
3665:Scyldings
3506:Reception
3501:Memorials
3173:Linguists
2840:Christian
2702:Sir Orfeo
2649:Sir Orfeo
2624:" (1939)
2423:Mr. Bliss
2159:and songs
2067:(1997) .
1962:(2000) .
1553:. p. 14.
1449:(1998). "
1314:(1998). "
1239:Secondary
945:Criticism
813:philology
803:that the
493:Reception
466:When new
278:W. P. Ker
170:narrative
69:epic poem
3975:Hrunting
3889:Scholars
3751:Wulfings
3739:Weohstan
3680:Heorogar
3660:Hundings
3643:Heardred
3437:Mythlore
3431:Inklings
2893:Literary
2766:Scholars
2750:" (2014)
2685:academic
2667:" (1963)
2617:" (1936)
2607:" (1934)
2593:" (1929)
2586:" (1925)
2564:Academic
2307:" (1947)
2210:Errantry
2197:" (1954)
2004:Archived
1822:(2013).
1725:(1998).
1614:(2011).
1545:(2009).
1463:Handbook
1457:(eds.).
1413:Handbook
1374:Handbook
1328:Handbook
1259:(2007).
998:See also
866:Editions
809:folklore
769:praised
721:Beowulf,
716:Beowulf,
578:Ragnarök
548:fabulous
498:Scholars
422:Hrothgar
367:Scylding
174:literary
121:Overview
4016:Beowulf
3980:Nægling
3963:Beowulf
3940:Related
3860:Beowulf
3842:Beowulf
3800:Beowulf
3766:Grendel
3734:EcgĂľeow
3712:Ohthere
3707:Eanmund
3702:Eadgils
3685:HroĂ°gar
3670:Æschere
3653:Hygelac
3638:Beowulf
3611:Kenning
3589:Beowulf
3533:(album)
3522:Tolkien
3416:Artwork
3392:Related
3346:Popular
2895:critics
2638:Beowulf
2613:Beowulf
2391:fiction
2289:Fiction
2205:(1962)
2171:(1936)
2144:Letters
2058:Sources
1964:Beowulf
1676:Beowulf
1528:Beowulf
1507:Beowulf
1483:Beowulf
1461:Beowulf
1451:Beowulf
1411:Beowulf
1372:Beowulf
1348:Beowulf
1326:Beowulf
1316:Beowulf
1263:Beowulf
1040:Primary
1019:Beowulf
1010:Beowulf
973:Beowulf
943:Beowulf
874:Beowulf
847:Beowulf
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737:Beowulf
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645:Beowulf
641:Beowulf
639:" and "
624:Beowulf
620:Beowulf
616:Beowulf
611:Beowulf
607:Beowulf
603:Beowulf
587:Beowulf
569:Beowulf
564:Beowulf
521:Beowulf
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405:Beowulf
377:in the
353:eotenas
343:Beowulf
319:Beowulf
307:Grendel
286:Beowulf
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73:Beowulf
61:on the
49:Beowulf
40:Beowulf
3970:Heorot
3744:Wiglaf
3690:UnferĂ°
3487:Awards
3399:Family
3018:&
2758:(2016)
2746:with "
2738:(2002)
2730:(1983)
2722:(1982)
2714:(1981)
2711:Exodus
2700:, and
2660:(1962)
2652:(1944)
2644:(1940)
2556:(2022)
2548:(2021)
2540:(2018)
2532:(2017)
2524:(2015)
2516:(2007)
2508:(2007)
2500:(1998)
2426:(1982)
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2402:(1976)
2381:(1967)
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2365:(1964)
2355:(1955)
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2315:(1945)
2300:(1937)
2267:(2013)
2259:(2009)
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2190:(1953)
2157:Poetry
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418:Heorot
158:dragon
66:heroic
3717:Onela
3633:Geats
3620:Clans
2698:Pearl
2566:works
2040:(PDF)
2033:(PDF)
856:Geats
746:Somme
685:Press
446:dirge
442:elegy
339:Greek
335:Roman
3648:Hygd
2081:ISBN
2048:2017
2012:2017
1972:ISBN
1937:2014
1901:2015
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901:ISBN
811:and
583:only
527:and
434:epic
361:ylfe
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