Transitions in Heroism

There are varying descriptions of heroism in the community with other definitions simply regarded as distortions of reality. However, other than the initial beliefs in some unnaturalness in heroes, there are different constituents of heroism perceived in the modern society with no specifics accorded to heroes. Heroism requires no superhuman qualities, strengths or powers. However, there is change and transition in the opinion regarding heroism with different perspectives developing to create change with former beliefs trusting in ideal forms of heroism. However, what remain substantial is the capacities to, which there is perception of heroism. It is evident that there is a growth in social responsibility as one matures and through that, there is differentiation in the models of social responsibility as one transitions from one phase of life to another just like in Beowulf (Seamus 1-11).

Talks about heroism are always part of the efforts for denigrating or deflating the concept.  Beowulf is an exemplification of a perfect hero through exploration of his heroic nature in two phases, youth and age. It also displays through distinct conflicts between the dragon, Grendel’s mother and Grendel. These are aspects, which show heroism in the poem but there is the division between heroism in youth as a warrior and mature heroism as a king. These two phases of heroism create models of the changes that take place with development creating a divide in social responsibility (Seamus 1-11). Loyalty also accompanied the heroes of the medieval period and they had to respect their king at all costs. From the song, there is the line that says, “You might belong in Hufflepuff, Where they are just and loyal, Those patient Hufflepuffs are true.” That is so much like the position of Gawain. In his Chivalric position, he combines the characters of loyalty following guidance of the Virgin Mary in his wars as he has the image of Christ embossed inside his shield. This is a position he whose importance he reckons as it gives him guidance in his endeavors (Armitage 5-198).

In youth, heroism has characteristics of predominance of ambition, strength and courage. This can be seen in the fable-swimming match he faces against Breca perfectly embodying the values and manners dictated by the German heroic code such as loyalty, pride and courtesy. He is established as a hero following his defeat of his opponents and that creates a bravery reputation. That is a phase, which is very important in any social construct, as one requires the recognition of his position in the community. In the first phase of heroism, there is little maturity other than the dependence on the abundant qualities of heroism (Armitage 5-198.).

As heroes grow, they get from the initial stages and get ready for new phases in life. This takes place in the life of Hrothgar through advices from his father of being a wise person and ruler (Battles2-264). There is preparation for retrospect’s in life through transitions other than just the glories of being powerful.  The initial stages of heroism attribute to courage and they give strength and courage to pride to those who like them. In contrast to the previous attribution of heroism with self-sacrifice and strength as a definition of heroism, the concept keeps evolving. The current concept of heroism focuses on respect of cultural, social and religious norms (Kline’s 25-76).

Other than the affiliation to respect of religious rites and societal norms, there is revolution to a point where heroism requires the respect of a broader perspective of life. The Aeneid demands respect for the individual and not only the society (Armitage 5-198.). It is contrary when a hero fought for the community at personal cost but instead, heroes follow their destiny fulfilling their leadership qualities. The transitions in heroism have since taken a turn from the belief in society to the point when heroes have the responsibility of focusing on personal obligations to self just the same way they courageously defend the society.

Works Cited

Armitage, Simon. Sir Gawain and the Green Knight: A New Verse Translation. New York:  W.W. Norton. (2007): 5-198. Print.

Seamus Heaney BEOWULF. A New Verse Translation. Bilingual Edition. Copyright. (2000): 1   11.