Course paper

III.CONCLUSION
An Old English poem such as Beowulf is very different from modern poetry. Anglo-Saxon poets typically used alliterative verse, a form of verse in which the first half of the line (the a-verse) is linked to the second half (the b-verse) through similarity in initial sound. In addition, the two halves are divided by a caesura: "Oft Scyld Scefing \\ sceaþena þreatum (l. 4). This verse form maps stressed and unstressed syllables onto abstract entities known as metrical positions. There is no fixed number of beats per line: the first one cited has three (Oft SCYLD SCEF-ING) whereas the second has two (SCEAþena ÞREATum).
The poet had a choice of formulae to assist in fulfilling the alliteration scheme. These were memorised phrases that conveyed a general and commonly-occurring meaning that fitted neatly into a half-line of the chanted poem. Examples are line 8's weox under wolcnum ("waxed under welkin", i.e. "he grew up under the heavens"), line 11's gomban gyldan ("pay tribute"), line 13's geong in geardum ("young in the yards", i.e. "young in the courts"), and line 14's folce to frofre ("as a comfort to his people").
Kennings are a significant technique in Beowulf. They are evocative poetic descriptions of everyday things, often created to fill the alliterative requirements of the metre. For example, a poet might call the sea the "swan's riding"; a king might be called a "ring-giver." The poem contains many kennings, and the device is typical of much of classic poetry in Old English, which is heavily formulaic. The poem, too, makes extensive use of elided metaphors.
The history of modern Beowulf criticism is often said to begin with Tolkien,^[149] author and Merton Professor of Anglo-Saxon at the University of Oxford, who in his 1936 lecture to the British Academy criticised his contemporaries' excessive interest in its historical implications. He noted in Beowulf: The Monsters and the Critics that as a result the poem's literary value had been largely overlooked, and argued that the poem "is in fact so interesting as poetry, in places poetry so powerful, that this quite overshadows the historical content..." Tolkien argued that the poem is not an epic; that, while no conventional term exactly fits, the nearest would be elegy; and that its focus is the concluding dirge.