Wealhþeow

Wealhþēow (also rendered Wealhtheow or Wealthow) is a legendary queen of the Danes in the Old English poem, "Beowulf", first introduced in line 612.

Character overview

She is the Wulfing [Wealhþeow is identified as a "Helming" in the poem, i.e. belonging to the clan of Helm, the chief of the Wulfings ("Widsith", 21)] queen of the Danes. She is married to Hroðgar, the Danish king and is the mother of sons Hreðric and Hroðmund and also of daughter Freawaru. The meaning of her name is disputed. One possible translation is "foreign slave" (Hill, 1990).

In her marriage to Hroðgar she is described as "friðusibb folca" (l. 1168), 'the kindred pledge of peace between peoples', signifying the Wulfing and Scylding interdynastic allegiance. Hence she is termed both 'Lady of the Helmings' (l. 620) (by descent, of the Wulfing clan of Helm) and 'Lady of the Scyldings' (l. 1168) (by marriage and maternity).

Two northern sources associate the wife of Hroðgar with England. The "Skjöldunga saga", in Arngrímur Jónsson's abstract, chapter 3, tells that Hroðgar ("Roas") married the daughter of an English king. The "Hrolfs saga kraka", chapter 5, tells that Hroðgar ("Hróarr") married Ögn who was the daughter of a king of Northumbria ("Norðhymbraland") called Norðri.

The argument was advanced in 1897 [Gregor Sarrazin 1897, Neue Beowulf-studien, "Englische Studien" 23, 221-267, at p. 228-230. See also Fr. Klaeber (Ed.), "Beowulf and the Fight at Finnsburgh" (Boston 1950), xxxiii, note 2.] that the Wulfing name may have been synonymous with the East Anglian Wuffing dynasty, and the family name "Helmingas" with the place-names 'Helmingham' in Norfolk and Suffolk, both of which lie in areas of 5th-6th century migrant occupation. Although the theory was not favoured by some, [e.g. G. Jones, "Kings, Beasts and Heroes" (Oxford 1972), 132-134.] it has more recently resurfaced in a discussion of the identity of Hroðmund. [S. Newton, "The Origins of Beowulf and the pre-Viking Kingdom of East Anglia" (D.S. Brewer, Woodbridge 1993), esp. p. 122-128.]

Role in the poem

Wealhþeow (like Hygd) fulfills the important role of "hostess" in the poem. [cite news | first= Dorothy | last=Porter| url=http://www.mun.ca/mst/heroicage/issues/5/porter1.html| title=The Social Centrality of Women in Beowulf: A New Context| publisher="The Heroic Age: A Journal of Early Medieval Northwestern Europe," heroicage.org, Issue 5| date=Summer/Autumn 2001| accessdate=2006-08-09] The importance of this cup carrying practice is emphasized in lines 1161-1231. Here Wealhþeow, anxious that Hroðgar secures the succession for her own offspring, gives a speech and recompenses Beowulf for slaying Grendel with three horses and a necklace.

The necklace is called "Brosinga mene", and the name is held to be either a corruption or a misspelling of OE "Breosinga mene", ON "Brisingamen", [" [http://www.gutenberg.org/etext/9701 Old English edition] " edited by James Albert Harrison and Robert Sharp.] Freyja's necklace. Richard North compares the gift of the necklace to "Brosing", Freyja's BrisingamenRichard North, "The King's Soul: Danish Mythology in Beowulf" in the "Origins of Beowulf: From Vergil to Wiglaf", (New York: Oxford University, 2006), 194] and he comments that,

:The wider Old Norse-Icelandic tradition attributes the Brisinga men or giroli Brisings (Brisinger's girdle c.900) to Freya who is at once the sister of Ingvi-freyr of the vanir, the leading Norse goddess of love, and a witch with the power to revive the dead. Freya's acquisition of this necklace and its theft by Loki are the central incidents in Sorlaþattr.

Helen Damico (1984/1990) further suggests that Wealhþeow and Grendel's mother each represent different aspects of a goddess from Norse mythology, possibly the myth of the Valkyries.

Wealhþeow has also been examined as a representative of Hrothgar’s kingdom and prestige and a fundamental component to the functioning of his court. According to Stacy Klein, Wealhþeow wore “elaborate garb” to demonstrate the “wealth and power” of the kingdom. [Klein, Stacy S. “Reading Queenship in Cynewulf’s "Elene".” "Journal of Medieval and Early Modern Studies". 33.1 (2003): 47-89. "Project Muse".] As queen, Wealhþeow represents the “female’s duty to maintain peace between two warring tribes” and to “signify the status of the court.” [Gardner, Jennifer. The Peace Weaver: Wealhthrow in "Beowulf". Diss. Western Carolina University. March 2006.] While her position may appear ritualistic, she also maintains “the cohesiveness of the unity of the warriors.” [Ibid] The role of queens in the early Germania was to foster “social harmony through active diplomacy and conciliation.” [Butler, Francis. “A Woman of Words: Pagan Ol’ga in the Mirror of Germanic Europe.” "Slavic Review". 63.4 (Winter 2004): 771-793. "JSTOR".] Wealhþeow inhabits this role by constantly speaking to each of the men in her hall and reminding them of their obligations – obligations to their country, their family, or their king.

In other adaptations

*2007: Robin Wright Penn portrays Queen Wealhþēow in the Robert Zemeckis film, "Beowulf". In contrast to the poem, Queen Wealhþēow plays a substantial part in this adaptation. In addition to being the dutiful and well-composed queen, Wealhþēow is portrayed as a quietly unhappy wife, one who is fraught with the knowledge of her husband's unfaithfulness. She has the same experience with Beowulf after they are married.

*2005: Steinunn Ólína Þorsteinsdóttir portrays Queen Wealhþēow in the film "Beowulf & Grendel".

References

*Boehler, M. (1930). Die altenglischen Frauennamen, Germanische Studien 98. Berlin: Emil Ebering.
*Damico, Helen. "Beowulf's Wealhtheow and the Valkyrie Tradition." Madison, Wis.: University of Wisconsin Press, 1984.
*---. "The Valkyrie Reflex in Old English Literature." "New Readings on Women in Old English Literature". Eds. Helen Damico and Alexandra Hennessey Olsen. Bloomington: Indiana University Press, 1990. 176-89.
*Gordon, E. V. (1935). Wealhpeow and related names. Medium Ævum, 4, 168.
*Hill, Thomas D. "'Wealhtheow' as a Foreign Slave: Some Continental Analogues." Philological Quarterly 69.1 (Winter 1990): 106-12.
*Klaeber, Fr. (Ed.), "Beowulf and the Fight at Finnsburgh", 3rd Edn. (Boston 1950).
*Newton, Sam. "The Origins of Beowulf and the pre-Viking Kingdom of East Anglia." D.S. Brewer, Woodbridge 1993.
*North, Richard. "Origins of Beowulf: From Vergil to Wiglaf." Oxford: Oxford University Press, 2006.
*cite news | first= Marijane | last=Osborn| url=http://www.heroicage.org/issues/5/Osborn1.html| title=The Wealth They Left Us:Two Women Author Themselves through Others' Lives in Beowulf"| publisher=The Heroic Age: A Journal of Early Medieval Northwestern Europe, heroicage.org, Issue 5| date=Summer/Autumn 2001| accessdate=
*cite news | first= Dorothy | last=Porter| url=http://www.mun.ca/mst/heroicage/issues/5/porter1.html| title=The Social Centrality of Women in Beowulf: A New Context| publisher="The Heroic Age: A Journal of Early Medieval Northwestern Europe," heroicage.org, Issue 5| date=Summer/Autumn 2001| accessdate=2006-08-09
*Sarrazin, Gregor. "Neue Beowulf-studien," Englische Studien 23, (1897) 221-267.
*Stefan Jurasinski "The feminine name Wealhtheow and the problem of Beowulfian anthroponymy", Neophilologus (2007) [http://www.springerlink.com/index/41864263g21022v7.pdf] .

Notes