The Epic: Identity and Reputation
by Natasha Gibbs

Identity and reputation are the foundation of the cultures presented in The Iliad, Medea, and Beowulf. Therefore, they play a major role in the actions and motivation of the major characters.  Achilles, Medea, and Beowulf are examined in light of their actions and motivations, as we see that their identities are central to their glories and downfalls. One can also see that their culture has taught them to view themselves and their duties in a certain way.  The three main characters are driven by similar and different ideals of whom they are, how they are viewed by society, and what their duties are to that society and to themselves, with a central theme of pride.

Achilles is leader of the Achaens, a valiant warrior who is greatly praised and feared. He was raised by his mother, Thetis, a sea nymph, and given the strength and speed of one who is partially immortal. Achilles is fully aware of his greatness in battle and seems to claim the many rewards bestowed upon him. Thetis helps define his duties and lifestyle when he is upset and she asks him why he isn’t enjoying food and sex (book XXIV, lines 155-158).  For a person of his stature, it is unthinkable that he does not allow himself to indulge in pleasure. He is often referred to as “swift runner Achilles” (I, 123) and “godlike Achilles” (I, 154), to establish his seniority and fame. His identity is that of a great warrior with a hot temper.

It is because of his pride and temperament that Achilles acts stubbornly in selfishness, sacrificing the safety and security of his own army. He refuses to submit to Agamemnon because he doesn’t want to be called a “worthless, burnt-out coward” (I, 343). He constantly acts for the goodness and wealth of his own pride, with little mercy for others. In his pride and selfishness, we see his flaws as a leader.  His decisions are not based on what is best for his people, but what will give him the most fame and glory.

Medea is characterized in a much different light.  She is not a warrior or anyone of great glory.  However, she is the grand-daughter of Helios, and a very crafty, sly woman. She uses her craftiness, as well as some magic, to get what she wants (lines 9-10). She is very manipulative, despite her political and civil immobility in her society.  She works outside the current system of law and order, dismissing any sense of evil or vulgarity by playing the victim.

She cares very deeply about her reputation. She is humiliated that Jason is taking up another wife, and fears that she will be laughed at.  This sense of pride motivates her to perform the most evil of acts in her day: the murdering of her children. She states that her “grief is gain” when it can’t be mocked (1337). Her only source of emotion, therefore, seems to be linked with her pride and reputation. She refuses to be identified as someone to be laughed at and pitied, so she does what she thinks is necessary to prevent that from happening. Medea, like Achilles, is driven by pride to act purely in her best interest.

Beowulf is a refreshingly noble character in light of the other two.  He too, depends on his identity to know how to act, but his identity does not rest on pride alone.  He begins as a fairly humble warrior, without a strong reputation to recommend him to fame (lines 2183-2185). Beowulf is motivated instead by the culturally grounded idea of comitatus (2171).  His actions are in pursuit of honor and glory not only for himself, but firstly for his King, or whomever he is serving. 

It is very important for the warriors in that society to develop a good reputation. King Hrothgar depends on Beowulf, not only because of his warrior strength, but also because of his honesty and nobility (607-610). At very much the opposite end of the spectrum from Beowulf, we see Grendel, whose identity seems to bring about his own horrific fate.  He is born an outcast of society and, while loathed and held accountable for his misdeeds, partially not thought responsible for his own actions (137). It is ironic that it is the very defeat of this hopeless creature (and his mother) which gives Beowulf his glory and great fame. 

While Beowulf’s sense of identity is no less important than that of the aforementioned main characters, his identity is rooted in a very different sense. He strives for nobility in everything he does, with a very strong sense of moral conviction. In his culture, pride alone is not glorified or rewarded. It is his sense of goodness that catapults him to the status of a noble hero.  He is unique from the other characters because we do not see any obvious flaws, but someone who “bore himself with valor” (2177). In the end however, the same character flaw which brought about the destruction of Achilles and Medea, pride, destroyed Beowulf when he chose to fight the dragon with less protection and military aid than he could have used. Because he viewed himself at this point as a great warrior, and he knew his reputation of being so, he felt that it would be better to die bravely than to win with help and protection.

Identity is something that exists in every culture.  It tells us how to view ourselves, how to treat others, and how to think morally. Each of these characters teaches a lesson through the actions caused by their own identity. While pride is an obvious theme, we also see a major connection of nobility and strength. These are ideals which have survived centuries and still exist today.

Works Cited

Beowulf. The Norton Anthologies of World Literature. Vol. B. 2^nd ed. Eds. Sarah Lawall, et al. New York: Norton, 2002. 1632-1702.

Homer. The Illiad. The Norton Anthologies of World Literature. Vol. A. 2^nd ed. Eds. Sarah Lawall, et al.  New York: Norton, 2002. 120-225. 

Euripides. Medea. The Norton Anthologies of World Literature. Vol. A. 2^nd ed. Eds. Sarah Lawall, et al.  New York: Norton, 2002. 695-725.

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