In Bernard F. Huppe's critical exposition, "The 'Wanderer': Theme and Structure," he speaks collectively on behalf of the scholarship associated with the elegiac poem, The Wanderer, stating that "the aim of the poem is entirely Christian, its general theme being the contrast between the transience of earthly goods and the security of God's mercy" (Huppe, 516). While this is a plausible thematic assessment of Old English verse, rigorous analysis of the relationship between form and content can reveal various additional layers of meaning. Interpretations vary and are often disputed due to the use of stoic diction and the appearance of multiple speakers. The Wanderer is intrinsically concerned with the credibility of "fate" and the concept of "free will", hence a dichotomy arises; that of divine intervention and fundamental human action. These concepts can be seen in "wyrd", a term that appears frequently and differs depending on the context of the location in the poem. "Wyrd" is essentially a paradox: the pagan connotation of "wyrd" changes and expands, as earthly life is seen as an "inexorable destiny", from God's timeless point of view, while from the of the wise man who embraced the transience of the world and the belief in the mercy of God, this also proves to be the work of providence. Say no to plagiarism. Get a tailor-made essay on “Why violent video games should not be banned”? Get the original essay A common denominator in the Anglo-Saxon elegy is the motif of exile, physical and mental isolation from a societal system. In the narrator's case, personal pronouns and devotion to a "lost lord" suggest the excommunication of a male warrior from his lord's group of servants. Thematically, exile is persistent throughout the poem; however, a transition from disdain to eventual embrace can be traced. The poem can be divided into two distinct modes of narration: the first seems to adopt a traditional narrative style, while the second adopts a didactic tone. Initially, the subject of the poem is characterized as an "anhaga", or solitary man, and is described as dwelling on the deaths of his siblings and the funeral of his lord. The first seven lines convey an objective and passive tone; then, editorial punctuation aside, the “wanderer’s” dialogue begins. The dialogue stops at line 29b: “weman mid wynnum. Wat se e cunna,” (The Wanderer, line 29) The narrative depicts a third-person perspective in reference to the speaker's experiences; this change also suggests a cultural tradition. Huppe comments on this deviation and states: There is nothing unusual in this rhetorical change of person within a single monologue: the Old English poetic style strove for variation in the telling of a story...the conduct of the vagabond in difficult circumstances. The “motivation” for person change in 29b is not mere adornment; The heroic label was a matter of fundamental importance to the old English poet. (Huppe, 522). While this may be a matter of variety in the "storytelling", the change may also indicate the malleability of the state of exile on an individual. The speaker, assuming that there is only one, maintains the transition from the “anahaga” (line 1), the solitary man, to the “modecearig” (line 2), troubled in his thoughts, until the final phase of “snotter on mode”. (line 111) the wise in spirit. Static language always allows for movement, as definitions of “exile” undergo change; this can be seen as an allegory of a larger thematic subject,that of the “wyrd”, since the poem recounts the transition from a Germanic warrior society to a Christian society. “Wyrd” appears four times in the poem, and in each case the placement denotes a distinct connotation of the word. “Wyrd” refers to “fortune,” “circumstances,” and most often “destiny.” In the case of The Wanderer, the term "wyrd" correlates with the division of narrative discussed previously, as it encompasses a dichotomy of pagan destiny and Christian providence. “Wyrd” is inherently paradoxical since it embodies both modes of poetic discourse; the first narrative half may allude to a pagan belief system, while the second didactic half may suggest a transition to Christian values. The word begins its journey through the poem as a striking example of fatalism: “wadan wraeclastas.” Wyrd beep ful araed! » (The Wanderer, line 5) The wanderer is, from the start, seen as helpless, and his only opportunity for safety lies in the mercy of God. Destiny is described as “inflexible”; Christian doctrine is predominant in these opening lines, and the insecurity of earthly things is developed later in the poem. The word incorporates both destiny and providence. In the first two lines, "wyrd" is destiny and a distinct notion of God's providence, as the narrator reveals that he has found "the grace and mercy of the Lord", but in the same line he cautiously says that “fate is implacable”. Wyrd” appears again in the second half of the poem, after the speaker change: “Eall is earfoaelic eorpan rice,/onwende wyrda gesceaft weoruld under heofonum. ” (The Wanderer, lines 106-107) This can be loosely translated as: “All the kingdom of earth is full of troubles, the operation of fate changes the world under heaven. The connotation of "wyrd" resembles fate as a concept of a world in decline; Against this insecurity, the Christian individual has the comfort of his faith in God and his ultimate refuge in heaven, while the pagan individual has only himself and all the strength he has internally. The paradoxical quality of the “wyrd” is apparent in this situation of the poem, as it addresses pagan and naturally Christian elements. The wanderer, as a warrior, but above all a biological creature, strives for peace of mind and body, but relies both on the fate dictated by God and on the destiny existing in himself. The final lines cement the Wanderer's contradictory nature; the "anhaga", after meditating on his troubles and tribulations as a "modcearig", finally attains the status of "snotter on mode", or an enlightened man, conscious of his preserved wisdom. The conclusion is as follows: Swa cwae snottor on mode, gesaet him sundor aet rune. Until beep is his treowe gehealde, ne sceal naefre son torn in rycene born of his breostum acypan, nempe he aer pa bote cunne, eorl mid elne gefremman. Wel beep ?am pe him are secep, frofre to faeder on heofonum, aer us eal seo faestnung stonde. (The Wanderer, lines 111-115) The lines, resonating with the didactic style that occupies the latter part of the poem, articulate the wisdom that advises a man to avoid vexation by not engaging in it. However, if a tragedy occurs, the individual must “not show the anger that comes out of him too quickly” and accept it with “courage”. This wisdom is exclusive to those who are entirely devoted to the power of Destiny and who, unlike the Christian man, have no divine means of escape. Virtue seems to be intrinsically linked to the two opposing forces in the "wyrd", for it is necessary that the two qualities of the wanderer's character find a reconciliation. Huppe draws a parallel between the verses of the beginning and the conclusion, which stands as a. 2013.