During the reigns of Alfred’s successors, the Danelaw was gradually reconquered, and the Scandinavian settlers were integrated into Anglo-Saxon society.
In fact, there is a saying today which explain, "Those who fight and run away, live to fight another day." The 13th Warrior shows many heroic characteristics, but not all of these were considered heroic in Anglo-Saxon culture and literature.
The World of the Lindisfarne Gospels' looks at the background and history of this breathtaking artwork and symbol of Christian faith. Both illustrated and readable, the book is divided into short sections, each examining an aspect of the Anglo-Saxon world, the heritage of the people who lived and ruled at this time, and how and why this great book was created. There is a list of suggested further reading, and a complete list of artefacts and manuscripts in the accompanying exhibition.
Courage, strength, and intelligence are still very important characteristics of heroes; however, standing to fight even if it means death is not as important as it was in the Anglo-Saxon culture.
The history of the Anglo-Saxons is the history of a cultural identity, and how this developed from divergent groups, grew with the adoption of Christianity, was used in the establishment of various kingdoms, and, in the face of a threat from Danish settlers, re-established itself as one identity until after the Norman Conquest. The outward appearance of Anglo-Saxon culture can be seen in the material culture of buildings, dress styles, illuminated texts and grave goods. Behind the symbolic nature of these cultural emblems there are strong elements of tribal and lordship ties, and an elite that became kings who developed burhs, and saw themselves and their people in Biblical terms. Above all, as Helena Hamerow has observed, "local and extended kin groups remained. . . the essential unit of production throughout the Anglo-Saxon period". The effects persist even in the 21st century as according to a study published in March 2015, the genetic make up of British populations today shows traces of the political units in the early Anglo-Saxon period.
The realm of Old English poetry and literature, which represents for some a "sketchier" or more "blank" period (circa 5th through to the 11th century), has often been mistakenly believed to have been of less interest (or too alien and forbidding) to modern artists interested in the materials of the medieval past. This volume beautifully illustrates otherwise, and while some of the chapters may prove a bit overly academic for the general reader, the collection as a whole makes a powerful and often entertaining case for the myriad pathways by which the Anglo-Saxon past inhabits, enlivens and even transforms the cultural imagination of our present, such that we can see that it never stops informing us about what it means to "be English".
We are fortunate, then, to have David Clark and Nicholas Perkins' Anglo-Saxon Culture and the Modern Imagination, a volume of 14 essays dedicated to excavating and tracing the vital connections between Old English literature and language and modern and contemporary arts and letters, ranging from the poetry of Heaney, Basil Bunting, W.H. Auden and Ted Hughes, among others, to P.D. James' crime fiction to the DC Comics Beowulf series to the TV series The Simpsons to Julie Taymor's 2006 opera Grendel: Transcendence of the Great Big Bad and beyond.
The heroic traits of the literary characters in Beowulf, "The Wanderer," "Dream of the Rood," and The 13th Warrior both define and set the standard for the Anglo-Saxon hero.
The Anglo-Saxon hero is clearly shown and defined in Beowulf, "The Wanderer," "The Dream of The Rood," and even Crichton's The 13th Warrior.
There were links between the East Anglians and the Swedish Vednel culture which produced helmets like
However these helmets are very early in the Anglo-Saxon period, dating to the 6/7thC.