Meanwhile, Beowulf watches, learning the likely approach of his adversary. Some critics complain that Beowulf should attack immediately instead of observing as his man dies, but A. K. Moore (Modern Language Notes 68 [1953], 165–69) has it right when he points out that Beowulf’s responsibility lies in the mission, not the protection of one warrior. When Grendel reaches for Beowulf, the world’s strongest human hand grips the ogre and won’t let go. Although Grendel would prefer escape, he is trapped and must engage the hero.
Imagery throughout the poem is specific and vivid, but it is especially strong in Beowulf and Grendel’s battle sequence. The battle is furious. The two nearly knock down the superbly fortified Heorot. Danes around the compound are riveted to the noise but stay their distance. The Geats try to come to Beowulf’s aid but find that their swords are ineffective because Grendel is protected from weapons by a magic spell. He must be killed by hand, and he is in the hands of the mightiest warrior alive. Instead of minutely detailing what the two combatants do to each other, the poet describes the effect. Mighty Heorot is nearly destroyed. We can see it almost bursting. The fixtures are in ruins. Ornate mead benches are ripped from the floor. Grendel’s scream of hate and pain horrifies the Danes who prudently remain well outside the hall.
The poet then zeroes in on a very specific piece of the action. Beowulf tears Grendel’s arm from its shoulder. Tendons pop. The bone-locker bursts (“burston ban-locan,” 818) as muscles are ripped away. Here the imagery takes the reader very close. Mortally wounded, Grendel flees back into the darkness. Triumphantly, Beowulf hangs the trophy under the high roof.
