In Bernard F. Huppe's critical exposition, “The “Wyrd”: Theme and Structure,” collectively speaks for studies associated with the elegiac poem, The Wanderer, stating that "the purpose of the poem is entirely Christian, its general theme is 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 the Old English verse, a rigorous analysis of the relationship between form and content can reveal several additional layers of meaning. Interpretations vary and are often disputed due to the use of Stoic diction and the appearance of multiple speakers throughout. The Wanderer is innately interested in the credibility of "destiny" and the concept of "free will", from which a dichotomy is evident; that of divine intervention and fundamental human action. These concepts can be seen in “wyrd,” a term that occurs frequently and differs in context of location in the poem. “Wyrd” is essentially a paradox: the pagan connotation of “wyrd” shifts and expands, as earthly life is seen as “inexorable destiny”, from the timeless perspective of God, while from the point of view of the sage who has embraced the transitory nature of the world and faith in God's mercy, also turns out to be the work of providence. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essayA common denominator in Anglo-Saxon elegy is the motif of exile, physical and mental isolation from a social system. In the narrator's case, personal pronouns and devotion to a "lost lord" suggest a male warrior's excommunication from his lord's evil servants. Thematically, exile is persistent throughout the poem; however, it is possible to trace a transition from contempt to eventual embrace. The poem can be divided into two distinct modes of narration: the first seems to adopt a traditional narrative style, while the second takes on a didactic tone. Initially, the subject of the poem is characterized as an “anhaga,” or solitary man, and is described dwelling on the death of his relatives and the funeral of his lord. The first seven lines convey an objective and passive tone; then, editorial punctuation aside, the “tramp” dialogue begins. The dialogue stops at line 29b: “weman mid wynnum. Wat se e cunna,”.(The Wanderer, line 29) The narrative describes 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 about this rhetorical change of persona within a single monologue: Old English poetic style tended toward variety in telling a story... the conduct of the wanderer in difficult circumstances . The "motivation" for the change of person in 29b is not a mere ornament; heroic etiquette was a matter of fundamental importance to the Old English poet. (Huppe, 522) While this may be a matter of variety in “narrative,” displacement may also indicate the malleability of the state of exile on an individual. The speaker, assuming that there is only one, supports the transition from the “anahaga” (line 1), the solitary man, to the “modecearig” (line 2), troubled in thought, to the final phase of the “snotter on mode ” (line 111) the wise in spirit. Static language still allows for movement, as definitions of “exile” undergo changes; this can be perceived as an allegory for a larger thematic concern, that of the "wyrd", as the poem recounts a transition from a Germanic warrior society to a Christian society. "Wyrd" appears in the poem four times,and in each instance the collocation designates a distinct connotation of the word. “Wyrd” refers to “luck,” “circumstance,” and, most often, “destiny.” In the case of The Wanderer, “wyrd” is related to the division of narrative discussed above, as it encompasses a dichotomy of pagan destiny and Christian providence. “Wyrd” is inherently paradoxical as it embodies both modes of poetic discourse; the narrative first half might allude to a pagan belief system, while the didactic second half might suggest a transition to Christian values. The word begins its journey in the poem as a stark example of fatalism: “wadan wraeclastas. Wyrd beep ful araed!”(The Wanderer, line 5) The Wanderer is, from the beginning, considered defenseless, and his only chance for safety lies in God's mercy. Fate is characterized as “unyielding”; Christian doctrine is prevalent in these opening lines and the insecurity of earthly things is developed further in the poem. The word incorporates both destiny and providence. In the first two lines, "wyrd" is fate and a separate notion from God's providence, as the narrator divulges how to find "the grace and mercy of the Lord," but in the same line he cautiously speaks that "fate is implacable" . Wyrd" appears again in the second half of the poem, after the change of speaker: "Eall is earfoaelic eorpan rice,/onwende wyrda gesceaft weoruld under heofonum." (The Wanderer, lines 106-107) This can be loosely translated to: " The whole kingdom of the earth is full of tribulations, the operation of destinies changes the world under heaven.” The connotation of “wyrd” recalls destiny as a concept of a world in decline; against this insecurity the Christian individual has the comfort of his faith in God and his definitive retreat in heaven, while the pagan individual has only himself and all the strength available internally. The paradoxical quality of the “wyrd” is evident in this situation of the poem, as it addresses both pagan and intrinsically Christian elements. The wanderer, as a warrior, but above all a biological creature, desires peace of mind and body, but relies both on the destiny dictated by God and on the destiny existing within him. The concluding lines cement the contradictory nature of The Wanderer; the "anhaga", after meditating on his trials and tribulations as the "modcearig", finally achieves the status of "snotter on mode", or the enlightened man, aware of his retained wisdom. The conclusion is as follows: Swa cwae snottor on mode, gesaet him sundor aet rune. Til bip se be his treowe gehealde, ne sceal naefre his lacerato a rycene beorn 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, line 111-115) The lines, resonating with the didactic style that occupies the last part of the poem, articulate wisdom, which advises man to avoid irritation by not dealing with it. However, if a tragedy occurs, the individual must “not express the anger of his breath too quickly” and embrace it with “courage”. This wisdom is exclusive to those who are wholeheartedly devoted to the power of Destiny and who, unlike the Christian man, have no divine escape routes. Virtue seems to be intrinsically connected to both opposing forces in the “wyrd,” as it is necessary for both qualities in the wanderer's character to find reconciliation. Huppe draws a parallel between the initial and final lines, which is seen as a correlation between form and content: It would seem, consequently, that the structure of the poem should be built around the thematic contrast between earthly insecurity and heavenly security: a contrast stated at the beginning, developed in the body and summarized at the end. 2013.