Judith is an alliterative Old English poem, that by poetic convention, is typical and breaks few rules. The alliteration, repetition and stark imagery contribute to this poetic achievement, but the content undermines tradition entirely.
The subversion firstly occurs in the presentation of Judith as a gender-ambiguous character (in the 'gender-role' sense), as a heroine rather than a masculine hero. She is presented as a symbol of masculine heroic aggression, seen in terms such as "battle-play", "triumphing" and "excellent in virtues" (lines 176, 133 and 129). These descriptions were typically associated with male heroes, and at the start of the poem, it appears to be a poem about Holofernes, a mirror of Beowulf. He is described as the "prince of men" who has "bold armed warriors", but his heroic masculinity is quickly inverted in the fact he becomes "mead-drunk and proud" (line 26).
The deliberate destruction of poetic expectation of gender roles on top of the fact Holofernes' excesses reduce his masculinity, the poet highlights the destructive impact of masculine pride, inferring that it reduces a sense of duty and strength.
Another interesting subversion of tradition is the differences to the Biblical Book of Judith the poem is based on: the poet makes Judith a virgin, whilst the biblical version is a widow. This presents the poetic Judith as less sinful than even the Biblical savior due to her sexual purity, suggesting, however, that a woman can only truly be heroic without male influence or corruption. A comment on male usage of women in the era, the poet criticizes patriarchy in its highly sinful nature that oppresses potential good/ God's will. However, the poetic Judith is not wholly pure due to the uses of the Old English words "ælfscīnu" (elf-fair, line 14) and "wundenlocc" (braided hair, line 77): elves were commonly associated with promiscuity, and women's hair was usually hidden in a veil to maintain sexual modesty. Therefore, the fact her hair is even present, alongside the decorative nature of a braid suggests a deliberate manipulation of socially prescribed 'sexuality' in order to undermine social structures such as that of the Hebrew army. The poet again highlights the weaknesses in a secular and oppressive society as paradoxically being vulnerable to attack from its own premises.
Another interesting point is that of agency and the will of God: Judith, as the first female hero, would be expected to be a great advocate for free will and the rejection of expectation. However, the poem states that "The Highest Judge inspired her speedily/ With valour" (lines 94-95), suggesting that the bravery that defines her character is purely a gift from God, undermining her own heroic agency. This suggests that humanity has no true free will, and every good deed on earth is one planned in the heavens, reiterating the power and undying benevolence of God. Moreover, it can be argued that this overarching control leads to a greater good within humanity, as the free spirited "heathens" are described as "wicked" (line 46), who are "deprived of good" (line 31). Thus, a rejection of God is immediately associated with pleasure-seeking humanity (Hedonism), which is henceforth implicated as dangerous, evil and in relation to the devil.
The poem at once subverts, criticizes, and acknowledges the norm, but all of these factors must be equally considered in relation to social expectation at the time of writing.
