The dragon (Beowulf) in 1953 that the dragon's "ultimate significance in the poem" remains a "mystery". Seamus Heaney suggests that Beowulf's attitude towards fighting the dragon reflects his "chthonic wisdom refined in the crucible of experience", that is there is already a "beyond-the-grave aspect" to his resoluteness. As Beowulf dies from his fight with the dragon, despite defeating it, James Parker of "The Atlantic" writes that "There is no transcendence in "Beowulf", and no redemption [...] kill the dragon—but the dragon will get you anyway". Joan Acocella states in "The New Yorker" that "unlike Grendel and his mother, [the dragon] is less a
Beowulf they are unvoiced (as in "thing"): "þunor", "suð", "soþfæst". Kennings are also a significant technique in "Beowulf". They are evocative poetic descriptions of everyday things, often created to fill the alliterative requirements of the metre. For example, a poet might call the sea the "swan-road" or the "whale-road"; a king might be called a "ring-giver." There are many kennings in "Beowulf", and the device is typical of much of classic poetry in Old English, which is heavily formulaic. The poem also makes extensive use of elided metaphors. J. R. R. Tolkien argued in "" that the poem is not an