The found the connections between The Wanderer, The Seafarer, and Deor, including the lack of agency and the references to Wyrd to be very interesting. Both The Wanderer and The Seafarer begin with a description of suffering and sorrow that is unavoidable, then at a turning point the speakers begin to reference the greatest of God and the goodness of salvation that will come after all the suffering. The Seafarer begins with a description of the hardships and suffering that he cannot escape as a seafarer, as The Wanderer and Deor begin with a lament of a devastated and destructed place that destroyed building and took loved ones and kinsmen. At the turning point of The Seafarer, the speaker rejoices in the opportunities and gifts God has given him and begins to look at his life as a seafarer as an adventure and a chance to travel which God has granted him, similarly to the turning point of The Wanderer where the speaker expresses acceptance of suffering and suggests that if one turns to God for mercy they will one day have salvation. While both The Wanderer and The Seafarer shift from a lamenting, lonely, suffering attitude to an acceptance of the suffering, Doer lacks this happy ending. Instead of ending with a prayer to God or a hope in salvation, Doer ends with a continuation of the description of never ending decay and no hope and no agency.
These elegies, especially Doer reminded me of the naturalist literature of the mid-nineteenth century. This literature was characterized by a lack of agency and lack of control of fate, which I felt the elegies also contained. Although two of my three examples ended with an acceptance and hope for the mercy of God, the speakers still lacked agency in their sorrowful lives and looked at Wyrd as unchangeable, like naturalistic literature saw fate and nature as uncontrollable and set in stone.