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Yes, the cliffs and high hills are from the poem.

In the script the line of dialogue was,

"They sing our shame from the middle sea to the ice-lands of the north."

I'm not sure whether that's what Anthony Hopkins actually says in the film, though. (And I have no idea where the just-as-anachronistic Vinland line from the Skylding's Watch came from, either. Wasn't in any draft by Roger or me.)

Incidentally, I thought I'd mention again that the Beowulf script book has a lot of the answers to this kind of thing in it, and that none of the descriptions of it currently online seem to explain what kind of thing the book is. 

I found a review (http://www.post-gazette.com/pg/07320/834312-44.stm) which says, 

How does a script filled with guts and gore and f-bombs become PG-13 animated fare? Witness "Beowulf: The Script Book" (HarperCollins Entertainment, $16.95), which is actually two scripts, both by graphic novelist/author Neil Gaiman and Oscar-winning screenwriter Roger Avary.

The first script is what you get when you combine the writer of "Pulp Fiction" (Avary) and the writer of "Sandman," "Stardust" and "American Gods" (Gaiman), with no rules or outside interference. The second is their draft of the final studio script.

Avary provides a Foreword and "Middleword" that describe his decades-long obsession with "Beowulf" -- a centuries-old, 3,000-line poem -- and his growing compulsion to re-create it onscreen. He eventually, wrenchingly, gives up on directing "Beowulf" in the face of Steven Bing's big bucks and director Robert Zemeckis' passion for the project. Gaiman gives the Afterword, in which he says of the introduction, "Roger Avary is much too honest about getting the script made. That's because Roger is a Holy Madman."

Gaiman and Avary first huddled in Mexico in 1997 to create the tequila-fueled first draft, in which the monster Grendel's penchant for human flesh knows no censorship. It does, however, follow the timeline of the original Old English poem.

Later, they have Zemeckis' input about taking cinematic liberties, along with his blessing to let their imaginations run wild, as his innovative Performance Capture animation process (as seen in "The Polar Express" film) knows no bounds.

The timeline and the setting is changed in the final draft -- instead of a story in two parts and in two countries, Beowulf begins and ends in King Hrothgar's court. Beowulf is awarded Hrothgar's throne rather than return home. Instead of meeting Beowulf as the strapping dragonslayer he becomes, we first meet old King Beowulf in his court ... and it's apparent you're in for a different experience than in the first script.

Just as intriguing as the script changes are those honest Avary moments. For instance, he finally finds peace with giving up his "baby" to Zemeckis when "Z." agrees to use Crispin Glover to portray the monster Grendel. The director had a contentious relationship with the eccentric actor during "Back to the Future 2," which resulted in Glover suing Zemeckis when the director inserted the actor's image into scenes. "To this day, the verdict protects actors from having their likeness used without their blessing," Avary writes.

Still, Glover got the job, and Zemeckis used his newfangled technology to make him into a monster onscreen, which may have been payback enough.

The book of "Beowulf" scripts also contains artist Stephen Norrington's renderings that were commissioned by Avary when he believed he would be directing his first version, further fueling the question asked by presenting two visions back-to-back: "What if ...?"

(The mention in the song, though, is completely my fault. Sorry.)