Beowulf: An Anglo-Saxon Epic Poem E-Book

J. Lesslie Hall

• Herausgeber: David De Angelis
• Kategorie: Gesellschafts- und Liebesromane
• Sprache: Englisch
• Veröffentlichungsjahr: 2017

Beschreibung

It may be the oldest surviving long poem in Old English and is commonly cited as one of the most important works of Old English literature. A date of composition is a matter of contention among scholars; the only certain dating pertains to the manuscript, which was produced between 975 and 1025. The author was an anonymous Anglo-Saxon poet, referred to by scholars as the "Beowulf poet".
The poem is set in Scandinavia. Beowulf, a hero of the Geats, comes to the aid of Hrothgar, the king of the Danes, whose mead hall in Heorot has been under attack by a monster known as Grendel. After Beowulf slays him, Grendel's mother attacks the hall and is then also defeated. Victorious, Beowulf goes home to Geatland and later becomes king of the Geats. After a period of fifty years has passed, Beowulf defeats a dragon, but is fatally wounded in the battle. After his death, his attendants cremate his body and erect a tower on a headland in his memory.

Leseprobe

BEOWULF

AN ANGLO-SAXON EPIC POEM

TRANSLATED FROM THE HEYNE-SOCIN TEXT

BY

JNO: LESSLIE HALL, Ph. D. (J.H.U.)

Professor of English and History in The College of William and Mary

D.C. HEATH & CO., PUBLISHERS BOSTON NEW YORK CHICAGO

Edition 2017 by David De Angelis – all rights reserved

TOMy Wife

CONTENTS.

PREFACE.

THE STORY.

ABBREVIATIONS USED IN THE NOTES.

LIST OF WORDS AND PHRASES NOT IN GENERAL USE.

BEOWULF.

I.

THE LIFE AND DEATH OF SCYLD.

II.

SCYLD’S SUCCESSORS.—HROTHGAR’S GREAT MEAD-HALL.

III.

GRENDEL THE MURDERER.

IV.

BEOWULF GOES TO HROTHGAR’S ASSISTANCE.

V.

THE GEATS REACH HEOROT.

VI.

BEOWULF INTRODUCES HIMSELF AT THE PALACE.

VII.

HROTHGAR AND BEOWULF.

VIII.

HROTHGAR AND BEOWULF.—Continued.

IX.

UNFERTH TAUNTS BEOWULF.

X.

BEOWULF SILENCES UNFERTH.—GLEE IS HIGH.

XI.

ALL SLEEP SAVE ONE.

XII.

GRENDEL AND BEOWULF.

XIII.

GRENDEL IS VANQUISHED.

XIV.

REJOICING OF THE DANES.

XV.

HROTHGAR’S GRATITUDE.

XVI.

HROTHGAR LAVISHES GIFTS UPON HIS DELIVERER.

XVII.

BANQUET (continued).—THE SCOP’S SONG OF FINN AND HNÆF.

XVIII.

THE FINN EPISODE (continued).—THE BANQUET CONTINUES.

XIX.

BEOWULF RECEIVES FURTHER HONOR.

XX.

THE MOTHER OF GRENDEL.

XXI.

HROTHGAR’S ACCOUNT OF THE MONSTERS.

XXII.

BEOWULF SEEKS GRENDEL’S MOTHER.

XXIII.

BEOWULF’S FIGHT WITH GRENDEL’S MOTHER.

XXIV.

BEOWULF IS DOUBLE-CONQUEROR.

XXV.

BEOWULF BRINGS HIS TROPHIES.—HROTHGAR’S GRATITUDE.

XXVI.

HROTHGAR MORALIZES.—REST AFTER LABOR.

XXVII.

SORROW AT PARTING.

XXVIII.

THE HOMEWARD JOURNEY.—THE TWO QUEENS.

XXIX.

BEOWULF AND HIGELAC.

XXX.

BEOWULF NARRATES HIS ADVENTURES TO HIGELAC.

XXXI.

GIFT-GIVING IS MUTUAL.

XXXII.

THE HOARD AND THE DRAGON.

XXXIII.

BRAVE THOUGH AGED.—REMINISCENCES.

XXXIV.

BEOWULF SEEKS THE DRAGON.—BEOWULF’S REMINISCENCES.

XXXV.

REMINISCENCES (continued).—BEOWULF’S LAST BATTLE.

XXXVI.

WIGLAF THE TRUSTY.—BEOWULF IS DESERTED BY FRIENDS AND BY SWORD.

XXXVII.

THE FATAL STRUGGLE.—BEOWULF’S LAST MOMENTS.

XXXVIII.

WIGLAF PLUNDERS THE DRAGON’S DEN.—BEOWULF’S DEATH.

XXXIX.

THE DEAD FOES.—WIGLAF’S BITTER TAUNTS.

XL.

THE MESSENGER OF DEATH.

XLI.

THE MESSENGER’S RETROSPECT.

XLII.

WIGLAF’S SAD STORY.—THE HOARD CARRIED OFF.

XLIII.

THE BURNING OF BEOWULF.

PREFACE.

The present work is a modest effort to reproduce approximately, in modern measures, the venerable epic, Beowulf. Approximately, I repeat; for a very close reproduction of Anglo-Saxon verse would, to a large extent, be prose to a modern ear.

The Heyne-Socin text and glossary have been closely followed. Occasionally a deviation has been made, but always for what seemed good and sufficient reason. The translator does not aim to be an editor. Once in a while, however, he has added a conjecture of his own to the emendations quoted from the criticisms of other students of the poem.

This work is addressed to two classes of readers. From both of these alike the translator begs sympathy and co-operation. The Anglo-Saxon scholar he hopes to please by adhering faithfully to the original. The student of English literature he aims to interest by giving him, in modern garb, the most ancient epic of our race. This is a bold and venturesome undertaking; and yet there must be some students of the Teutonic past willing to follow even a daring guide, if they may read in modern phrases of the sorrows of Hrothgar, of the prowess of Beowulf, and of the feelings that stirred the hearts of our forefathers in their primeval homes.

In order to please the larger class of readers, a regular cadence has been used, a measure which, while retaining the essential characteristics of the original, permits the reader to see ahead of him in reading.

Perhaps every Anglo-Saxon scholar has his own theory as to how Beowulf should be translated. Some have given us prose versions of what we believe to be a great poem. Is it any reflection on our honored Kemble and Arnold to say that their translations fail to show a layman that Beowulf is justly called our first epic? Of those translators who have used verse, several have written from what would seem a mistaken point of view. Is it proper, for instance, that the grave and solemn speeches of Beowulf and Hrothgar be put in ballad measures, tripping lightly and airily along? Or, again, is it fitting that the rough martial music of Anglo-Saxon verse be interpreted to us in the smooth measures of modern blank verse? Do we hear what has been beautifully called “the clanging tread of a warrior in mail”?

Of all English translations of Beowulf, that of Professor Garnett alone gives any adequate idea of the chief characteristics of this great Teutonic epic.

The measure used in the present translation is believed to be as near a reproduction of the original as modern English affords. The cadences closely resemble those used by Browning in some of his most striking poems. The four stresses of the Anglo-Saxon verse are retained, and as much thesis and anacrusis is allowed as is consistent with a regular cadence. Alliteration has been used to a large extent; but it was thought that modern ears would hardly tolerate it on every line. End-rhyme has been used occasionally; internal rhyme, sporadically. Both have some warrant in Anglo-Saxon poetry. (For end-rhyme, see 1 53, 1 54; for internal rhyme, 2 21, 6 40.)

What Gummere1 calls the “rime-giver” has been studiously kept; viz., the first accented syllable in the second half-verse always carries the alliteration; and the last accented syllable alliterates only sporadically. Alternate alliteration is occasionally used as in the original. (See 7 61, 8 5.)

No two accented syllables have been brought together, except occasionally after a cæsural pause. (See 2 19 and 12 1.) Or, scientifically speaking, Sievers’s C type has been avoided as not consonant with the plan of translation. Several of his types, however, constantly occur; e.g. A and a variant (/ x | / x) (/ x x | / x); B and a variant (x / | x / ) (x x / | x / ); a variant of D (/ x | / x x); E (/ x x | / ). Anacrusis gives further variety to the types used in the translation.

The parallelisms of the original have been faithfully preserved. (E.g., 1 16 and 1 17: “Lord” and “Wielder of Glory”; 1 30, 1 31, 1 32; 2 12 and 2 13; 2 27 and 2 28; 3 5 and 3 6.) Occasionally, some loss has been sustained; but, on the other hand, a gain has here and there been made.

The effort has been made to give a decided flavor of archaism to the translation. All words not in keeping with the spirit of the poem have been avoided. Again, though many archaic words have been used, there are none, it is believed, which are not found in standard modern poetry.

With these preliminary remarks, it will not be amiss to give an outline of the story of the poem.

THE STORY.

Hrothgar, king of the Danes, or Scyldings, builds a great mead-hall, or palace, in which he hopes to feast his liegemen and to give them presents. The joy of king and retainers is, however, of short duration. Grendel, the monster, is seized with hateful jealousy. He cannot brook the sounds of joyance that reach him down in his fen-dwelling near the hall. Oft and anon he goes to the joyous building, bent on direful mischief. Thane after thane is ruthlessly carried off and devoured, while no one is found strong enough and bold enough to cope with the monster. For twelve years he persecutes Hrothgar and his vassals.

Over sea, a day’s voyage off, Beowulf, of the Geats, nephew of Higelac, king of the Geats, hears of Grendel’s doings and of Hrothgar’s misery. He resolves to crush the fell monster and relieve the aged king. With fourteen chosen companions, he sets sail for Dane-land. Reaching that country, he soon persuades Hrothgar of his ability to help him. The hours that elapse before night are spent in beer-drinking and conversation. When Hrothgar’s bedtime comes he leaves the hall in charge of Beowulf, telling him that never before has he given to another the absolute wardship of his palace. All retire to rest, Beowulf, as it were, sleeping upon his arms.

Grendel comes, the great march-stepper, bearing God’s anger. He seizes and kills one of the sleeping warriors. Then he advances towards Beowulf. A fierce and desperate hand-to-hand struggle ensues. No arms are used, both combatants trusting to strength and hand-grip. Beowulf tears Grendel’s shoulder from its socket, and the monster retreats to his den, howling and yelling with agony and fury. The wound is fatal.

The next morning, at early dawn, warriors in numbers flock to the hall Heorot, to hear the news. Joy is boundless. Glee runs high. Hrothgar and his retainers are lavish of gratitude and of gifts.

Grendel’s mother, however, comes the next night to avenge his death. She is furious and raging. While Beowulf is sleeping in a room somewhat apart from the quarters of the other warriors, she seizes one of Hrothgar’s favorite counsellors, and carries him off and devours him. Beowulf is called. Determined to leave Heorot entirely purified, he arms himself, and goes down to look for the female monster. After traveling through the waters many hours, he meets her near the sea-bottom. She drags him to her den. There he sees Grendel lying dead. After a desperate and almost fatal struggle with the woman, he slays her, and swims upward in triumph, taking with him Grendel’s head.

Joy is renewed at Heorot. Congratulations crowd upon the victor. Hrothgar literally pours treasures into the lap of Beowulf; and it is agreed among the vassals of the king that Beowulf will be their next liegelord.

Beowulf leaves Dane-land. Hrothgar weeps and laments at his departure.

When the hero arrives in his own land, Higelac treats him as a distinguished guest. He is the hero of the hour.

Beowulf subsequently becomes king of his own people, the Geats. After he has been ruling for fifty years, his own neighborhood is wofully harried by a fire-spewing dragon. Beowulf determines to kill him. In the ensuing struggle both Beowulf and the dragon are slain. The grief of the Geats is inexpressible. They determine, however, to leave nothing undone to honor the memory of their lord. A great funeral-pyre is built, and his body is burnt. Then a memorial-barrow is made, visible from a great distance, that sailors afar may be constantly reminded of the prowess of the national hero of Geatland.

The poem closes with a glowing tribute to his bravery, his gentleness, his goodness of heart, and his generosity.

It is the devout desire of this translator to hasten the day when the story of Beowulf shall be as familiar to English-speaking peoples as that of the Iliad. Beowulf is our first great epic. It is an epitomized history of the life of the Teutonic races. It brings vividly before us our forefathers of pre-Alfredian eras, in their love of war, of sea, and of adventure.

My special thanks are due to Professors Francis A. March and James A. Harrison, for advice, sympathy, and assistance.

J.L. HALL.

[1] Handbook of Poetics, page 175, 1st edition.

ABBREVIATIONS USED IN THE NOTES.

BIBLIOGRAPHY OF TRANSLATIONS.

Arnold, Thomas.—Beowulf. A heroic poem of the eighth century. London, 1876. With English translation. Prose.

Botkine, L.—Beowulf. Epopée Anglo-Saxonne. Havre, 1877. First French translation. Passages occasionally omitted.

Conybeare, J.J.—Illustrations of Anglo-Saxon Poetry. London, 1826. Full Latin translation, and some passages translated into English blank-verse.

Ettmuller, L.—Beowulf, stabreimend übersetzt. Zürich, 1840.

Garnett, J.M.—Beowulf: an Anglo-Saxon Poem, and the Fight at Finnsburg. Boston, 1882. An accurate line-for-line translation, using alliteration occasionally, and sometimes assuming a metrical cadence.

Grein, C.W.M.—Dichtungen der Angelsachsen, stabreimend übersetzt. 2 Bde. Göttingen, 1857-59.

Grion, Giusto.—Beovulf, poema epico anglo-sassone del VII. secolo, tradotto e illustrato. Lucca, 1883. First Italian translation.

Grundtvig, N.F.S.—Bjowulfs Drape. Copenhagen, 1820.

Heyne, M.—A translation in iambic measures. Paderborn, 1863.

Kemble, J.M.—The Anglo-Saxon Poems of Beowulf, the Traveller’s Song, and the Battle of Finnsburg. London, 1833. The second edition contains a prose translation of Beowulf.

Leo, H.—Ueber Beowulf. Halle, 1839. Translations of extracts.

Lumsden, H.W.—Beowulf, translated into modern rhymes. London, 1881. Ballad measures. Passages occasionally omitted.