Beowulf: A New Verse Translation (Bilingual Edition)

I’m homeschooling my two youngest kiddos, and part of our reading this year was two sagas: the Volsunga saga and Beowulf. I chose Heaney’s translation of Beowulf because it’s known as easy reading while still keeping the poetic essence. I totally agree. One of my kiddos wrote her paper on what makes a good hero. Some things she pointed out were: they must prove their worth by being courageous, prudent, and giving. They should have “sharp minds” to measure “what’s said and what’s done” (21). They are to uphold their oaths and “boldly fulfill” their boasts (55). The hero has a “habit [of] always and everywhere to be ready for actions, at home or in the camp, in whatever case and at whatever time the need” arises (87). The hero must build a strong reputation, as Beowulf tells us: “Let whoever can win glory before death. When a warrior is gone, that will be his best and only bulwark” (97). Regarding behavior, Beowulf is known to bare “himself with valour, […] behaved with honour and took no advantage; never cut down a comrade who was drunk, kept his temper and, […] watched and controlled his God-sent strength and his outstanding natural powers” (149). My kiddo ended her paper quoting Beowulf as he nears death: “I took what came, cared for and stood by things in my keeping, never fomented quarrels, never swore to lie. All this consoles me, doomed as I am and sickening for death; because of my right ways, the Ruler of mankind need never blame me when the breath leaves my body” (185). My other kiddo wrote her paper on the ritual observances of funerals and Sumbels (formal drinking ceremony). While there are multiple episodes dealing with death, there are only two major funeral rites talked about. The first is in the beginning when Shield is place in his ship with “Far-fetched treasures” being “piled upon him, and precious gear” such as battle tackle and weapons (5). His warriors then push his ship out to sea to “drift to wind and tide” (5). The second major funeral rite happens at the end with Beowulf, who is placed on a funeral pyre with much of the dragon’s hoard. After burning on the pyre, they constructed “a mound on a headland, high and imposing, a marker that sailors could see from far away,” and placed inside “torques in the barrow, and jewels and a trove of such things as trespassing men had once dared to drag from the hoard” (213). As to Sumbel, my kiddo pointed out three episodes in the saga. In the first episode there’s mention of a decorated pitcher where a “bright helping of mead” is served, while the minstrel sang to gladdened those present (35). During the feast, Unferth challenges Beowulf’s previous exploits out of jealousy. After refuting the challenge and shaming Unferth, Hrothgar’s queen entered, saluting the men, before handing the horn to Hrothgar to drink. Afterwards, she offers “the goblet to all ranks” (43). When Beowulf is offered the horn, he makes a “formal boast” to kill Grendel (43). Pleased with the boast, she ends the Sumbel by sitting next to Hrothgar. At the end of another feast, the queen wishes Beowulf a “lifetime [of] luck and blessings to enjoy this treasure” which was given to him for ripping Grendel’s arm off (87). In the final Sumbel, Haereth’s daughter offers “ale to older ranks, in order on the benches” (139). Together, each Sumbel points to certain aspects of the ceremony, such as high-ranking women offer the horn to the warriors by rank on the benches, blessings are spoken, sacred oaths are taken, and poems and stories are shared. In a final mention, Wiglaf remembers a “time when mead was flowing, how we pledged loyalty to our lord in the hall, promised our ring-giver we would be worth our price” and to be there “when his need required it” (179). By remembering his sacred oath, he remains behind with Beowulf to fight the dragon while everyone else ran away. ************ Check out my published books Coming Home to Heathenry Hávamál: Embodying Óðinn’s Wisdom Rune Yoga: Staða & Galdr Rune Correspondences

"Beowulf" is justly regarded as a cornerstone of English literature, but those of us who do not read Anglo-Saxon must approach it through a translation. Certainly there is no shortage of translations; I have at least a dozen sitting on my bookshelf. However, I would eliminate half of them as adequate vehicles for really appreciating this grand poem because they are prose versions. While they may accurately convey the literal sense of the Old English words and provide a readily understood storyline, prose can never adequately render the poetic essence of the original. Verse translation, however, is of necessity an imprecise art; poetry is too tightly bound to the language of its creator for a valid direct transposition to another tongue. Anglo-Saxon verse relied upon strong alliteration and a balance of stressed syllables rather than the use of rhyme and formally patterned meter as in later English poetry. The contemporary translator has a formidable and delicate challenge to transform "Beowulf" into a poem suited for today while remaining loyal to its ancient timbre. Although I greatly admire Ruth P.M. Lehmann's 1988 translation for its steadfast replication of the tone and cadence of the Old English original, there is truth in what another "Alliteration is a key element in Old English metrics ... but long stretches of it in Modern English will stupefy the most ardent reader". At times the beat and alliteration of Lehmann's verse threatens to overwhelm the present-day listener, becoming a deadening drumbeat. Yet, if the translator strays too far from the Anglo-Saxon structure in attempting to create something palatable for present taste, then the result inevitably lacks the bardic flavor at the heart of the poem. Achieving a fitting balance between the vibrant aural core of the original and the requirements of a contemporary reader is a matter of subtle artistry. It may be that Seamus Heaney is an ideal poet to meet that challenge in this era. He has produced here a work which, in its four-beat line and tempered alliteration, keeps faith with its source, yet avoids excessive archaisms which would alienate a Y2K ear. Still, Heaney allows the voice of the past to emerge here and there to keep us fixed in time, resulting in a blend of contemporary language seasoned with ancient echoes. Beowulf the warrior, virtually a caricature of exaggerated, implausible heroism in some translations, is rescued in this new version to stand revealed as someone credibly human. Heaney's translation is eminently readable, but does not sacrifice the poem's true soul. The Farrar, Straus and Giroux edition is a markedly handsome volume, a bilingual presentation with the Anglo-Saxon original and Heaney's translation on facing pages. The US publication was delayed a few months, and I would not be surprised to learn that release was intentionally held until after announcement of the Whitbread Award in the UK. Heaney's "Beowulf" beat the latest "Harry Potter" novel for that prestigious honor by a single vote, proving the adolescent wizard to be as formidable an opponent as a grim monster from a mere. To anybody who has been promising him- or herself to get around to reading this classic poem "one of these days" but has been deterred by vague memories of awkward verse from "Beowulf" may finally be here. Seamus Heaney's translation reads as smoothly as any prose, yet the poetry can always be heard, whispering in your ear.

Earlier this year a new version of Beowulf was published, translated by the Irish Nobel Prize Winner (for 1995) Seamus Heaney. Heaney has spent many years trying to get this translation just right, and I believe he hit the nail on the head in this case. This book presents a different insight into reading Beowulf, adopting a more archaic viewpoint in both language and imagery. Henry does not bother much with fancy words to make the poem seem more fantastic, but sticks to the original terms, translating them as closely as he possibly can. The book is set up so that on the left is the poem in its original Anglo-Saxon or Old English text and on the right is Heaney's translation. For this translation, Heaney had to return to his long misused Irish tongue of Gaelic. He had learned the language when he was a boy, but has since spent more time using English. His main source was his grandmother, who is still fluent in the archaic language. In talking to her, he would hear strange words and terms that simply do not exist in modern English. Heaney would then turn to the original text of Beowulf. There he would notice similarities between these strange expressions uttered by his grandmother and the poem. In one case he found an exact match with the word "Þolian" which means to suffer and his grandmother's expression, "They'll just have to learn to thole"; here the thorn symbol Þ is pronounced with a "th" sound. Heaney considered these unique insights "loopholes" through which he was able to translate this magnificent piece of literature. It remains unknown as to when Beowulf was written and by whom. Quite likely a monk wrote it, since monks were really the only people of the time who were able to write; also the poem was written by a Christian, since there are numerous points throughout the codex where the "Almighty" and "God" are thanked and respected. The poem was composed first orally some time during the middle of the seventh century, and then written down in the eleventh century. It is a tale about a great hero of the Geats know as Beowulf, who travels to Denmark, where the king, Hrothgar, is being attacked by a monster in the night known as Grendel. Beowulf fights with the beat and rips off its arm, whereupon the creature flees into the darkness from whence it came. The next night, Grendel's mother comes to avenger her son; she takes a life and flees back to her lair beneath the mere (a lake). Beowulf pursues, tracks her down and with a magic sword decapitates her. After being greatly rewarded by Hrothgar, Beowulf and his army return to their homeland in the south of Sweden. There, after years of attacks by enemies, he inherits the throne and rules for fifty years. In his fiftieth year, a dragon is disturbed from its lair, where it has been guarding a mound of ancient treasure, left by a long-dead warrior. Beowulf confronts the dragon but is gravely injured. Wiglaf, one of his soldiers, comes to his rescue and stabs the dragon in the stomach, killing its ability to make fire. Beowulf draws his dagger and stabs the dragon a lethal blow. But Beowulf has been poisoned by the dragon's bite and dies shortly after. A great funeral pyre is built and set ablaze, while his many followers watch. His cremated remains are added to a special mound that is created on a hilltop overlooking the sea, where any ship passing will see the mound and know that Beowulf lies beneath. Thus, the poem ends with the forever-lasting memory of a great hero. Heaney's new twist on this translation of Beowulf is through using the most exact word possible; the result are terms like "ring-hoard," "lake-birth," "shield-clash," and "sky-roamer." What makes this so magical is how the words fit so well, and flow like the soft voice that once spoke them. These specific terms help to create an image in the reader's mind of just what the original composer was intending: a story of gallantry, gold, fighting, Christianity, and the triumph of good over evil. As one begins reading, one can not help but be caught up in the thrashing current that pulls you along with the weight of the past, taking you step-by-step along Beowulf's paths, his wins, and his eventual loss. And at the poem's climax and conclusion one is left with a deep-set feeling of remorse for this might warrior, Beowulf, who most likely never existed, or at least has not existed for over a thousand years. For more book reviews, and other writings, go to [...]

Seamus Heaney's translation of *Beowulf* has much to recommend it, and it is certainly to be applauded for renewing popular interest in this amazing masterpiece of Anglo-Saxon poetry. Heaney's vigorous poetic style and his uncompromising ear for the right word makes him a natural translator of the gritty Old English. And the facing page Old English language helps to keep him honest, which I think he would have been anyway. As a part-time professor at Harvard, he has access to the best scholars in the field, and he is a scrupulous and modest enough writer to make use of them. W. W. Norton's decision to commission him as the new translator of the poem for their anthologies (replacing E. T. Donaldson) was in many ways inspired. And since it produced this contribution to Beowulf studies, one can only be grateful both to Heaney and his publisher. The translation does have some problems, though, of which readers should be beware. First, Heaney frankly admits his Celtic colonialist designs on the poem. Given the opportunity (and he takes a few) he will insert an Irish word in favor of the Anglo-Saxon cognate. He does this, not in the interest of accuracy to his source poem, but to make a political point; however understated his tactics, the maneuver betrays a certain scholarly irresponsibility. Even if you share his Irish bias, understand that this is in fact an abrogration of his historical responsibility to represent the poem as he found it. This irresponsibility is also in evidence at the many unsolvable cruxes of the poem. Heaney wants to make a poem that readers can appreciate without footnotes; more power to him. But his desire to make this scrumptious enigmatic potpourri of a poem into a lean straightforward narrative often leads him to strip those moments of all their glorious ambiguity. The reader wishing to sample *Beowulf* in all its cryptic roughness would do better to use Howell Chickering's translation, also in paperback and with a very engaging commentary at the back that opens up all the tantalizing questions of the poem to the inquiring reader. Heaney's translation of Beowulf is an instance of the general practice of celebrity poets reinterpreting classical works for modern audiences. Often such poets do not have the linguistic competence of scholars working in the field, and yet their translations tend to supplant the more reliable standard works of those who really know the languages in question. These new poet-translators work in a venerable tradition; Alexander Pope, after all, altered Homer profoundly when he "modernized" him in the 18th century. On the one hand, celebrity translations perform important cultural work -- they literally create new audiences for wonderful old poems, like *Beowulf*. On the other hand, their existence undermines the painstaking work of scholars who spend their lives trying to get as close as possible to old texts in more accurate translations, which, while they may sometimes seem a bit creaky, are nonetheless truer to the past.

Like most people, I first had Beowulf shoved in my face, for better or worse, in high school. At the time I HATED it. Beowulf came off as a completely unlikeable god character who's ego was not only stroked by himself at EVERY opportunity, but (excluding Unferth) also by everyone he met! Maybe I hated it because my typical young, angst-ridden high school mind was just attracted to more vulnerable characters (see Ender's Game). Maybe I had been reading some other translation, dumbed down for American public school students. Maybe it was my British Literature teacher's droning apathy whenever she spoke about it. I don't know. What I do know: Something made me give Beowulf a second chance. I didn't research the different translations, hell, I think the first time I saw Seamus' name was when I first looked at the spine. I just happened to get lucky. The night it hit my doorstep I picked it up and read it in one sitting. Make no mistake, it was a pretty long sitting. I finally saw what everyone was always ranting and raving about, THE STORY IS FANTASTIC. The translation is beautiful, the characters moved me, and I fell in love with Beowulf. I even fell in love with UNFERTH. I also have no recollection, from my high school read, and was quite surprised of the Christianity that sneaks in throughout. There's all sorts of little "one true god" type quips that you might totally miss if you aren't paying attention. What really hit me was the whole warrior culture and how gifts and riches are bestowed at the drop of a hat. Even when, for example, Hrothgar is giving out prizes you've never even seen or heard of before, the weight of the bounty remains intact. You find yourself grinning at the abundance of shiny things and don't even care to know why Beowulf needs nineteen different wardresses. Also Beowulf has one of the best endings I've witnessed in any story. All around I was delighted, and more than happy with my decision to give it another shot. The Introduction is also surprisingly useful and interesting, but a word to the wise, when you come across the words "ABOUT THIS TRANSLATION," seriously just stop. Stop reading, I assure you, its just 9 pages of boring crap you will NEVER care about. The only little nugget of somewhat worthwhile information that is offered here is how he made his choice to open the poem with the word "so" instead of "hark." Seriously that's it, you're welcome. Five stars all around I'd recommend this book to anyone. Also I had no idea the Old English text was included alongside the translated. This is little more than novelty to me but its still pretty cool. ...Although it does kind of piss me off, knowing I could have bought the same book at half the size and price.

*Spoilers* What I loved instantly about Beowulf was its length. At only 100 or so pages of actual English and not the Old English that is written in its original form on the side, it seemed the least daunting of the famous epic poems to tackle. And adding to that length the content was deep, yet very easily understood from an initial reading thanks to the translation’s elegant prose, making the read not only short in length but quick in absorption. Instantly I enjoyed the poetic writing of Heaney which made the tale feel ancient as it is, but also fresh and urging to be explored. Knowing very little about Beowulf initially the plot did somewhat surprise me in its simplicity. Beowulf is a great man whose honor and strength reign supreme to all that live on earth, and throughout this story he proves himself twice against horrifying monsters, then grows old and dies defeating his final foe, ultimately leaving his people, the Geats, without a leader and doomed for war. Although the somewhat simple plot, the underlying message of Beowulf very much resonated in me. First off the value of honor is on full display here, but what the poet seemed to comment on foremost was the eye for an eye system that ruled over the lands in which the poem takes place. The text is littered with stories that seemingly have no relevance when first seen, such as how an arranged marriage with likely end in the death of a wife, but serve to stand for the overall theme of the book, this sense of predestined fate and helplessness to it. This is seen clearly in Beowulf’s death how every Geat is in fear that their king is dead, his presence the only thing keeping them from being invaded for all of these years is gone and now an unknown fate awaits them. At this ending the whole purpose of Beowulf’s importance is in question. Even despite his other worldly deeds at his death his people are week and will likely be defeated in war to a cycle of bloodshed that will never know a true victor. But Beowulf understands his mortality as told to him by the old king Hrothgar, that gold means nothing to an old man on his deathbed and not to think one’s self invincible. And what makes Beowulf a supreme character is that he takes this advice to heart and is the epitome of honor and the savior of his people. He is constantly aware that a higher power is determining whether he succeeds or fails, and is even able to sense his death, and while sad it seems like the proper end for such a warrior. Beowulf becomes almost a perfect figure with perhaps the only back draw his quest for glory, though it seems just the way of the times. There is no need to change up the tale to include elements that the 2007 Hollywood movie did. They only serve to cheapen the character of Beowulf, and thus diminish the entire theme and values of this poem. Overall Beowulf was quick and enjoyable, without many negatives to find, and I enjoyed it more than I thought I would, and is something I see myself reading again.

"And a young prince must be prudent like that, giving freely while his father lives so that afterwards in age when fighting starts steadfast companions stand by him and hold the line. Behavior that's admired is the path to power among people everywhere." (p 4-5) So. In this rendering of "Beowulf," scholar and poet Seamus Heaney follows the Beowulf poet/scope/bard immediately to the heart of the matter: the nature of good kingship in the Scandinavian world of about 500 AD---or perhaps earlier, since the poet composing in Anglo Saxon at that time may have been weaving together & embellishing still earlier stories, as did Ovid in "Metamorphosis" or Homer in "The Iliad." Heaney's "Beowulf" could stand alone as a magnificent poem: magnificent in metre, in word choice, and depiction of a good warrior, prince, king, and man. When young, Beowulf's courage was undaunted as he sailed from what is now lower Sweden to the Danish lands, to rid old Hrothgar's hall from the attacks of the fen-land dweller, Grendel, and the bitter revenge of Grendel's mother. There he gains fame and learns about humility and kingship, loyalty and treachery. As a man, he rules the Geats bravely, wisely, generously for many years. And, perhaps most noble in his own winter-age, Beowulf endures the disintegration of his kingdom as younger men forget the values of steadfast comradeship, courage, generousity. With only one still loyal man, Beowulf enters the cavern of the wyrm who is laying waste the land and its peoples. Too late, the Geat people, saved from the dragon, realize what they have lost: "A Geat woman too sang out in grief; with hair bound up, she unburdened herself of her worst fears, a wild litany of nightmare and lament; her nation invaded, enemies on the rampage; bodies in piles; slavery and abasement..." The Anglo-Saxon & English are given on facing pages. It can be worth the effort to learn Anglo-Saxon pronunciation. Even if grammar, syntax, vocabulary and fluency are beyond many of us, we can still hear such music as the last two lines of Beowulf: manna mildust ond mon-(th)waerust leodum li(th)ost ond lof-geonost "..he was the man most gracious and fair-minded, kindest to his people and keenest to win fame." Most highly recommended. The translation seems true to the music and steel of the original. And it is poetry.

The book is perfect - my daughter liked reading this required book.

Por estudios

Love the detail it has in the front.

Seamus Heaney's Beowulf is a wonderful rewriting of the ancient Anglo-Saxon epic that gives fresh life to one of the most critical compositions of medieval literature. The publication in 2000 pulled off the feat of Heaney's version by rendering the translation both scholar-lively and profoundly poetical, catching the crude vigor of the original without turning the text incomprehensible to modern readers. Heaney brings a peculiarly Irish sensibility to this translation, giving the Old English text a lyricism that is reminiscent of the rhythms of his own poetry. His language is muscular and vivid, perfectly suited to the heroic narrative of Beowulf's battles against monstrous adversaries. The translation strikes a remarkable balance between archaic language and contemporary readability, allowing readers to feel the epic's ancient weight while understanding its nuanced emotions. It is the translation by Seamus Heaney of the heroic narrative in three major battles: Beowulf's battle with the monster Grendel, the fight with Grendel's mother, and his last battle with a monstrous dragon. Heaney gives words to the heroism, pride, and subtlety of the text-the powerful and poignant narrative voicing courage, death, and the transience of man's work. What makes Heaney's version unique is how he manages to render the original alliterative verse authentically and immediately. He keeps the poem's original sonic qualities while making the language sing in modern English. The facing-page Old English text is an added treat for those interested in the original linguistic landscape. This translation is more than a work of scholarship; it's alive, breathing, and speaking both to the original and directly to today's reader. Heaney has created a definitive version of Beowulf that is at once a rigorous translation and a profound work of poetic art.

Beowulf is a major piece of literature in and of itself. Its place in English culture and importance as a work of early English is indisputable. Coming on to his edition, the praises only continue. Its translated by Nobel laureate Seamus Heaney. This is one of the most read versions of the epic and it is clear why. Somehow Heaney accomplishes to anchor Beowulf in contemporary English and keeps it comprehensible for the modern reader while also retaining its grandeur as an epic at the same time. Probably why he has a Nobel and I don't.

Great book. Sensational author and his translation!