Engl 1800 Beowulf.Pdf

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Seamus Heaney
on Beowulf and his verse translation

               And now this is ‘an inheritance’ – Upright, rudimentary, unshiftably planked
In the long ago, yet willable forward
Again and again and again.
 
1  BEOWULF: THE POEM
The poem called Beowulf was composed some time between the middle of the seventh and the end of the tenth century of the first millennium, in the language that is today called Anglo-Saxon or Old English. It is a heroic narrative, more than three thousand lines long, concerning the deeds of a Scandinavian prince, also called Beowulf, and it stands as one of the foundation works of poetry in English. The fact that the English language has changed so much in the last thousand years means, however, that the poem is now generally read in translation and mostly in English courses at schools and universities. This has contributed to the impression that is was written (as Osip Madelstam said of The Divine Comedy) ‘on official paper’, which is unfortunate, since what we are dealing with is a work of the greatest imaginative vitality, a masterpiece where the structuring of the tale is as elaborate as the beautiful contrivances of its language. Its narrative elements may belong to a previous age but as a work of art it lives in its own continuous present, equal to our knowledge of reality in the present time. The poem was written in England but the events it describes are set in Scandinavia, in a ‘once upon a time’ that is partly historical. Its hero, Beowulf, is the biggest presence among the warriors in the land of the Geats, a territory situated in what is now southern Sweden, and early in the poem Beowulf crosses the sea to the land of the Danes in order to rid their country of a man-eating monster called Grendel. From this expedition (which involves him in a second contest with Grendel’s mother) he returns in triumph and eventually rules for fifty years as king of his homeland. Then a dragon begins to terrorize the countryside and Beowulf must confront it. In a final climatic encounter, he does manage to slay the dragon, but he also meets his own death and enters the legends of his people as a warrior of high renown. We know about the poem more or less by chance, because it exists in one manuscript only. The unique copy (now in the British Library) barely survived a fire in the eighteenth century and was then transcribed and titled, retranscribed and edited, translated and adapted, interpreted and taught, until it has become an acknowledged classic. For decades it has been a set book on English syllabuses at university level all over the world. The fact that many English departments require it to be studied in the original continues to generate resistance, most notably at Oxford University, where the pros and cons of the inclusion of part of it as a compulsory element in the English course have been debated regularly in recent years. For generations of undergraduates, academic study of the poem was often just a matter of construing the meaning, getting a grip on the grammar and vocabulary of Anglo-Saxon, and being able to recognize, translate and comment upon random extracts that were presented in the examinations. For generations of scholars too the interest had been textual and philological; then there developed a body of research into analogues and sources, a quest for stories and episodes in the folklore and legends of the Nordic peoples that would parallel or foreshadow episodes in Beowulf. Scholars were also preoccupied with fixing the exact time and place of the poem’s composition, paying minute attention to linguistic, stylistic and scribal details. More generally, they tried to establish the history and genealogy of the dynasties of Swedes, Geats and Deanes to which the poet makes constant allusion; and they devoted themselves to a consideration of the world-view behind the poem, asking to what extent (if at all) the newly established Christian religion, which...
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