He discusses the idea that Beowulf is an “escape” from the cultural and political history that surrounds the poem-one in which English is the language of the oppressors and Irish is the language of the oppressed. (2) Murphy goes on to assert that Heaney is a qualified translator as someone who, like the Beowulf poet, lived in England and wrote stories in Anglo-Saxon using German myths for context.
Murphy then goes into great detail praising Heaney’s linguistic style in specific areas of the poem. He marvels at how impressive Heaney’s work is at maintaining the “alliterative music” of the original Beowulf poem while at the same time preserving an accurate and specific translation. (2) Murphy points out specific instances of Heaney’s skill in working flexibly with difficult words and employing appropriate and effective translations of maritime language.
However, Murphy then takes the opportunity to acknowledge certain instances of weakness in Heaney’s translation when he was being vague and inconsistent. He also points out instances when Heaney is “over-ingenious” in his translation and detracts from the original meaning. (4)
Murphy transitions back into praising Heaney, commending him for the way he presents dialogue that reveals