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+Project Gutenberg's The Translations of Beowulf, by Chauncey Brewster Tinker
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Translations of Beowulf
+       A Critical Biography
+
+Author: Chauncey Brewster Tinker
+
+Release Date: July 1, 2008 [EBook #25942]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE TRANSLATIONS OF BEOWULF ***
+
+
+
+
+Produced by Louise Hope, David Starner and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+[Transcriber’s Note:
+
+This e-text includes characters that will only display in UTF-8
+(Unicode) text readers:
+
+  œ  (“oe” ligature)
+  ā ē ī ō ū ȳ ǣ  (vowels with macron or “long” mark)
+  ǽ  (æ with accent)
+  ȝ  (yogh)
+  þ̷ þ̸ (thorn with line, typically abbreviating “that”)
+
+Most of these letters are rare and occur only in the quotations from
+Old English. If any of them do not display properly--in particular,
+if the diacritic does not appear directly above the letter--or if the
+apostrophes and quotation marks in this paragraph appear as garbage,
+make sure your text reader’s “character set” or “file encoding” is set
+to Unicode (UTF-8). You may also need to change the default font.
+
+Book sizes such as 8^o (printed with superscript “o”) have been changed
+to 4to, 8vo, 12mo.
+
+In a few selections, italics were used to indicate missing words or
+letters. These have been shown with {braces}. Elsewhere, italics are
+shown conventionally with _lines_. Asterisks before book titles are in
+the original.
+
+Internal cross-references are almost always expressed as “see supra” or
+“see infra” with page number. In an e-text this may be interpreted as
+“scroll up” and “scroll down”, respectively. When a footnote does not
+include a translator’s name, it has been added in [[double brackets]].
+
+The Tinker translation (final chapter in the main text) is the author’s
+own.]
+
+
+
+
+  YALE STUDIES IN ENGLISH
+
+  ALBERT S. COOK, Editor
+
+
+  XVI
+
+  THE TRANSLATIONS OF BEOWULF
+
+  A CRITICAL BIBLIOGRAPHY
+
+
+  by
+
+  CHAUNCEY B. TINKER
+
+  A Portion of a Thesis Presented to the Philosophical
+  Faculty of Yale University in Candidacy for
+  the Degree of Doctor of Philosophy
+
+
+
+
+  Originally Published 1903
+
+
+
+
+PREFACE
+
+
+The following pages are designed to give a historical and critical
+account of all that has been done in the way of translating _Beowulf_
+from the earliest attempts of Sharon Turner in 1805 down to the present
+time. As a corollary to this, it presents a history of the text of the
+poem to the time of the publication of Grein’s _Bibliothek der
+angelsächsischen Poesie_ in 1859; for until the publication of this work
+every editor of the poem was also its translator.
+
+It is hoped that the essay may prove useful as a contribution to
+bibliography, and serve as a convenient reference book for those in
+search of information regarding the value of texts and translations of
+_Beowulf_.
+
+The method of treating the various books is, in general, the same.
+I have tried to give in each case an accurate bibliographical
+description of the volume, a notion of the value of the text used in
+making it, &c. But the emphasis given to these topics has necessarily
+varied from time to time. In discussing literal translations, for
+example, much attention has been paid to the value of the text, while
+little or nothing is said of the value of the rendering as literature.
+On the other hand, in the case of a book which is literary in aim, the
+attention paid to the critical value of the book is comparatively small.
+At certain periods in the history of the poem, the chief value of a
+translation is its utility as a part of the critical apparatus for the
+interpretation of the poem; at other periods, a translation lays claim
+to our attention chiefly as imparting the literary features of the
+original.
+
+In speaking of the translations which we may call literary, I have
+naturally paid most attention to the English versions, and this for
+several reasons. In the first place, _Beowulf_ is an _English_ poem;
+secondly, the number, variety, and importance of the English
+translations warrant this emphasis; thirdly, the present writer is
+unable to discuss in detail the literary and metrical value of
+translations in foreign tongues. The account given of German, Dutch,
+Danish, Swedish, French, and Italian versions is, therefore, of a more
+strictly bibliographical nature; but, whenever possible, some notion has
+been given of the general critical opinion with regard to them.
+
+An asterisk is placed before the titles of books which the present
+writer has not seen.
+
+My thanks are due to the officials of the Library of Yale University,
+who secured for me many of the volumes here described; to Professor
+Ewald Flügel of Leland Stanford Junior University, who kindly lent me
+certain transcripts made for him at the British Museum; and to Mr.
+Edward Thorstenberg, Instructor in Swedish at Yale University, for help
+in reading the Danish and Swedish translations.
+
+_July, 1902._
+
+
+
+
+TABLE OF CONTENTS
+
+                                                    PAGE
+  Preliminary Remarks on the Beowulf Manuscript        7
+  Sharon Turner’s Extracts                             9
+  Thorkelin’s Edition                                 15
+  Grundtvig’s Translation                             22
+  Conybeare’s Extracts                                28
+  Kemble’s Edition                                    33
+  Ettmüller’s Translation                             37
+  Schaldemose’s Translation                           41
+  Wackerbarth’s Translation                           45
+  Thorpe’s Edition                                    49
+  Grein’s Translation                                 55
+  Simrock’s Translation                               59
+  Heyne’s Translation                                 63
+  Von Wolzogen’s Translation                          68
+  Arnold’s Edition                                    71
+  Botkine’s Translation                               75
+  Lumsden’s Translation                               79
+  Garnett’s Translation                               83
+  Grion’s Translation                                 87
+  Wickberg’s Translation                              90
+  Earle’s Translation                                 91
+  J. L. Hall’s Translation                            95
+  Hoffmann’s Translation                              99
+  Morris and Wyatt’s Translation                     104
+  Simons’s Translation                               109
+  Steineck’s Translation                             112
+  J. R. Clark Hall’s Translation                     114
+  Tinker’s Translation                               118
+
+
+APPENDIX I
+
+  INCOMPLETE TRANSLATIONS, AND PARAPHRASES
+
+                                                    PAGE
+  Leo’s Digest                                       121
+  Sandras’s Account                                  123
+  E. H. Jones’s Paraphrase                           123
+  Zinsser’s Selection                                126
+  Gibb’s Paraphrase                                  128
+  Wägner and Macdowall’s Paraphrase                  130
+  Therese Dahn’s Paraphrase                          132
+  Stopford Brooke’s Selections                       135
+  Miss Ragozin’s Paraphrase                          138
+  A. J. Church’s Paraphrase                          141
+  Miss Thomson’s Paraphrase                          143
+
+
+APPENDIX II
+
+  A BIBLIOGRAPHY OF WORKS WHICH TRANSLATE
+    SELECTIONS FROM ‘BEOWULF’ INTO ENGLISH           146
+
+
+APPENDIX III
+
+  TWO WORKS NAMED ‘BEOWULF’
+
+    I. Manno’s Romance                               148
+    II. S. H. Church’s Poem                          148
+
+
+INDEX OF TRANSLATORS                                 149
+
+
+
+
+THE TRANSLATIONS OF BEOWULF
+
+
+
+
+PRELIMINARY REMARKS ON THE BEOWULF MANUSCRIPT
+
+
+The unique manuscript of the _Beowulf_ is preserved in the Cottonian
+Library of the British Museum. It is contained in the folio designated
+Cotton Vitellius A. xv, where it occurs ninth in order, filling the
+folios numbered 129a to 198b, inclusive.
+
+The first recorded notice of the MS. is to be found in Wanley’s Catalog
+of Anglo-Saxon Manuscripts (Oxford, 1705), Volume III of Hickes’s
+_Thesaurus_. The poem is thus described:--
+
+  ‘Tractatus nobilissimus Poeticè scriptus. Præfationis hoc est
+  initium.’
+
+The first nineteen lines follow, transcribed with a few errors.
+
+  ‘Initium autem primi Capitis sic se habet.’
+
+Lines 53-73, transcribed with a few errors.
+
+  ‘In hoc libro, qui Poeseos Anglo-Saxonicæ egregium est exemplum,
+  descripta videntur bella quæ Beowulfus quidam Danus, ex Regio
+  Scyldingorum stirpe Ortus, gessit contra Sueciæ Regulos.’ Page
+  218, col. b, and 219, col. a.
+
+No further notice was taken of the MS. until 1786, when Thorkelin[1]
+made two transcripts of it.
+
+In 1731 there occurred a disastrous fire which destroyed a number of the
+Cottonian MSS. The Beowulf MS. suffered at this time, its edges being
+scorched and its pages shriveled. As a result, the edges have chipped
+away, and some of the readings have been lost. It does not appear,
+however, that these losses are of so great importance as the remarks of
+some prominent Old English scholars might lead us to suspect. Their
+remarks give the impression that the injury which the MS. received in
+the fire accounts for practically all of the illegible lines. That this
+is not so may be seen by comparing the Wanley transcript with the
+Zupitza _Autotypes_. Writing in 1705, before the Cotton fire, Wanley
+found two illegible words at line 15--illegible because of fading and
+rubbing. Of exactly the same nature appear to be the injuries at lines
+2220 ff., the celebrated passage which is nearly, if not quite,
+unintelligible. It would therefore be a safe assumption that such
+injuries as these happened to the MS. before it became a part of the
+volume, Vitellius A. xv. The injuries due to scorching and burning are
+seldom of the first importance.
+
+This point is worth noting. Each succeeding scholar who transcribed the
+MS., eager to recommend his work, dwelt upon the rapid deterioration of
+the parchment, and the reliability of his own readings as exact
+reproductions of what he himself had seen in the MS. before it reached
+its present ruinous state. The result of this was that the emendations
+of the editor were sometimes accepted by scholars and translators as the
+authoritative readings of the MS., when in reality they were nothing but
+gratuitous additions. This is especially true of Thorpe[2], and the
+false readings which he introduced were never got rid of until the
+Zupitza _Autotypes_ brought to light the sins of the various editors of
+the poem. These statements regarding text and MS. will be developed in
+the following sections of the paper[3].
+
+    [Footnote 1: See infra, p. 16.]  [[Thorkelin]]
+
+    [Footnote 2: See infra, p. 49.]  [[Thorpe]]
+
+    [Footnote 3: See infra on Thorkelin, p. 19; Conybeare, p. 29;
+    Kemble, p. 34; Thorpe, p. 51; Arnold, p. 72.]
+
+
+
+
+SHARON TURNER’S EXTRACTS
+
+
+The History of the Manners, Landed Property, Government, Laws, Poetry,
+Literature, Religion, and Language of the Anglo-Saxons. By Sharon
+Turner, F.A.S. London: Longman, Hurst, Rees, & Orme, 1805.
+
+Being Volume IV of the History of the Anglo-Saxons from their earliest
+appearance above the Elbe, etc. London, 1799-1805. 8vo, pp. 398-408.
+
+Second Edition, corrected and enlarged. London: Longman, Hurst, Rees,
+& Orme, 1807. 2 vols., 4to. _Beowulf_ described, Vol. II, pp. 294-303.
+
+Third Edition. London, 1820.
+
+Fourth Edition. London, 1823.
+
+Fifth Edition. (1827?)
+
+Sixth Edition. London, 1836.
+
+Seventh Edition. London, 1852.
+
+Reprints: Paris, 1840; Philadelphia, 1841.
+
+Translation of Extracts from the first two Parts.
+
+
+_Points of Difference between the Various Editions._
+
+A part of this may be stated in the words of the author:--
+
+  ‘The poem had remained untouched and unnoticed both here and
+  abroad until I observed its curious contents, and in 1805
+  announced it to the public. I could then give it only a hasty
+  perusal, and from the MS. having a leaf interposed near its
+  commencement, which belonged to a subsequent part, and from the
+  peculiar obscurity which sometimes attends the Saxon poetry, I did
+  not at that time sufficiently comprehend it, and had not leisure
+  to apply a closer attention. But in the year 1818 I took it up
+  again, as I was preparing my third edition, and then made that
+  more correct analysis which was inserted in that and the
+  subsequent editions, and which is also exhibited in the present.’
+  --Sixth edition, p. 293, footnote.
+
+The statement that the poem had remained untouched and unnoticed is not
+strictly true. The public had not yet received any detailed information
+regarding it; but Wanley[1] had mentioned the _Beowulf_ in his catalog,
+and Thorkelin had already made two transcripts of the poem, and was at
+work upon an edition. Turner, however, deserves full credit for first
+calling the attention of the English people to the importance of the
+poem.
+
+In the third edition, of which the author speaks, many improvements were
+introduced into the digest of the story and some improvements into the
+text of the translations. Many of these were gleaned from the _editio
+princeps_ of Thorkelin[2]. The story is now told with a fair degree of
+accuracy, although many serious errors remain: e.g. the author did not
+distinguish the correct interpretation of the swimming-match, an extract
+of which is given below. The translations are about as faulty as ever,
+as may be seen by comparing the two extracts. In the first edition only
+the first part of the poem is treated; in the third, selections from the
+second part are added.
+
+No further changes were made in later editions of the History.
+
+Detailed information regarding differences between the first three
+editions may be found below.
+
+
+_Turner, and his Knowledge of Old English._
+
+Sharon Turner (1768-1847) was from early youth devoted to the study of
+Anglo-Saxon history, literature, and antiquities. His knowledge was
+largely derived from the examination of original documents in the
+British Museum[3]. But the very wealth of the new material which he
+found for the study of the literature kept him from making a thorough
+study of it. It is to be remembered that at this time but little was
+known of the peculiar nature of the Old English poetry. Turner gives
+fair discussions of the works of Bede and Ælfric, but he knows
+practically nothing of the poetry. With the so-called _Paraphrase_ of
+Cædmon he is, of course, familiar; but his knowledge of _Beowulf_ and
+_Judith_ is derived from the unique, and at that time (1805)
+unpublished, MS., Cotton Vitellius A. xv. Of the contents of the Exeter
+Book he knew nothing. The Vercelli Book had not yet been discovered. The
+materials at hand for his study were a faulty edition of Cædmon and an
+insufficient dictionary. The author, whose interest was of course
+primarily in history, was not familiar with the linguistic work of the
+day. It is, therefore, not surprising that his work was not of the best
+quality.
+
+
+_Lines in the Poem Translated by Turner._
+
+First edition: 18-40; 47-83a; 199b-279; 320-324; 333-336; 499-517a. In
+the second edition are added: 1-17; 41-46; 83b-114; 189-199a; 387-497;
+522-528. In the third edition are added: 529-531; 535-558; 607-646;
+671-674; 720-738; 991-996; 1013-1042; 1060b-1068a; 1159b-1165a;
+1168b-1180a; 1215b-1226a; 1240b-1246a; and a few other detached lines.
+
+
+_Turner’s Account of Beowulf in the First Edition of his History._
+
+  ‘The most interesting remains of the Anglo-Saxon poetry which time
+  has suffered to reach us, are contained in the Anglo-Saxon poem in
+  the Cotton Library, Vitellius A. 15. Wanley mentions it as a poem
+  in which “seem to be described the wars which one Beowulf, a Dane
+  of the royal race of the Scyldingi, waged against the reguli of
+  Sweden[4].” But this account of the contents of the MS. is
+  incorrect. It is a composition more curious and important. It is a
+  narration of the attempt of Beowulf to wreck the fæthe or deadly
+  feud on Hrothgar, for a homicide which he had committed. It may be
+  called an Anglo-Saxon epic poem. It abounds with speeches which
+  Beowulf and Hrothgar and their partisans make to each other, with
+  much occasional description and sentiment.’ --Book vi, chap. iv,
+  pp. 398 ff.
+
+
+_The Story of the Poem as Interpreted by Turner._
+
+[Dots indicate the position of the quotations.]
+
+‘It begins with a proemium, which introduces its hero Beowulf to our
+notice.... The poet then states the embarkation of Beowulf and his
+partisans....’ Turner interprets the prolog as the description of the
+embarkation of Beowulf on a piratical expedition. The accession of
+Hrothgar to the throne of the Danes is then described, and the account
+of his ‘homicide’ is given. This remarkable mistake was caused by the
+transposition of a sheet from a later part of the poem--the fight with
+Grendel--to the first section of the poem. The sailing of Beowulf and
+the arrival in the Danish land are then given. Turner continues: ‘The
+sixth section exhibits Hrothgar’s conversation with his nobles, and
+Beowulf’s introduction and address to him. The seventh section opens
+with Hrothgar’s answer to him, who endeavours to explain the
+circumstance of the provocation. In the eighth section a new speaker
+appears, who is introduced, as almost all the personages in the poem are
+mentioned, with some account of his parentage and character.’ Then
+follows the extract given below:
+
+  Hunferth spoke
+  The son of Ecglafe;
+  Who had sat at the foot
+  Of the lord of the Scyldingi
+  Among the band of the battle mystery.
+  To go in the path of Beowulf
+  Was to him a great pride;
+  He was zealous
+  That to him it should be granted
+  That no other man
+      Was esteemed greater in the world
+  Under the heavens than himself.
+    ‘Art thou Beowulf
+  He that with such profit
+  Dwells in the expansive sea,
+  Amid the contests of the ocean?
+  There yet[5] for riches go!
+  You try for deceitful glory
+  In deep waters[6].--
+  Nor can any man,
+  Whether dear or odious,
+  Restrain you from the sorrowful path--
+  There yet[7] with eye-streams
+  To the miserable you[8] flourish:
+  You meet in the sea-street;
+  You oppress with your hands;
+  [9]You glide over the ocean’s waves;
+  The fury of winter rages,
+  Yet on the watery domain
+  Seven nights have ye toiled.’
+
+After this extract, Turner continues:-- ‘It would occupy too much room
+in the present volume to give a further account of this interesting
+poem, which well deserves to be submitted to the public, with a
+translation and with ample notes. There are forty-two sections of it in
+the Cotton MS., and it ends there imperfectly. It is perhaps the oldest
+poem of an epic form in the vernacular language of Europe which now
+exists.’
+
+In the second edition the following lines were added:--
+
+‘After Hunferthe, another character is introduced:
+
+  Dear to his people,
+  of the land of the Brondingi;
+  the Lord of fair cities,
+  where he had people,
+  barks, and bracelets,
+  Ealwith, the son of Beandane,
+  the faithful companion
+  menaced.
+    “Then I think
+  worse things will be to thee,
+  thou noble one!
+  Every where the rush
+  of grim battle will be made.
+  If thou darest the grendles,
+  the time of a long night
+  will be near to thee.”’
+
+
+_Third Edition._
+
+‘Hunferth, “the son of Ecglaf, who sat at the feet of the lord of the
+Scyldingi.” He is described as jealous of Beowulf’s reputation, and as
+refusing to any man more celebrity than himself. He is represented as
+taunting Beowulf on his exploits as a sea-king or vikingr.
+
+    “Art thou Beowulf,
+  he that with such profit
+  labours on the wide sea,
+  amid the contests of the ocean?
+  There you for riches,
+  and for deceitful glory,
+  explore its bays
+  in the deep waters,
+  till you sleep with your elders.
+  Nor can any man restrain you,
+  whether dear or odious to you,
+  from this sorrowful path.
+  There you rush on the wave;
+  there on the water streams:
+  from the miserable you flourish.
+  You place yourselves in the sea-street;
+  you oppress with your hands;
+  you glide over the ocean
+  through the waves of its seas.
+  The fury of the winter rages,
+  yet on the watery domain
+  seven nights have ye toiled.”’
+
+
+_Criticism of the Extracts._
+
+Detailed criticism of the extracts is unnecessary. They are, of course,
+utterly useless to-day. Sufficient general criticism of the work is
+found in the preceding sections devoted to a discussion of the author
+and his knowledge of Old English and of the _Beowulf_.
+
+In the third edition the author presents some criticisms of Thorkelin’s
+text; but his own work is quite as faulty as the Icelander’s, and his
+‘corrections’ are often misleading.
+
+Turner is to be censured for allowing an account of _Beowulf_ so full of
+inaccuracy to be reprinted year after year with no attempt at its
+improvement or even a warning to the public that it had been superseded
+by later and more scholarly studies.
+
+    [Footnote 1: See supra, p. 7.]  [[Preliminary Remarks]]
+
+    [Footnote 2: See infra, p. 15.]  [[Thorkelin]]
+
+    [Footnote 3: See the Life of Turner by Thomas Seccombe, _Dict.
+    Nat. Biog._]
+
+    [Footnote 4: Wanley, Catal. Saxon MS., p. 218.]
+
+    [Footnote 5: Second edition--
+        Ever acquired under heaven
+        more of the world’s glory
+        than himself.]
+
+    [Footnote 6: Second edition--ye.]
+
+    [Footnote 7: Second edition adds--
+        Ye sleep not with your ancestors.]
+
+    [Footnote 8: Second edition omits.]
+
+    [Footnote 9: Second edition reads--
+        You glide over the ocean
+        on the waves of the sea.]
+
+
+
+
+THORKELIN’S EDITION
+
+
+De | Danorum | Rebus Gestis Secul III & IV | Poema Danicum Dialecto
+Anglosaxonica. | Ex Bibliotheca Cottoniana Musaei Britannici | edidit
+versione lat. et indicibus auxit | Grim. Johnson Thorkelin. Dr J V. |
+Havniæ Typis Th. E. Rangel. | MDCCXV. 4to, pp. xx, 299, appendix 5.
+
+First Edition. First Translation (Latin).
+
+
+_Circumstances of Publication._
+
+The words of Wanley cited above[1] did not pass unnoticed in Denmark.
+Thorkelin tells us in his introduction that it had long been the desire
+of Suhm[2], Langebeck, Magnusen, and other Danish scholars to inspect
+the MS. in the British Museum. The following is Thorkelin’s account of
+his editorial labors:--
+
+  ‘Via tandem mihi data fuit ad desideratum nimis diu divini vatis
+  Danici incomparabile opus. Arcta etenim, quæ nos et Britannos
+  intercessit amicitia, me allexit, ut, clementissime annuentibus
+  Augustissimis patriæ patribus CHRISTIANO VII. et FREDERICO VI.
+  iter in Britanniam anno seculi præteriti LXXXVI. ad thesauros
+  bibliothecarum Albionensium perscrutandos facerem....
+  A curatoribus, Musæi Britannici, aliarumque Bibliothecarum,
+  potestas mihi data [est] inspiciendi, tractandi, et exscribendi
+  omnia, quæ rebus Danicis lucem affere possent manuscripta. Ad quam
+  rem conficiendam viri nostro præconio majores Josephus Planta et
+  Richardus Southgate dicti Musæi Brit. præfecti in me sua officia
+  humanissime contulerunt. Optimo igitur successu et uberrimo cum
+  fructu domum reversus sum ...’ (pp. viii, ix).
+
+Thorkelin thus obtained two copies of the poem, one made with his own
+hand, the other by a scribe ignorant of Old English. These transcripts
+(still preserved in Copenhagen) formed the basis for Thorkelin’s
+edition. The account of his studies continues:--
+
+  ‘Quæcunque igitur possent hoc meum negotium adjuvare, comparare
+  coepi, magnamque librorum copiam unde quaque congessi, quorum
+  opera carmen aggrederer. In hoc me sedulum ita gessi, ut opus
+  totum anno MDCCCVII confecerim, idem brevi editurus ...’ (p. xv).
+
+Just at this time, unfortunately, Copenhagen was stormed by the English
+fleet, and Thorkelin’s text and notes were burned with his library. But
+the transcripts were saved. Thorkelin renewed his labors under the
+patronage of Bülow, and at length published in 1815.
+
+
+_Thorkelin, and his Interpretation of the Beowulf._
+
+Grimus Johnssen Thorkelin (or Thorkelsson), 1752-1829, is remembered as
+a scholar in early Germanic history. He had little beside this knowledge
+and his general acquaintance with Old Germanic languages to recommend
+him as an editor of the _Beowulf_. Grundtvig said that the transcript of
+the _Beowulf_ must have been the work of one wholly ignorant of Old
+English[3]. Thorkelin knew nothing of the peculiar style of Old English
+poetry; he could recognize neither kenning, metaphor, nor compound. He
+was not even fitted to undertake the transcription of the text, as the
+following section will make evident.
+
+We have seen how Sharon Turner[4] could describe the _Beowulf_.
+Thorkelin seems to have been little better fitted to understand the
+poem, to say nothing of editing it. He failed to interpret some of the
+simplest events of the story. He did not identify Scyld, nor understand
+that his body was given up to the sea, but thought that King Beowulf
+‘expeditionem suscipit navalem.’ He failed to identify Breca, and
+thought that Hunferth was describing some piratical voyage of Beowulf’s.
+He makes Beowulf reply that ‘piratas ubique persequitur et fudit,’ and
+‘Finlandiæ arma infert[5].’ He regarded Beowulf as the hero of the
+Sigemund episode. He quite misapprehended the Finn episode, ‘Fin, rex
+Frisionum, contra Danis pugnat; vincitur; fœdus cum Hrodgaro pangit;
+fidem frangit; pugnans cadit[6].’ He regards Beowulf and a son of
+Hunferth as participating in that expedition. He failed to identify
+Hnæf, or Hengest, or Hrothulf, &c.
+
+
+EXTRACT[7].
+
+  Hunferþ maleode                 _Hunferd_ loquebatur
+  Ecglafes bearn                  _Ecglavi_ filius,
+  Þe æt fotum sæt                 Qui ad pedes sedit
+  Frean Scyldinga                 Domini Scyldingorum,
+  On band beadu                   Emeritus stipendiis
+  Rune wæs him                    Momordit eum
+  Beowulfes siþ modges            _Beowulfi_ itinere elati
+  Mere faran                      Maria sulcando
+  Micel æfþunca                   Magna indignatio,
+  For þon þe he ne uþe     10     Propterea quod ille nesciret
+  Þæt ænig oþer man               Ullum alium virum
+  Æfre mærþa                      Magis celebrem
+  Þon ma middangardes             In mundo
+  Gehedde under heofenum          Nominari sub coelo
+  Þon he sylfa eart               Quam se ipsum.
+  Þu se Beowulf                   Tu sis _Beowulfus_,
+  Se þe wiþ breccan               Qui ob prædas
+  Wunne on sidne sæ               Ceris per latum æquor
+  Ymb sund flite                  Et maria pugnas.
+  Þær git for wlence       20     Ibi vos ob divitias
+  Wada cunnedon                   Vada explorastis,
+  And for dol gilpe               Et ob falsam gloriam
+  On deop wæter                   Profundas æquas.
+  Aldrum neþdon                   Annis subacto
+  Ne mic ænig mon                 Non mihi aliquis
+  Ne leof ne laþ                  Amicus aut hostis
+  Belean mighte.                  Objicere potest,
+  Sorh fullne siþ                 Illacrimabiles expeditiones.
+  Þa git on sund reon.            Ubi vos per æquora ruistis,
+  Þa git ea gor stream     30     Ibi fluctus sanguinis rivis
+  Earmum þehton                   Miseri texistis.
+  Mæton mere stræta               Metiti estis maris strata:
+  Mundum brugdon                  Castella terruistis:
+  Glidon ofer garsecg             Fluitavistis trans æquora.
+  Geofon yþum                     Salis undæ
+  Weol wintris wylm               Fervuerunt nimborum æstu.
+  Git on wæteris æht              Vos in aquarum vadis
+  Seofon night swuncon            Septem noctibus afflicti fuistis.
+  He þe at sunde                  Ille cum sundum
+  Oferflat hæfde          40      Transvolasset,
+  Mare mægen                      Magis intensæ vires
+  Þa hine on morgen tid           Illum tempore matutino
+  On heaþo Ræmis                  In altam Ræmis
+  Holm up æt baer                 Insulam advexere.
+  Þonon he gesohte                Deinde petiit
+  Swæsne.                         Dulcem,
+  Leof his leodum                 Charam suo populo
+  Lond Brondinga                  Terram Brondingorum.
+  Freoþo burh fægere.             Libertate urbem conspicuam
+  Þaer he folc ahte       50      Ibi populo possessam
+  Burh and beagas                 Urbem et opes
+  Beot eal wiþ                    Correpsit. Omne contra
+  Þe sunu Beanstanes              Tibi filius _Beansteni_
+  Sode gelæste.                   Vere persolvit.
+
+
+_Criticism of the Text._
+
+In order to show how corrupt the text is, I append a collation of the
+above passage with the MS. It may be added that the lines are among the
+simplest in the poem, and call for no emendation. In passages that
+present any real difficulty, Thorkelin is, if possible, even more at
+fault.
+
+  Line 1, _for_ maleode _read_ maþelode.
+       4, _insert period after_ Scyldinga.
+       9, _insert period after_ æfþunca.
+      13, _for_ middangardes _read_ middangeardes.
+      15, _for_ þon _read_ þon{ne}.
+      17, _for_ breccan _read_ brecan (i.e. Brecan).
+      25, _for_ mic _read_ inc.
+      27, _for_ mighte _read_ mihte.
+      37, _for_ wæteris _read_ wæteres.
+      38, _for_ night _read_ niht.
+      40, _insert period after_ oferflat.
+     43, _for_ heaþo Ræmis _read_ heaþoræmes (i.e. Heaþorǣmas).
+     46, _for_ Swæsne _read_ swæsne · ᛟ · (i.e. ēðel).
+     54, _for_ sode _read_ soðe.
+
+In the composition of his text Thorkelin made all the errors known to
+scribes and editors. He misread words and letters of the MS., although
+he had two transcripts. He dropped letters, combinations of letters, and
+even whole words. He joined words that had no relation to each other;
+he broke words into two or even three parts; he ignored compounds. He
+produced many forms the like of which cannot be found in Old English.
+One further example of his great carelessness may be given. The first
+line of the poem, which is written in large capitals in the MS.:--
+
+  Hwæt we Gardena....
+
+Thorkelin perversely transcribed:--
+
+  Hwæt wegar Dena....
+
+and for this combination of syllables he chose the translation:--
+
+  Quomodo Danorum.
+
+There is, of course, no such word as ‘wegar’ in Old English.
+
+Of the necessity of punctuation Thorkelin seems to have been serenely
+unconscious; he did not even follow the guides afforded by the MS. Had
+he done so, he would have saved himself many humiliating errors. For
+example, in the text given above, to have noticed the periods mentioned
+in the collation would have been to avoid two glaring instances of
+‘running-in.’
+
+
+_Criticism of the Translation._
+
+But, in spite of the wretched text, it remained for the translation to
+discover the depths of Thorkelin’s ignorance. It will be seen by reading
+the extract given from the translation that he did not even perceive
+that two men were swimming in the sea. It is to be remembered, too, that
+his error of the ‘piratical expedition’ is carried on for sixty
+lines--certainly a triumph of ingenuity. It is useless to attempt a
+classification of the errors in this version. In the words of Kemble:--
+
+  ‘Nothing but malevolence could cavil at the trivial errors which
+  the very best scholars are daily found to commit, but the case is
+  widely different when those errors are so numerous as totally to
+  destroy the value of a work. I am therefore most reluctantly
+  compelled to state that not five lines of Thorkelin’s edition can
+  be found in succession in which some gross fault, either in the
+  transcription or translation, does not betray the editor’s utter
+  ignorance of the Anglo-Saxon language.’ --Edition of 1835,
+  Introd., p. xxix.
+
+
+_Reception of Thorkelin’s Edition._
+
+The book was of value only in that it brought Beowulf to the attention
+of scholars. The edition was used by Turner, Grundtvig, and Conybeare.
+I have found the following notices of the book, which will show how it
+was received by the scholarly world.
+
+  TURNER. On collating the Doctor’s printed text with the MS. I have
+  commonly found an inaccuracy of copying in every page.--Fifth
+  edition, p. 289, footnote.
+
+  KEMBLE, see supra.
+
+  THORPE. (The work of the learned Icelander exhibits) ‘a text
+  formed according to his ideas of Anglo-Saxon, and accompanied by
+  his Latin translation, both the one and the other standing equally
+  in need of an Œdipus.’ --Edition of 1855, Preface, xiv.
+
+  See also Grundtvig’s criticism in _Beowulfs Beorh_, pp. xvii ff.
+
+    [Footnote 1: Supra, p. 7.]  [[Preliminary Remarks]]
+
+    [Footnote 2: See also Grundtvig’s edition of the text of
+    _Beowulf_, p. xvi.]
+
+    [Footnote 3: See _Beowulfs Beorh_, p. xviii.]
+
+    [Footnote 4: See supra, p. 11.]  [[Turner’s Account...]]
+
+    [Footnote 5: See Thorkelin, p. 257.]
+
+    [Footnote 6: Ibid., p. 259.]
+
+    [Footnote 7: See Thorkelin, p. 40.]
+
+
+
+
+GRUNDTVIG’S TRANSLATION
+
+
+*Bjowulf’s Draape. Et Gothisk Helte-digt fra forrige Aar-tusinde af
+Angel-Saxisk paa Danske Riim ved Nic. Fred. Sev. Grundtvig, Præst.
+Kjøbenhavn, 1820[1]. 8vo, pp. lxxiv, 325.
+
+Bjovulvs-Draapen, et Høinordisk Heltedigt, fra Anguls-Tungen fordansket
+af Nik. Fred. Sev. Grundtvig. Anden forbedrede Udgave. Kiøbenhavn. Karl
+Schønbergs Forlag. 1865. 8vo, pp. xvi, 224.
+
+First Danish Translation. Ballad Measures.
+
+
+_Grundtvig._
+
+Nicolas Frederic Severin Grundtvig (1783-1872) was especially noted as a
+student of Old Germanic literature. He began his career in 1806 by his
+studies on the _Edda_. This was followed by a book on Northern Mythology
+(1810), and by various creative works in verse and prose, the subjects
+of which were usually drawn from old Danish history. An account of his
+labors on the _Beowulf_ will be found in the following section. His
+interest in Old English literature continued through his long life, and
+he was well and favorably known among the scholars of his day.
+
+
+_Circumstances of Publication._
+
+In _Beowulfs Beorh_ (Copenhagen, 1861), Grundtvig tells the story of his
+early translation of the poem. He had always had a passionate interest
+in Danish antiquities, and was much excited upon the appearance of
+Thorkelin’s text[2]. At that time, however, he knew no Old English, and
+his friend Rask, the famous scholar in Germanic philology, being absent
+from Denmark, he resolved to do what he could with the poem himself. He
+began by committing the entire poem to memory. In this way he detected
+many of the outlines which had been obscured by Thorkelin. The results
+of this study he published in the _Copenhagen Sketch-Book_ (_Kjøbenhavns
+Skilderie_), 1815. When Thorkelin saw the studies he was furious, and
+pronounced the discoveries mere fabrications.
+
+But Rask, upon his return, thought differently, and proposed to
+Grundtvig that they edit the poem together. They began the work, but
+when they reached line 925 the edition was interrupted by Rask’s journey
+into Russia and Asia. With the help of Rask’s _Anglo-Saxon Grammar_
+(Stockholm, 1817), Grundtvig proceeded with his translation. By the
+munificence of Bülow, who had also given assistance to Thorkelin,
+Grundtvig was relieved of the expense of publication.
+
+
+_Progress of the Interpretation of the Poem._
+
+Grundtvig was the first to understand the story of _Beowulf_. With no
+other materials than Thorkelin’s edition of the text and his own
+knowledge of Germanic mythology, he discovered the sea-burial of King
+Scyld, the swimming-match, and the Finn episode. He identified Breca,
+Hnæf, Hengest, King Hrethel, and other characters whose names Thorkelin
+had filched from them.
+
+
+_Text Used._
+
+Rask borrowed the original transcripts which Thorkelin had brought from
+the British Museum, and copied and corrected them. This was the basis of
+Grundtvig’s translation.
+
+
+_Differences between the First and Second Editions._
+
+The principal difference is in the introduction; but of the nature and
+extent of changes in the second edition I can give no notion. All my
+information respecting the first volume is derived from transcripts of
+certain parts of it sent me from the British Museum. These copies do not
+reveal any differences between the two translations.
+
+
+_Aim of the Volume, and Nature of the Translation._
+
+We begin by quoting the author’s words:--
+
+  ‘I have studied the poem as if I were going to translate it word
+  for word ... but I will not and have not translated it in that
+  way, and I will venture to maintain that my translation is a
+  faithful one, historically faithful, inasmuch as I have never
+  wilfully altered or interpolated anything, and poetically faithful
+  inasmuch as I have tried with all my might vividly to express what
+  I saw in the poem.... Whoever understands both languages and
+  possesses a poetical sense will see what I mean, and whoever is
+  deficient in knowledge or sense, or both, may stick to his own
+  view, if he will only let me stick to mine, which may be weak
+  enough, but is not so utterly devoid of style and poetry as little
+  pettifoggers in the intellectual world maintain because they can
+  see very well that my method is not theirs. “I have,” said Cicero,
+  “translated Demosthenes, not as a grammarian but as an orator, and
+  therefore have striven not so much to convince as to persuade my
+  readers of the truth of his words”: methinks I need no other
+  defence as regards connoisseurs and just judges, and if I am much
+  mistaken in this opinion, then my work is absolutely
+  indefensible[3].’ --Pages xxxiv, xxxv.
+
+In the introduction to his text of 1861, Grundtvig speaks of his theory
+of translation, saying that he gave, as it were, new clothes, new money,
+and new language to the poor old Seven Sleepers, so that they could
+associate freely with moderns. He believed that it was necessary to put
+the poem into a form that would seem natural and attractive to the
+readers of the day. In so doing he departed from the letter of the law,
+and rewrote the poem according to his own ideas.
+
+In the second edition the author states that he hopes the poem will
+prove acceptable as a reading-book for schools. Its value as a text-book
+in patriotism is also alluded to.
+
+
+EXTRACT.
+
+  SJETTE SANG.
+
+  Trætten med Hunferd Drost og Trøsten derover.
+
+  Nu _Hunferd_ tog til Orde[4],
+  Og _Egglavs_ Søn var han,
+  Men Klammeri han gjorde
+  Med Tale sin paa Stand.
+  Han var en fornem Herre,
+  Han sad ved Thronens Fod,
+  Men avindsyg desværre,
+  Han var ei Bjovulv god;
+  En Torn var ham i Øiet
+  Den Ædlings Herrefærd,
+  Som havde Bølgen pløiet
+  Og Ære høstet der;
+  Thi Hunferd taalte ikke,
+  Med Næsen høit i Sky,
+  At Nogen vilde stikke
+  Ham selv i Roes og Ry.
+
+    ‘Er du,’ see det var Skosen,
+  ‘Den Bjovulv Mudderpram,
+  Som dykked efter Rosen
+  Og drev i Land med Skam,
+  Som kæppedes med _Brække_
+  Og holdt sig ei for brav,
+  Dengang I, som to Giække,
+  Omflød paa vildne Hav!
+  I vilde med jer Svømmen
+  Paa Vandet giøre Blæst,
+  Men drev dog kun med Strømmen,
+  Alt som I kunde bedst;
+  For aldrig Det ei keise
+  Jeg vilde slig en Klik,
+  Som for den Vendereise
+  I paa jert Rygte sik.
+  Paa Landet var I friske,
+  Men Vand kan slukke Ild,
+  I svømmed som to Fiske,
+  Ia, snart som døde Sild;
+  Da sagtnedes Stoheien,
+  Der Storm og Bølge strid
+  Ier viste Vinterveien
+  Alt i en Uges Tid.
+  Dog, om end Narre begge,
+  Kom du dog værst deran,
+  Thi fra dig svømmed Brække
+  Og blev din Overmand;
+  Du artig blev tilbage,
+  Der han en Morgenstund
+  Opskvulpedes saa fage
+  Paa høie Romøs Grund,
+  Hvorfra sin Kaas han satte
+  Til _Brondingernas_ Land,
+  Med Borge der og Skatte
+  Han var en holden Mand;
+  Der havde han sit Rige,
+  Og deiligt var hans Slot,
+  Han elsket var tillige
+  Af hver sin Undersaat.
+  Saa _Bjansteens_ Søn udførte
+  Alt hvad han trued med;
+  Men da du, som vi hørte,
+  Kom der saa galt afsted,
+  Saa tør jeg nok formode,
+  Om end du giør dig kry,
+  Det giør slet ingen Gode,
+  Du brænder dig paany;
+  Ia, vil en Nat du vove
+  At bie Grændel her,
+  Da tør derfor jeg love,
+  Dig times en Ufærd.’
+
+
+_Criticism of the Translation._
+
+The poem departs so far from the text of _Beowulf_ that any discussion
+of its accuracy would be out of place. As has been shown by the section
+on the nature of the translation, the author had no intention of being
+true to the letter of the text. Grundtvig’s scholarship has been
+discussed above.
+
+The translation may properly be called nothing more than a paraphrase.
+Whole sentences are introduced that have no connection with the original
+text. Throughout the translation is evident the robust, but not always
+agreeable, personality of the translator. In his preface[5] Grundtvig
+remarked that he put nothing into his poem that was not historically and
+poetically true to the original. The statement can only be regarded as
+an unfortunate exaggeration. Grundtvig’s style cannot be called even a
+faint reflection of the _Beowulf_ style. He has popularized the story,
+and he has cheapened it. There is no warrant in the original for the
+coarse invective of the extract that has just been cited. In the Old
+English, Hunferth taunts Beowulf, but he never forgets that his rival is
+‘doughty in battle’ (l. 526). Beowulf is always worthy of his respect.
+In Grundtvig, the taunting degenerates into a scurrilous tirade.
+Hunferth calls Beowulf a ‘mudscow’; Breca and Beowulf swim like two
+‘dead herrings.’ In like manner the character of Hunferth is cheapened.
+In _Beowulf_ he is a jealous courtier, but he is always heroic. In
+Grundtvig he is merely a contemptible braggart, ‘with his nose high in
+air,’ who will not allow himself to be ‘thrown to the rubbish heap.’
+
+The same false manner is retained throughout the poem. In many places it
+reads well--it is often an excellent story. But it can lay no claim to
+historic or poetic fidelity to the _Beowulf_.
+
+
+_Reception of the Book._
+
+The book fell dead from the press. Grundtvig himself tells us that it
+was hardly read outside his own house[6]. Thirty years later he learned
+that the book had never reached the Royal Library at Stockholm. A copy
+made its way to the British Museum, but it was the one which Grundtvig
+himself carried thither in 1829. This was doubtless the copy that was
+read and criticized by Thorpe and Wackerbarth. Both of these scholars
+spoke of its extreme freedom, but commended its readableness.
+
+    [Footnote 1: This volume I have never seen. My information
+    regarding it is from a scribe in the British Museum.]
+
+    [Footnote 2: See supra, p. 15.]  [[Thorkelin]]
+
+    [Footnote 3: Translation by scribe in British Museum.]
+
+    [Footnote 4: Several variations in meter occur in the translation.]
+
+    [Footnote 5: See supra, p. 24.]  [[Gruntvig: Aim of the Volume...]]
+
+    [Footnote 6: See _Beowulfs Beorh_, p. xix.]
+
+
+
+
+CONYBEARE’S EXTRACTS
+
+
+Illustrations of Anglo-Saxon Poetry. By John Josias Conybeare, M.A., &c.
+Edited, together with additional notes, introductory notices, &c., by
+his brother, William Daniel Conybeare, M.A., &c. London: printed for
+Harding and Lepard, Pall Mall East, 1826. 8vo, pp. (viii), xcvi, 287.
+
+Anglo-Saxon Poem concerning the Exploits of Beowulf the Dane, pp.
+30-167.
+
+Translation of extracts into English blank verse, with the original text
+of the extracts, and a literal translation of them into Latin prose.
+
+
+_Circumstances of Publication._
+
+The volume had its origin in the Terminal Lectures which the author gave
+as Professor of Anglo-Saxon and Poetry at Oxford from 1809 to 1812[1].
+We know from an autobiographical note printed in the Introduction[2]
+that the _Beowulf_ was finished in October, 1820. But the book did not
+appear until two years after the author’s death, and the material which
+it contains is of a slightly earlier date than the title-page would seem
+to indicate--e.g. the volume really antedates the third edition of
+Turner’s History discussed above[3].
+
+
+_Conybeare, and the Progress of the Interpretation of the Poem._
+
+Conybeare did not edit the entire poem, and apparently never had any
+intention of so doing. The selections which he translates are based on
+Thorkelin’s text. He revises this text, however, in making his
+translations, and even incorporates a collation of Thorkelin’s text with
+the MS. (pp. 137-55). This collation, though not complete or accurate,
+was serviceable, and kept Conybeare from falling into some of the errors
+that the Icelander had made. He distinguished by an asterisk the MS.
+readings which were of material importance in giving the sense of a
+passage, and, in fact, constructed for himself a text that was
+practically new.
+
+  ‘The text has been throughout carefully collated with the original
+  Manuscript, and the translation of Thorkelin revised with all the
+  diligence of which the editor is capable.’ --Page 32.
+
+  ‘Any attempt to restore the metre, and to correct the version
+  throughout, would have exceeded the bounds, and involved much
+  discussion foreign to the purpose of the present work. This must
+  be left to the labours of the Saxon scholar. It is evident,
+  however, that without a more correct text than that of Thorkelin,
+  those labours must be hopeless. The wish of supplying that
+  deficiency, may perhaps apologize for the occupying, by this
+  Collation, so large a space of a work strictly dedicated to other
+  purposes.’ --Page 137, footnote.
+
+How much Conybeare improved the text may be seen by comparing his text
+and Latin translation with those of Thorkelin. The first six lines of
+the Prolog follow:--
+
+  CONYBEARE.                    THORKELIN.
+
+  Hwæt we Gar-Dena              Hwæt wegar Dena
+  In ȝear-dagum                 In geardagum
+  Ðeod cyninga                  Þeod cyninga
+  Ðrym ȝefrunon,                Þrym gefrunon
+  Hu ða Æðelingas               Hu ða æþelingas
+  Ellen fremodon. --Page 82.    Ellen fremodon. --Page 3.
+
+The translations are even more interesting:--
+
+  Aliquid nos _de_ Bellicorum Danorum     Quomodo Danorum
+  In diebus antiquis                      In principio
+  Popularium regum                        Populus Regum
+  Gloriâ accepimus,                       Gloriam auxerit,
+  Quomodo tunc principes                  Quomodo principes
+  Virtute valuerint.                      Virtute promoverit.
+
+It will be seen that in these lines Conybeare has at almost every point
+the advantage over Thorkelin, and is indeed very nearly in accord with
+modern texts and translations. But the poem yet awaited a complete
+understanding, for Conybeare could say: ‘The Introduction is occupied by
+the praises of Scefing ... and of his son and successor Beowulf. The
+embarkation of the former on a piratical expedition is then detailed at
+some length. In this expedition (if I rightly understand the text)
+himself and his companions were taken or lost at sea’ (p. 35). And, in
+general, he misses the same points of the story as Thorkelin, although
+he craftily refrains from translating the obscurer passages.
+
+Conybeare apparently knew nothing of the critical work of Grundtvig.
+This is not surprising when we remember that _Kjøbenhavns Skilderie_ was
+probably not known outside of Denmark[4]. Moreover, it is to be
+remembered that Conybeare’s extracts from the _Beowulf_ are not really
+later than Grundtvig’s translation, since they were made in the same
+year, 1820[5].
+
+
+_Aim of the Volume, and Nature of the Translations._
+
+From the words quoted above with respect to the collation, it will be
+seen that Conybeare in no way regarded his book as a contribution to
+Beowulf scholarship. As professor at Oxford, he attempted a literary
+presentation of the most beautiful parts of the old poetry. His extracts
+are, in general, nothing more than free paraphrases. Wishing to
+popularize the _Beowulf_, he used as a medium of translation a
+peculiarly stilted kind of blank verse. He dressed the poem out in
+elegant phrases in order to hide the barrenness of the original.
+Manifestly he feared the roughness, the remoteness of the poem in its
+natural state. He feared to offend a nation of readers reveling in the
+medievalism of Scott and Byron. A literal Latin translation was inserted
+to appease the scholar.
+
+
+EXTRACT.
+
+‘At a single stroke he (Beowulf) cut through the “_ringed bones_”
+of her neck, and
+
+  Through the frail mantle of the quivering flesh
+  Drove with continuous wound. She to the dust
+  Fell headlong,--and, its work of slaughter done,
+  The gallant sword dropp’d fast a gory dew.
+  Instant, as though heaven’s glorious torch had shone,
+  Light was upon the gloom,--all radiant light
+  From that dark mansion’s inmost cave burst forth.
+  With hardier grasp the thane of Higelac press’d
+  His weapon’s hilt, and furious in his might
+  Paced the wide confines of the Grendel’s hold[6].’
+
+      Page 58; _Beo._, 1565-75.
+
+
+LATIN TRANSLATION.
+
+  ... Ossium annulos fregit; telum per omnem penetravit moribundam
+  carnem. Illa in pavimentum corruit. Ensis erat cruentus, militare
+  opus perfectum. Effulgebat lumen, lux intus stetit, non aliter
+  quàm cum a cœlo lucidus splendet ætheris lampas. Ille per ædes
+  gradiebatur, incessit juxta muros ensem tenens fortiter a capulo
+  Higelaci minister irâ ac constantiâ (_sc._ Iratus et constans
+  animi).
+
+      Pages 113, 114.
+
+
+_Criticism of the Translations._
+
+The English version is scarcely more than a paraphrase, as may easily be
+seen by comparing it with the literal translation into Latin. But even
+as a paraphrase it is unsatisfactory. By way of general criticism it may
+be said that, while it attains a kind of dignity, it is not the dignity
+of _Beowulf_, for it is self-conscious. Like _Beowulf_ it is elaborate,
+but it is the elaboration of art rather than of feeling. Moreover, it is
+freighted with Miltonic phrase, and constantly suggests the Miltonic
+movement. The trick of verse in line 3 is quite too exquisite for
+_Beowulf_. The whole piece has a straining after pomp and majesty that
+is utterly foreign to the simple, often baldly simple, ideas and phrases
+of the original. Nearly every adjective is supplied by the translator:
+in Old English the ‘sword’ is ‘bloody,’ in Conybeare the ‘gallant sword
+drops fast a gory dew’; the cave becomes a mansion; the ‘floor’ is
+‘dust’--dust in an ocean cave!--‘heaven’s candle’ becomes ‘heaven’s
+glorious torch.’ The poem is tricked out almost beyond recognition.
+Beowulf assumes the ‘grand manner,’ and paces ‘the Grendel’s hold’ like
+one of the strutting emperors of Dryden’s elaborate drama.
+
+    [Footnote 1: See Editor’s Prefatory Notice, p. (iii).]
+
+    [Footnote 2: See Prefatory Notice, p. (v), footnote.]
+
+    [Footnote 3: See supra, pp. 14 f.]  [[Turner: Third Edition]]
+
+    [Footnote 4: p. 23. Grundtvig is once mentioned in the notes,
+    but the reference is from the editor, not the author.]
+
+    [Footnote 5: p. 29.]
+
+    [Footnote 6: Conybeare did not translate the episode of the
+    swimming-match.]
+
+
+
+
+KEMBLE’S EDITIONS
+
+
+The Anglo-Saxon poems of Beowulf, the Traveller’s Song, and the Battle
+at Finnes-burh. Edited together with a glossary of the more difficult
+words, and an historical preface, by John M. Kemble, Esq., M.A. London:
+William Pickering, 1833. 8vo, pp. xxii, 260. Edition limited to 100
+copies.
+
+The Anglo-Saxon Poems of Beowulf, the Traveller’s Song, and the Battle
+of Finnes-burh. Edited by John M. Kemble, Esq., M.A., of Trinity
+College, Cambridge. Second edition. London: William Pickering, 1835.
+8vo, pp. xxxii, 263.
+
+A Translation of the Anglo-Saxon Poem of Beowulf, with a copious
+glossary, preface, and philological notes, by John M. Kemble, Esq.,
+M.A., of Trinity College, Cambridge. London: William Pickering, 1837.
+8vo, pp. lv, 127, appendix, 179.
+
+First English Translation. Prose.
+
+
+_The 1833 Volume._
+
+A sufficient account of this volume is given by Professor Earle, who
+says of it:--
+
+  ‘The text was an improvement on Thorkelin, but still very
+  faulty;--to say nothing of inaccuracies from want of proper
+  oversight as the sheets were passing through the press. The
+  Glossary, though short, was a valuable acquisition ... Of this
+  edition only 100 copies were printed;--and it was a happy
+  limitation, as it left room for a new edition as early as 1835,
+  in which the text was edited with far greater care. All the rest
+  remained as before, and the Preface was reprinted word for word.’
+  --_Deeds of Beowulf_, pp. xix, xx.
+
+
+_The Text of 1835. Kemble’s Scholarship._
+
+But whatever may be said of the text of 1833, there is nothing but
+praise for the edition of 1835. In this book the poem first had the
+advantage of a modern scholarly treatment, and for the first time the
+text of the MS. was correctly transcribed. It received its first
+punctuation. For the first time it was properly divided into half-lines,
+with attention to alliteration. The text was freely emended, but the
+suggested readings were placed in the footnotes, in order not to impair
+the value of the text as a reproduction of the MS. The necessity for
+this was made evident by Kemble himself:--
+
+  ‘But while he makes the necessary corrections, no man is justified
+  in withholding the original readings: for although the laws of a
+  language, ascertained by wide and careful examination of all the
+  cognate tongues, of the hidden springs and ground-principles upon
+  which they rest in common, are like the laws of the Medes and
+  Persians and alter not, yet the very errors of the old writer are
+  valuable, and serve sometimes as guides and clues to the inner
+  being and spiritual tendencies of the language itself. The reader
+  will moreover be spared that, to some people, heart-burning
+  necessity of taking his editor’s qualifications too much for
+  granted, if side by side he is allowed to judge of the traditional
+  error, and the proposed correction. I have endeavoured to
+  accomplish this end by printing the text, letter for letter,
+  as I found it.’ --Preface, pp. xxiv ff.
+
+With this wholesome respect for the tradition of the MS., it is not
+strange that Kemble’s carefully chosen emendations should stand to-day
+as of high critical value, and that many of them are retained in modern
+editions of the text[1]. When we compare Kemble’s book with Thorkelin’s,
+the advance is seen to be little less than astonishing. Thorkelin’s
+emendations were worse than useless.
+
+Kemble had a full acquaintance with the new science of comparative
+philology which was developing in Germany under Jakob Grimm. He had
+corresponded, and later studied, with Grimm, and, according to William
+Hunt, was the ‘recognised exponent’ of his investigations[2]. It is to
+Grimm that Kemble dedicates his volumes, and to him that he repeatedly
+acknowledges his indebtedness. Thus Kemble brought to the study of the
+poem not only a knowledge of the Old English poetry and prose, but
+acquaintance with Old Norse, Gothic, Old High German, and Old Saxon. It
+may sufficiently illustrate his scholarly method to instance examples of
+his treatment of the unique words in _Beowulf_. Take, e.g., the word
+_hose_ in line 924. This word does not appear elsewhere in Old English;
+it does not appear in Lye’s _Dictionary_, the only dictionary that was
+at Kemble’s disposal. Upon this word Kemble brought to bear his
+knowledge of the Germanic tongues, and by citing Goth. _hansa_, OHG.
+_hansa_, &c., derived the meaning _turma_--a process in which he is
+supported by a modern authority like Kluge. The study of compounds also
+first began with Kemble. He collected and compared the compounds in
+_heaðo._. Thus he laid the foundation of all modern studies on the Old
+English compound.
+
+
+_Further Critical Material Afforded by the Volume of 1837._
+
+In the 1835 volume twenty-three words were illustrated in the above way.
+But it remained for the 1837 volume to present a complete glossary of
+the poem, containing also important poetic words not in _Beowulf_.
+By reason of its completeness and comparative work, it remained the
+standard commentary on the Old English poetic vocabulary until the
+appearance of Grein’s _Sprachschatz_[3].
+
+
+_Aim of Kemble’s Translation._
+
+Like his edition of the text, Kemble’s translation is quite independent
+of any preceding book; like his edition of the text, its aim was
+faithfulness to the original. He adheres scrupulously to the text, save
+where the original is unintelligible. The translation was designed to be
+used together with the glossary as a part of the apparatus for
+interpreting the poem. He therefore made it strictly literal.
+
+  ‘The translation is a literal one; I was bound to give, word for
+  word, the original in all its roughness: I might have made it
+  smoother, but I purposely avoided doing so, because had the Saxon
+  poet thought as we think, and expressed his thoughts as we express
+  our thoughts, I might have spared myself the trouble of editing or
+  translating his poem. A few transpositions of words, &c. caused
+  principally by the want of inflections in New English (since we
+  have now little more than their position by which to express the
+  relations of words to one another) are all that I have allowed
+  myself, and where I have inserted words I have generally printed
+  them in italics.’ --
+
+      Postscript to the Preface, p. 1.
+
+
+EXTRACT.
+
+  VIII.
+
+  Hunferth the son of Eglaf spake, _he_ that sat at the feet of the
+  Lord of the Scyldings; he bound up[4] a quarrelsome speech: to him
+  was the journey of Beowulf, the proud sea-farer, a great disgust;
+  because he granted not that any other man should ever have beneath
+  the skies, more reputation with the world than he himself: ‘Art
+  thou the Beowulf that didst contend with Brecca on the wide sea,
+  in a swimming match, where ye for pride explored the fords, and
+  out of vain glory ventured your lives upon the deep water? nor
+  might any man, friend or foe, blame[5] your sorrowful expedition:
+  there ye rowed upon the sea, there ye two covered the ocean-stream
+  with your arms, measured the sea-streets, whirled them with your
+  hands, glided over the ocean; with the waves of the deep[6] the
+  fury of winter boiled; ye two on the realms of water laboured for
+  a week: he overcame thee in swimming, he had more strength: then
+  at the morning tide the deep sea bore him up on Hēathoræmes,
+  whence he sought his own paternal land, dear to his people, the
+  land of the Brondings, where he owned a nation, a town, and rings.
+  All his promise to thee, the son of Beanstan truly performed.’
+
+
+_Criticism of the Translation._
+
+Kemble’s scholarship enabled him to get a full understanding of the
+poem, and thus to make the first really adequate translation of
+_Beowulf_. He was the first to recognize the significance of kenning,
+metaphor, and compound. Thus his work is to be commended chiefly because
+of its faithfulness. All preceding studies had been wofully
+inaccurate[7]. Kemble’s editions became at once the authoritative
+commentary on the text, and held this position until the appearance of
+Grein’s _Bibliothek_ (1857). In this latter book, Kemble’s text was the
+principal authority used in correcting the work of Thorpe[8]. In spite
+of the fact that this is a literal translation, it sometimes attains
+strength and beauty by reason of its very simplicity.
+
+    [Footnote 1: See Wyatt’s text, lines 51, 158, 250, 255, 599, &c.]
+
+    [Footnote 2: See article in the _Dictionary of National Biography_.]
+
+    [Footnote 3: See infra, pp. 56 ff.]
+
+    [Footnote 4: _bound up_, onband, now generally translated ‘unbind.’]
+
+    [Footnote 5: _blame_, belēan, rather ‘dissuade’ than ‘blame.’]
+
+    [Footnote 6: _with the waves of the deep_, &c., geofon-yþu weol
+    wintrys wylm, so Kemble reads in his text, and for this reading
+    the translation is correct, but he failed to discern the kenning
+    to ‘geofon’ in ‘wintrys wylm.’]
+
+    [Footnote 7: See supra on Turner, p. 9; Thorkelin, p. 15;
+    Grundtvig, p. 22; Conybeare, p. 28.]
+
+    [Footnote 8: See infra, p. 49.]  [[Thorpe]]
+
+
+
+
+ETTMÜLLER’S TRANSLATION
+
+
+Beowulf. Heldengedicht des achten Jahrhunderts. Zum ersten Male aus dem
+Angelsächsischen in das Neuhochdeutsche stabreimend übersetzt, und mit
+Einleitung und Anmerkungen versehen von Ludwig Ettmüller. Zürich, bei
+Meyer und Zeller, 1840. 8vo, pp. 191.
+
+First German Translation. Imitative measures.
+
+
+_Ettmüller._
+
+Ernst Moritz Ludwig Ettmüller (1802-77), at the time of the publication
+of this book, was professor of the German language and literature in the
+Gymnasium at Zürich. He had already appeared as a translator with a work
+entitled _Lieder der Edda von den Nibelungen_. Later he edited
+selections from the _Beowulf_ in his _Engla and Seaxna Scôpas and
+Bôceras_ (1850). This text incorporated many new readings. Ettmüller was
+the first to question the unity of the _Beowulf_, and sketched a theory
+of interpolations which has since been developed by Müllenhoff. The
+first announcement of these views is found in the introduction to this
+translation.
+
+
+_Theory of Translation._
+
+Ettmüller gives full expression to his theories and aims:--
+
+  ‘Vor Allem habe ich so wörtlich als möglich übersetzt, da Treue
+  das erste Erforderniss einer guten Übersetzung ist. Dann aber war
+  mein Augenmerk vorzüglich auf Wohlklang und Verständlichkeit
+  gerichtet. Letztere werden bei Übersetzungen dieser Art nur zu oft
+  vernachlässigt, da manche der Ansicht sind, ihre Arbeit sei um so
+  besser, je treuer sie die äussere Form des Originals in allen
+  Einzelheiten wiedergebe. Aber dieweil diese so mühsam an der
+  Schale knacken, entschlüpft ihnen nicht selten der Kern. Mein
+  Bestreben war demnach keineswegs, z.B. jeden Vers ängstlich dem
+  Originale nachzubilden, so dass die genaueste Übereinstimmung
+  zwischen der Silbenzahl und den Hebungen oder gar dem Klange der
+  Verse Statt fände. Das wäre ohnehin, ohne der deutschen Sprache
+  die schreiendste Gewalt anzuthun, unmöglich gewesen. Ich habe
+  vielmehr darnach mit Sorgfalt gestrebt, die Versbildung des
+  angelsächsischen Gedichtes mir in allen ihren Erscheinungen klar
+  zu machen, und dann frei nach dem gewonnenen Schema gearbeitet.
+  Daher kann ich versichern, dass man für jeden Vers meiner
+  Übersetzung gewiss ein angelsächsisches Vorbild findet, wenn auch
+  nicht grade jedesmal die Verse einander decken. Dass dabei
+  übrigens der höheren Rhythmik, d.h. dem ästhetisch richtigen
+  Verhältnisse des Ausdruckes zu dem Ausgedrückten oder, mit
+  Klopstock zu reden, des Zeitausdruckes oder Tonverhaltes (der
+  Bewegung) zu dem Gedanken, überall die grösste Sorgfalt zugewendet
+  ward, das braucht, dünkt mich, keiner besondern Versicherung; dies
+  aber kann erreicht werden auch ohne knechtische Nachbildung des
+  Originals.’ --Page 59.
+
+
+_Text, and Indebtedness to Preceding Scholars._
+
+The translation is founded on Kemble’s text of 1835[1], to which the
+introduction and notes are also indebted.
+
+Like Kemble, Ettmüller was a close student of the works of Jakob Grimm,
+and his interpretation of obscure lines (especially passages relating to
+Germanic antiquities) is largely due to the study of such works as the
+_Deutsche Mythologie_ (1833), the _Deutsche Rechtsalterthümer_ (1828),
+and the _Deutsche Sagen_ (1816-8). Cf. lines 458, 484.
+
+
+EXTRACT.
+
+  Ecglâfes Sohn Hûnferdh da sagte,
+  der zu Füssen sass dem Fürsten der Skildinge,
+  entband Beadurunen--ihm war Beowulfes Beginn,
+  des muthigen Meergängers, mächtig zuwider;
+  ungern sah er, dass ein andrer Mann
+  irgend Machtruhmes mehr in Mittelgart,
+  auf Erden äufnete denn er selber--:
+  ‘Bist du der Beowulf, der mit Breca kämpfte
+  in sausender See, im Sundkampfe?                       600
+  Ihr da aus Übermuth Untiefen prüftet
+  und aus Tollmuth ihr in tiefem Wasser
+  das Leben wagtet; liesset keinen,
+  nicht Freund noch Feind, da fernen euch
+  von der sorgvollen That, als zur See ihr rudertet.
+  Dort ihr den Egistrom mit Armen wandtet,
+  masset die Meerstrasse, mischtet mit Händen,
+  glittet über’s Geerried (Glanderfluthen
+  warf Winters Wuth!), in Wassers Gebiet
+  sieben Nächt’ ihr sorgtet: Er, Sieger der Wogen,       610
+  hatte mehr der Macht, denn zur Morgenzeit ihn
+  bei Headhoræmes die Hochfluth antrug.--
+  Von dannen er suchte die süsse Heimat,
+  lieb seinen Leuten, das Land der Brondinge,
+  die feste Friedeburg, da Volk er hatte,
+  Burg und Bauge;--All Erbot wider dich
+  der Sohn Beanstânes sorglichst erfüllte.’
+
+
+_Criticism of the Translation._
+
+In his translation Ettmüller followed in the steps of Kemble[2], but he
+was not slavishly dependent upon him. At times he disagrees with the
+English scholar (cp. e.g., ll. 468, 522, 1331), and offers a translation
+of the passage omitted by him, 3069-74. In general, the translation is
+strictly literal, and follows the original almost line for line.
+
+It was probably well for Ettmüller that he made his translation thus
+literal. In the history of a foreign-language study there is a period
+when it is best that a translation should be strictly literal, for such
+a work is bound to be called into service as a part of the critical
+apparatus for the interpretation of the tongue. If the early translation
+is not thus literal, it is sure to be superseded later by the more
+faithful rendering, as Schaldemose’s superseded Grundtvig’s in
+Denmark[3]. It is not until criticism and scholarship have done their
+strictly interpretative work that a translation is safe in attempting to
+render the spirit rather than the letter of the original. The reason for
+this is evident: no real appreciation of the spirit is possible until
+scholarship has provided the means for discovering it.
+
+By the publication of this volume, therefore, Ettmüller did for German
+scholarship what Kemble had done for English and Schaldemose was to do
+for Danish scholarship. Yet he might with propriety have made his work
+more simple. His translation is disfigured by numerous strange
+word-combinations which he often transcribed literally from the
+original, e.g. _beadu-runen_ in the third line of the extract. It is
+safe to say that none but a scholar in Old English would be able to
+understand this word--if, indeed, we may call it a word. The text is
+full of such forms. The author is obliged to append notes explaining his
+own translation! He apparently forgets that it is his business as
+translator to render the difficult words as well as the simple ones. In
+Ettmüller’s case it was especially unfortunate, because it gave others
+an opportunity to come forward later with simpler, and hence more
+useful, translations.
+
+
+_Reception of the Translation._
+
+The book had no extraordinary success. A reprint was never called for,
+and was perhaps hardly to be expected, considering the existence of
+Kemble’s volumes. Moreover, the translation was not accompanied by an
+edition of the text. Grein[4], the next German scholar, took his
+inspiration from Kemble[5] and Thorpe[6] rather than from Ettmüller.
+
+    [Footnote 1: See supra, p. 33.]  [[Kemble]]
+
+    [Footnote 2: See supra, p. 33.]  [[Kemble]]
+
+    [Footnote 3: See supra, p. 22, and infra, p. 41 ff.]
+
+    [Footnote 4: See infra, p. 55.]  [[Grein]]
+
+    [Footnote 5: See supra, p. 33.]  [[Kemble]]
+
+    [Footnote 6: See infra, p. 49.]  [[Thorpe]]
+
+
+
+
+SCHALDEMOSE’S TRANSLATION
+
+
+Beo-wulf og Scopes Widsið, to angelsaxiske Digte, med Oversættelse og
+oplysende Anmærkninger udgivne af Frederik Schaldemose. Kjøbenhavn,
+1847.
+
+Anden Udgave, Kjøbenhavn, 1851. 8vo, pp. ii, 188.
+
+Second Danish Translation.
+
+
+_Nature of the Volume, and Indebtedness to Previous Scholars._
+
+In this book the Old English text and the Danish translation were
+printed in parallel columns. The text, which was taken literally from
+Kemble[1], need not detain us here. No mention is made of the work of
+Leo[2], Ettmüller[3], or of the 1837 volume of Kemble, although the
+influence of the latter is evident throughout the book, as will be shown
+below. The notes are drawn largely from the works of preceding scholars,
+and in these the author makes an occasional acknowledgement of
+indebtedness.
+
+The translation is literal. Grundtvig’s translation[4] had been so
+paraphrastic as often to obscure the sense, and always the spirit,
+of the original. Schaldemose had the advantage of presenting the most
+modern text side by side with the translation. Thus the book became a
+valuable _apparatus criticus_ for the Danish student.
+
+
+_Schaldemose._
+
+The life of Frederik Schaldemose (1782-1853) was by no means the quiet,
+retired life of the student. He had, it is true, been professor at the
+school of Nykjøbing from 1816 to 1825, and later devoted himself to
+literary work; but a large part of his life had been spent in military
+service, in which he had had many exciting adventures by land and sea.
+After leaving his professorship he again entered military service.
+Later, he devoted his time alternately to literary and commercial work.
+
+His interest in _Beowulf_ seems to have been, like that of Thorkelin[5],
+primarily the interest of the Danish antiquary. In 1846 he had published
+a collection of Heroic Danish Songs, ancient and modern. It was
+doubtless a desire to add to this collection that led him to undertake
+an edition of the _Beowulf_.
+
+It was hardly to be expected that a man whose life had been so unsettled
+could materially advance the interpretation of Old English poetry.
+
+
+EXTRACT.
+
+  Hunferd sagde,
+  Sønnen af Ecglaf;
+  han sad ved Scyldinge-
+  Styrerens Fødder;
+  Kiv han begyndte,
+  thi kjær var ham ikke
+  Beowulfs Reise,
+  den raske Søfarers,
+  men til Sorg og Harme,        1000
+  thi han saae ei gjærne
+  at en anden Mand
+  meer Magtroes havde,
+  under Himmelens Skyer
+  end selv han aatte:
+  Er Du den Beowulf,
+  der med Breca kjæmped’
+  paa det vide Hav
+  i Væddesvømning,
+  da I af Hovmod                1010
+  Havet udforsked’,
+  og dumdristige
+  i dybe Vande
+  vovede Livet;
+  ei vilde Nogen,
+  Ven eller Fjende,
+  afvende eders
+  sorgfulde Tog;
+  til Søen I da roed,
+  vendte med Armene             1020
+  de vilde Bølger,
+  maalde Havveien,
+  med Hænderne brød den,
+  og svam over Havet
+  mens Søen vælted
+  vinterlige Vover;
+  saa paa Vandenes Ryg
+  I strede syv Nætter;
+  han, Seirer paa Havet,
+  aatte meer Styrke,            1030
+  thi aarle on Morgenen
+  til Headhoræmes
+  Havet ham førde;
+  derfra han søgde
+  sit Fædrenerige,
+  feiret af Sine,
+  Brondinge-Landet
+  det fagre Fristed,
+  hvor et Folk han havde,
+  Borge og Ringe.               1040
+  Saa blev hvad Beanstans
+  Søn Dig loved’
+  sikkerlig opfyldt.
+
+
+_Criticism of the Text and Translation._
+
+There are two good things to be said of this volume: it contains a
+literal translation, and it is a literal translation from Kemble’s text.
+Being so, it could not be without merit. There was need of a literal
+translation in Denmark. Grundtvig’s version certainly did not fulfil the
+letter of the law, and Thorkelin’s had long since been forgotten.
+
+Schaldemose’s dependence upon the translation of Kemble is very evident.
+In general, the Danish translator is stopped by the same passages that
+defy the English translator, e.g. the passage which Kemble failed to
+interpret at line 3075 was duly and loyally omitted by Schaldemose.
+
+I can find no evidence for the reiterated[6] statement that Schaldemose
+is throughout his translation slavishly indebted to Ettmüller. Certain
+it is that he avoided those peculiar forms of Ettmüller’s translation
+which are nothing more than a transliteration from the Old English.
+
+
+_Reception of the Volume._
+
+It is a tribute to the Danish interest in Beowulf that Schaldemose’s
+volume soon passed into a second edition. But it was not of a character
+to arouse the interest of scholars in other countries. Thorpe, the next
+editor of the poem, had never seen it.
+
+The translation, being strictly literal, naturally commanded very little
+attention even in Denmark; while it was utterly without interest for
+readers and students in other countries.
+
+    [Footnote 1: See supra, p. 33.]  [[Kemble]]
+
+    [Footnote 2: See infra, p. 121.]  [[Leo]]
+
+    [Footnote 3: See supra, p. 37.]  [[Ettmüller]]
+
+    [Footnote 4: See supra, p. 22.]  [[Gruntvig]]
+
+    [Footnote 5: See supra, p. 15.]  [[Thorkelin]]
+
+    [Footnote 6: See Wülker, _Ang. Anz._ IV, 69; Wackerbarth’s ed.
+    (see infra, p. 45).]
+
+
+
+
+WACKERBARTH’S TRANSLATION
+
+
+Beowulf, an epic poem translated from the Anglo-Saxon into English
+verse, by A. Diedrich Wackerbarth, A.B., Professor of Anglo-Saxon at the
+College of our Ladye of Oscott. London: William Pickering, 1849. 8vo,
+pp. xlvi, 159.
+
+Second English Translation. Ballad Measures.
+
+
+_Circumstances of Publication._
+
+In the introduction Wackerbarth gives a full account of the history of
+the book:--
+
+  ‘With respect to the Work now presented to the Public, shortly
+  after the putting forth of Mr. Kemble’s Edition of the Anglo-Saxon
+  Text in 1833 I formed the Design of translating it, and early in
+  1837 I commenced the Work. Mr. Kemble’s second Volume had not then
+  appeared, and I proceeded but slowly, on account of the Difficulty
+  of the Work, and the utter Inadequacy of any then existing
+  Dictionary. I still however wrought my Way onward, under the
+  Notion that even if I should not think my Book, when finished, fit
+  for Publication, yet that the MS. would form an amusing Tale for
+  my little Nephews and Nieces, and so I went through about a
+  Quarter of the Poem when Illness put an entire stop to my
+  Progress. Afterwards, though the Appearance of Mr. Kemble’s
+  additional Volume, containing the Prose Version, Glossary, &c. had
+  rendered the remainder of my Task comparatively easy, other
+  Matters required my Attention, and the MS. lay untouched until
+  1842, between which Time and the present it has been from Time to
+  Time added to and at length completed, and the whole carefully
+  revised, much being cancelled and retranslated.’ --Introduction,
+  p. viii.
+
+
+_Indebtedness to preceding Scholars._
+
+  ‘In my Version I have scrupulously adhered to the text of Mr.
+  Kemble, adopting in almost every Instance his Emendations.... My
+  thanks are due to Mr. Kemble ... to the Rev. Dr. Bosworth ... who
+  have ... kindly answered my Inquiries relative to various Matters
+  connected with the poem.’ --Pages viii, xiv.
+
+
+_Style and Diction._
+
+  ‘I have throughout endeavoured to render the Sense and the Words
+  of my Author as closely as the English Language and the Restraints
+  of Metre would allow, and for this Purpose I have not shrunken
+  either from sacrificing Elegance to Faithfulness (for no
+  Translator is at liberty to misrepresent his Author and make an
+  old Saxon Bard speak the Language of a modern Petit Maître) or
+  from uniting English Words to express important Anglo-Saxon
+  compounds.... Some may ask why I have not preserved the
+  Anglo-Saxon alliterative Metre. My Reason is that I do not think
+  the Taste of the English People would at present bear it. I wish
+  to get my book read, that my Countrymen may become generally
+  acquainted with the Epic of our Ancestors wherewith they have been
+  generally unacquainted, and for this purpose it was necessary to
+  adopt a Metre suited to the Language; whereas the alliterative
+  Metre, heavy even in German, a Language much more fitted for it
+  than ours, would in English be so heavy that few would be found to
+  labour through a Poem of even half the Length of the Beówulf’s lay
+  when presented in so unattractive a Garb.’ --Pages ix, x.
+
+
+EXTRACT.
+
+  CANTO VIII.
+
+  But haughty Hunferth, Ecg-láf’s Son
+  Who sat at royal Hróth-gár’s Feet
+  To bind up Words of Strife begun
+    And to address the noble Geat.
+  The proud Sea-Farer’s Enterprize                 5
+  Was a vast Grievance in his Eyes:
+  For ill could bear that jealous Man
+  That any other gallant Thane
+  On earth, beneath the Heavens’ Span,
+    Worship beyond his own should gain.           10
+  ‘Art thou Beó-wulf,’ then he cry’d,
+  ‘With Brecca on the Ocean wide
+    That didst in Swimming erst contend,
+  Where ye explor’d the Fords for Pride
+  And risk’d your Lives upon the Tide             15
+    All for vain Glory’s empty End?
+  And no Man, whether Foe or Friend,
+  Your sorry Match can reprehend.
+  O’er Seas ye rowed, your Arms o’erspread
+  The Waves, and Sea-paths measuréd.              20
+  The Spray ye with your Hands did urge,
+  And glided o’er the Ocean’s Surge;
+  The Waves with Winter’s fury boil’d
+  While on the watery Realm ye toil’d,
+    Thus seven Nights were told,                  25
+  Till thee at last he overcame,
+  The stronger in the noble Game.
+  Then him at Morn the billowy Streams
+  In triumph bare to Heatho-rǽmes
+  From whence he sought his Fatherland,           30
+  And his own Brondings’ faithful Band,
+  Where o’er the Folk he held Command,
+    A City, Rings, and Gold.
+  His Promise well and faithfully
+  Did Beanstán’s Son perform to thee;             35
+  And ill I ween, though prov’d thy Might
+  In Onslaught dire and deadly Fight,
+  Twill go with thee, if thou this Night
+    Dar’st wait for Grendel bold.’
+
+
+_Criticism of the Translation._
+
+Wackerbarth’s translation is not to be considered as a rival of
+Kemble’s[1]--the author did not wish it to be so considered. Kemble
+addressed the world of scholars; Wackerbarth the world of readers.
+Wackerbarth rather resembles Conybeare[2] in trying to reproduce the
+_spirit_ of the poem, and make his book appeal to a popular audience.
+Wackerbarth had the advantage of basing his translation on the accurate
+and scholarly version of Kemble; yet Conybeare and Wackerbarth were
+equally unsuccessful in catching the spirit of the original. The reason
+for their failure is primarily in the media which they chose. It would
+seem that if there were a measure less suited to the Beowulf style than
+the Miltonic blank verse used by Conybeare, it would be the ballad
+measures used by Wackerbarth. The movement of the ballad is easy, rapid,
+and garrulous. Now, if there are three qualities of which the _Beowulf_
+is not possessed, they are ease, rapidity, and garrulity. Not only does
+the poet avoid superfluous words--the ballad never does--but he
+frequently does not use words enough. His meaning is thus often vague
+and nebulous, or harsh and knotted. Nor can the poem properly be called
+rapid. It is often hurried, and more often insufficient in detail, but
+it never has sustained rapidity. The kenning alone is hostile to
+rapidity. The poet lingers lovingly over his thought as if loath to
+leave it; he repeats, amplifies. The description of Grendel’s approach
+to Heorot is given three times within twenty lines.
+
+Now these features which have just been described Wackerbarth’s ballad
+lines are eminently unfitted to transmit. But there is still another
+reason for shunning them. They are almost continuously suggestive of
+Scott. Of all men else the translator of _Beowulf_ should avoid Scott.
+Scott’s medievalism is hundreds of years and miles away from the
+medievalism of _Beowulf_. His is the self-conscious, dramatic, gorgeous
+age of chivalry, of knight and lady, of pomp and pride. _Beowulf_ is
+simple to bareness.
+
+It is in such strong picturesque passages as the swimming-match that
+Wackerbarth’s style is worst. There is a plethora of adjectives,
+scarcely one of which is found in the original; but they are of no
+avail--they are too commonplace to render the strength and raciness of
+the original words. There is too much ballad padding--‘then he cry’d,’
+‘at last,’ ‘well and faithfully,’ ‘onslaught dire, and deadly fight.’
+Hunferth prattles. The heroic atmosphere is gone.
+
+In passages calling for calmness, solemnity, or elevation of
+thought--and there are many such--the easy flow of a verse monotonous
+and trivial effectually destroys the beauty of the lines.
+
+But in spite of its very evident limitations, Wackerbarth’s translation
+was a move in the right direction. His aim, in his own words, was to
+‘get his book read,’ and he was wise in choosing a medium that would be
+popular, even if it were not satisfactory to the scholar. It was better
+to have _Beowulf_ according to Wackerbarth than no _Beowulf_ at all.
+
+    [Footnote 1: See supra, p. 33.]  [[Kemble]]
+
+    [Footnote 2: See supra, p. 28.]  [[Conybeare]]
+
+
+
+
+THORPE’S EDITION
+
+
+The Anglo-Saxon Poems of Beowulf, The Scop or Gleeman’s Tale, and the
+Fight at Finnesburg. With a literal translation, notes, and glossary,
+&c., by Benjamin Thorpe. Oxford: printed by James Wright, Printer to the
+University. M.DCCC.LV.
+
+*Reprinted, 1875. 12mo, pp. xxxiv, 330.
+
+Third English Translation. Short Lines.
+
+
+_Author’s Prefatory Remarks._
+
+  ‘Twenty-four years have passed since, while residing in Denmark,
+  I first entertained the design of one day producing an edition of
+  Beowulf; and it was in prosecution of that design that,
+  immediately on my arrival in England in 1830, I carefully collated
+  the text of Thorkelin’s edition with the Cottonian manuscript.
+  Fortunately, no doubt, for the work, a series of cares, together
+  with other literary engagements, intervened and arrested my
+  progress. I had, in fact, abandoned every thought of ever resuming
+  the task: it was therefore with no slight pleasure that I hailed
+  the appearance of Mr. Kemble’s first edition of the text of
+  Beowulf in 1833....
+
+  ‘Copies of Mr. Kemble’s editions having for some time past been of
+  rare occurrence, I resolved on resuming my suspended labour, and,
+  as far as I was able, supplying a want felt by many an Anglo-Saxon
+  student both at home and abroad....
+
+  ‘My first impulse was to print the text of the poem as it appears
+  in the manuscript, with a literal translation in parallel columns,
+  placing all conjectural emendations at the foot of each page; but,
+  on comparing the text with the version in this juxta-position,
+  so numerous and so enormous and puerile did the blunders of the
+  copyist appear, and, consequently, so great the discrepance
+  between the text and the translation, that I found myself
+  compelled to admit into the text the greater number of the
+  conjectural emendations, consigning to the foot of the page the
+  corresponding readings of the manuscript. In every case which I
+  thought might by others be considered questionable, I have
+  followed the more usual course, of retaining in the text the
+  reading of the manuscript, and placing the proposed correction at
+  foot....
+
+  ‘Very shortly after I had collated it, the manuscript suffered
+  still further detriment.
+
+  ‘In forming this edition I resolved to proceed independently of
+  the version or views of every preceding editor.’ --Pages vii,
+  viii, xii, xiii.
+
+
+_Criticism of Thorpe’s Text._
+
+Considering the amount of time that had elapsed between this and the
+edition of Kemble[1], Thorpe can hardly be said to have made a
+satisfactory advance. In some respects his edition is actually inferior
+to Kemble’s. It is probable, for example, that the collation of which
+the author speaks in his introduction was the one which he had made
+twenty years before, and that, in taking up his work a second time,
+he did not trouble himself to revise it. At any rate, the MS. did not
+receive from Thorpe that respectful attention that it had had from
+Kemble. Thorpe was more clever than the former scholar in deciphering
+faded lines of the MS., but he was not always careful to indicate those
+letters which he actually found there, and those he himself supplied
+from conjecture. Yet these readings were often of sufficient importance
+to affect an entire passage, and later scholarship has in many cases
+deciphered readings whose sense is entirely different from Thorpe’s.
+Thus his edition presents striking divergences from later texts, while
+no explanation of them is offered in the footnotes. Not only does he
+frequently incorporate his own readings in the text without noting the
+MS. forms, but he even makes mistakes in the MS. forms which he does
+note. A collation of Thorpe’s text with the MS. has revealed a
+carelessness which was all the more reprehensible in that it came from a
+scholar who was thought to be well-nigh infallible. A few examples of
+this carelessness are given:--
+
+  Line 319 (158)[2], _banan_ (misreads MS. in footnote).
+       487 (241), _Ic_ (word emended from _le_ without noting MS. form).
+       1160 (578), _hwæþere_ (emends without noting the MS. form).
+       1207 (601), _ac him_ (omits a word).
+       4408 (2201), _hilde hlemmum_ (MS. misread in a footnote.
+           Emendation unnecessary).
+
+At line 2218 the MS., badly mutilated at this point, reads,
+
+  _... slæpende be syre ... de þeofes cræfte._
+
+In Thorpe’s edition the line reads (4443),
+
+  _... slæpende be fire, fyrena hyrde þeófes cræfte._
+
+Not only does he fail to state that he has changed MS. _sy_ to _fi_, but
+he gives no indication that for the words _fyrena hyrde_ there is no
+room in the MS., and that the reading is entirely of his own making.
+
+In order to afford a comparative estimate of the work of Thorpe and
+Kemble, I append the texts of each as they appear at what is now line
+2000[3].
+
+  THORPE.                           KEMBLE.
+
+  Þæt is undyrne,                    þ̷ is un-dyrne,
+  dryhten Higelác,                   dryhten Hige-lác,
+  (uncer) gemeting                   ... ge-meting
+  monegum fyra,                      monegū fira
+  hwylce (orleg)-hwíl         5      hwylce ... hwíl
+  uncer Grendles                     uncer Grendles
+  wearð on þám wange,                wearð on wange,
+  þær he worna fela                  þær he worna fela
+  Sige-Scyldingum                    síge-(Scyl)dingum
+  sorge gefremede,           10      sorge ge-fremede,
+  yrmðe tó aldre.                    yrmð(o) tó aldre;
+  Ic þæt eall gewræc,                ic þ̄ eall ge-wræc,
+  swá ne gylpan þearf                swá (ne) gylpan ðearf
+  Grendles maga                      Grendeles maga
+  (ǽnig) ofer eorðan         15      (ǽnig) ofer eorðan
+  uht-hlem þone,                     uht-hlem ðone,
+  se þe lengest leofað               (se þe) lengest leofað
+  láðan cynnes.                      ládan cynnes,
+  Fǽr-bifongen, ...                  (fǽr)-bí-fongen.
+
+These selections give a good basis for judging the merits and defects of
+Thorpe’s edition. Thorpe is seen to have the advantage in deciphering
+certain parts of the text, see e.g. lines 9, 11, 17. On the other hand,
+Kemble is far more conscientious. Thus at line 13 Thorpe reads _ne_ as
+if it were found in the MS. It is not there, and Kemble is right in
+inclosing the letters in parentheses. The same thing is true of _Fǽr_ in
+line 19, and Gren{dl}es in line 14. Thorpe’s emendations in lines 3 and
+5 are an advance on Kemble, and are still retained in the text. But
+Thorpe might have followed Kemble’s punctuation in 18 and 19 to his
+advantage.
+
+
+EXTRACT.
+
+  VIII.
+
+  Hunferth spake,
+  Ecglaf’s son,
+  who at {the} feet sat
+  of {the} Scyldings’ lord;
+  unbound {a} hostile speech.
+  To him was {the} voyage of Beowulf,
+  {the} bold sea-farer,
+  {a} great displeasure;
+  because he grudged                        1010
+  that any other man
+  ever more glories
+  of mid-earth
+  held under heaven
+  than himself:
+  ‘Art thou the Beowulf
+  who with Breca strove
+  on {the} wide sea,
+  in {a} swimming strife,
+  where ye from pride                       1020
+  tempted {the} fords,
+  and for foolish vaunt
+  in {the} deep water
+  ventured {your} lives?
+  Nor you any man,
+  nor friend nor foe,
+  might blame
+  {for your} sorrowful voyage,
+  when on {the} sea ye row’d,
+  when ye {the} ocean-stream,               1030
+  with {your} arms deck’d,
+  measur’d {the} sea-ways,
+  with {your} hands vibrated {them},
+  glided o’er {the} main;
+  ocean boil’d with waves,
+  with winter’s fury:
+  ye on {the} water’s domain,
+  {for} seven nights toil’d.
+  He thee in swimming overcame,
+  {he} had more strength,                   1040
+  when him at morning tide,
+  on to Heatho-ræmes
+  {the} sea bore up;
+  whence he sought
+  {his} dear country,
+  {the} beloved of his people,
+  {the} Brondings’ land,
+  {his} fair, peaceful burgh,
+  where he {a} people own’d,
+  {a} burgh and rings.                      1050
+  All {his} promise to thee
+  Beanstan’s son
+  truly fulfil’d.
+
+
+_Criticism of the Translation._
+
+This being a strictly literal translation, the reader is referred to the
+sections on the text for a valuation and criticism. It is a question
+whether there was need for another literal rendering in England at this
+time. Kemble’s translation was not yet out of date, and with Thorpe’s
+new glossary the student had a sufficient apparatus for the
+interpretation of the poem.
+
+Some German scholars have discovered that the short lines in which
+Thorpe’s translation is couched are imitative of the Old English
+measure. I am unable to agree with them. Probably any short-line
+translation would _ipso facto_ assume a choppiness not dissimilar to the
+Old English, and probably plenty of lines could be discovered which
+correspond well enough to the ‘five types,’ but the agreement seems
+purely fortuitous. It is quite unlikely that Thorpe intended any
+imitation.
+
+
+_Influence of Thorpe’s Edition._
+
+The influence of this edition has been considerable. It was the
+principal authority used by Grein[4] and Heyne[5] in constructing their
+texts. Thus its influence was felt in all texts down to the publication
+of the Zupitza _Autotypes_ (1882). Thomas Arnold[6] copied the text
+almost word for word.
+
+    [Footnote 1: See supra, p. 33.]  [[Kemble]]
+
+    [Footnote 2: The numbers in parentheses are those of Wyatt’s text.]
+
+    [Footnote 3: Line 3995 in Kemble; 4004 in Thorpe.]
+
+    [Footnote 4: See infra, p. 55.]  [[Grein]]
+
+    [Footnote 5: See infra, p. 63.]  [[Heyne]]
+
+    [Footnote 6: See infra, p. 71.]  [[Arnold]]
+
+
+
+
+GREIN’S TRANSLATIONS
+
+
+Dichtungen der Angelsachsen, stabreimend übersetzt von C. W. M. Grein.
+Erster Band. Göttingen: Georg H. Wigand, 1857. 8vo, Beowulf, pp.
+223-308. Zweite (Titel-) Auflage, 1863.
+
+Beowulf. Stabreimend übersetzt von Professor Dr. C. W. M. Grein. Zweite
+Auflage. Kassel: Georg H. Wigand, 1883. 8vo, pp. 90.
+
+Second German Translation. Imitative Measures.
+
+
+_Grein’s Preparation for Scholarly Work._
+
+Christian Wilhelm Michael Grein[1] (1825-77) was eminently well fitted
+for the editing and translating of Old English poetry. He possessed a
+natural aptitude for the study of Germanic Philology, and had the
+advantage of studying with an excellent professor, Franz Eduard
+Christoph Dietrich (1810-83), in the University at Marburg. As early as
+1854 he began his labors as a translator of Old English poetry with a
+version of the _Phoenix_, ‘Der Vogel Phoenix: ein angelsächsisches
+Gedicht, stabreimend übersetzt,’ Rinteln, 1854. In the same year he
+printed a translation of the _Heliand_.
+
+In 1855 he assumed the position of Praktikant at the Kassel
+Landesbibliothek. Here he was able to devote a large part of his
+attention to the study of Old English, acquiring a familiarity with the
+poetry of that tongue which it has seldom been the fortune of a scholar
+to surpass. He formed the design of editing and translating the entire
+body of Old English poetry and appending to it a complete glossary which
+should not only give the meanings of the words, but instance every
+occurrence of the word. This design he carried out between the years
+1857 and 1864.
+
+
+_Grein’s Texts._
+
+The text of _Beowulf_ is found in Grein’s _Bibliothek der
+angelsächsichen Poesie_, Erster Band, Göttingen, 1857, where it occupies
+pp. 255-341. A second edition, several times re-edited, is _Beovulf,
+nebst den Fragmenten Finnsburg und Waldere_, Kassel und Göttingen, 1867.
+
+Grein never saw the MS. of the poem[2]. He based his text on a collation
+of all the preceding editions. This was unfortunate, because, had Grein
+seen the MS., he would doubtless have hastened to make a correct
+transcription of it. As it was, his edition necessarily shares some of
+the faults of its predecessors, since the text had never yet been
+accurately transcribed. A simple illustration of this defect may be seen
+by examining line 2218 of the text, where Grein reads,
+
+  _be fire, fyrena hyrde_,
+
+following Thorpe[3]. As has been pointed out, this is an impossible
+reading, and one for which there is no justification in the MS. Thorpe,
+however, had presented it as the MS. reading, and Grein could not but
+copy it.
+
+Like Kemble, Grein had a supreme respect for the readings of the MS.,
+and he announced his intention of following this reading wherever
+possible:--
+
+  ‘Bei der Behandlung des Textes galt als erste Pflicht,
+  handschriftliche Lesarten, wo es nur immer möglich war, zu retten
+  und namentlich auch manche angezweifelte, den Lexicis fremde
+  Wörter als wolbegründet nachzuweisen: nur da, wo Verderbniss auf
+  der Hand liegt, habe ich mir mit der grössten Vorsicht Aenderungen
+  erlaubt oder bereits von Andern vorgeschlagene Aenderungen
+  aufgenommen, wobei ich mich möglichst eng an das handschriftlich
+  gebotene anzuschliessen suchte.’ --Vorwort, iv. (_Bibl._).
+
+This was wise. Since the days of Kemble, emendation had become
+unnecessarily frequent. We have seen in what a light-hearted way Thorpe
+spoke of the ‘blunders of the scribes,’ and how careless he was in the
+preparation of his text. The dialect had not yet received proper
+attention, and the copyists were blamed for errors that they never made.
+
+Grein was extremely clever in filling the lacunae of the MS., and his
+conjectural emendations are frequently retained by later editors.
+
+Still another improvement which he introduced was the full punctuation
+of the text; this was superior to any that had preceded it. In previous
+editions defective punctuation had obscured the sense of the lines; here
+it was made a factor in their interpretation.
+
+
+_Theory of Translation._
+
+Grein’s theory of translation is sufficiently expressed in the Vorrede
+to the _Dichtungen_:--
+
+  ‘Die Sammlung von metrischen Uebersetzungen angelsächsischer
+  Dichtungen, deren erster Band hiermit der Oeffentlichkeit
+  übergeben wird, soll einen doppelten Zweck erfüllen. Einerseits
+  betrachte ich dieselben als eine wesentliche Ergänzung, gleichsam
+  als fortlaufenden Commentar zu meiner gleichzeitig in demselben
+  Verlag erscheinenden Textausgabe der angelsächsischen Dichter,
+  indem sie meine Interpretation der Originaltexte, worin ich oft
+  von meinen Vorgängern abweiche, einfach vor Augen legen.
+  Andrerseits aber bezweckte ich dadurch die Bekanntschaft mit den
+  in vieler Beziehung so herrlichen dichterischen Erzeugnissen des
+  uns engverwandten englischen Volkes aus der Zeit vor dem
+  gewaltsamen Eindringen des romanischen Elements durch die
+  normannische Eroberung auch in weiteren Kreisen anzubahnen, was
+  sie sowol nach ihrem Inhalte als auch nach der poetischen
+  Behandlung des Stoffes gewiss in hohem Grade verdienen. Daher war
+  ich eifrigst bemüht, die Uebersetzung dem Original in möglichster
+  Treue nach Inhalt, Ausdruck und Form eng anzuschliessen:
+  namentlich suchte ich, soweit es immer bei dem heutigen Stande
+  unserer Sprache thunlich war, auch den Rhythmus des Originals
+  nachzubilden, wobei es vor allem auf die Beibehaltung der
+  eigentümlichen Stellung der Stabreime ankam, ein Punkt, der bei
+  der Uebertragung alter Alliterationspoesien nur zu oft
+  vernachlässigt wird.’ --Vorrede, iii.
+
+
+_Differences between the two Editions._
+
+The second edition of the translation (see supra, p. 65) was edited from
+Grein’s ‘Handexemplar’ of the _Dichtungen_ after his death by Professor
+Wülker, who has also re-edited the text of the _Bibliothek_. The
+differences are seldom more than verbal, and are largely in the early
+parts of the poem. The second edition is, of course, superior.
+
+
+EXTRACT.
+
+  III.
+
+    Darauf sprach Hunferd, Ecglafs Sohn,
+  der zu den Füssen sass dem Fürst der Skildinge,            500
+  entband Streitrunen, (ihm war Beowulfs Reise
+  des mutigen Seefahrers sehr zum Aerger,
+  da er durchaus nicht gönnte, dass ein anderer Mann
+  je mehr des Ruhmes in dem Mittelkreise
+  besässe unterm Himmel, denn er selber hatte):              505
+  ‘Bist du der Beowulf, der einst mit Breka schwamm
+  im Wettkampfe durch die weite See,
+  wo in Verwegenheit ihr die Gewässer prüftet
+  und aus tollem Prahlen in die tiefen Fluten
+  wagtet euer Leben? Nicht wehren konnt’ euch beiden         510
+  weder Lieb noch Leid der Leute einer
+  die sorgenvolle Fahrt, als in den Sund ihr rudertet,
+  wo ihr den Oceansstrom mit euren Armen decktet,
+  die Holmstrassen masset, mit den Händen schluget
+  und über den Ocean glittet: der Eisgang des Winters        515
+  wallete in Wogen; in des Wassers Gebiet
+  plagtet ihr euch sieben Nächte.
+          Im Schwimmspiel überwand er dich:
+  er hatte mehr der Macht; zur Morgenzeit
+  trug ihn der Holm da zu den Headorämen.
+  Von dannen suchte er die süsse Heimat                      520
+  lieb seinen Leuten, das Land der Brondinge,
+  die liebliche Friedeburg, wo er sein Volk hatte,
+  Burg und Bauge. Da hatte all sein Erbot wider dich
+  vollbracht in Wahrheit Beanstans Sohn[4].’
+
+
+_Criticism of the Translation._
+
+The translation is a literal line-for-line version. Its superiority to
+its predecessors is, therefore, one with the superiority of the text on
+which it is founded.
+
+The translation became at once the standard commentary on _Beowulf_, and
+this position it retained for many years. It is still the standard
+literal translation in Germany, none of the later versions having
+equaled it in point of accuracy.
+
+    [Footnote 1: For biographical facts see Grein-Wülker,
+    _Bibliothek_, Band III, 2te Hälfte, p. vii.]
+
+    [Footnote 2: See Grein-Wülker, _Bibliothek_, Vorrede.]
+
+    [Footnote 3: See supra, p. 52.]  [[Thorpe: Criticism of Text]]
+
+    [Footnote 4: The second edition presents no variation from this
+    save the omission of the comma in line 501.]
+
+
+
+
+SIMROCK’S TRANSLATION
+
+
+Beowulf. Das älteste deutsche Epos. Uebersetzt und erläutert von Dr.
+Karl Simrock. Stuttgart und Augsburg: J. G. Cotta’scher Verlag, 1859.
+8vo, pp. iv, 203.
+
+Third German Translation. Imitative Measures.
+
+
+_Simrock._
+
+Dr. Karl Simrock (1802-1876) brought to the translation of _Beowulf_ the
+thorough knowledge of a scholar, the fine feeling and technique of a
+poet, and an enviable reputation as a translator of Old German poetry.
+At the time when he made his translation of _Beowulf_, he was Professor
+of Old German Literature at Bonn, whither he had been called because of
+his contributions to the study of Old German mythology. His title to
+remembrance rests, however, on his metrical rendering of the
+_Nibelungenlied_, a work which, in 1892, had passed into its
+fifty-second edition. As an original poet, Simrock is remembered for his
+_Wieland der Schmied_ (1835), and _Gedichte_ (1844).
+
+
+_Object of the Translation._
+
+Simrock wished to do for _Beowulf_ what he had done for the
+_Nibelungenlied_, _Walther von der Vogelweide_, and _Der arme Heinrich_.
+He objected to the too literal work of Ettmüller[1] and Grein[2], hoping
+in his own work to make the poem readable and to dispense with a ‘note
+for every third word’:
+
+  ‘Geist und Stimmung einer fernen Heldenzeit anklingen zu lassen,
+  und doch dem Ausdruck die frische Farbe des Lebens zu verleihen.’
+  --Vorrede, iii.
+
+In this ambition he was justified by his success as a translator of Old
+German poetry.
+
+
+_Nature of the Translation._
+
+The diction of the version is, on the whole, characterized by simplicity
+and ease. Yet the author, like many another translator of Old English,
+tries to give his style an archaic tinge by preserving the compound
+forms characteristic of that language, such as Lustholz, Aelgelage,
+Kampfrunen, a fault that Ettmüller had carried to excess. These forms he
+sometimes used to the exclusion of simpler, or even more literal, words.
+The nature of the German language, however, keeps these from being as
+repulsive as they are in English, but they are sufficiently strange to
+mystify and annoy the reader.
+
+The feature of his translation for which Simrock was most concerned was
+the measure:
+
+  ‘Vor Allem aber den Wohllaut, der echter Poesie unzertrennlich
+  verbunden ist, das schien mir die erste Bedingung, damit der Leser
+  ... den Sinn ahne und von der Schönheit des Gedichts ergriffen
+  von Blatt zu Blatt getragen werde. Nur so glaubte ich eine
+  tausendjährige Kluft überbrücken und dieser mit Angeln und Sachsen
+  ausgewanderten Dichtung neues Heimatsrecht bei uns erwerben zu
+  können.’ --Vorrede, iii, iv.
+
+He also preserved alliteration, believing that a fondness for that
+poetic adornment may be easily acquired, and that it is by no means
+inconsistent with the genius of modern tongues.
+
+
+_Relation of Translation and other Parts of the Book._
+
+The notes to the translation contain discussions of the episodes and of
+the mythological personages of the poem. There is a discussion of the
+poetic worth of _Beowulf_, and an argument for the German origin of the
+poem. But the translation is the _raison d’être_ of the volume, and
+other parts are strictly subordinated to it. The Finnsburg fragment is
+inserted at the end of section 16. As the author does not wish to
+disturb the order of _Beowulf_, he is obliged to place the poem at the
+end of the Finnsburg episode (in _Beowulf_), a very ill-chosen position,
+where it can only confuse the general reader more than the obscure lines
+to which it is related. This practice of inserting the Finnsburg
+fragment, lately revived by Hoffmann[3], has been generally repudiated.
+
+
+_Text, and Indebtedness to Preceding Scholars._
+
+The text followed is Grein’s (1857)[4]. The translator acknowledges his
+indebtedness to the versions of Ettmüller and Grein.
+
+
+EXTRACT.
+
+  8. HUNFERD.
+
+  Da begann Hunferd,    Ecglafs Sohn,
+  Der zu Füssen sass    dem Fürsten der Schildinge,
+  Kampfrunen zu entbinden:    ihm war Beowulfs Kunft,
+  Des kühnen Seeseglers,    schrecklich zuwider.
+  Allzu ungern sah er,    dass ein anderer Mann
+  In diesem Mittelkreiss    mehr des Ruhmes
+  Unterm Himmel hätte    als Hunferd selbst:
+
+    ‘Bist du der Beowulf,    der mit _Breka_ schwamm
+  Im Wettkampf einst    durch die weite See?
+  Wo ihr tollkühn    Untiefen prüftet,
+  Mit vermessnem Muth    in den Meeresschlünden
+  Das Leben wagtet?    Vergebens wehrten euch
+  Die Lieben und Leiden,    die Leute zumal
+  So sorgvolle Reise,    als ihr zum Sunde rudertet,
+  Das angstreiche Weltmeer    mit Armen decktet,
+  Die Meerstrassen masset,    mit den Händen schlugt
+  Durch die Brandung gleitend;    aufbrauste die Tiefe
+  Wider des Winters Wuth.    Im Wasser mühtet ihr
+  Euch sieben Nächte:    da besiegt’ er dich im Schwimmen.
+  Seiner Macht war mehr:    in des Morgens Frühe
+  Hob ihn die Hochflut    zu den _Headorämen_.
+  Von dannen sucht’ er    die süsse Heimat,
+  Das Leutenliebe,    das Land der _Brondinge_,
+  Die feste Friedensburg,    wo er Volk besass,
+  Burg und Bauge.    Sein Erbieten hatte dir
+  Da _Beanstans_ Geborner    vollbracht und geleistet.’
+
+
+_Criticism of the Translation._
+
+Simrock’s translation is commendable for its faithfulness. It is,
+moreover, a simple and readable version, though in these respects it is
+not equal to Heyne’s rendering which was to follow it; but it was easily
+superior to Grein’s. Yet, in spite of this, the book is not well known
+among German translations, and has never passed into a second edition.
+This is surprising when we consider the success of Simrock’s previous
+translations. The partial failure is accounted for by two facts:
+(1) Simrock’s reputation as a scholar was not equal to that of Grein or
+Heyne, nor had he the advantage of editing the text; (2) the measure
+which the translation employed has never been popular among readers. No
+German translation in imitative measures, with the single exception of
+Grein’s (which has made its appeal as a scholarly work and not as a
+piece of literature), has ever passed into a second edition; while
+versions couched in iambic lines or Nibelungen meters have been
+reprinted.
+
+    [Footnote 1: See supra, p. 37.]  [[Ettmüller]]
+
+    [Footnote 2: See supra, p. 55.]  [[Grein]]
+
+    [Footnote 3: See infra, p. 99.]  [[Hoffmann]]
+
+    [Footnote 4: See supra, p. 56.]  [[Grein’s Texts]]
+
+
+
+
+HEYNE’S TRANSLATION
+
+
+Beowulf. Angelsächsisches Heldengedicht übersetzt von Moritz Heyne.
+Paderborn: Druck und Verlag von Ferd. Schöningh, 1863. 12mo, pp. viii,
+127.
+
+Zweite Auflage. Paderborn: Schöningh, 1898. 8vo, pp. viii, 134.
+
+Fourth German Translation. Iambic Pentameter.
+
+
+_Heyne._
+
+The name of Moritz Heyne is one of the most illustrious in the history
+of Beowulf scholarship. The Heyne editions of the text[1] have been
+standard for nearly forty years, while the translation has been recently
+reprinted (1898). Beside his work on the _Beowulf_, this scholar was to
+become prominent as editor of the _Heliand_ and of _Ulfilas_, and as one
+of the staff appointed to complete Grimm’s Dictionary.
+
+At the time when he printed his edition of the _Beowulf,_ Heyne was a
+student at Halle, and but twenty-six years of age (born 1837)[2]. In his
+work he had some assistance from Professor Leo[3] of Halle.
+
+
+_Relation of Text and Translation._
+
+The translation was founded on the text of 1863. At the time it was by
+far the best edition that had yet appeared. It was furnished with an
+excellent glossary. The text had the advantage of the valuable work done
+by Grundtvig[4] in collating the two transcripts made by Thorkelin[5].
+It thus came a stage nearer the MS. readings than any other existing
+edition, while it avoided the unnecessary conjectures of the Danish
+editor.
+
+Heyne’s text having been five times re-edited, the first edition of the
+translation often fails to conform to readings which have been
+introduced into the text in later editions; but the free nature of the
+translation makes this of no great importance.
+
+
+_Differences between the First and Second Editions of the Translation._
+
+The differences between the two editions are not of much importance. The
+translation is in general, though not always, brought up to the late
+editions of the text, and some changes are made for the improvement of
+the meter.
+
+The first edition contains 3201 lines; the second 3207. The theory and
+aim of the translation are not changed at all.
+
+
+_Aim of Heyne’s Translation._
+
+In this translation of the _Beowulf_, Heyne attempts to popularize what
+he considers the most beautiful of the Old English poems. He says
+of it--
+
+  ‘Es ist nicht die erste, die ich biete; gleichwol hoffe ich es
+  werde die erste sein, die auch einem grössern Publicum, das noch
+  nicht Gelegenheit hatte, sich mit den ältern Dialecten unserer
+  Sprache zu beschäftigen, verständlich ist. Die ältern deutschen
+  Uebersetzer haben, bei allen Verdiensten ihrer Arbeit, unserer
+  neuhochdeutschen Muttersprache teilweise übel mitgespielt.’
+  --Vorwort, iii.
+
+With this in view, Heyne put his translation out in a form that would
+make it accessible to all. This was in itself an innovation. The works
+of Ettmüller[6] and Simrock[7] had been in a more elaborate _format_,
+while Grein’s translation[8] was not only expensive, but encumbered with
+other work, and intended primarily for the scholar.
+
+
+_Nature of the Translation._
+
+Heyne chose a new medium for his version, the unrimed iambic line. His
+aim being to get his book read, he avoided a literal translation, and
+rendered with commendable freedom, though not with inaccuracy. He used
+no strange compounds, and shunned an unnatural verse. Thus he produced
+the most readable translation that has ever appeared in Germany. Of his
+own attempt he says--
+
+  ‘Die vorliegende Uebertragung ist so frei, dass sie das für uns
+  schwer oder gar nicht genau nachzubildende allitterierende Versmass
+  des Originals gegen fünffüssige Jamben aufgibt, und zu Gunsten des
+  Sinnes sich der angelsächsischen Wort- und Satzstellung nicht zu
+  ängstlich anschmiegt; dagegen auch wieder so genau, dass sie
+  hoffentlich ein Scherflein zum vollkommenern Verständniss des
+  Textes beitragen wird.’ --Vorwort, iii.
+
+Heyne’s theory of translation is one that has been very little in vogue
+in Germany. He has been criticized on all sides for his freedom. Yet the
+criticism is undeserved. Heyne is never paraphrastic--he never adds
+anything foreign to the poem. He merely believes in translating the
+obscure as well as the simple ideas of his text. His ‘freedom’ seldom
+amounts to more than this--
+
+  Hē bēot ne āleh, l. 80 (he belied not his promise)
+  Was er gelobt, erfüllt er.
+
+He occasionally inserts a word for metrical reasons, and sometimes, in
+the interests of clearness, a demonstrative or personal pronoun, or even
+a proper name (cf. l. 500 of the extract).
+
+
+EXTRACT.
+
+  IX.
+
+  Da sagte Hunferd, Ecglafs Sohn, der Hrodgar            500
+  zu Füssen sass, dem Herrn der Schildinge,
+  des Streites Siegel löste er (denn sehr
+  war Beowulfes Ankunft ihm verhasst,
+  des kühnen Meerbefahrers; er vergönnte
+  es Niemand, mehr des Ruhmes als er selber              505
+  sich unterm Himmel jemals zu erwerben):
+  ‘Bist du der Beowulf, der einst mit Breca
+  sich auf der weiten See im Schwimmkampf mass,
+  als ihr euch kühnlich in die Tiefen stürztet,
+  und mit verwegnem Brüsten euer Leben                   510
+  im tiefen Wasser wagtet? Niemand konnte,
+  nicht Freund, nicht Feind, des mühevollen Weges
+  euch hindern. Da schwammt ihr hinaus in See,
+  wo ihr die wilde Flut mit Armen decktet,
+  des Wassers Strassen masset und die Hände              515
+  die Wogen werfen liesst; so glittet ihr
+  hin übers Meer. Die winterlichen Wellen,
+  sie giengen hoch. Der Tage sieben mühtet
+  ihr euch im Wasser: jener überwand dich
+  im Schwimmen, denn er hatte grössre Kraft.             520
+  Da trug die Hochflut ihn zur Morgenzeit
+  auf zu den Hadorämen, von wo aus er,
+  der seinem Volke liebe, seinen Erbsitz
+  im Land der Brandinge, die schöne Burg
+  erreichte. Dort besass er Land und Leute               525
+  und Schätze. Was er gegen dich gelobt,
+  das hatte Beanstans Sohn fürwahr erfüllt.’
+
+The extract illustrates sufficiently the characteristics of Heyne’s
+rendering. In the first place, attention may be called to the extreme
+freedom of the verse, a freedom which at times makes the composition
+verge upon prose. In the second place, the translation of the Old
+English phrase _beadu-runen onband_ should be noticed, and compared with
+the translations of Ettmüller, Grein, and Simrock, who have
+respectively--
+
+  _entband beadurunen_
+  _entband Streitrunen_
+  _Kampfrunen ... entbinden._
+
+Heyne is the only one who translates the phrase in such a way as to make
+the words intelligible to a reader unacquainted with Old English.
+Finally, it should be noticed that the translation is quite as accurate
+as those which preceded it. Heyne certainly succeeded in his attempt to
+make the poem more intelligible to the general reader than it had ever
+been before. While not so serviceable to the scholar as Grein’s
+translation, it is undoubtedly the most enjoyable of the German
+versions.
+
+    [Footnote 1: There have been six--1863, 1868, 1873, 1879, 1888,
+    1898; the last two are by Dr. Adolf Socin.]
+
+    [Footnote 2: Heyne is at present Professor in the University of
+    Göttingen.]
+
+    [Footnote 3: See infra, p. 121.]  [[Leo]]
+
+    [Footnote 4: In _Beowulfs Beorh_. See also supra, p. 22.]
+
+    [Footnote 5: See supra, p. 16.]  [[Thorkelin]]
+
+    [Footnote 6: See supra, p. 37.]  [[Ettmüller]]
+
+    [Footnote 7: See supra, p. 59.]  [[Simrock]]
+
+    [Footnote 8: See supra, p. 55.]  [[Grein]]
+
+
+
+
+VON WOLZOGEN’S TRANSLATION
+
+
+Beovulf (Bärwelf). Das älteste deutsche Heldengedicht. Aus dem
+Angelsächsischen von Hans von Wolzogen. Leipzig: Philipp Reclam, jun.
+(1872?).
+
+Volume 430 of Reclam’s Universal-Bibliothek. Small 8vo, pp. 104.
+
+Fifth German Translation. Imitative Measures.
+
+
+_Concerning the Translator._
+
+Hans von Wolzogen (born 1848), popularly known as a writer on the
+Wagnerian operas and as conductor of the _Bayreuther Blätter_,
+translated three Germanic poems for Reclam’s ‘Bibliothek’: _Beowulf_,
+1872, _Der arme Heinrich_, 1873, and the _Edda_, 1877. There is no
+evidence that he had any _special_ interest in Old English studies.
+
+
+_Aim of the Volume._
+
+As expressed in the ‘Vorbemerkung,’ the aim of the translator was (1) to
+provide a readable translation ‘für unser modernes Publicum,’ and (2) to
+make a convenient handbook for the student, so that the beginner, with
+Grein’s text[1] and the present translation, might read the _Beowulf_
+with no very great difficulty. So von Wolzogen made his version ‘more
+literal than Heyne’s, but freer than Simrock’s’ (p. 1).
+
+
+_Nature of the Translation._
+
+The translation is in alliterative measures, called by the translator
+imitative of the Old English. Von Wolzogen is concerned for this feature
+of his work, and is at pains to give what he considers a full account of
+the original verse as well as a lengthy defence of alliteration. Archaic
+touches are occasional. The names are ‘re-translated into German’
+according to a system of which, apparently, von Wolzogen alone holds the
+key:--
+
+  ‘... diese angelsächsische Form selbst nur eine Uebertragungsform
+  aus den ursprünglich deutschen Namen ist, wobei manch Einer sogar
+  sinnlos verdreht worden, wie z.B. der Name des Helden selbst, der
+  aus dem deutschen Bärwelf, Jungbär, zum Beovulf, Bienenwolf,
+  gemacht worden war.’ --Vorbemerkung, p. 5.
+
+The account of the Fall of Hygelac and of Heardred, 2354-96, is shifted
+to line 2207 (p. 75).
+
+
+_Text Used._
+
+The translation is apparently founded on one of Grein’s texts[2], but
+the work is so inaccurate that exact information on this point is
+impossible from merely internal evidence.
+
+
+EXTRACT.
+
+  DRITTER GESANG.
+
+  HUNFRID.
+
+  _So sagte Hunfrid_[3], der Sohn des _Eckleif_,
+  Dem Schildingenfürsten zu Füssen gesessen,
+  Kampfrunen entbindend (es kränkte des _Bärwelf_
+  _Muthige Meerfahrt_ mächtig den Stolzen,
+  Der an Ehren nicht mehr einem andern Manne                       5
+  Zu gönnen gemeint war im Garten der Mitte,
+  Als wie unter’m Himmel erworben er selbst!):
+  ‘Bist du der _Bärwelf_, der mit _Brecht_ bekämpfte
+  Auf weiter See im Wetteschwimmen,
+  Da übermüthig und ehrbegierig                                   10
+  Eu’r Leben ihr wagtet in Wassertiefen,
+  _Die beid’ ihr durchschwammt?_ Da brachte zum Schwanken
+  Den Vorsatz der furchtbaren Fahrt euch Keiner
+  _Mit Bitten und Warnen_, _und_ Beide durchtheiltet
+  Mit gebreiteten Armen die Brandung ihr rudernd,                 15
+  Durchmasset das Meer mit _meisternden_ Händen
+  Auf wogenden Wegen, während der Wirbelsturm
+  Rast’ in den Well’n, und _ihr rangt mit_ dem Wasser
+  Durch sieben Nächte. Der Sieger im Neidspiel
+  Zeigte sich mächt’ger; zur Zeit des Morgens                     20
+  Riss zu den Haduraumen die Flut ihn;
+  ins eigene Erbe enteilt’ er von dort,
+  Zum Lande der Brandinge, lieb seinen _Mannen_,
+  Zur bergenden Burg. Da gebot er dem Volke
+  _Schlossreich und schatzreich_. Wie geschworen, so hielt        25
+  Sein Versprechen dir redlich der Sprössling des _Bonstein_.’
+
+
+_Criticism of the Translation._
+
+Von Wolzogen’s translation is hardly trustworthy. A specimen of his free
+interpretation of the _Beowulf_ diction may be seen in the footnote on
+page 13, where he defines _horngēap_ (i.e. ‘with wide intervals between
+its pinnacles of horn’) as ‘hornreich,’ and translates _hornreced_,
+‘Hornburg.’ Inaccurate renderings of the Old English have been noted
+above in italics. They reveal an especial difficulty with the kenning,
+a device which von Wolzogen apparently did not understand, since the
+entire translation shows an attempt to interpret the kenning
+hypotactically. Had the translator been making a paraphrase,
+inaccuracies like ‘muthige Meerfahrt’ and ‘ihr rangt mit dem Wasser’
+might be excused; but in a translation which was avowedly literal (more
+literal than Heyne’s) they appear to be due to nothing less than
+ignorance and carelessness. To give one example from the thousand that
+bear out the truth of this statement, we may cite line 561 (p. 27),
+
+        _Ic him þēnode
+  deoran sweorde   swā hit gedēfe wæs._
+
+which is translated,
+
+            dawider doch diente
+  Mein treffliches Schwert, das treu mir beistand. (p. 27.)
+
+This is not paraphrase; it is sheer misapprehension of the Old English.
+
+A similar misapprehension is seen in line 15 of the extract,
+
+  Mit Bitten und Warnen,
+
+which we are asked to accept as a translation for
+
+  ne lēof nē lāð. (l. 511.)
+
+The verse of von Wolzogen’s translation is the poorest of the German
+attempts at imitative measures. The translator is obliged at times to
+append footnotes explaining the scansion of his lines (see pp. 33, 34,
+65, 91). The cesura is frequently not in evidence (cf. lines 14 and 22,
+both of which are also metrically incorrect); the lines are often
+deficient in length (p. 29, line 26; p. 31, line 19; p. 32, line 19).
+
+    [Footnote 1: See supra, p. 55.]  [[Grein]]
+
+    [Footnote 2: See Vorbemerkung, p. 3.]
+
+    [Footnote 3: The italics, save those used for proper names
+    (which are von Wolzogen’s), indicate inaccurate renderings.]
+
+
+
+
+ARNOLD’S EDITION
+
+
+Beowulf, a heroic poem of the eighth century, with a translation, notes,
+and appendix, by Thomas Arnold, M.A. London: Longmans, Green & Co.,
+1876. 8vo, pp. xliii, 223.
+
+Fourth English Translation. Prose.
+
+
+_Circumstances of Publication._
+
+No edition of the text of _Beowulf_ had appeared in England since the
+work of Thorpe[1], now twenty years old. The textual criticism of the
+Germans had, meanwhile, greatly advanced the interpretation of the poem.
+Grein’s text of the poem had passed into a second, and Heyne’s into a
+third, edition. There was an opportunity, therefore, for an improved
+English edition which should incorporate the results of German
+scholarship. This edition Mr. Thomas Arnold (1823-1900) undertook to
+supply.
+
+
+_Relation of the Parts._
+
+The Introduction contained a new theory of the origin of the poem[2].
+But the important part of the book was the text and translation. There
+is no glossary[3]. The notes are at the bottom of the page. Here
+glossarial, textual, and literary information is bundled together. There
+is a very inadequate bibliography in the Introduction.
+
+
+_Nature of the Translation._
+
+The translation is a literal prose version, printed under the text. It
+resembles Kemble’s work[4], rather than Thorpe’s[5]. It eschews unwieldy
+compounds, and makes no attempt to acquire an archaic flavor. Supplied
+words are bracketed.
+
+
+_Criticism of the Text._
+
+Arnold had access to the MS., and gave the most thorough description of
+it that had yet appeared. But, strangely enough, he did not make it the
+basis of his edition. He speaks of a ‘partial collation’ of the MS., but
+this appears to have been nothing more than a transcription of certain
+fragmentary parts of the MS. One of these passages is printed in the
+Introduction, where it is referred to as an ‘exact transcript’; yet, in
+collating it with the Zupitza _Autotypes_, I have found the following
+errors:--
+
+  Line 2219[6], þeowes _for_ þeofes.
+       2220, biorn _for_ beorna.
+       2211, geweoldum _for_ ge weoldum.
+       2223, b _for_ þ.
+       2225, wea ... _for_ weal ...
+       2226, inwlitode, inwatode _for_ mwatide.
+
+Of course the faded condition of the MS. offers some excuse for one or
+two of these errors, but, if we encounter mistakes in a short transcript
+professedly exact, what would have been the fate of the text had the
+entire MS. been collated?
+
+Professor Garnett[7] has noted that Arnold’s text was taken from
+Thorpe’s, with some changes to suit the 1857 text of Grein. In order to
+test the accuracy of these statements I have made a collation of the
+texts of Arnold, Thorpe, and the MS. The list of errors in Thorpe’s
+text, which I have mentioned in a discussion of that work[8], is
+repeated bodily in Arnold’s. Yet there was no excuse at this time for
+the retention of many of these readings. Grundtvig[9] had corrected
+several of them as early as 1861 by his collation of the Thorkelin
+transcripts[10]; Heyne had got rid of them by collating Thorpe’s work
+with Kemble’s[11] and Grundtvig’s. Arnold makes almost no reference to
+the work of Heyne, and incorporates none of his emendations. He also
+overlooked Grein’s 1867 text, which contained new readings and a
+glossary. Arnold himself did not emend the text in a single instance.
+
+
+EXTRACT.
+
+  VIII.
+
+  Hunferth spake, the son of Ecglaf, who sat at the feet of the
+  master of the Scyldings; he unbound the secret counsel of his
+  malice. The expedition of Beowulf, the valiant mariner, was to him
+  a great cause of offence; for that he allowed not that any other
+  man on the earth should ever appropriate more deeds of fame under
+  heaven than he himself. ‘Art thou that Beowulf who strove against
+  Breca in a swimming-match on the broad sea? where ye two for
+  emulation explored the waves, and for foolish boasting ventured
+  your lives in the deep water. Nor could any man, either friend or
+  foe, warn you off from your perilous adventure. Then ye two rowed
+  on the sea, where with your arms [outspread] ye covered the
+  ocean-stream, measured the sea-ways, churned up [the water] with
+  your hands, glided over the deep; the sea was tossing with waves,
+  the icy wintry sea. Ye two toiled for seven nights in the watery
+  realm; he overcame thee in the match, he had more strength. Then,
+  at dawn of morn, the sea cast him up on [the coast of] the
+  Heathoreamas; thence he, dear in the sight of his people, sought
+  his loved native soil, the land of the Brondings, the fair safe
+  burgh where he was the owner of folk, burgh, and precious jewels.’
+  --Pages 37, 38.
+
+
+_Criticism of the Translation._
+
+The translation is literal, and its value is therefore in direct ratio
+to the value of the text, which has been discussed above.
+
+    [Footnote 1: See supra, p. 49.]  [[Thorpe]]
+
+    [Footnote 2: A theory which the author continued to regard as
+    partially tenable. See _Notes on Beowulf_ (London, 1898), p. 114.]
+
+    [Footnote 3: Contrast this with the editions of Heyne. See p. 64.]
+
+    [Footnote 4: See supra, p. 33.]  [[Kemble]]
+
+    [Footnote 5: See supra, p. 49.]  [[Thorpe]]
+
+    [Footnote 6: The numbers are those of Wyatt’s text; for Zupitza’s
+    and Arnold’s add 1.]
+
+    [Footnote 7: See _Amer. Journal of Philol._ I. 1. 90.]
+
+    [Footnote 8: See supra, p. 51.]  [[Thorpe: Criticism...]]
+
+    [Footnote 9: See _Beowulfs Beorh_, and p. 22.]
+
+    [Footnote 10: See supra, p. 15.]  [[Thorkelin]]
+
+    [Footnote 11: See supra, p. 33.]  [[Kemble]]
+
+
+
+
+BOTKINE’S TRANSLATION
+
+
+Beowulf, Épopée Anglo-Saxonne. Traduite en français, pour la première
+fois, d’après le texte original par L. Botkine, Membre de la Société
+Nationale havraise d’Études diverses. Havre: Lepelletier, 1877. 8vo, pp.
+108.
+
+First French Translation. Prose.
+
+
+_Old English Studies in France._
+
+The only attention that _Beowulf_ had received in France prior to this
+time was in the work of Sandras, _De Carminibus Cædmoni adiudicatis_[1].
+Other scholars, if they devoted themselves to English at all, studied
+chiefly the later periods of the literature[2]. In 1867 the author of
+the article on _Beowulf_ in Larousse’s Dictionary could say, ‘Le poème
+n’est pas connu en France.’ In 1876 Botkine published a historical and
+critical analysis of the poem[3]. This was the first scholarly attention
+that the poem received in France. In the following year Botkine’s
+translation appeared.
+
+France has added nothing to our knowledge of _Beowulf_; there has never
+been another translation, nor even a reprint of Botkine’s. There has
+been no further scholarly work done on the poem; and the principal
+literary notices of it, such as Taine’s and Jusserand’s, have been
+notoriously unsympathetic. The genius of Old English poetry is at the
+furthest possible remove from that of the French.
+
+
+_Aim of the Translation._
+
+It will be made evident in the section that follows on the nature of
+Botkine’s translation that his work could never have been intended for
+scholars. Had it been so intended, the translator would have rendered
+more literally. His introduction[4] proves that the book was addressed
+to the general reader rather than the student of Old English.
+
+The Introduction deals with the nature of Old English poetry, and makes
+historical and critical remarks on the _Beowulf_. There are occasional
+notes explanatory of the text.
+
+In his critical work the author is chiefly indebted to Grein[5] and
+Heyne[6].
+
+
+_Nature of the Translation._
+
+The translation, which is in prose, is characterized, as the author
+himself admits, by extreme freedom and occasional omission of words and
+phrases. The author’s defence of these may be given here:--
+
+  ‘Je crois devoir me disculper, en présentant cette première
+  traduction française de Beowulf, du double reproche qui pourrait
+  m’être adressé d’avoir supprimé des passages du poëme et de n’en
+  avoir pas suffisamment respecté la lettre. D’abord je dois dire
+  que les passages que j’ai supprimés (il y en a fort peu) sont ou
+  très obscurs ou d’une superfluité choquante. Ensuite, il m’a
+  semblé qu’en donnant une certaine liberté à ma traduction et en
+  évitant autant que possible d’y mettre les redites et les
+  périphrases de l’original anglo-saxon, je la rendrais meilleure et
+  plus conforme à l’esprit véritable de l’œuvre. Est-ce sacrifier du
+  reste la fidélité d’une traduction que d’épargner au public la
+  lecture de détails le plus souvent bizarres et inintelligibles?
+  N’est-il pas plus logique d’en finir de suite avec des artifices
+  poétiques inconnus à nos littératures modernes, plutôt que de
+  vouloir s’escrimer en vain à les reproduire en français? Et alors
+  même qu’on poursuivrait jusqu’au bout une tâche si ingrate,
+  pourrait-on se flatter en fin de compte d’avoir conservé au poëme
+  son cachet si indiscutable d’originalité? Non certes.’
+  --Avertissement, p. 3.
+
+  ‘Il ne faut pas oublier que, la langue française différant
+  complètement par ses racines de l’anglo-saxon, il ne m’a pas été
+  permis d’éluder les difficultés de l’original comme on a pu le
+  faire parfois en anglais et en allemand.’ --Note, p. 4.
+
+It has been customary, in speaking of the work of M. Botkine, to call
+attention to the numerous omissions. This is misleading. The passages
+which the translator has omitted are not the obscure episodes or the
+long digressions, but the metaphors, the parenthetical phrases, and
+especially kennings and similar appositives.
+
+For example, the original has:--
+
+  Þǣr æt hȳðe stōd hringed-stefna
+  īsig ond ūt-fūs. (l. 32 f.)
+
+which Botkine renders:--
+
+  Dans la porte se trouvait une barque bien équipée. (p. 29.)
+
+The principal passages which Botkine omits entirely are: 1002b-1008a;
+1057b-1062; 1263-1276; 1679-1686.
+
+
+_Text Used._
+
+The author seems to have been well acquainted with the scholarly work
+done on _Beowulf_ up to his time. He mentions in his Notes the
+interpretations of Grein, Grundtvig[7], Ettmüller[8], Thorpe[9], and
+Kemble[10]. He appears to follow, in general, the text of Heyne, not,
+however, invariably.
+
+
+EXTRACT.
+
+  IX.
+
+  Hunferth, fils d’Ecglaf, qui était assis aux pieds du prince des
+  Scyldingas, parla ainsi (l’expédition de Beowulf[11] le
+  remplissait de chagrin, parce qu’il ne voulait pas convenir
+  qu’aucun homme[12] eût plus de gloire[13] que lui-même):
+
+  ‘N’es-tu pas le Beowulf qui essaya ses forces à la nage sur la mer
+  immense avec Breca quand, par bravade, vous avez tenté les flots
+  et que vous avez follement hasardé votre vie dans l’eau profonde?
+  Aucun homme, qu’il fût ami ou ennemi, ne put vous empêcher
+  d’entreprendre ce triste voyage.--Vous avez nagé alors sur la
+  mer[14], vous avez suivi les sentiers de l’océan. L’hiver agitait
+  les vagues[15]. Vous êtes restés en détresse pendant sept nuits
+  sous la puissance des flots, mais il t’a vaincu dans la joûte
+  parce qu’il avait plus de force que toi. Le matin, le flot le
+  porta sur Heatho-ræmas et il alla visiter sa chère patrie[16] le
+  pays des Brondingas, où il possédait le peuple, une ville et des
+  trésors. Le fils de Beanstan accomplit entièrement la promesse
+  qu’il t’avait faite.’
+
+
+_Criticism of the Extract and Translation._
+
+If the translation is compared with the text, the reader will be struck
+by the characteristic beauty of the words omitted. We may agree with the
+translator regarding the difficulty of rendering compound and kenning
+into French, and yet the very absence of an attempt to do this
+jeopardizes the value of the translation more than the omission of many
+episodes, for it brings it dangerously near to paraphrase. ‘Vous avez
+nagé alors sur la mer, vous avez suivi les sentiers de l’océan,’ cannot
+possibly be called a translation of--
+
+                  þā git on sund rēon;
+  þǣr git ēagor-strēam    earmum þehton,
+  mǣton mere-strǣta, mundum brugdon,
+  glidon ofer gār-secg.
+
+ll. 512, ff.
+
+A part of the story has been thrown away with the adjectives. The force
+and beauty of the passage are gone.
+
+But there is another danger in this paraphrastic method. In omitting
+words and phrases, the translator will often misinterpret his original.
+This is especially true of Botkine’s work in the obscure episodes where
+he wishes to make the meaning perfectly clear. In attempting to simplify
+the Old English, he departs from the original sense. Instances of this
+may be brought forward from the Finn episode:
+
+                      Folcwaldan sunu
+  dōgra gehwylce Dene weorþode,
+  Hengestes hēap hringum wenede,
+  efne swā swīðe sinc-gestrēonum
+  fǣttan goldes, swā hē Frēsena cyn
+  on bēor-sele byldan wolde.
+
+ll. 1089 ff.
+
+The idea is misinterpreted in Botkine’s--
+
+  Le fils de Folcwalda (stipulait qu’il) leur ferait chaque jour une
+  distribution de trésors. (p. 50.)
+
+Again, at line 1117 it is said of the lady--
+
+  earme on eaxle    ides gnornode,
+
+meaning that the lady stood by the body (shoulder) of the corpse as it
+lay on the pyre. Botkine makes of this--
+
+  ‘Elle poussait des lamentations en s’appuyant sur le bras de son
+  fils.’ (p. 50.)
+
+The rendering is not without its amusing features, chiefly illustrations
+of the inability of the French language to accommodate itself to
+typically Germanic expressions. Thus when Hrothgar says what is the
+equivalent of ‘Thanks be to God for this blessed sight,’ Botkine puts
+into his mouth the words: ‘Que le Tout-Puissant reçoive mes profonds
+remercîments pour ce spectacle!’--which might have been taken from a
+diplomatic note.
+
+    [Footnote 1: See infra, p. 123.]  [[Sandras]]
+
+    [Footnote 2: Save Michel. An account of his work may be found in
+    Wülker’s _Grundriss_, § 102.]
+
+    [Footnote 3: _Analyse historique et géographique._ Paris, Leroux,
+    1876.]
+
+    [Footnote 4: p. 4.]
+
+    [Footnote 5: See supra, p. 55.]  [[Grein]]
+
+    [Footnote 6: See supra, p. 63.]  [[Heyne]]
+
+    [Footnote 7: See supra, p. 22.]  [[Gruntvig]]
+
+    [Footnote 8: See supra, p. 37.]  [[Ettmüller]]
+
+    [Footnote 9: See supra, p. 49.]  [[Thorpe]]
+
+    [Footnote 10: See supra, p. 33.]  [[Kemble]]
+
+    [Footnote 11: Omits mōdges mere-faran.]
+
+    [Footnote 12: Omits middan-geardes.]
+
+    [Footnote 13: Omits under heofonum.]
+
+    [Footnote 14: Omits lines 513-515a.]
+
+    [Footnote 15: Omits wintrys wylum.]
+
+    [Footnote 16: Omits lēof his lēodum.]
+
+
+
+
+LUMSDEN’S TRANSLATION
+
+
+Beowulf, an Old English Poem, translated into Modern Rhymes, by
+Lieut.-Colonel H. W. Lumsden[1]. London: C. Kegan Paul & Co., 1881.
+8vo, pp. xx, 114.
+
+Beowulf, an Old English Poem, translated into Modern Rhymes, by
+Lieut.-Colonel H. W. Lumsden, late Royal Artillery. Second edition,
+revised and corrected. London: Kegan Paul, Trench and Co., 1883. 8vo,
+pp. xxx, 179.
+
+Fifth English Translation. Ballad Measures.
+
+
+_Differences between the two Editions, and Indebtedness to Preceding
+Scholars._
+
+In the first edition of the translation a number of passages were
+omitted. Some of these omissions were owing to corrupt text, some to
+extreme obscurity of the original, and some merely to the fact that the
+original was deemed uninteresting. The principal omissions were: 83-86;
+767-770; 1724-1758; 1931-1963; 2061-2062; 2214-2231; 2475; 2930-2932;
+3150-3156. These passages were inserted in the second edition.
+
+  ‘In this edition I have endeavoured to remove some of the blunders
+  which disfigured its predecessor.... Some parts have been entirely
+  rewritten, and the passages formerly omitted ... have been
+  inserted.... A few notes have been added; and the introduction has
+  been materially altered and, I hope, improved.’ --Preface to the
+  Second Edition, p. v.
+
+
+_Aim and Nature of the Translation._
+
+Lumsden’s desire was to produce a readable version of the poem. Thus his
+work resembles that of Wackerbarth[2]; and, like Wackerbarth, he couched
+his translation in ballad measures. Lumsden does not vary his measure,
+but preserves the iambic heptameter throughout. His lines rime in
+couplets.
+
+No attempt is made to preserve alliteration or archaic diction.
+
+The Introduction and Notes contain popular expositions of the work of
+preceding scholars. Several of the Notes are original and well worth
+while (see Notes A, C, G, M).
+
+
+_Texts Used._
+
+The translation is based on Grein’s text of 1857[3] and Arnold’s text
+(1876)[4]. Garnett has shown[5] that Lumsden ignored the 1867 text of
+Grein and the editions of Heyne. These defects were remedied to some
+extent in the second edition. Lumsden himself never emends the text.
+
+
+EXTRACT[6].
+
+  IV. HUNFERD AND BEOWULF.
+
+  Hunferd the son of Ecglaf spoke--at Hrothgar’s feet sat he--
+  And thus let loose his secret grudge;
+        (for much did him displease
+  The coming of Beowulf now--bold sailor o’er the seas.
+  To none on earth would he allow a greater fame ’mong men
+  Beneath the heavens than his): ‘Art thou the same Beowulf then,
+  Who swam a match with Breca once upon the waters wide,
+  When ye vainglorious searched the waves,
+        and risked your lives for pride
+  Upon the deep? Nor hinder you could any friend or foe
+  From that sad venture. Then ye twain did on the waters row;
+  Ye stretched your arms upon the flood;
+        the sea-ways ye did mete;                                   10
+  O’er billows glided--with your hands them tossed--though
+        fiercely beat
+  The rolling tides and wintry waves! Seven nights long toilèd ye
+  In waters’ might; but Breca won--he stronger was than thee!
+  And to the Hathoræms at morn washed shoreward by the flood,
+  Thence his loved native land he sought--the Brondings’
+        country good,
+  And stronghold fair, where he was lord of folk and burg
+        and rings.
+  Right well ’gainst thee his vaunt he kept.
+
+
+_Criticism of the Translation._
+
+The extract illustrates the paraphrastic nature of parts of the
+translation. Lumsden frequently seems to feel it necessary to read a
+meaning into the obscure lines and passages that do not easily lend
+themselves to translation; cf. lines 11, 12. At line 2258 Lumsden
+translates:--
+
+                                The mail that bite of sword
+  O’er clashing shield in fight withstood must follow its dead lord.
+  Never again shall corselet ring as help the warriors bear
+  To comrades far.
+
+The Old English from which this passage is taken reads:--
+
+  ge swylce sēo here-pād,  sīo æt hilde gebād
+  ofer borda gebræc    bite īrena,
+  brosnað æfter beorne;    ne mæg byrnan hring      2260
+  æfter wīg-fruman    wīde fēran
+  hæleðum be healfe.
+
+The passage is certainly obscure, and the readings are not all
+undoubted, but the words can never be tortured into meaning what Lumsden
+tries to make them mean.
+
+But it would be manifestly unfair to judge a translation addressed to
+the general reader merely by scholarly tests. The work must make its
+appeal as a literary rendering.
+
+The propriety of adopting a ballad measure may be questioned. Probably
+no measure could be found more unlike the Old English lines. Moreover,
+by reason of its long association with purely popular poetry, it
+constantly suggests the commonplace and the trivial. But above all, it
+is reminiscent of a medievalism wholly different from that of _Beowulf_.
+
+The saving grace of the ballad measure is its readableness. It is rather
+effective in passages not too dignified, calling for action. But in
+passages of elevation the line is found wanting:--
+
+  They mourned their king and chanted dirge,
+        and much of him they said;
+  His worthiness they praised,
+        and judged his deeds with tender dread.
+
+But, like Wackerbarth’s, Lumsden’s translation had the advantage of
+being readable.
+
+    [Footnote 1: Col. Lumsden’s translation of the Battle of Maldon,
+    _Macmillan’s Magazine_, 55: 371, has been generally admired.]
+
+    [Footnote 2: See supra, p. 45.]  [[Wackerbarth]]
+
+    [Footnote 3: See supra, p. 56.]  [[Grein’s Texts]]
+
+    [Footnote 4: See supra, p. 72.]  [[Arnold: Criticism...]]
+
+    [Footnote 5: See _American Journal of Philology_, ii. p. 355.]
+
+    [Footnote 6: From the second edition.]
+
+
+
+
+GARNETT’S TRANSLATION
+
+
+Beowulf: An Anglo-Saxon Poem, and the Fight at Finnsburg, translated by
+James M. Garnett, M.A., LL.D., Boston, U.S.A.: published by Ginn, Heath,
+& Co., 1882. 8vo, pp. xl, 107.
+
+Second Edition, Ginn, Heath, & Co., 1885. 8vo, pp. xlvi, 110.
+
+Third Edition, Ginn & Co., 1892. Reprinted 1899. 8vo, pp. liii, 110.
+
+Fourth Edition, 1900.
+
+Sixth English Translation. Imitative Measures.
+
+
+_Differences between the Editions._
+
+In the second edition the translation was collated with the Grein-Wülker
+text, and wherever necessary, with the Zupitza _Autotypes_. Additions
+were made to the bibliography:--
+
+  ‘I have revised certain passages with a view to greater accuracy,
+  but I have not changed the plan of the work, for that would have
+  necessitated the re-writing of the whole translation.’ --Preface
+  to the second edition.
+
+The third and fourth editions are simple reprints, with some additions
+to the bibliography.
+
+
+_Circumstances of Publication._
+
+As has been pointed out above in the sections on Arnold[1] and
+Lumsden[2], no satisfactory literal translation of _Beowulf_ existed in
+English. Furthermore, an American translation had never appeared. It was
+with a view to presenting the latest German interpretations of the poem
+that Garnett prepared his literal version of the poem. The original
+draft of the translation was made at St. John’s College, Md., in the
+session of 1878-79.--Preface to first edition.
+
+
+_Texts Used._
+
+The translation is based on Grein’s text of 1867. Notes are added
+showing the variants from Heyne’s text of 1879. In the second edition
+notes are added showing the variants from the Grein-Wülker text of 1883.
+
+
+_Method of Translation._
+
+The translation is intended for ‘the general reader’ and for the ‘aid of
+students of the poem.’ --Preface to second edition.
+
+The translation is a literal line-for-line version. Of this feature of
+his work Professor Garnett says:--
+
+  ‘This involves naturally much inversion and occasional obscurity,
+  and lacks smoothness; but it seemed to me to give the general
+  reader a better idea of the poem than a mere prose translation
+  would do, in addition to the advantage of literalness. While it
+  would have been easy, by means of periphrasis and freer
+  translation, to mend some of the defects chargeable to the
+  line-for-line form, the translation would have lacked literalness,
+  which I regarded as the most important object.’ --Preface to the
+  first edition.
+
+
+_Nature of the Verse-form._
+
+  ‘In respect to the rhythmical form, I have endeavored to preserve
+  two accents to each half-line, with cæsura, and while not seeking
+  alliteration, have employed it purposely wherever it readily
+  presented itself. I considered that it mattered little whether the
+  feet were iambi or trochees, anapæsts or dactyls, the preservation
+  of the two accents being the main point, and have freely made use
+  of all the usual licences in Early English verse.... To attain
+  this point I have sometimes found it necessary to place unemphatic
+  words in accented positions, and words usually accented in
+  unaccented ones, which licence can also be found in Early English
+  verse.... While the reader of modern English verse may sometimes
+  be offended by the ruggedness of the rhythm, it is hoped that the
+  Anglo-Saxon scholar will make allowances for the difficulty of
+  reproducing, even approximately, the rhythm of the original. The
+  reproduction of the sense as closely as possible had to be kept
+  constantly in view, even to the detriment of the smoothness of the
+  rhythm.’ --Preface to the first edition.
+
+
+EXTRACT.
+
+  III.
+
+  Hunferth’s taunt. The swimming-match with Breca. Joy in Heorot.
+
+  IX. Hunferth then spoke, the son of Ecglaf,
+  Who at the feet sat of the lord of the Scyldings,          500
+  Unloosed his war-secret (was the coming of Beowulf,
+  The proud sea-farer, to him mickle grief,
+  For that he granted not that any man else
+  Ever more honor of this mid-earth
+  Should gain under heavens than he himself):                505
+  ‘Art thou that Beowulf who strove with Breca
+  On the broad sea in swimming-match,
+  When ye two for pride the billows tried
+  And for vain boasting in the deep water
+  Riskéd your lives. You two no man,                         510
+  Nor friend nor foe, might then dissuade
+  From sorrowful venture, when ye on the sea swam,
+  When ye the sea-waves with your arms covered,
+  Measured the sea-ways, struck with your hands,
+  Glided o’er ocean; with its great billows                  515
+  Welled up winter’s flood. In the power of the waters
+  Ye seven nights strove: he in swimming thee conquered,
+  He had greater might. Then him in the morning
+  On the Heathoremes’ land the ocean bore up,
+  Whence he did seek his pleasant home,                      520
+  Dear to his people, the land of the Brondings
+  His fair strong city, where he had people,
+  A city and rings. All his boast against thee
+  The son of Beanstan truly fulfilled.’
+
+
+_Criticism of the Translation._
+
+The translation, in its revised form, is throughout a faithful version
+of the original text. The fault of Garnett’s translation is the fault of
+all merely literal translations--inadequacy to render fully the content
+of the original. The rendering may be word for word, but it will not be
+idea for idea. Examples of this inadequacy may be given from the printed
+extract. ‘Grief’ in line 502 is a very insufficient rendering of
+_æf-þunca_, a unique word which suggests at once vexation,
+mortification, and jealousy. Had the poet simply meant to express the
+notion of _grief_, he would have used _sorh_, _cearu_, or some other
+common word. In line 508 ‘pride’ hardly gives full expression to the
+idea of _wlence,_ which signifies not only _pride_, but _vain pride, of
+empty end_. In line 517 ‘conquered’ is insufficient as a translation of
+_oferflāt_, which means to _overcome in swimming, to outswim_.
+
+Examples of this sort can be brought forward from any part of the poem.
+At line 2544 Garnett translates--
+
+  Struggles of battle when warriors contended,
+
+a translation of--
+
+  Gūða ... þonne hnitan fēðan
+
+Here ‘hnitan fēðan’ refers to the swift clash in battle of two armed
+hosts, a notion which is ill borne out by the distributive ‘warriors’
+and the vague ‘contended.’
+
+At line 2598 we find--
+
+  they to wood went
+
+for
+
+  hȳ on holt bugon,
+
+which, whatever be the meaning of ‘bugon,’ is surely a misleading
+translation.
+
+The nature of the verse has been sufficiently illustrated by the
+quotations from the author’s preface. It would seem from the way in
+which the measure is used that it was a kind of second thought, incident
+upon the use of a line-for-line translation. It is hard to read the
+lines as anything but prose, and, if they appeared in any other form
+upon the page, it is to be questioned whether any one would have guessed
+that they were intended to be imitative.
+
+
+_Reception of Garnett’s Translation._
+
+Garnett’s volume had a flattering reception. The book received long and
+respectful reviews from the Germans. Professor Child and Henry Sweet
+expressed their approbation. The book has passed through four editions.
+This cordial welcome has been due in large measure to the increasing
+attention given the poem in American colleges and secondary schools.
+Being strictly literal, the book has been of value as a means of
+interpreting the poem.
+
+    [Footnote 1: See supra, p. 71.]  [[Arnold]]
+
+    [Footnote 2: See supra, p. 79.]  [[Lumsden]]
+
+
+
+
+GRION’S TRANSLATION
+
+
+Beovulf, poema epico anglosassone del vii secolo, tradotto e illustrato
+dal Dott. Cav. Giusto Grion, Socio Ordinario.
+
+_In_ Atti della Reale Accademia Lucchese di Scienze, Lettere ed Arti.
+Tomo XXII. Lucca: Tipografia Giusti, 1883. 8vo, pp. 197-379.
+
+First Italian Translation. Imitative Measures.
+
+
+_Contents._
+
+Full discussions of (1) Mito; (2) Storia; (3) Letteratura. The latter is
+a fairly complete bibliography of what had been done on _Beowulf_ up to
+this time.
+
+
+_Author’s Preliminary Remarks._
+
+  ‘Il poema consiste di 3183 versi fra cui alcuni in frammenti che
+  noi abbiamo cercato di completare senza alterare lettera del
+  testo. Una mano recente lo ha diviso in 43 canti, detti in ags.
+  fitte; ne notiamo il numero anche nella versione. I versi che il
+  Müllenhoff reputa interpolati, sono disposti in linee rientranti;
+  quelli attributi ad A portano di più questa lettera nella versione
+  nostra interlineare, che segue la parola del testo in maniera da
+  mantenervi anche la sintassi, e sì che nessuna parola d’un verso
+  prenda posto in un’ altra riga. Le parentesi quadre [ ] segnano
+  nel testo riempiture di lacune. Nella versione sono queste segnate
+  per lettere corsive.’ --Prefazione, p. 251.
+
+
+_Texts Used._
+
+The translator makes use of all the texts and commentaries that had
+appeared up to his time, and even goes so far as to emend the text for
+himself (cf. lines 65, 665, 1107, 2561, 3150).
+
+The Notes are rather full. They are sometimes merely explanatory;
+sometimes there are discussions of the MS. readings, of proposed
+emendations, of history, myth, &c.
+
+
+_Method of Translation._
+
+The translation is literal; the medium an imitative measure of four
+principal stresses, varied occasionally by the expanded line. The
+diction is simple.
+
+
+EXTRACT.
+
+  VIII.
+
+  Hunferd disse, il nato di Eclaf,
+  che a’ piedi sedea del prence de’ Schildinghi,             500
+  sbrigliò accenti di contesta--eragli la gita di Beóvulf,
+  del coraggioso navigatore, molto a fastidio,
+  perchè non amava, che un altro uomo
+  vieppiù di gloria nell’ orbe di mezzo
+  avesse sotto il cielo che lui stesso--:                    505
+  ‘Sei tu quel Beóvulf, che con Breca nuotò
+  nel vasto pelago per gara marina,
+  quando voi per baldanza l’acque provaste,
+  e per pazzo vanto nel profondo sale
+  la vita arrischiaste? nè voi uomo alcuno,                  510
+  nè caro nè discaro, distorre potè
+  dalla penosa andata, quando remigaste nell’ alto,
+  la corrente dell’ oceano colle braccia coprendo
+  misuraste le strade del mare, colle mani batteste,
+  e scivolaste sopra l’astato. Nelle onde del ghebbo         515
+  vagavano i cavalloni d’inverno:
+          voi nel tenere dell’ acqua
+  sette notti appenàstevi. Egli nel nuoto ti superò,
+  ebbe più forza. E al tempo mattutino lo
+  portò suso il flutto verso la marittima Ramia
+  donde ei cercò la dolce patria,                            520
+  cara a sue genti, la terra dei Brondinghi,
+  il vago castel tranquillo, ov’ egli popolo avea,
+  rocche e gioie. Il vanto intero contro te
+  il figlio di Beanstan in verità mantenne.’
+
+
+_Criticism of the Translation._
+
+The present writer cannot attempt a literary criticism of the
+translation.
+
+In purpose and method this version may be compared with that of
+Kemble[1] and of Schaldemose[2]. In each case the translator was
+introducing the poem to a foreign public, and it was therefore well that
+the translation should be literal in order that it might assist in the
+interpretation of the original. There has been no further work done on
+the poem in Italy[3].
+
+While the verse is not strictly imitative in the sense that it preserves
+exactly the Old English system of versification, it aims to maintain the
+general movement of the original lines. The four stresses are kept, save
+where a fifth is used to avoid monotony. These ‘expanded lines’ are much
+commoner in the Italian than in the Old English.
+
+    [Footnote 1: See supra, p. 33.]  [[Kemble]]
+
+    [Footnote 2: See supra, p. 41.]  [[Schaldemose]]
+
+    [Footnote 3: Of a work by G. Schuhmann, mentioned by Wülker
+    in his _Grundriss_, § 209, I can ascertain nothing.]
+
+
+
+
+WICKBERG’S TRANSLATION
+
+
+Beowulf, en fornengelsk hjeltedikt, öfversatt af Rudolf Wickberg.
+Westervik, C. O. Ekblad & Comp., 1889. 4to, pp. 48, double columns.
+
+First Swedish Translation. Imitative Measures.
+
+
+_Aim of the Volume._
+
+The translator begins his introduction with a discussion of the
+importance of _Beowulf_ as a historical document. For this reason he is
+especially interested in the episodes:--
+
+  ‘This important historical interest may then explain the reason
+  for translating the poem into Swedish, and also serve as an excuse
+  for the fact that in the translation the poetic form has not been
+  considered of first importance.’ --Inledning, p. 3.
+
+
+_Nature of the Translation._
+
+  ‘In the translation I have endeavored to make the language
+  readable and modern. A translation out of an ancient tongue ought
+  never to strive after archaic flavor in point of words and
+  expressions. Since the poet wrote in the language of his day, the
+  translation ought also to use contemporary language.... I have
+  tried to follow the original faithfully, but not slavishly. For
+  the sake of clearness the half-lines have often been
+  transposed.... The rhythm is still more irregular than the Old
+  English. Alliteration has generally been avoided.’ --Inledning,
+  p. 6.
+
+
+_Texts Used._
+
+The author constructs his own text. He explains (p. 6) that he has in
+general taken the MS. as the basis of his text. He has emended by making
+those changes which ‘seemed most necessary or most probable.’ In places
+where this departure from the MS. has been made, he italicizes the words
+of his translation.
+
+
+EXTRACT.
+
+  8.
+
+  Ecglafs son Hunferð talade;
+  Vid Scyldingafurstens fötter satt han,
+  Löste stridsrunan--den modige sjöfaranden
+  Beovulfs resa förtröt honom mycket,
+  Förty han unnade ej, att någon annan man
+  Under himlen skulle någonsin vinna
+  Större ära på jorden än han sjelf--:
+  ‘Är du den Beovulf, som mätte sig med Breca
+  I kappsimning öfver det vida hafvet,
+  Der I öfvermodigt pröfvaden vågorna
+  Och för djerft skryt vågaden lifvet
+  I det djupa vattnet? Ej kunde någon man,
+  Ljuf eller led, förmå eder att afstå
+  Från den sorgfulla färden. Sedan summen I i hafvet,
+  Der I med armarna famnaden hafsströmmen,
+  Mätten hafsvågorna, svängden händerna,
+  Gleden öfver hafsytan; vintersvallet
+  Sjöd i vågorna. I sträfvaden sju nätter
+  I hafvets våld; han öfvervann dig i simning,
+  Hade större styrka. Sedan vid morgontiden
+  Bar hafvet upp honom till de krigiska rämerna.
+  Derifrån uppsökte han, dyr för de sina,
+  Sitt kära odal i brondingarnes land,
+  Den fagra fridsborgen, der han hade folk,
+  Berg och ringar. Hela sitt vad med dig
+  Fullgjorde noga Beanstans son.’
+
+
+
+
+EARLE’S TRANSLATION
+
+
+The Deeds of Beowulf, an English Epic of the Eighth Century, done into
+Modern Prose, with an Introduction and Notes by John Earle, M.A., rector
+of Swanswick, Rawlinsonian Professor of Anglo-Saxon in the University of
+Oxford. At the Clarendon Press, 1892 (February). 8vo, pp. c, 203.
+
+Seventh English Translation. Prose.
+
+
+_Circumstances of Publication._
+
+Sixteen years had elapsed since the publication of a scholarly
+translation in England--for Lumsden’s[1] can hardly be said to count as
+such. In the meantime Heyne’s text[2] had passed into a fifth edition
+(1888); Wülker’s revision of Grein’s _Bibliothek_ had appeared with a
+new text of _Beowulf_ (1881); Zupitza’s _Autotypes_ of the MS. had
+appeared 1882, making it possible to ascertain exactly what was in the
+original text of the poem; the studies of Sievers[3], Cosijn[4],
+Kluge[5], and Bugge[6] had been published, containing masterly
+discussions of text revision. Some of these materials had been used by
+Garnett in his translation, but the majority of them were of later date.
+
+
+_Aim of the Translation._
+
+Nothing is said in the introduction respecting the aim of the
+translation; but it is evident from the Notes that the purpose was
+twofold--to present the latest interpretation of the text, and to afford
+a literary version of the poem.
+
+
+_Texts Used._
+
+  ‘This translation was originally made from the Fourth Edition of
+  Moritz Heyne’s text. His Fifth Edition came out in 1888, and I
+  think I have used it enough to become acquainted with all the
+  changes that Dr. Adolf Socin, the new editor, has introduced.
+  Where they have appeared to me to be improvements, I have modified
+  my translation accordingly.’ --Preface.
+
+But the translator does not depend slavishly upon his text. He
+frequently uses emendations suggested by the scholars mentioned above,
+especially those of Professor Sophus Bugge in _Studien über das
+Beowulfsepos_[7]; see lines 457, 871, 900, 936, 1875, 2275.
+
+The Introduction presents a new theory of the origin of the poem. The
+notes are especially interesting because of the large body of quotations
+cited for literary comparison and for the light they throw on Old
+Germanic and medieval customs.
+
+
+EXTRACT.
+
+  VIII.
+
+  _Unferth the king’s orator is jealous. He baits the young
+  adventurer, and in a scoffing speech dares him to a night-watch
+  for Grendel. Beowulf is angered, and thus he is drawn out to boast
+  of his youthful feats._
+
+  Unferth made a speech, Ecglaf’s son; he who sate at the feet of
+  the Scyldings’ lord, broached a quarrelsome theme--the adventure
+  of Beowulf the high-souled voyager was great despite to him,
+  because he grudged that any other man should ever in the world
+  achieve more exploits under heaven than he himself:-- ‘Art thou
+  _that_ Beowulf, he who strove with Breca on open sea in
+  swimming-match, where ye twain out of bravado explored the floods,
+  and foolhardily in deep water jeoparded your lives? nor could any
+  man, friend or foe, turn the pair of you from the dismal
+  adventure! What time ye twain plied in swimming, where ye twain
+  covered with your arms the awful stream, meted the sea-streets,
+  buffeted with hands, shot over ocean; the deep boiled with waves,
+  a wintry surge. Ye twain in the realm of waters toiled a
+  se’nnight; he at swimming outvied thee, had greater force. Then in
+  morning hour the swell cast him ashore on the Heathoram people,
+  whence he made for his own patrimony, dear to his Leeds he made
+  for the land of the Brondings, a fair stronghold, where he was
+  lord of folk, of city, and of rings. All his boast to thee-ward,
+  Beanstan’s son soothly fulfilled. Wherefore I anticipate for thee
+  worse luck--though thou wert everywhere doughty in battle-shocks,
+  in grim war-tug--if thou darest bide in Grendel’s way a night-long
+  space.’
+
+
+_Criticism of the Translation._
+
+As a whole, the translation may fairly be called faithful. The
+emendations from which Professor Earle sometimes renders are always
+carefully chosen, and the discussions of obscure lines in the poem are
+of real scholarly interest. But this is not always true of the simpler
+passages of the poem. These are often strained to make them square with
+the translator’s personal notions. Thus, at line 1723, Earle reads for
+
+  _Ic þis gid be þē āwraec_
+  It is about thee ... that I have told this tale,
+
+adding in a note, ‘(In this passage) the living poet steps forward out
+of his Hrothgar, and turns his eyes to the prince for whom he made it
+up’ (p. 168). Now this is nothing more than an attempt on the part of
+the translator to wring from the Old English lines some scrap of proof
+for the peculiar theory that he holds of the origin of the poem.
+
+Similarly, he often reads into a single word more than it can possibly
+bear. At line 371 he translates--
+
+  _Hrothgar, helm Scyldinga,_
+  Hrothgar, crown of Scyldings.
+
+But ‘crown’ is an impossible rendering of ‘helm,’ which is here used
+figuratively to denote the idea of protection[8], rather than the idea
+of the crowning glory of kingship. Further, in the same passage, 375-6,
+_heard eafora_ (bold son), is wrenched into meaning ‘grown-up son.’
+These are but two examples of what is common throughout the translation.
+
+
+_Diction._
+
+The archaic style used by Professor Earle cannot be regarded as highly
+felicitous, since it mixes the diction of various ages. Here are Old
+English archaisms like ‘Leeds’ and ‘burnie’; here are expressions like
+‘escheat,’ ‘page’ (attendant), ‘emprize,’ ‘bombard’ (drinking-vessel),
+‘chivalry.’ Here are such specialized words as ‘harpoon,’ ‘belligerent,’
+‘pocket-money,’ and combinations like ‘battailous grip’; while
+throughout the entire translation are scattered modern colloquialisms
+like ‘boss’ (master), ‘tussle,’ ‘war-tug.’
+
+The reason for these anomalies is evident--the translator wishes to
+imitate the remoteness of the original style. The style is certainly
+remote--at times almost as remote from the language of to-day as is the
+style of _Beowulf_ itself.
+
+    [Footnote 1: See supra, p. 79.]  [[Lumsden]]
+
+    [Footnote 2: See supra, p. 64.]  [[Heyne: Relation of...]]
+
+    [Footnote 3: Paul und Braune’s _Beiträge_, XI, 328; Ang. XIV, 133.]
+
+    [Footnote 4: _Beiträge_, VIII, 568; _Aanteekeningen_, Leiden 1891.]
+
+    [Footnote 5: _Beiträge_, IX, 187; VIII, 532.]
+
+    [Footnote 6: _Beiträge_, XI, 1; _Studien über das Beowulfsepos_.]
+
+    [Footnote 7: _Beiträge_, XI, 1 ff.]
+
+    [Footnote 8: See the glossaries of Grein and Wyatt.]
+
+
+
+
+J. L. HALL’S TRANSLATION
+
+
+Beowulf, an Anglo-Saxon Epic Poem, translated by John Lesslie Hall.
+Boston: D. C. Heath and Co., 1892 (May 7).
+
+Reprinted 1900. 8vo, pp. xviii, 110.
+
+Eighth English Translation. Imitative Measures.
+
+
+_Circumstances of Publication._
+
+Presented to the Philosophical Faculty of Johns Hopkins University in
+candidacy for the degree of Doctor of Philosophy by John Lesslie Hall,
+late Professor in the college of William and Mary.
+
+
+_Aim of the Translation._
+
+  ‘The work is addressed to two classes of readers.... The
+  Anglo-Saxon scholar he [the translator] 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.’ --Preface, vii.
+
+
+_Nature of the Translation._
+
+The translation is in imitative measures and in archaic style.
+
+  ‘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....
+
+  ‘The measure used in the present translation is believed to be as
+  near a reproduction of the original as modern English affords....
+  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 in every
+  line. End-rhyme has been used occasionally; internal rhyme,
+  sporadically....
+
+  ‘What Gummere 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....
+
+  ‘No two accented syllables have been brought together, except
+  occasionally after a cæsural pause.... Or, scientifically
+  speaking, Sievers’s C type has been avoided as not consonant with
+  the plan of translation.’ --Preface, viii, ix.
+
+
+_Text._
+
+  ‘The Heyne-Socin text and glossary have been closely followed.
+  Occasionally a deviation has been made.... Once in a while ...
+  (the translator) has added a conjecture of his own to the
+  emendations quoted from the criticisms of other students of the
+  poem.’ --Preface, vii.
+
+The footnotes which contain the conjectural readings are interesting,
+and in one or two cases valuable additions to the suggested emendations
+(cf. p. 15; p. 103, note 3).
+
+
+EXTRACT.
+
+  IX.
+
+  UNFERTH TAUNTS BEOWULF.
+
+    [Sidenote: Unferth, a thane of Hrothgar, is jealous of Beowulf,
+    and undertakes to twit him.]
+
+  Unferth spoke up, Ecglaf his son,
+  Who sat at the feet of the lord of the Scyldings,
+  Opened the jousting (the journey of Beowulf,
+  Sea-farer doughty, gave sorrow to Unferth
+  And greatest chagrin, too, for granted he never              5
+  That any man else on earth should attain to,
+  Gain under heaven, more glory than he):
+
+    [Sidenote: Did you take part in a swimming-match with Breca?]
+
+    [Sidenote: ’Twas mere folly that actuated you both to risk
+    your lives on the ocean.]
+
+  ‘Art thou that Beowulf with Breca did struggle,
+  On the wide sea-currents at swimming contended,
+  Where to humor your pride the ocean ye tried,               10
+  From vainest vaunting adventured your bodies
+  In care of the waters? And no one was able
+  Nor lief nor loth one, in the least to dissuade you
+  Your difficult voyage; then ye ventured a-swimming,
+  Where your arms outstretching the streams ye did cover,     15
+  The mere-ways measured, mixing and stirring them,
+  Glided the ocean; angry the waves were,
+  With the weltering of winter. In the water’s possession,
+  Ye toiled for a seven-night; he at swimming outdid thee,
+  In strength excelled thee. Then early at morning            20
+  On the Heathoremes’ shore the holm-currents tossed him,
+  Sought he thenceward the home of his fathers,
+  Beloved of his liegemen, the land of the Brondings,
+  The peace-castle pleasant, where a people he wielded
+  Had borough and jewels. The pledge that he made thee        25
+  The son of Beanstan hath soothly accomplished.
+
+    [Sidenote: Breca outdid you entirely. Much more will Grendel
+    outdo you, if you vie with him in prowess.]
+
+  Then I ween thou wilt find thee less fortunate issue,
+  Though ever triumphant in onset of battle,
+  A grim grappling, if Grendel thou darest
+  For the space of a night near-by to wait for!               30
+
+
+_Criticism of the Translation._
+
+The translation is faithful, but not literal. The chief difference, for
+example, between this and the translation by Garnett is that Hall makes
+an attempt to preserve the poetic value of the Old English words. He is
+never satisfied with the dictionary equivalent of an Old English
+expression. Thus, in the extract given above, ‘from vainest vaunting’ is
+given as a translation of _dol-gilpe_--a great improvement over
+Garnett’s rendering, ‘for pride.’ Similarly, ‘mixing and stirring’ is
+given as a translation of _mundum brugdon_. This method often leads the
+translator some distance, perhaps too great a distance, from the Old
+English. The following may serve as examples of the heightened color
+that Hall gives to the Old English forms:--
+
+   548, ‘the north-wind whistled, fierce in our faces,’
+         for _norþan-wind heaðo-grim ondhwearf_.
+
+   557, ‘my obedient blade,’ for _hilde-bille_.
+
+   568, ‘foam-dashing currents,’ for _brontne ford_.
+
+   587, ‘with cold-hearted cruelty thou killedst thy brothers,’
+         for _ðū þīnum brōðrum tō banan wurde_.
+
+   606, ‘the sun in its ether robes,’ for _sunne swegl-wered_.
+
+   838, ‘in the mist of the morning,’ for _on morgen_.
+
+  1311, ‘As day was dawning in the dusk of the morning,’
+         for _ǣr-dæge_.
+
+Perhaps these paraphrastic renderings are what Dr. Hall is referring to
+when he says in his preface, regarding the nature of the translation,
+‘Occasionally some loss has been sustained; but, on the other hand,
+a gain has here and there been made.’
+
+As for the archaism, that is well enough for those who like it. It is
+never so strange as that of Earle, or the marvelous diction of William
+Morris. But it is not, therefore, dignified or clear. How much dignity
+and clarity a translator has a right to introduce into his rendering is
+a matter of opinion. Mr. Hall was quite conscious of what he was doing,
+and doubtless regarded his diction as well suited to convey the original
+Beowulf spirit.
+
+The chief criticism of the verse is that it is often not verse at all.
+Many passages are indistinguishable from prose. This is a stricture that
+cannot be passed on the Old English, nor on the best modern imitations
+of it.
+
+  The atheling of Geatmen uttered these words and
+  Heroic did hasten. --Page 51, line 19.
+
+  In war ’neath the water the work with great pains I
+  Performed. --Page 57, line 6.
+
+  Gave me willingly to see on the wall a
+  Heavy old hand-sword. --Page 57, line 11.
+
+  The man was so dear that he failed to suppress the
+  Emotions that moved him. --Page 64, line 59.
+
+There might be an excuse for some of this freedom in blank verse, but in
+measures imitative of the Old English it is utterly out of place. There
+is always a pause at the end of a line in Old English; run-on lines are
+uncommon. There is not an example in _Beowulf_ of an ending so light as
+’the’ or ‘a’ in the verses quoted above.
+
+
+
+
+HOFFMANN’S TRANSLATION
+
+
+Beówulf. Aeltestes deutsches Heldengedicht. Aus dem Angelsächsischen
+übertragen von P. Hoffmann. Züllichau. Verlag von Herm. Liebich (1893?).
+8vo, pp. iii, 183.
+
+*Zweite Ausgabe, Hannover, Schaper, 1900.
+
+Sixth German Translation. Nibelungen Measures.
+
+
+_The Translator._
+
+In _Minerva_ (1902), P. Hoffmann is recorded as ‘Ord. Professor’ of
+Philosophy and Pedagogy at Gent.
+
+
+_Aim of the Volume._
+
+The translator desired to present a rendering of the poem that should
+attract the general reader. He regarded Simrock’s version as too literal
+and archaic[1], the version of von Wolzogen as not sufficiently clear
+and beautiful[2], and the version of Heyne as not sufficiently varied in
+form[3] (Vorwort, i). He regards the _Beowulf_ as of great importance in
+inspiring patriotism--he always calls the poem German--and even offers a
+comparison of _Beowulf_ with Emperor William I. With the scholarship of
+his subject the author hardly seems concerned.
+
+
+_Text, and Relation of Parts._
+
+The translation is founded on Grein’s text of 1867[4].
+
+In addition to the translation, the volume contains articles on the
+history of the text, origin, the Germanic hero-tales, the episodes, the
+esthetic value of the poem. These are decidedly subordinate in interest
+to the translation.
+
+
+_Nature of the Translation._
+
+The translation is in the so-called Nibelungen measures. Archaisms and
+unnatural compounds are avoided.
+
+The Finnsburg fragment is inserted in the text at line 1068, p. 44 of
+the volume. The episode is furnished with a beginning and ending
+original with Hoffmann.
+
+
+EXTRACT.
+
+  VIERTES ABENTEUER.
+
+  VON BEOWULF’S SCHWIMMFAHRT.
+
+    Da hub der Sohn der Ecglaf, Hunferd, zu reden an;
+  Er sass dem Herrn der Schildinge zu Füssen, und begann
+  Kampfworte zu entbieten. Dass her Beowulf kam,
+  Der kühne Meerdurchsegler, schuf seinem Herzen bitter’n Gram.
+
+    Dass unter dem Himmel habe ein andrer Recke mehr,              5
+  Denn er, des Ruhms auf Erden, war ihm zu tragen schwer:
+  ‘Bist {der} Beówulf Du, der einst sich in der weiten Flut
+  Mit Breca mass im Schwimmen? Zu hoch vermass sich da Dein Mut!
+
+    ‘Ihr spranget in die Wellen, vermessen wagtet ihr
+  Das Leben in die Tiefe, aus Ruhm und Ehrbegier!                 10
+  Die Fahrt, die schreckensvolle,
+          nicht Freund noch Feind verleiden
+  Euch konnte. Also triebet im Sund dahin ihr Beiden!
+
+    ‘Als ihr mit Euren Armen des Meeres Breite decktet,
+  Die Meeresstrassen masset, die Hände rudernd recktet
+  Durch Brandungswirbel gleitend, vom Wintersturm getrieben       15
+  Hoch auf die Wellen schäumten;
+          ihr mühtet Euch der Nächte sieben!
+
+    ‘So rangt ihr mit den Wogen! Da wurde Dir entrafft
+  Der Sieg von ihm, im Schwimmen, sein war die gröss’re Kraft,
+  Ihn trug der Hochflut Wallen am Morgen an den Strand
+  Der Hadurämen, bald er von da die süsse Heimat wiederfand.      20
+
+    ‘Im Lande der Brondinge wie gerne man ihn sah!
+  Zu seiner schönen Feste kam er wieder da,
+  Wo er zu eigen hatte Mannen, Burg und Ringe,
+  Der Sohn Beanstan’s hatte geleistet sein Erbot Dir allerdinge!’
+
+
+_Criticism of the Translation._
+
+Hoffmann’s translation is certainly not a contribution to scholarship.
+It is a sufficient condemnation of the volume to quote the words of the
+Vorwort:--
+
+  ‘Die Uebersetzungen von Grein, Holder und Möller sind mir nicht
+  zugänglich gewesen, auch wie es scheint, nicht sehr bekannt.’
+
+It is not surprising that Hoffmann is unacquainted with the translations
+of Holder and Möller, as these works have never been made; but that a
+German translator should ignore the version of Grein is a revelation
+indeed.
+
+Even though a translator may not care to embody in his work any new
+interpretations, it is nevertheless his duty to base his translation on
+the best text that he can find. But apparently Hoffmann had never heard
+of the Heyne editions of the text, nor of the Grein-Wülker _Bibliothek_.
+He bases his translation on Grein’s text of 1867. He evidently
+considered it a sufficient recommendation of his work to associate with
+it the name of Grein, not troubling himself to discover what advance had
+been made upon the work of that scholar.
+
+Examples of antiquated renderings may be brought forward:--
+
+  P. 1, line 1, Wie grosse Ruhmesthaten.
+     2, line 1, So soll mit Gaben werben im Vaterhause schon.
+    21, line 15 (see Extract), Vom Wintersturm getrieben Hoch
+                auf die Wellen schäumten.
+    84, line 3, Mothrytho.
+
+Petty inaccuracies due to the nature of the translation also appear. An
+example of this is seen on page 3, at the opening of the first canto--
+
+    Ueber Burg und Mannen nun herrschte manches Jahr
+  Beówulf der Schilding. Wie hold dem König war
+  Sein Volk! in allen Landen seinen Ruhm man pries
+  Als lange schon sein Vater von dieser Erde Leben liess.
+
+
+_Literary Criticism._
+
+The translation resembles the work of Lumsden[5] and Wackerbarth[6] in
+affording a version of the tale easily readable. And the same criticism
+may be passed on the work of Hoffmann that was passed on the two
+Englishmen. The style and medium chosen are not well fitted to render
+the spirit of the poem. The _Nibelungenlied_ is a poem of the late
+twelfth century. The _Beowulf_ at latest belongs to the eighth. To
+choose for the translation of _Beowulf_, therefore, a medium surcharged
+with reminiscence of a time, place, and style quite different from those
+of the original is certainly an error. It may find an audience where
+another and more faithful rendering would fail; but it will never win
+the esteem of scholars. In his introduction Hoffmann calls attention to
+the lack of variety in blank verse, but surely it does not have the
+monotony inherent in a recurring rime and strophe.
+
+Again, rime and strophe force upon the author the use of words and
+phrases needed to pad out the verse or stanza. Attention must also be
+called to the fact that the original seldom affords a natural pause at
+the exact point demanded by the use of a strophic form. See the close of
+the following stanzas in the Extract: I, III, IV, V. One effect of the
+forced pause is that there is confusion in the use of kennings, which
+often have to do duty as subject in one stanza and as object in another
+stanza.
+
+Commonplace expressions, incident perhaps upon the use of the measure,
+are not unfrequent. Thus
+
+  Gesagt! gethan!
+
+translates
+
+  ond þæt geæfndon swā (line 538).
+
+Traces of this are also found in the extract; see beginning of last
+stanza.
+
+In conclusion, it may be said that Hoffmann’s version marks an advance
+in one way only, readableness; and in this it is hardly superior to
+Heyne’s rendering, which has the advantage of scholarship.
+
+    [Footnote 1: See supra, p. 59.]  [[Simrock]]
+
+    [Footnote 2: See supra, p. 68.]  [[von Wolzogen]]
+
+    [Footnote 3: See supra, p. 63.]  [[Heyne]]
+
+    [Footnote 4: See supra, p. 56.]  [[Grein’s Texts]]
+
+    [Footnote 5: See p. 79.]  [[Lumsden]]
+
+    [Footnote 6: See p. 45.]  [[Wackerbarth]]
+
+
+
+
+MORRIS AND WYATT’S TRANSLATION
+
+
+Colophon: Here endeth the story of Beowulf done out of the old English
+tongue by William Morris and A. J. Wyatt, and printed by said William
+Morris at the Kelmscott Press, Uppermall, Hammersmith, in the county of
+Middlesex, and finished on the tenth day of January, 1895. Large 4to,
+pp. vi, 119.
+
+Troy type. Edition limited to 300 copies on paper and eight on vellum.
+
+Second edition. The Tale of Beowulf, Sometime King of the Folk of the
+Weder Geats, translated by William Morris and A. J. Wyatt. London and
+New York: Longmans, Green, & Co., 1895. 8vo, pp. x, 191.
+
+Ninth English Translation. Imitative Measures.
+
+
+_Differences between the First and Second Editions._
+
+In the second edition a title-page is added. The running commentary,
+printed in rubric on the margin of the first edition, is omitted.
+
+
+_Text Used._
+
+The translation is, in general, conformed to Wyatt’s text of 1894,
+departing from it in only a few unimportant details.
+
+
+_Part Taken in the Work by Morris and Wyatt respectively._
+
+The matter is fortunately made perfectly clear in Mackail’s _Life of
+William Morris_, vol. ii. p. 284:--
+
+  ‘(Morris) was not an Anglo-Saxon scholar, and to help him in
+  following the original, he used the aid of a prose translation
+  made for him by Mr. A. J. Wyatt, of Christ’s College, Cambridge,
+  with whom he had also read through the original. The plan of their
+  joint labours had been settled in the autumn of 1892. Mr. Wyatt
+  began to supply Morris with his prose paraphrase in February,
+  1893, and he at once began to “rhyme up,” as he said, “very eager
+  to be at it, finding it the most delightful work.” He was working
+  at it all through the year, and used to read it to Burne-Jones
+  regularly on Sunday mornings in summer.’
+
+The plan of joining with his own the name of his principal teacher was
+one which Morris had used before when translating from a foreign tongue.
+He published his rendering of the _Volsunga Saga_ as the work of ‘Eirikr
+Magnússon and William Morris.’ There is no evidence that Mr. Wyatt had
+any hand in forming the final draft of the translation. In defending it,
+Morris took all the responsibility for the book upon himself, and he
+always spoke of it as his own work. In writing to a German student
+toward the end of his life Morris spoke of the translation as his own
+without mentioning Mr. Wyatt[1]. Nor has Mr. Wyatt shown a disposition
+to claim a share in the work. In the preface to his edition of the text
+of _Beowulf_ (Cambridge, 1894), he says:--
+
+  ‘Mr. William Morris has taken the text of this edition as the
+  basis of his modern metrical rendering of the lay.’ --Page xiii.
+
+Finally, it may be added that the specimens of Mr. Wyatt’s translation
+printed in the glossary and notes of his book bear no resemblance to the
+work of Morris.
+
+
+_Morris’s Theory of Translation._
+
+None despised the merely literal rendering of an epic poem more than
+William Morris. In writing of his version of the _Odyssey_ to Ellis,
+Morris said: ‘My translation is a real one so far, not a mere periphrase
+of the original as _all_ the others are.’ In translating an ancient
+poem, he tried to reproduce the simplicity and remoteness of phrase
+which he found in his original. He believed it possible, e.g., to
+suggest the archaic flavor of Homer by adopting a diction that bore the
+same relation to modern English that the language of Homer bore to that
+of the age of Pericles. The archaism of the English would represent the
+archaism of the Greek. This method he used in rendering Vergil and
+Homer.
+
+But when he approached the translation of _Beowulf_, he was confronted
+by a new problem. It was evident that fifteenth-century English was
+ill-adapted to convey any just notion of eighth-century English.
+_Beowulf_ required a diction older than that of Sir Thomas Malory or
+Chaucer. Hence it became necessary to discard the theory altogether,
+or else to produce another style which should in some true sense be
+imitative of _Beowulf_. This latter Morris tried to accomplish by
+increasing the archaism of his style by every means in his power. This
+feature is discussed in the following section.
+
+
+_Nature of the Translation._
+
+The translation of _Beowulf_ is written in extremely archaic language.
+An imitative measure of four principal stresses is used. Wherever
+possible, the Old English syntax has been preserved (see line 1242); the
+word-order of the original is retained. The archaic language is wrought
+of several different kinds of words. In the first place, there is the
+‘legitimate archaism,’ such as ‘mickle,’ ‘burg,’ ‘bairn’; there are
+forms which are more closely associated with the translation of Old
+English, such as ‘middle-garth,’ ‘ring-stem.’ There are modern words
+used with the old signification, such as ‘kindly’ (in the sense ‘of the
+same kind’), ‘won war’ (in the sense ‘wage war’), ‘fret’ (in the sense
+‘eat’). Finally, there are forms which are literally translated from Old
+English: ‘the sight seen once only’ from _ansȳn_, face, 251; ‘spearman’
+from _garsecg_, ocean (see extract), ‘gift-scat’ from _gif-sceatt_, gift
+of money, 378; ‘the Maker’s own making’ from _metod-sceaft_, doom, 1180.
+Romance words are excluded whenever possible. A glossary of ‘some words
+not commonly used now’ is included in the book, but none of the words
+cited above, save ‘burg,’ is found in it.
+
+
+EXTRACT.
+
+  IX. UNFERTH CONTENDETH IN WORDS WITH BEOWULF.
+
+    Spake out then Unferth that bairn was of Ecglaf,
+  And he sat at the feet of the lord of the Scyldings,           500
+  He unbound the battle-rune; was Beowulf’s faring,
+  Of him the proud mere-farer, mickle unliking,
+  Whereas he begrudg’d it of any man other
+  That he glories more mighty the middle-garth over
+  Should hold under heaven than he himself held:
+    Art thou that Beowulf who won strife with Breca
+  On the wide sea contending in swimming,
+  When ye two for pride’s sake search’d out the floods
+  And for a dolt’s cry into deep water
+  Thrust both your life-days? No man the twain of you,           510
+  Lief or loth were he, might lay wyte to stay you
+  Your sorrowful journey, when on the sea row’d ye;
+  Then when the ocean-stream ye with your arms deck’d,
+  Meted the mere-streets, there your hands brandish’d!
+  O’er the Spearman ye glided; the sea with waves welter’d,
+  The surge of the winter. Ye twain in the waves’ might
+  For a seven nights swink’d. He outdid thee in swimming,
+  And the more was his might; but him in the morn-tide
+  To the Heatho-Remes’ land the holm bore ashore,
+  And thence away sought he to his dear land and lovely,         520
+  The lief to his people sought the land of the Brondings,
+  The fair burg peace-warding, where he the folk owned,
+  The burg and the gold rings. What to theeward he boasted,
+  Beanstan’s son, for thee soothly he brought it about.
+
+
+_Criticism of the Translation._
+
+The Morris-Wyatt translation is thoroughly accurate, and is, so to
+speak, an official commentary on the text of Wyatt’s edition. It is
+therefore of importance to the student of the _Beowulf_.
+
+As a literary rendering the translation is disappointing. In the first
+place, it must be frankly avowed that the diction is frequently so
+strange that it seems to modern readers well-nigh ridiculous. There are
+certain sentences which cannot but evoke a smile. Such are: ‘(he) spoke
+a word backward,’ line 315; ‘them that in Scaney dealt out the scat,’
+line 1686.
+
+Secondly, the translation is unreadable. There is an avalanche of
+archaisms. One example of the extreme obscurity may be given:--
+
+  ‘Then rathe was beroom’d, as the rich one was bidding,
+  For the guests a-foot going the floor all withinward.’
+    l. 1975-76.
+
+It would seem that the burden of ‘rathe,’ ‘beroomed,’ and ‘withinward,’
+were sufficient for any sentence to carry, but we are left to discover
+for ourselves that ‘rich one’ does not mean rich one, but ruler, that
+the ‘floor’ is not a floor but a hall, and that the guests are not
+guests, but the ruler’s own men.
+
+Morris himself was conscious of the obscurity of the work:--
+
+  ‘For the language of his version Morris once felt it necessary to
+  make an apology. Except a few words, he said, the words used in it
+  were such as he would not hesitate to use in an original poem of
+  his own. He did not add, however, that their effect, if slipped
+  sparingly in amid his own pellucid construction and facile
+  narrative method, would be very different from their habitual use
+  in a translation.... As the work advanced, he seems to have felt
+  this himself, and his pleasure in the doing of it fell off.’
+  --Mackail’s _Life_, ii. 284-5.
+
+Finally, the version does not _translate_. Words like ‘Spearman’ for
+_Ocean_, and combinations like ‘the sight seen once only’ for _the
+face_, can be understood only by the intimate student of Old English
+poetry, and there is no reason why such a person should not peruse
+_Beowulf_ in the original tongue rather than in a translation
+occasionally as obscure as the poem itself.
+
+If one can peer through the darkness of Morris’s diction, he will
+discover a fairly pleasing use of the so-called imitative measure. The
+verse is not nearly so rough as the original; many of the characteristic
+substitutions are avoided. There is evident a tendency toward the
+‘rising verse’ and the anapestic foot. The feminine ending is frequently
+used. The verse is, therefore, not strictly imitative in that it retains
+the Old English system of versification, but rather in that it attempts
+to suggest the Old English movement by the use of four principal
+stresses and a varying number of unstressed syllables. Morris’s verse is
+the best of all the ‘imitative’ measures.
+
+    [Footnote 1: See Mackail’s _Life_, i. 198.]
+
+
+
+
+SIMONS’S TRANSLATION
+
+
+Beówulf, Angelsaksisch Volksepos, vertaald in Stafrijm, en met Inleiding
+en Aanteekeningen voorzien door Dr. L. Simons, Briefwisselend Lid der
+Koninklijke Vlaamsche Academie voor Taal- en Letterkunde, Leeraar aan
+’t koninklijk Athenaeum te Brussel. Gent, A. Siffer, 1896. Large 8vo,
+pp. 355.
+
+Published for the Koninklijke Vlaamsche Academie voor Taal- en
+Letterkunde.
+
+First Dutch Translation. Iambic Pentameter.
+
+
+_Aim and Contents of the Volume._
+
+The author’s purpose, as stated in ‘Een Woord Vooraf,’ is to make the
+_Beowulf_ better known to the Dutch public. With this in view he adds to
+his translation copious notes and an exhaustive comment. The titles of
+his various chapters are: De Beschaving in den Beowulf, Christendom,
+Heldensage en Volksepos, Geschiednis, Mythos, Geatas, Nationaliteit van
+den Beowulf, Tijd van Voltooiing, Het Handschrift, De Versbouw, Epische
+Stijl, Innerlijke Geschiednis. Explanatory and critical comment is given
+in the footnotes, and textual criticism in the Notes at the end of the
+volume.
+
+
+_Text Used._
+
+  ‘I have followed the text of Socin[1]; where I have preferred to
+  give another reading I have justified my proceeding in the Notes
+  at the end of the work.’ --Een Woord Vooraf.
+
+
+_Nature of the Translation._
+
+It is a literal translation in iambic pentameter.
+
+  ‘Of the translation nothing in particular needs to be said. I have
+  followed my original as closely as possible.’ --Een Woord Vooraf.
+
+He adds that this was no easy task, as Dutch does not afford the same
+variety of simile as the Old English.
+
+A page is then given to the discussion of the nature of his verse.
+He first gives his reasons for preferring iambic pentameter to the
+‘Reinartsvers,’ which some might think best to use.
+
+  ‘Moreover, the iambic pentameter lends itself well to division
+  into hemistichs, the principal characteristic of the ancient epic
+  versification.’ --Een Woord Vooraf.
+
+He has often preferred the simple alliteration (aa, bb) to the Old
+English system[2].
+
+
+EXTRACT.
+
+  IX.
+
+  En Hunferd zeide toen, de zoon van Ecglaf,
+  Die aan die voeten zat des Schyldingvorsten,
+  Het kampgeheim ontkeetnend: (Beowulfs aankomst,
+  Des koenen golfvaart gaf hem grooten aanstoot,
+  Omdat hij geenszins aan een ander gunde
+  Der mannen, meerder roem op aard te rapen,
+  Beneên de wolken, dan hem was geworden.)
+  ‘Zijt gij die Beowulf, die met Brecca aanbond
+  Den wedstrijd op de wijde zee, in ’t zwemmen
+  Met dezen streven dorst, toen boud gij beiden
+  Navorschtet in den vloed en gij uit grootspraak
+  Uw leven waagdet in het diepe water?
+  Geen stervling was in staat, noch vriend noch vijand,
+  De roekelooze reis u af te raden.
+  Toen braakt gij beiden roeiend door de baren
+  En dektet onder uwen arm de deining,
+  Gij maat de zeebahn, zwaaiend met de handen,
+  Doorgleedt de waterwieling, schoon met golven
+  De kil opklotste bij des winters branding.
+  Op deze wijze wurmdet gij te gader
+  Wel zeven nachten in ’t bezit der zeeën.
+  Doch gene ging in vaart u ver te boven;
+  Hij had toch meerder macht. De strooming stuwde
+  Hem met den morgen heen ten Headoraemen,
+  Van waar hij wedervond, de volksgevierde,
+  Het lieve stambezit, het land der Brondings,
+  De schoone schatburg, waar hij wapenlieden
+  En goed en goud bezat. De zoon van Beanstan
+  Hield tegen u geheel zijn woord in waarheid.’
+
+
+_Criticism of the Translation._
+
+The translation seems to aim chiefly at accuracy, which accounts for the
+rather large number of notes containing readings suggested by various
+commentators. The translator uses freely compounds and metaphors similar
+to those in the original text. This seems occasionally to militate
+against the clearness of the work. Thus, it is doubtful whether
+‘kampgeheim ontkeetnend’ of the extract conveys to the modern Dutch
+reader any notion similar to that of the Old English _beadu-runen
+onband_.
+
+The present writer is unable to offer any literary criticism of the
+translation.
+
+    [Footnote 1: Fifth edition of Heyne’s text, 1888.]
+
+    [Footnote 2: At this point Simons speaks as if ab, ab, were the
+    common form of alliteration in Old English, whereas it is rather
+    uncommon.]
+
+
+
+
+STEINECK’S TRANSLATION
+
+
+Altenglische Dichtungen (Beowulf, Elene, u.a.) in wortgetreuer
+Uebersetzung von H. Steineck. Leipzig, 1898, O. R. Reisland. 8vo,
+Beowulf, pp. 1-102.
+
+Seventh German Translation. Line for line.
+
+
+_Aim of the Volume, and Nature of the Translation._
+
+  ‘Die vorliegende Uebersetzung ist aus dem Bedürfnis einer
+  wortgetreuen Wiedergabe altenglischer Denkmäler entstanden. Soweit
+  es der Sinn zuliess, ist das Bestreben dahin gegangen, für jedes
+  altenglische Wort das etymologisch entsprechende neuhochdeutsche,
+  wenn vorhanden, einzusetzen. So ist die Uebersetzung zugleich ein
+  sprachgeschichtliches Werk.’ --Vorwort.
+
+
+_Text Used._
+
+The translation is based on Heyne’s text of 1863[1] (Vorwort).
+Fragmentary passages are not restored.
+
+
+EXTRACT.
+
+  IX.
+
+  Hunferd sprach, des Ecglâf Sohn,                               500
+  Welcher zu Füssen sass des Herren der Scyldinge;
+  Er löste der Streiter Geheimniss--ihm war Beowulfs Fahrt,
+  Des mutigen Meerfahrers, zu grossem Neid,
+  Weil er nicht gönnte, dass irgend ein anderer
+  Jemals nun mehr Ruhmesthaten
+  Unter dem Himmel der Erde erwarb als er selbst:
+  ‘Bist du Bêowulf, der du mit Breca kämpftest
+  Auf weiter See in einem Wettschwimmen,
+  Dort durchforschtet ihr beide aus Stolz die Fluten
+  Und wagtet aus verwegener Ruhmsucht im tiefen Wasser
+  Euer Leben? Euch beiden konnte keiner,                         510
+  Weder Freund noch Feind, vorwerfen
+  Die gefahrvolle Reise; da rudertet ihr beide im Wasser,
+  Dort überdecktet ihr beide den Wasserstrom mit Armen,
+  Ihr masst die Meeresstrassen, mit Händen schwangt ihr,
+  Ihr glittet über die Flut; das Meer wallte in Fluten,
+  Des Winters Gewoge; ihr mühtet euch in des Wassers Gewalt
+  Sieben Nächte ab; er besiegte dich beim Schwimmen,
+  Er hatte grössere Kraft. Da warf ihn in der Morgenzeit
+  An das Headoræmenland die See,
+  Von dort aus suchte er das traute Stammgut auf,                520
+  Der seinen Leuten Teure, das Land der Brondinge,
+  Die schöne Friedensburg, wo er Volk besass,
+  Burg und Ringe. Alles, wozu er sich dir verpflichtete,
+  Leistete der Sohn Bêanstâns wahrhaftig.’
+
+
+_Criticism of the Translation._
+
+It would be manifestly unfair to criticize this translation for its want
+of grace and melody, because it is avowedly a literal rendering, and a
+literal rendering makes no attempt to attain these qualities. But there
+are certain things which are indispensable in a good literal
+translation. It is imperative that such a translation should be based on
+the best text of the original poem. What has Steineck done? He has gone
+back thirty-five years and chosen an early and inaccurate edition of a
+work that has been five times re-edited, Heyne’s text of 1863! It seems
+almost incredible that a German, living in the midst of scholars who
+have done more than any other people to interpret the _Beowulf_, should
+ignore the fruits of their efforts.
+
+It is unnecessary to enumerate the faults of this translation due to
+dependence upon an antiquated edition of the text. Suffice it to say
+that when the edition of 1863 was printed the text had not yet been
+properly transcribed from the MS.[2]
+
+But there are evidences of an inaccuracy of a different kind that betray
+a carelessness utterly reprehensible. The author is apparently unable to
+transliterate properly the Old English names. Thus he has Vealhpeon and
+Vealhpeo (for Wealhtheow), Ecgpeow, Halbdaene (for Healfdene),
+Ermanarich, &c.
+
+In his attempt to produce an etymological document, the translator uses
+many compounds such as even the German language might be better without;
+such are--Sippenschar (sibbegedriht), 730; Schattenwandler
+(sceadugenga), 704; Wangenpolster (hlēor-bolster), 689; Leibpanzer
+(līc-syrce), 550. As compounds these may not be offensive to a German;
+but the trouble with them is that they do not translate the Old English
+ideas.
+
+Finally, it may be asked why a translation that appeals only as a
+literal rendering should not be strictly literal, noting its every
+variation from the original, italicizing supplied words, holding to the
+original word-order.
+
+Steineck’s translation did not advance the interpretation of _Beowulf_
+a whit. In point of accuracy the book is not worthy to stand with good
+translations thirty years old.
+
+    [Footnote 1: See supra, p. 64.]  [[Heyne: Relation of...]]
+
+    [Footnote 2: See also supra, p. 8.]  [[Preliminary Remarks]]
+
+
+
+
+J. R. C. HALL’S TRANSLATION
+
+
+Beowulf, and the Fight at Finnsburg, a translation into modern English
+prose, with an Introduction and Notes, by John R. Clark Hall, M.A.,
+Ph.D. With twelve illustrations[1]. London: Swan Sonnenschein and
+Company, Lim., 1901. 8vo, pp. xlv, 203.
+
+Tenth English Translation. Prose.
+
+
+_Translator, and Circumstances of Publication._
+
+Hitherto Dr. Hall had been chiefly known to the learned world for his
+excellent _Anglo-Saxon Dictionary for Students_.
+
+Up to this time no prose translation had appeared in England since 1876,
+save Earle’s[2], which for the elementary student was practically
+useless. Moreover, this translation was the first to embody the results
+of various studies on the poem during the past decade.
+
+
+_Contents._
+
+Unlike the preceding works on _Beowulf_, it may be said that the
+introductory and illustrative matter in this book is of quite as much
+importance as the translation. The author says of his book:--
+
+  ‘The following pages comprise a short statement of what is
+  actually known with respect to the poem of _Beowulf_, another
+  statement of what seems to me most likely to be true amongst the
+  almost innumerable matters of conjecture concerning it, and a few
+  words of literary appreciation.’ --Introduction, p. ix.
+
+Statements similar to these have been put forth by other translators of
+the poem, but the material of their volume has not always borne them
+out. The studies of the poem in the Introduction are sufficient for a
+school edition of _Beowulf_--a similar body of information is not found
+in any of the existing editions--while annotations of some importance to
+the elementary student are found in the notes and running comment. The
+book contains, beside the translation, a discussion of the form,
+language, geographical allusions, date, and composition of the poem,
+as well as a useful, though inaccurate, bibliography[3].
+
+
+_Text Used._
+
+The translation is founded on the text of A. J. Wyatt, Cambridge, 1894.
+Dr. Hall does not always follow the interpretations given in Wyatt’s
+glossary, nor is the punctuation of the translation conformed to that of
+the Old English text.
+
+
+_Indebtedness to Preceding Scholars._
+
+In his translation Dr. Hall seems to be most indebted to the work of
+Professor Earle[4] (see lines 4, 71, 517, 852, 870, 926, 996, 1213,
+1507, 2021, 3034, &c.).
+
+Frequent reference is also made to the work of Cosijn, _Aanteekeningen
+op den Beowulf_ (1892). The work of other scholars, such as Bugge,
+Heyne, Socin, is also referred to.
+
+
+_Nature of the Translation._
+
+The translation is a literal prose version. It is constantly interrupted
+by bits of running comment, designed to overcome the inherent obscurity
+of the poem, or to afford an elaborate digest of the story if read
+without the translation (p. 7).
+
+The rendering avoids archaisms.
+
+Bugge’s restoration is used at line 3150; the passage at line 2215 is
+not restored.
+
+
+EXTRACT.
+
+  VIII.
+
+  UNFERTH TAUNTS BEOWULF. BEOWULF’S CONTEST WITH BRECA.
+
+  (Lines 499-558.)
+
+  (499-505). _Now comes a jarring note. Unferth, a Danish courtier,
+  is devoured by jealousy, and taunts Beowulf._
+
+  Then Unferth, the son of Ecglaf, who sat at the feet of the lord
+  of the Scyldings, spoke, and gave vent to secret thoughts of
+  strife,--the journey of Beowulf, the brave sea-farer, was a great
+  chagrin to him, for he grudged that any other man under heaven
+  should ever obtain more glory on this middle-earth than he
+  himself.
+
+  (506-528). _‘Art thou the same Beowulf,’ says he, ‘who ventured on
+  a foolhardy swimming match with Breca on the open sea in winter,
+  for seven days, and got beaten? A worse fate is in store for thee
+  when thou meetest Grendel!’_
+
+  ‘Art thou that Beowulf who strove with Breca, contested with him
+  on the open sea, in a swimming contest, when ye two for vainglory
+  tried the floods, and ventured your lives in deep water for idle
+  boasting? Nor could any man, friend or foe, dissuade you from your
+  sorry enterprise when ye swam on the sea; when ye compassed the
+  flowing stream with your arms, meted out the sea-paths, battled
+  with your hands, and glided over the ocean; when the sea, the
+  winter’s flood, surged with waves. Ye two toiled in the water’s
+  realm seven nights; he overcame you at swimming, he had the
+  greater strength. Then, at morning time, the ocean cast him up on
+  the Heathoræmas’ land. Thence, dear to his people, he sought his
+  beloved fatherland, the land of the Brondings, his fair
+  stronghold-city, where he had subjects and treasures and a
+  borough. The son of Beanstan performed faithfully all that he had
+  pledged himself to. So I expect for thee a worse fatality,--though
+  thou hast everywhere prevailed in rush of battle,--gruesome
+  war,--if thou darest await Grendel at close quarters for the space
+  of a night.’
+
+
+_Criticism of the Translation._
+
+The extract is typical of all that is best in the translation. It is a
+thoroughly accurate piece of work, failing only where Wyatt’s edition of
+the text is unsatisfactory. Translations like ‘gave vent to secret
+thoughts of strife’ and ‘thou hast prevailed in the rush of battle’ show
+that the work is the outcome of long thought and deep appreciation. At
+times the translation, as here, verges on a literary rendering. But in
+this respect the first part of the poem is vastly superior to the later
+parts, though all three are marred by extreme literalness. Dr. Hall did
+not always escape the strange diction that has so often before
+disfigured the translations of _Beowulf_:--
+
+  Line 2507, ‘my unfriendly hug finished his bony frame.’
+   „   2583, ‘The Geat’s free-handed friend crowed not in pride
+              of victory.’
+   „   2655, ‘Fell the foe and shield the Weder-Geat Lord’s life.’
+   „   2688, ‘the public scourge, the dreadful salamander.’
+   „   2834, ‘show his form’ (said of the Dragon).
+   „   2885, ‘hopelessly escheated from your breed.’
+
+It is also rather surprising to learn from Dr. Hall that Beowulf was one
+of those that ‘advanced home government’ (l. 3005).
+
+It should be added that the explanatory comment which constantly
+interrupts the translation, often six or eight times in a section, is
+annoying, both because it distracts the attention and because it is
+often presented in a style wholly inappropriate to the context.
+
+But this absence of ease and dignity does not hinder Dr. Hall’s
+translation from being an excellent rendering of the matter of the poem,
+at once less fanciful than Earle’s[5] and more modern than Garnett’s[6],
+its only rivals as a literal translation. That it conveys an adequate
+notion of the style of _Beowulf_, however, it is impossible to affirm.
+
+    [Footnote 1: Chiefly of Anglo-Saxon antiquities.]
+
+    [Footnote 2: See supra, p. 91.]  [[Earle]]
+
+    [Footnote 3: See my forthcoming review of the book in the
+    _Journal of Germanic Philology_.]
+
+    [Footnote 4: See supra, p. 91.]  [[Earle]]
+
+    [Footnote 5: See supra, p. 91.]  [[Earle]]
+
+    [Footnote 6: See supra, p. 83.]  [[Garnett]]
+
+
+
+
+TINKER’S TRANSLATION
+
+
+Beowulf, translated out of the Old English by Chauncey Brewster Tinker,
+M.A. New York: Newson and Co., 1902. 12mo, pp. 158.
+
+Eleventh English Translation. Prose.
+
+
+_Aim of the Volume and Nature of the Translation._
+
+  ‘The present translation of _Beowulf_ is an attempt to make as
+  simple and readable a version of the poem as is consistent with
+  the character of the original. Archaic forms, which have been much
+  in favor with translators of Old English, have been excluded,
+  because it has been thought that vigor and variety are not
+  incompatible with simple, idiomatic English....
+
+  The principal ways in which the present version differs from a
+  merely literal translation are the following: (1) in a rather
+  broad interpretation of pregnant words and phrases; (2) in a
+  conception of some of the Old English compounds as conventional
+  phrases in which the original metaphorical sense is dead; (3) in a
+  free treatment of connecting words; (4) in frequent substitution
+  of a proper name for an ambiguous pronoun.
+
+  The translation is based on the text of A. J. Wyatt (Cambridge,
+  1898); a few departures from his readings are enumerated in the
+  Notes.’ --Preface, pp. 5, 6.
+
+
+EXTRACT.
+
+  VIII and IX.
+
+  _Unferth, a thane of Hrothgar, grows jealous of Beowulf and taunts
+  him, raking up old tales of a swimming-match with Breca. Beowulf
+  is angered and boastfully tells the truth touching that adventure,
+  and puts Unferth to silence. Queen Wealhtheow passes the cup.
+  Hrothgar commends Heorot to the care of Beowulf._
+
+  Unferth, the son of Ecglaf, who sat at the feet of the lord of the
+  Scyldings, spoke, and stirred up a quarrel; the coming of Beowulf,
+  the brave seafarer, vexed him sore, for he would not that any
+  other man under heaven should ever win more glories in this world
+  than he himself. ‘Art thou that Beowulf who didst strive with
+  Breca on the broad sea and didst contend with him in swimming,
+  when ye two, foolhardy, made trial of the waves and for a mad
+  boast risked your lives in the deep water? None, friend or foe,
+  could turn you from the sorry venture when ye two swam out upon
+  the sea. But ye enfolded the ocean-streams with your arms,
+  measured the sea-streets, buffeted the water with your hands,
+  gliding over the deep. The ocean was tossing with waves,
+  a winter’s sea. Seven nights ye toiled in the power of the waters;
+  and he overcame thee in the match, for he had the greater
+  strength. Then at morning-tide the sea cast him up on the coast of
+  the Heathoræmas, whence he, beloved of his people, went to his
+  dear fatherland, the country of the Brondings, and his own fair
+  city where he was lord of a stronghold, and of subjects and
+  treasure. Verily, the son of Beanstan made good all his boast
+  against thee. Wherefore, though thou hast ever been valiant in the
+  rush of battle, I look to a grim fight, yea, and a worse issue,
+  for thee, if thou darest for the space of one night abide near
+  Grendel.’
+
+
+
+
+APPENDIX I
+
+INCOMPLETE TRANSLATIONS, AND PARAPHRASES
+
+
+
+
+LEO’S DIGEST
+
+
+Bëówulf, dasz[1] älteste deutsche in angelsächsischer mundart erhaltene
+heldengedicht nach seinem inhalte, und nach seinen historischen und
+mythologischen beziehungen betrachtet. Ein beitrag zur geschichte alter
+deutscher geisteszustände. Von H. Leo. Halle, bei Eduard Anton, 1839.
+8vo, pp. xx, 120.
+
+Selections Translated into German Prose.
+
+
+_Contents of the Volume, and Nature of the Translation._
+
+This was the first German book to give any extended account of the poem.
+
+The titles of the chapters are: I. Historische Anlehnung; II. Mythischer
+Inhalt; III. Die geographischen Angaben; IV. Genealogische Verhältnisse
+der in dem Liede vorkommenden Helden; V. Uebersicht des Inhalts des
+Gedichtes von Bëówulf. In this fifth chapter are found the extracts from
+_Beowulf_. It will be seen that the chapter is somewhat subordinate to
+the others, its chief purpose being to furnish a kind of digest of the
+poem, to be used principally as a work of reference. A desire to
+condense leads the translator to omit lines that he does not deem
+essential to an understanding of the events and characters of the poem.
+Unfortunately his omissions are often the most poetical lines of the
+_Beowulf_. For example, he omits the description of Beowulf’s
+sea-voyage; Hrothgar’s account of the haunt of Grendel and his dam is
+curtailed; the dying words of Beowulf, perhaps the most beautiful lines
+in the poem, are clipped. Further examples may be found in the extract
+given below. This insufficiency is excused by the fact that Leo’s main
+object in preparing the book was to prove certain theories that he held
+respecting the origin and date of the poem.
+
+The text from which he translates is Kemble’s[2].
+
+
+EXTRACT.
+
+  ACHTER GESANG.
+
+  Hûnferð Ecglâfs sohn, der zu des scildingenfürsten füssen sasz,
+  began da ein streiterregendesz gespräch; denn er wird eifersüchtig
+  auf den rum, den Bëówulf sich zu erwerben geht. Er selbst wil der
+  berümteste sein unter den wolken. Er sagte: ‘Bistu der Bëówulf,
+  der mit Brëcca ein wetschwimmen hielt sieben tage und nächte lang,
+  bis er dich in schwimmen besigte, der kräftigere man; dann am
+  achten morgen stig er auf Heáðorämes ansz land und gieng heim zu
+  den Brondingen, wo er eine burg und edlesz gefolge und reichtum
+  hatte? Bëánstânes sohn hat dir allesz geleistet, wasz er gewettet
+  hatte.’
+
+_Omissions_:--
+
+  Line 502, mōdges mere-faran.
+   „   507-517 _entire_.
+   „   520, swǣsne ēðel, lēof his lēodum.
+
+
+_Criticism of the Extract._
+
+As an analysis this is good enough; as a translation of the passage it
+is of course utterly inadequate--it omits the very best lines in the
+original. The book served, however, as a running digest of the story,
+and as such gave an excellent idea of the contents of the poem. But
+Ettmüller was justified in calling the translation which he published
+the next year, ‘the first German translation[3].’
+
+    [Footnote 1: Leo was a spelling reformer.]
+
+    [Footnote 2: See supra, p. 33.]  [[Kemble]]
+
+    [Footnote 3: See supra, p. 37.]  [[Ettmüller]]
+
+
+
+
+SANDRAS’S ACCOUNT
+
+
+De carminibus anglo-saxonicis Cædmoni adjudicatis Disquisitio. Has
+theses Parisiensi Litterarum Facultati proponebat S. G. Sandras in
+Lycaeo Claromontensi Professor. Parisiis, Apud A. Durand, Bibliopolam,
+1859. 8vo, pp. 87. Beowulf described _Cap. Primum_, § 2, De Profana
+Poesi, pp. 10-19.
+
+Extracts Translated into Latin Prose.
+
+
+The only significance of this book is that it contained the first
+information about _Beowulf_ given to the French public. About ten lines
+are literally translated in Cap. I, § 1, all under the general title, De
+Poesi Saxonica. In § 2 the poem is rather carefully sketched, much after
+the manner of Leo[1], from Beowulf’s arrival in the Danish land to the
+fight with Grendel.
+
+    [Footnote 1: See supra, p. 122.]  [[Leo]]
+
+
+
+
+E. H. JONES’S PARAPHRASE
+
+
+Popular Romances of the Middle Ages. By George W. Cox, M.A., and Eustace
+Hinton Jones. London: Longmans, Green, & Co., 1871. 8vo, _Beowulf_ (by
+E. H. Jones), pp. 382-398.
+
+*Second edition, in one volume (containing, in addition to the romances
+in the first edition, those formerly published under the title ‘Tales of
+the Teutonic Lands’). C. Kegan Paul & Company: London, 1880 (1879).
+
+A Paraphrase for General Readers.
+
+
+_Aim of the Volume._
+
+  ‘The thought that these old romances may be presented to
+  Englishmen of the present day in a form which shall retain their
+  real vigour without the repulsive characteristics impressed on
+  them by a comparatively rude and ignorant age may not, perhaps, be
+  regarded as inexcusably presumptuous. With greater confidence it
+  may be affirmed that, if we turn to these old legends or romances
+  at all, it should be for the purpose of learning what they really
+  were, and not with any wish of seeing them through a glass which
+  shall reflect chiefly our own thoughts about them and throw over
+  them a colouring borrowed from the sentiment of the nineteenth
+  century.
+
+  ‘These two conditions have, it is hoped, been strictly observed in
+  the versions here given of some of the great romances of mediæval
+  Europe. While special care has been taken to guard against the
+  introduction even of phrases not in harmony with the original
+  narratives, not less pains have been bestowed on the task of
+  preserving all that is essential in the narrative; and thus it may
+  perhaps be safely said that the readers of this volume will obtain
+  from it an adequate knowledge of these time-honoured stories,
+  without having their attention and their patience overtaxed by a
+  multiplicity of superfluous and therefore utterly irksome
+  details.’ --Preface, pp. vi, vii.
+
+
+_Nature of the Paraphrase._
+
+The poem is relieved of all the episodes except the prolog and King
+Hrothgar’s discourse. Sometimes these omissions seem unnecessary. It is
+certainly a mistake to sacrifice the swimming-match, lively in its
+narrative, dramatic in setting.
+
+On the other hand, the author makes an attempt to preserve as much as
+possible of the original style. So anxious is he to save every
+picturesque word of the original, that he sometimes transfers
+expressions from the passages which he is obliged to drop and inserts
+them in other parts of the story.
+
+
+EXTRACT[1].
+
+  ‘Away to the westward among the people of the Geáts lived a man,
+  strongest of his race, tall, mighty-handed, and clean made. He was
+  a thane, kinsman to Hygelác the Geátish chief, and nobly born,
+  being son of Ecgtheow the Wægmunding, a war-prince who wedded with
+  the daughter of Hrethel the Geát. This man heard of Grendel’s
+  deeds, of Hrothgár’s sorrow, and the sore distress of the Danes,
+  and having sought out fifteen warriors, he entered into a
+  new-pitched ship to seek the war-king across the sea. Bird-like
+  the vessel’s swan-necked prow breasted the white sea-foam till the
+  warriors reached the windy walls of cliff and the steep mountains
+  of the Danish shores. They thanked God because the wave-ways had
+  been easy to them; then, sea-wearied, lashed their wide-bosomed
+  ship to an anchorage, donned their war-weeds, and came to Heorot,
+  the gold and jewelled house. Brightly gleamed their armour and
+  merrily sang the ring-iron of their trappings as they marched into
+  the palace.’ --Pages 384-5.
+
+
+_Criticism of the Paraphrase._
+
+The object of a paraphrase is to present all the essential matter of the
+original, in a style materially simpler than, though not unrelated to,
+the original.
+
+The matter of Mr. Jones’s paraphrase is not above criticism. It is full
+of minor errors. In the extract, for example, the original does not say
+that the heroes ‘donned their war-weeds,’ nor that there were mountains
+on the shores of Denmark.
+
+The style of the work is much better. It is throughout strong and clear,
+not over-sentimental. It is, perhaps, too intimate; it savors slightly
+of the _Märchen_. This absence of vigor and remoteness may be due to the
+nature of the volume of which this paraphrase is only a part.
+
+    [Footnote 1: Swimming-match omitted.]
+
+
+
+
+ZINSSER’S SELECTION
+
+
+Jahresbericht über die Realschule zu Forbach (Lothringen) für das
+Schuljahr 1880 bis 1881, mit welchem zu der öffentlichen Prüfung am
+Freitag den 12. August 1881 ergebenst einladet der Director A.
+Knitterscheid.
+
+Voran geht eine Abhandlung des ordentlichen Lehrers G. Zinsser: Der
+‘Kampf Beowulfs mit Grendel,’ als Probe einer metrischen Uebersetzung
+des angelsächsischen Epos ‘Beóvulf.’ Saarbrücken. Druck von Gebrüder
+Hofer. 1881. 4to, pp. 18, double columns, Schulnachrichten 6.
+
+The First 836 Lines translated in Iambic Pentameter.
+
+
+_Aim, Contents, and Method of Translation._
+
+  ‘Gleichwol wird das Gedicht in deutscher Sprache noch wenig
+  gelesen; und es mag darum gerechtfertigt sein, wenn auch ein
+  weniger Berufener ein Schärflein zum weiteren Bekanntwerden dieses
+  altehrwürdigen Erzeugnisses germanischen Geistes beitragen will.
+  Derselbe hat in seiner Uebersetzung, von welcher im Folgenden von
+  3184 Versen nur die ersten 826[1], nämlich der Kampf Beowulfs mit
+  Grendel mit vorausgehender Genealogie der dänischen Könige,
+  vorgeführt werden, alles vermieden, was dem Laien das Verständnis
+  erschweren könnte. Die am Schluss beigefügten mythologischen,
+  historischen und geographischen Erläuterungen können auch denen
+  willkommen sein, welche sich eingehender mit dem Gedicht
+  beschäftigen wollen.’ --Einleitung, 4.
+
+
+_Text Used._
+
+The text used is Heyne’s edition of 1873 (see Einleitung, 4).
+
+
+EXTRACT.
+
+  9.
+
+  Doch Hunferd, Ecglafs Sohn, der beim Gelage
+  Zu Füssen Hrodgars, seines Herren, sass,
+  War voll Verdruss, der Ruhm des Beowulf
+  Erregte bittren Neid im Busen ihm.
+  Er konnte nicht ertragen, wenn beim Volke
+  Ein andrer mehr gepriesen ward, als er.
+  Voll Aerger sucht’ er Händel, also sprechend:
+  ‘Du bist gewiss der Beowulf, der einst
+  Im Meer mit Breca um die Wette schwamm?
+  Ihr masset damals euch in kühnem Wagen!
+  Das mühevolle Werk euch auszureden
+  Vermochte niemand, tollkühn setztet ihr
+  Das Leben ein und schwammt ins Meer hinaus.
+  Zerteiltet mit den Armen kraftgemut
+  Des Meeres Wogen, glittet rasch dahin
+  In kalter Flut. Ihr mühtet sieben Nächte
+  Euch ab, und endlich siegte Brecas Stärke,
+  Er war dir doch voran an Heldenkraft.
+  Ihn trug die Flut zur Morgenzeit hinauf
+  Zum Hadorämenstrand. Von dort gelangt’
+  Er dann zu seiner Burg in Brondingland,
+  Die, starkbefestigt, funkelndes Geschmied,
+  Der Spangen und Juwelen viele birgt.
+  Es jubelte sein Volk dem Herren zu,
+  Der kühn sein Wort gelöst, nachdem er so
+  Im Wettkampf glänzend hatte obgesiegt!’
+
+
+_Criticism of the Extract._
+
+The translation is very free. Lines that are obscure in the original are
+not allowed to be obscure in the translation, even if they have to have
+a meaning read into them. For example, in the extract quoted above,
+_beadu-runen onband_ of the original is rendered ‘sucht’ er Händel,’
+thoroughly intelligible, but not accurate. There is at times a tendency
+to paraphrase, or even to introduce an original sentence into the poem.
+An example of this may be seen at the close of the first canto:--
+
+                      ‘unerforschlich sind
+  Und dunkel oft die Wege des Geschickes[2].’ --Page 5, l. 54.
+
+Words are occasionally omitted. In the extract above _ne lēof nē lāð_
+(l. 511) and _sunu Bēanstānes_ (l. 524) are omitted in translation.
+There are no lines in the original which correspond to the last line and
+a half of the extract.
+
+Of course by adopting this method of translation the writer attains his
+purpose. His poem is readable, but readable at the expense of accuracy.
+As a paraphrase, the version is commendable; but it is hardly of
+importance in any other way.
+
+    [Footnote 1: According to the Old English text, 836.]
+
+    [Footnote 2: The Old English reads:--
+
+                    Men ne cunnon
+        secgan tō sōðe, sele-rǣdende
+        hæleð under heofenum, hwā þǣm hlæste onfēng. --Lines 50-52.]
+
+
+
+
+GIBB’S PARAPHRASE
+
+*Gudrun and other Stories, from the Epics of the Middle Ages, by John
+Gibb. M. Japp & Company: London: Edinburgh (printed), 1881.
+
+Gudrun, Beowulf, and Roland, with other mediaeval tales by John Gibb,
+with twenty illustrations. Second edition. London: T. Fisher Unwin, 1884
+(1883).
+
+8vo, _Beowulf_, pp. 135-168, with three illustrations[1].
+
+A Paraphrase in English Prose.
+
+
+_Aim of the Volume._
+
+  ‘I have not translated them (the poems) literally, but have told
+  their stories faithfully in simple language, with the special
+  design of interesting young people, although I am not without hope
+  that they will be read by some who can no longer be called young.’
+  --Prefatory Note.
+
+
+_Nature of the Paraphrase._
+
+The following parts are omitted: (1) All episodes except the Prolog;
+(2) All lines that do not have to do directly with the story; (3) All
+the descriptive adjectives and kennings of the poem.
+
+Gibb seems to care nothing for the beauties of the style. How much he
+has sacrificed may be seen by noting his rendering of the celebrated
+description of Grendel’s haunt:--
+
+  ‘I know not their home. It is in a dark lake overshadowed by
+  trees. Into that lake the stag will not plunge, even although the
+  hounds are close upon it, so fearful and unholy is the place.’
+
+An illustration of the same thing may be seen by noting the omission of
+phrases from the swimming-match.
+
+
+EXTRACT.
+
+  But Hunferth, the son of Ecglaf, who sat at the feet of King
+  Hrothgar, was displeased. He was grieved that any hero should come
+  to the land boasting that he could do what no one among the Danes
+  could do. He said scornfully to Beowulf--
+
+  ‘Tell me, art thou the Beowulf whom Breca overcame in a swimming
+  match? I heard the tale. You both ventured out like foolish men
+  among the waves in the days of winter. For seven nights you swam
+  together, but Breca was the stronger. Thou wilt have a worse
+  defeat shouldst thou venture to meet Grendel in the darkness of
+  the night.’ --Page 144.
+
+
+_Criticism of the Paraphrase._
+
+In comparison with the work of Mr. Jones[2], it may be said that Mr.
+Gibb’s paraphrase is fuller, reproduces more events, and follows more
+faithfully the original order. He supplies fewer explanatory words and
+sentences. But, on the other hand, Mr. Gibb’s work, unlike Mr. Jones’s,
+has no merits of style--it is all on a dead level of prose. Thus it sins
+against one of the laws of paraphrase: that the writer, in relieving
+himself of the exacting duties of translator, must present the story in
+a more literary and more truly adequate medium. Mr. Gibb’s is one of the
+poorer paraphrases.
+
+
+_Indebtedness to Arnold._
+
+At page 280 of the concluding chapter, the author speaks of the history
+and character of the poem. It will be found on reference to this section
+that the author is a follower of the views set forth in the edition of
+Mr. Thomas Arnold[3]. It is probable that Mr. Gibb was indebted to this
+book for much of his paraphrase, but the free character of the version
+prevents any decision on this point.
+
+    [Footnote 1: Woodcuts; two of them are identical with the ones
+    given in the Wägner-MacDowall paraphrase: see infra, p. 130.]
+
+    [Footnote 2: See supra, p. 123.]  [[Sandras]]
+
+    [Footnote 3: See supra, p. 71.]  [[Arnold]]
+
+
+
+
+THE WÄGNER-MACDOWALL PARAPHRASE
+
+
+Epics and Romances of the Middle Ages. Adapted from the Work of Dr. W.
+Wägner by M. W. MacDowall, and edited by W. S. W. Anson. Philadelphia:
+J. B. Lippincott & Co., London: W. Swan Sonnenschein & Co., 1883. 8vo,
+_Beowulf_, pp. 347-364, with two illustrations[1].
+
+Second Edition, Oct. 1883.
+
+Sixth Edition, 1890.
+
+Eighth Edition, 1896.
+
+_Beowulf_ Retold, with Changes and Additions.
+
+The paraphrase is adapted from _Deutsche Heldensagen für Schule und
+Haus_, by Dr. W. Wägner (Leipzig, 1881).
+
+
+_Aim of the Book._
+
+From the nature of the changes made in the story, it is evident that an
+appeal is made to younger readers. This is borne out by the statement on
+p. 9 of the Introduction.
+
+
+_Changes in the Story._
+
+The story does not pretend to do more than follow the most general
+outlines of the original. The most important changes are in the first
+division of the poem, where it would seem that no changes whatever were
+needed. The principal additions are the following:--
+
+(1) A minstrel flees from plague-stricken Heorot, sails to the Geatish
+land, and sings the terror wrought by Grendel, urging Beowulf to come
+and save the people.
+
+(2) The swimming-match is introduced into the action of the story, with
+the _motif_ radically altered. Breca is represented as winning the
+match.
+
+(3) The incident of Beowulf’s refusal of the crown is amplified and
+introduced into the story at the opening of the third part.
+
+(4) The story differs from the original in a number of minor details.
+
+
+EXTRACT.
+
+  The minstrel tuned his harp and sang of Beowulf’s heroic deeds,
+  and prophesied that he would conquer and slay the monster of the
+  morass. This praise made Hunford, one of the courtiers, angry and
+  jealous. He said it was Breka, not Beowulf, that had won the
+  golden chain[2]; that the Gothic hero was undertaking an
+  enterprise that would very likely lead him to his death; and he
+  advised him to think twice before attacking Grendel. Upon this,
+  Beowulf exclaimed indignantly that he had won a good sword instead
+  of the golden chain, and that it was sharp enough both to pierce
+  the hide of the monster and to cut out a slanderous tongue.
+
+
+_Criticism of the Paraphrase._
+
+The extract gives a good idea of the author’s sins of omission and
+commission. It will be seen, for example, that the tone of the entire
+passage is altered. The bit of repartee in the last sentence is wholly
+foreign to the Beowulf manner, which is outright and downright--the very
+opposite of subtilty. The false manner is evident at once when we
+compare the reply of the hero in the original, ‘Thou art the murderer of
+thine own brethren, and thou shalt be damned in Hell. Wait till
+to-night, and thou shalt see which of us is the stronger.’
+
+The story is, if possible, more garbled than the style. The mission of
+the minstrel and the mangled account of the swimming-match have no
+essential or artistic relation to the context. They are merely inserted
+to add to the action of the piece.
+
+The popularity of the book is attested by the number of editions through
+which it has passed. The volume contains also paraphrases of the legends
+about Arthur, Charlemagne, and Tannhäuser, as well as the story of the
+Nibelungs. These must account for its enduring success; but it is
+unfortunate that this, the poorest of the Beowulf paraphrases, should
+thus have found an audience which it did not deserve and could never
+have commanded for itself.
+
+    [Footnote 1: Woodcuts; inaccurate.]
+
+    [Footnote 2: A prize offered by King Hygelak for the victor in
+    the match.]
+
+
+
+
+THERESE DAHN’S PARAPHRASE
+
+
+Walhall. Germanische Götter- und Heldensagen. Für Alt und Jung am
+deutschen Herd erzählt von Felix Dahn und Therese Dahn, geb. Freiin von
+Droste-Hülshoff. Mit neunundfünfzig Bildertafeln, Textbildern,
+Kopfleisten und Schlussstücken nach Federzeichnungen von Johannes
+Gehrts. Kreuznach, Verlag von R. Voigtländer, 1883.
+
+Seventh Edition, 1885.
+
+Eleventh Edition, 1891.
+
+Twelfth Edition (Leipzig), 1898.
+
+8vo, _Beowulf_ (by Therese Dahn[1]), pp. 361-405, with two
+illustrations.
+
+A Paraphrase in German Prose for General Readers.
+
+
+_Therese Dahn._
+
+Therese Dahn, born Freiin von Droste-Hülshoff, was born in 1845, and
+married Felix Dahn in 1873. With him she published in 1873 at Leipzig a
+volume of poems (_Gedichte_). For certain of her verses in this volume
+she received high praise. She has since continued creative work. She
+resides at Breslau, where Felix Dahn is professor in the University.
+Of the stories in the present volume she wrote, beside _Beowulf_, _Die
+Wölsungen_, _Kudrun_, the story of König Wilkinus, &c., _Wieland der
+Schmied_, _Walther und Hildgund_, and the stories from the _Dietrich_
+saga and the _Nibelungen_ saga.
+
+
+_Nature of the Paraphrase._
+
+The following parts of the story are omitted entirely: the account of
+the first King Beowulf in the Prolog; the Sigemund episode, Hrothgar’s
+Discourse; the Thrytho episode; the Freawaru episode; Beowulf’s account
+of his Fight with Grendel as told to King Hygelac; the Battle of
+Ravenswood.
+
+Other changes in the story are as follows: the sorrows of the Danes as
+told in the Prolog are attributed to the reign of King Heremod; in a
+separate Kapitel (III) are gathered the Sorrows of King Hrethel, the
+account of Ongentheow, the Fall of Hygelac, and the Death of Heardred.
+The Fight at Finnsburg is added and an original beginning provided
+for it.
+
+Obscure words, phrases, and lines are omitted; and explanatory words are
+inserted from time to time.
+
+
+_Indebtedness to Simrock._
+
+The translation was evidently made with Simrock’s translation[2] in
+hand; possibly it may have been made directly from that version.
+Evidence of the dependence upon Simrock may be found at every step. The
+forms of the proper names invented by Simrock are repeated here (e.g.,
+Aeskhere, Hädkynn, Ochthere). His renderings of the unique words in the
+poem (sometimes in a slightly simplified form) are used in the
+paraphrase. Often the original word used by Simrock is added in
+parentheses (cf., e.g., Simrock, p. 72.6 with Dahn, p. 382, and p. 73.44
+with Dahn, p. 383). Further evidence may be found by comparing the
+extracts given in this work.
+
+
+EXTRACT.
+
+  _Hunferd_, des Königs erster Sänger, hub da ein Streitlied an; ihm
+  war Beowulfs Ankunft leid: denn er liebte es nicht, dass ein ihn
+  anderer an Ruhm übertreffe.
+
+  ‘Bist du der Beowulf, der einst im Wettkampf mit _Breka_ durch die
+  See schwamm? Wo ihr tollkühn in vermessenem Mut euer Leben in den
+  tiefen Wassern wagtet? Weder Freund noch Feind konnten euch
+  abhalten. Da rudertet ihr in den Sund, masset die Meeresstrassen,
+  schlugt die Wasser mit den Händen, über die Tiefen gleitend. Die
+  winterkalte See stürmte und brauste: sieben Nächte schwammt ihr im
+  Wasser. Breka besiegte dich: er hatte mehr Kraft. Die Hochflut
+  warf ihn am nächsten Morgen ans Land, von we er in seine Heimat
+  eilte, in das Land der _Brondinge_, wo er über Burg und Volk
+  gebietet.’ --Page 370.
+
+
+_Criticism of the Paraphrase._
+
+In many places the work is practically a translation, so closely has the
+original been followed. The style is agreeable and simple; but most of
+what is beautiful in the diction belongs to Simrock rather than to Frau
+Dahn.
+
+The omissions are the most sensible that I have found in a paraphrase.
+Nothing of first importance has been lost.
+
+    [Footnote 1: See p. 662.]
+
+    [Footnote 2: See supra, p. 59.]  [[Simrock]]
+
+
+
+
+STOPFORD BROOKE’S SELECTIONS
+
+
+The History of Early English Literature, being the History of English
+Poetry from its Beginnings to the Accession of King Ælfred. By Stopford
+A. Brooke. New York and London: The Macmillan Co., 1892. 8vo, _Beowulf_,
+pp. 12-92.
+
+English Literature from the Beginning to the Norman Conquest. By
+Stopford A. Brooke. New York and London: The Macmillan Co., 1898.
+8vo, _Beowulf_, pp. 58-83.
+
+Digest, Running Comment, and Translation of Copious Extracts into
+Imitative Measures.
+
+
+_Reasons for including this Book._
+
+This volume is included here because of the great influence it has had
+in forming popular notions regarding the _Beowulf_. The eminence of Mr.
+Brooke as a critic and as a poet has given him the attention of an
+audience hardly commanded by any other writer included in this paper.
+
+Again, the number of lines actually translated by Mr. Brooke is equal to
+that in many of the volumes described in this section.
+
+
+_Difference between the two Editions._
+
+The account in the second volume is much shorter than that in the first;
+only twelve pages are given to the story of Beowulf, while the first
+volume gives forty-three. The later book omits all discussion of the
+episodes, and, although parts of the older volume are retained, the
+matter is, in general, re-written.
+
+
+_Method of Translation._
+
+Translated extracts accompany the story as told by Mr. Brooke.
+
+In his Preface (p. ix), the author speaks of the futility of prose
+translations of poetry, and of the inadequacy of modern English media
+for translating the spirit of the poetry. Finally he adopts a line which
+he hopes will ‘fulfil the needs and follow closely the peculiarities’ of
+Old English.
+
+  ‘I chose after many experiments, the trochaic movement used in
+  this book, each half-line consisting of trochees following one
+  another, with a syllable at the end, chiefly a long one, to mark
+  the division of the line. I varied the line as much as I could,
+  introducing, often rashly, metrical changes; for the fault of this
+  movement is its monotony. I have sometimes tried an iambic
+  movement, but rarely; for this trochaic line with a beat at the
+  end of each half-verse seemed to me to get the nearest to the
+  sound of the Anglo-Saxon line, even though it is frequently
+  un-similar to that line itself. I used alliteration whenever I
+  could, and stressed as much as possible the alliterated words, and
+  I changed the length of the line with the changes of the original.
+  But when I could not easily alliterate my line or stress the
+  alliterated word, I did not try to do so.’
+
+The author adopts an archaic diction. The word-order of the Old English
+is followed whenever possible.
+
+
+_Text Used._
+
+The text appears to be that of Grein-Wülker (1883).
+
+
+EXTRACT[1].
+
+  There at haven stood,    hung with rings the ship,
+  Ice-bright, for the outpath eager,    craft of Aethelings.
+  So their lord, the well-beloved,    all at length they laid
+  In the bosom of the bark,    him the bracelet-giver,--
+  By the mast the mighty king.    Many gifts were there
+  Fretted things of fairness    brought from far-off ways.--
+  Never heard I of a keel    hung more comelily about
+  With the weeds of war,    with the weapons of the battle,
+  With the bills and byrnies.    On his breast there lay
+  A great heap of gems    that should go with him,
+  Far to fare away    in the Flood’s possession[2]. --Page 26.
+
+    [Footnote 1: The swimming-match is not available for illustration
+    here.]
+
+    [Footnote 2: In the second edition, the penultimate line reads,
+    ‘Jewels great and heaped,’ &c.]
+
+
+_Criticism of the Translation._
+
+While the extracts cannot always be praised for their accuracy, they
+are, perhaps, sufficiently faithful for a popular work. When the author
+undertakes to emend the text for himself, or offers an original
+interpretation, his work is not always trustworthy. Emendations in his
+Beowulf selections, however, are rare.
+
+The style of the extracts seems needlessly obscure. This is due in part
+to following too closely the original word-order (see lines 4 and 5 of
+the extract), and in part to the free use of archaic language. Mr.
+Brooke does not hesitate to employ such forms as, ‘house-carles,’
+‘grit-wall,’ ‘ness-slopes,’ ‘host-shafts,’ ‘war-wood,’ ‘gold-flakèd
+shields,’ ‘grinning-masked helms,’ which it would seem must be quite
+unintelligible to the majority of Mr. Brooke’s readers.
+
+The verse, which has been fully discussed above, is, perhaps, the most
+satisfactory feature of Mr. Brooke’s work. Of course it is not strictly
+imitative, as he himself explains, but it gives a fairly good impression
+of the movement of the Old English verse.
+
+
+
+
+MISS RAGOZIN’S PARAPHRASE
+
+
+Tales of the Heroic Ages. Siegfried, the Hero of the North, and Beowulf,
+the Hero of the Anglo-Saxons, by Zenaïde A. Ragozin. G. P. Putnam’s
+Sons, New York and London, 1898. 8vo, _Beowulf_, pp. 211-323, with Note
+at p. 323, and with four illustrations by George T. Tobin.
+
+School Edition, New York, W. B. Harison, 1900.
+
+A Paraphrase in English Prose.
+
+
+_The Author, and the Aim of her Book._
+
+Miss Zenaïde Alexeievna Ragozin, a Russian by birth, an American by
+adoption, has devoted herself to the popularization of history and
+mythology. In the series _Stories of the Nations_, she has published,
+_The Story of Chaldea_, _The Story of Assyria_, _The Story of Media,
+Babylon, and Persia_, _The Story of Vedic India_. Of late she has turned
+her attention to the mythology of the various European nations, and has
+written of Siegfried, Frithjof, and Roland.
+
+The object of her work may be given in her own words:--
+
+  ‘(The series is) intended as parallel reading to history, and
+  planned to illustrate history.... Great changes are coming over
+  the schools, ... changes in the right direction, which may shortly
+  amount to a revolution, when there will be no reason why these
+  _Tales of the Heroic Ages_ should not, although addressed to young
+  people at large, find a place, if not in the school curriculum, at
+  least in the wide margin of so-called ‘Supplementary Reading.’ May
+  they prove acceptable, not alone to the young, to whom they are
+  specially addressed, but also, as has been felicitously said, to
+  “the old with young tastes.”’ --Pages xx, xxii.
+
+
+_Method of Paraphrase._
+
+  ‘(The style) should be simple and epical; faithfully following the
+  main lines, bringing out also the characteristic details--the
+  poetical beauties, picturesque traits, and original dialogue,
+  as much as may be consistent with necessary condensation and,
+  frequently, elimination. It should be a consecutive, lively
+  narrative, with the necessary elucidating explanations
+  incorporated in the text and with the fewest and briefest possible
+  footnotes, while it should contain no critical or mythological
+  digressions.... What we want in telling it to the young, is to
+  take the epic just as it is, condensing and expurgating, but not
+  changing; rendering the characters, scenes and situations with the
+  faithfulness and reverence due to the masterpiece of a race; using
+  as much as possible, especially in the dialogue, the words of the
+  original.... (The language) should be simple, though not untinged
+  with quaintness, and even in places a certain degree of archaism.’
+  --Pages xvi, xix, xxi.
+
+
+_Indebtedness to Earle._
+
+  ‘Professor Earle’s[1] version has been fully utilized in the
+  present volume, even to the extent of frequently making use of its
+  wording, where it is not too archaic or literal for ordinary
+  purposes.’ --Page 330, footnote.
+
+Some notion of the extent of this borrowing may be had by examining the
+extract printed below and the criticism that follows.
+
+
+EXTRACT.
+
+  Yet there was one eye that gleamed not with merriment and
+  goodwill, one head that hatched no friendly thoughts, because the
+  heart swelled with malice and envy. Unferth it was, the king’s own
+  story-teller, who sat at his feet, to be ready at all times to
+  amuse him. He broached a quarrelsome theme--an adventure in
+  Beowulf’s youth, the only contest in his record the issue of
+  which, though hard fought, might be called doubtful. For this
+  Unferth was an envious wight, whose soul grudged that any man
+  should achieve greater things than himself.
+
+  ‘Art thou not,’ he began tauntingly, ‘that same Beowulf who strove
+  with Breca on open sea in a swimming-match, in which ye both
+  wantonly exposed your lives, and no man, either friend or foe,
+  could turn you from the foolish venture? A se’nnight ye twain
+  toiled in the realm of the waters, and, if I err not, he outdid
+  thee in swimming, for he had greater strength. Wherefore I fear me
+  much that thou mayest meet with sorry luck if thou darest to bide
+  here for Grendel for the space of a whole night.’
+
+
+_Criticism of the Paraphrase._
+
+It may be inferred from the dependence upon the work of Earle that Miss
+Ragozin’s knowledge of Old English is of the slightest. This inference
+is borne out by frequent misapprehension of the original sense, due in
+large measure to the use of a single translation. Thus on page 245,
+Grendel is called ‘the God-sent scourge,’ and, again, on p. 322, Beowulf
+is described as having been ‘most genial to his nobles.’ Both of these
+errors are due to misapprehension of Professor Earle’s translation. The
+list of proper names on p. 331 reveals an ignorance of some fundamental
+facts of Old English pronunciation. Of course, an intimate knowledge of
+the Beowulf style and diction is not indispensable to the writer of a
+paraphrase, but the writer who has it will naturally be superior to the
+writer without it. For illustration, Miss Thomson[2] never misinterprets
+a passage as does Miss Ragozin on page 264, where nearly every sentence
+is false to the Beowulf manner.
+
+The paraphrase is slightly disfigured by the distinctively Romance words
+which disfigure Earle’s translation.
+
+But these slight defects need not blind us to the service done by Miss
+Ragozin in making Beowulf accessible to school children. The style is,
+in general, strong and effective, not without some of the beauty and
+dignity of the Old English, but relieved of the more obscure and
+recondite features of that style.
+
+    [Footnote 1: See supra, p. 91.]  [[Earle]]
+
+    [Footnote 2: See infra, p. 143.]  [[Thomson]]
+
+
+
+
+MR. CHURCH’S PARAPHRASE
+
+
+Heroes of Chivalry and Romance. By the Rev. A. J. Church, M.A. London:
+Seeley and Company, 1898. 8vo, _Beowulf_, pp. 3-60. With two
+illustrations in colours by George Morrow.
+
+Beowulf Retold.
+
+
+_Contents of the Volume._
+
+‘The Story of Beowulf,’ ‘King Arthur and the Round Table,’ ‘The Treasure
+of the Nibelungs.’
+
+
+_Indebtedness to Kemble and Earle._
+
+  ‘In writing the story of Beowulf I have been helped by Kemble’s
+  translation and notes[1], and still more by Professor Earle’s[2]
+  admirable edition.’ --Author’s Note.
+
+
+_Nature of the Paraphrase._
+
+All obscure words (especially kennings) and lines are dropped. Many
+explanatory remarks are inserted to elucidate the story. All speeches
+are greatly shortened. Beowulf’s tale of the fight is omitted entirely.
+The episodes are omitted, with the exception of the Sigemund episode,
+one-half of which is translated into heroic couplets, and the Finn
+episode, which is referred to in a single stanza which paraphrases the
+story.
+
+
+_Concerning the Author._
+
+The Rev. Alfred John Church (born 1829) is known chiefly for his
+popularizations of the classics. His best-known works are _Stories from
+Homer_ and _Stories from Virgil_. The present volume is an attempt to do
+for some of the Germanic legends what had already been done for Homer
+and Virgil.
+
+
+EXTRACT.
+
+  But while they feasted envy stirred in the heart of Unferth, son
+  of Ecglaf. He was the King’s orator, and he took it ill that
+  Beowulf should have come to the land of the Danes on this great
+  enterprise, for he was one who could not endure that any man under
+  heaven should do greater deeds than himself. Therefore he stood up
+  in the hall and spake: ‘Art thou that Beowulf who contended with
+  Breca in swimming on the open sea? ‘Twas, indeed, a foolhardy
+  thing so to put your lives in jeopardy, yet no man could turn you
+  from your adventure. Seven days and nights ye toiled, one against
+  the other, but he in the end prevailed, for he had the greater
+  strength. And on the eighth morning the waves cast him ashore on
+  the land of the Heathoram, whence he journeyed back to the city of
+  the Bronding, of which he was lord. So did Breca, son of Beanstan,
+  make good his boast against thee.’
+
+
+_Criticism of the Paraphrase._
+
+The extract is so much fuller than the other parts of the paraphrase
+that it hardly gives a fair notion of the nature of the work. The author
+has appreciated the dramatic quality of the swimming episode and
+preserved it nearly entire. Other parts of the story are much less
+fortunate.
+
+A little knowledge of Old English would have done the author no harm,
+and would have saved him from some errors. His most evident mistakes are
+in the forms of the proper names. Such forms as these occur in his book:
+Veleda, Hugon, Weopstan (sic), Hrethin, Hrethet.
+
+The diction is unfortunate. The coast-warden becomes a ‘squire’ (p. 7);
+Heorot is a ‘banqueting hall’ (p. 4, showing the influence of Kemble’s
+translation); Beowulf and Breca were ‘pages at the King’s court’ (p. 13,
+showing the influence of Earle’s translation).
+
+Petty inaccuracies occur throughout, such as, ‘I counsel that thou
+refuse not’ (p. 9); ‘A faithful squire must needs know the troubles of
+his lord’ (p. 7). In point of accuracy this version is quite inferior to
+the work of Miss Thomson[3]; and in point of style and atmosphere to
+that of Mr. Jones[4], Miss Ragozin[5], or Miss Thomson. The book,
+however, is readable, and the author’s name will doubtless serve to give
+it a certain success.
+
+    [Footnote 1: See supra, p. 33.]  [[Kemble]]
+
+    [Footnote 2: See supra, p. 91.]  [[Earle]]
+
+    [Footnote 3: See infra, p. 143.]  [[Thomson]]
+
+    [Footnote 4: See supra, p. 123.]  [[Sandras]]
+
+    [Footnote 5: See supra, p. 138.]  [[Ragozin]]
+
+
+
+
+MISS THOMSON’S PARAPHRASE
+
+
+The Adventures of Beowulf, translated from the Old English and adapted
+to the Use of Schools by Clara Thomson[1]. London: Horace Marshall and
+Son, 1899. 8vo, pp. 95. In the ‘New English Series,’ edited by E. E.
+Speight.
+
+A Paraphrase in English Prose.
+
+
+_Aim of the Volume._
+
+  ‘It is meant mainly to arouse in children an interest in the
+  beginnings of our literature--a subject that is still terribly
+  neglected in schools. It makes no pretension to being an adequate
+  or satisfactory version for grown-up readers.’ --Page 6.
+
+
+_Method of Paraphrase._
+
+  ‘[Discrepancies in the poem] I have endeavoured to smooth over by
+  omission or by very slight additions; and whenever of two readings
+  of a doubtful passage, one is more easily comprehensible than the
+  other, I have always adhered to this, even if on philological
+  grounds it seems less probable.’...
+
+  ‘Many of the episodes in the story have been greatly shortened or
+  altogether omitted, since they interrupt the course of the
+  narrative, or divert the interest from the main theme.’
+  --Pages 5, 6.
+
+This statement is more modest than need be. It will be found that only
+two of the episodes are passed without mention--the Prolog and the Tale
+of Thrytho. The Legend of Sigemund and the Tale of Finn are rather fully
+treated, and the Story of Freawaru and the Battle of Ravenswood are both
+referred to. In each case the episodes are carefully woven into the
+story, and that without superfluous words.
+
+The words and sentences which are supplied are very carefully chosen,
+and most of them have a prototype somewhere in the poem.
+
+
+EXTRACT.
+
+  Now, though most of Hrothgar’s men rejoiced to see Beowulf, and
+  honoured him for his generous thought in coming to their help,
+  there was one who looked on him with dislike and envy, and was
+  jealous of the favour shown him by the king. This was Hunferth,
+  who was sitting on the daïs at Hrothgar’s feet. And when he heard
+  what this visitor intended to do, he grew angry and moody, because
+  he could not bear that any other man on earth should obtain
+  greater honour than he himself. So he began to rake up old tales
+  that he had heard of Beowulf, and tried to turn them to his hurt,
+  saying scornfully:
+
+  ‘Art thou that Beowulf who once strove on the wide sea in a
+  swimming-match with Breca, when ye two in boasting dared to breast
+  the wave, and for vainglory risked your lives in the deep water?
+  There was no man, friend nor foe, who could dissuade you from that
+  sorrowful journey; but ye swam in the surf, stretching out your
+  arms over the waves, and stirring up the surge with your hands. So
+  did ye glide across the ocean, while the waves weltered in wintry
+  storms, and for seven nights ye laboured in the tumult of the
+  seas. But in the end the victory was with Breca, for his might was
+  the greater. Then on the morning of the eighth day the tide bore
+  him to the shore of Norway, whence he visited his beloved home,
+  the fair city of safety, where he ruled over many people, over
+  towns and treasure. Truly he did perform all his boast against
+  thee.’
+
+
+_Criticism of the Paraphrase._
+
+In the opinion of the present writer, no better paraphrase of _Beowulf_
+exists.
+
+It is perhaps unfortunate that the word ‘translated’ is used on the
+title-page, for this is misleading. The proper form is that used on the
+cover of the book, ‘Beowulf, told by Miss Clara Thomson.’
+
+It were sufficient praise to point out that the author has contrived to
+retain practically all of the poem, without ever falsifying its spirit
+by introducing a superabundance of explanatory phrases[2]. She is always
+true to the story (as Miss Ragozin[3] is not, for example, in the first
+section of her work); she is equally true to the spirit of the poem (as
+Mr. Gibb[4] is not). The style is both vigorous and simple, not unworthy
+of the story it tells.
+
+It will be surprising if Miss Thomson’s work is not popular in England,
+and the book should be known and used in this country.
+
+    [Footnote 1: Miss Thomson is better known as the biographer of
+    Samuel Richardson. See _Samuel Richardson, a Biographical and
+    Critical Study_. London, 1900.]
+
+    [Footnote 2: The author’s argument against inserting the Prolog
+    is sound enough; but the omission of any part of the poem in a
+    paraphrase so good as Miss Thomson’s is to be regretted.]
+
+    [Footnote 3: See supra, p. 138.]  [[Ragozin]]
+
+    [Footnote 4: See supra, p. 128.]  [[Gibb]]
+
+
+
+
+APPENDIX II
+
+A BIBLIOGRAPHY OF WORKS WHICH CONTAIN SELECTIONS FROM BEOWULF
+TRANSLATED INTO ENGLISH
+
+
+(_Only works which translate at least thirty lines are noted._)
+
+TEN BRINK, BERNHARD, AND KENNEDY, HORACE, in Early English Literature
+(to Wiclif). London and New York, 1883. Verse.
+
+BROWN, ANNA R., in Poet Lore, II, 133, 185. Verse, ll. 26-53, and
+1493-1571.
+
+GUMMERE, F. B., in the American Journal of Philology, VII, 77,
+ll. 1-52. Verse.
+
+---- in Germanic Origins (New York, 1892), pp. 109 ff. Verse.
+
+LONGFELLOW, HENRY WADSWORTH, in Poets and Poetry of Europe, lines 18-40;
+53-83; 189-257; 1789-1803; 2455-2462. Verse.
+
+MORLEY, HENRY, in English Writers, I, pp. 287 ff. (second edition,
+London, 1887). Verse.
+
+ROBINSON, W. CLARKE, in Introduction to our Early English Literature
+(London, 1885). Lines 87-98 (verse), and 1-52 (prose).
+
+SMITH, C. SPRAGUE, in the New Englander, IV, p. 49. Lines 711-838;
+Section XII, Section XIII, 1493-1652; Section XXIII, Section XXIV.
+Verse.
+
+SWEET, HENRY, in Warton’s History of English Poetry, ed. W. Carew
+Hazlitt (London, 1877). Vol. II, pp. 11-12. Prose.
+
+TOLMAN, A. H., in Transactions of the Modern Language Association, III,
+pp. 19 ff. In the ‘Style of Anglo-Saxon Poetry.’ Prose.
+
+
+_Incomplete Paraphrase._
+
+PALMER, BERTHA, in Stories from the Classic Literature of many Nations
+(New York, 1898), pp. 262-263. Beowulf’s Fight with Grendel, using J. L.
+Hall’s translation as a basis.
+
+
+
+
+APPENDIX III
+
+TWO WORKS NAMED ‘BEOWULF’
+
+
+I.
+
+Beowulf, Roman von Karl Manno (pseud. Carl von Lemcke). In _Deutsche
+Roman-Zeitung_, Jahrg. 19, Bde. 1, 2. Berlin, 1882.
+
+A modern romance, having no relation to the Old English poem.
+
+
+II.
+
+_Mr. S. H. Church’s ‘Beowulf.’_
+
+Beowulf, a Poem by Samuel Harden Church. New York: Stokes and Co., 1901.
+
+An original poem, using some of the Beowulf material.
+
+After speaking of his original intention of translating the _Beowulf_,
+which he later discarded, the author says:--
+
+  ‘I have ... composed an original narrative in which the leading
+  characters and some of the incidents of the early work[1] have
+  been freely used, but as materials only. I have transferred to my
+  hero, Beowulf, the picturesque history of Sceaf[2]; have changed
+  the relationship of characters and incidents; have inserted the
+  illumination of Beowulf’s soul, and his banishment; and have
+  introduced the love motive between Beowulf and Freaware that runs
+  through the poem to the end. Indeed the structure, language,
+  style, description, elaboration, interpretation, and development
+  of the story are new. I have arbitrarily laid the scene in
+  England, under purely idealized conditions; and have initiated
+  nearly all that the poem contains of womanhood, of love, of
+  religion, of state-policy, and of domestic life and manners. It
+  is clear, therefore, that my work must not be judged either as a
+  translation, version, or paraphrase of the old Beowulf.’
+
+    [Footnote 1: i.e., the translation.]
+
+    [Footnote 2: Scyld]
+
+
+
+
+INDEX OF TRANSLATORS
+
+
+  Arnold, Thomas, 71-4.
+  Botkine, L., 75-9.
+  ten Brink, B., and Kennedy, H. M., 146.
+  Brooke, S. A., 135-7.
+  Brown, Anna R., 146.
+  Church, A. J., 141-3.
+  Conybeare, J. J., 28-32.
+  Cox and Jones, _see_ Jones.
+  Dahn, T., 132-4.
+  Earle, John, 91-5.
+  Ettmüller, L., 37-41.
+  Garnett, J. M., 83-7.
+  Gibb, J., 128-30.
+  Grein, C. W. M., 55-9.
+  Grion, G., 87-9.
+  Grundtvig, N. F. S., 22-8.
+  Gummere, F. B., 146.
+  Hall, John Lesslie, 95-9.
+  Hall, John R. Clark, 114-8.
+  Heyne, M., 63-7.
+  Hoffmann, P., 99-103.
+  Jones, E. H., 123-5.
+  Kemble, J. M., 33-7.
+  Kennedy, H. M., _see_ ten Brink.
+  Lemcke, Carl von, _see_ Manno.
+  Leo, H., 121-3.
+  Longfellow, H. W., 146.
+  Lumsden, H. W., 79-82.
+  MacDowall, M. W., 130-2.
+  Morley, H., 146.
+  Morris, W., 104-9.
+  Palmer, B., 147.
+  Ragozin, Z. A., 138-40.
+  Robinson, W. C., 146.
+  Sandras, G. S., 123.
+  Schaldemose, F., 41-5.
+  Simons, L., 109-11.
+  Simrock, K., 59-63.
+  Smith, C. S., 146.
+  Steineck, H., 112-4.
+  Sweet, H., 147.
+  Thomson, C., 143-5.
+  Thorkelin, G. J., 15-21.
+  Thorpe, B., 49-55.
+  Tinker, C. B., 118-20.
+  Tolman, A. H., 147.
+  Turner, S., 9-15.
+  Wackerbarth, A. D., 45-9.
+  Wägner, W., 130-2.
+  Wickberg, R., 90, 91.
+  von Wolzogen, H., 68-71.
+  Wyatt, A. J., 104-9.
+  Zinsser, G., 126-8.
+
+
+       *       *       *       *       *
+           *       *       *       *
+       *       *       *       *       *
+
+ERRATA (noted by transcriber):
+
+The word “invisible” means that there is an appropriately sized gap,
+but the character itself is not present.
+
+In German texts, the word or word element “wohl” is consistently
+spelled “wol”. Other variant spellings are not noted.
+
+Translations marked with a bracketed asterisk [*] were checked against
+the original texts.
+
+THORKELIN
+  Dr J V. [_periods printed as shown_]
+  (Criticism) ... swæsne · ᛟ · (i.e. ēðel).
+    [_“edhel” is the name of the runic letter;
+    second period in “i.e.” invisible_]
+
+GRUNDTVIG
+  Bjowulf’s Draape  [Drape]
+  Bjovulvs-Draapen, et Høinordisk Heltedigt  [Drapen ... Hoinordisk]
+
+ETTMÜLLER[*]
+  (Theory) nach dem gewonnenen Schema  [gewonnen]
+  (Extract) bei Headhoræmes  [Headoræmes]
+
+SCHALDEMOSE
+  Beo-wulf og Scopes Widsið  [_letter ð printed as d with bar_]
+
+SIMROCK[*]
+  (Nature) der Schönheit des Gedichts  [Gedichtes]
+  (Extract) In diesem Mittelkreiss  [Mittelkreis]
+  da besiegt’ er dich im Schwimmen.
+    [_letter “i” in “Schwimmen” invisible_]
+
+HEYNE[*]
+  (Aim) nicht die erste, die ich biete
+    [_“ich” emphatic (gesperrt) in Heyne original_]
+  (Nature) allitterierende Versmass  [alliterierende]
+  fünffüssige Jamben  [Iamben]
+  (Extract) mit verwegnem Brüsten  [verwegnen]
+  Da schwammt ihr hinaus in See  [_shown as printed_]
+  das hatte Beanstans Sohn
+    [_text corrects misspelled “Banstan” in Heyne original_]
+
+ARNOLD
+  (Criticism) nothing more than a transcription  [mroe]
+
+GARNETT
+  (Nature) ... ‘In respect to the rhythmical form
+    [_open quote invisible_]
+
+GRION
+  [_All apostrophes are spaced as in the original_]
+  (Preliminary) e sì che nessuna parola  [si che]
+
+J. L. HALL
+  (Criticism) ... a gain has here and there been made.
+    [_close quote missing_]
+  ’the’ or ‘a’ in the verses quoted above
+    [_open quote in “the” invisible_]
+
+SIMONS[*]
+  Leeraar aan ’t koninklijk Athenaeum  [aan’t]
+  (Aim and Contents) Geschiednis  [Geschiedenis]
+  (Extract) Gij maat de zeebaan  [zeebahn]
+
+J. R. C. HALL
+  (Nature) without the translation (p. 7).
+    [_closing parenthesis invisible_]
+  (Criticism) ‘... the Weder-Geat Lord’s life.’
+    [_close quote missing_]
+
+WÄGNER-MACDOWALL
+  Adapted from the Work of Dr. W. Wägner by M. W. MacDowall  [W. M.]
+
+RAGOZIN
+  _The Story of Vedic India_.
+    [_extraneous close quote at end of sentence_]
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Translations of Beowulf, by 
+Chauncey Brewster Tinker
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diff --git a/25942-0.zip b/25942-0.zip
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+Project Gutenberg's The Translations of Beowulf, by Chauncey Brewster Tinker
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Translations of Beowulf
+       A Critical Biography
+
+Author: Chauncey Brewster Tinker
+
+Release Date: July 1, 2008 [EBook #25942]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE TRANSLATIONS OF BEOWULF ***
+
+
+
+
+Produced by Louise Hope, David Starner and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+[Transcriber's Note:
+
+This text is intended for users whose text readers cannot use the "real"
+(unicode/utf-8) version of the file. Characters that could not be fully
+displayed have been "unpacked" and shown in brackets:
+
+  [-a] [-e] [-i] [-o] [-u] [-y] [-�]
+        (vowels with macron or "long" mark)
+  [��]  (� with accent)
+  [gh]  (yogh)
+  [/�] [/�]  (thorn with line, typically abbreviating "that")
+  "oe" is written out as two letters, unmarked
+
+Most of these letters are rare and occur only in the quotations from
+Old English.
+
+Book sizes such as 8^o (printed with superscript "o") have been changed
+to 4to, 8vo, 12mo.
+
+In a few selections, italics were used to indicate missing words or
+letters. These have been shown with {braces}. Elsewhere, italics are
+shown conventionally with _lines_. Asterisks before book titles are in
+the original.
+
+Internal cross-references are almost always expressed as "see supra" or
+"see infra" with page number. In an e-text this may be interpreted as
+"scroll up" and "scroll down", respectively. When a footnote does not
+include a translator's name, it has been added in [[double brackets]].
+
+The Tinker translation (final chapter in the main text) is the author's
+own.]
+
+
+
+
+  YALE STUDIES IN ENGLISH
+
+  ALBERT S. COOK, Editor
+
+
+  XVI
+
+  THE TRANSLATIONS OF BEOWULF
+
+  A CRITICAL BIBLIOGRAPHY
+
+
+  by
+
+  CHAUNCEY B. TINKER
+
+  A Portion of a Thesis Presented to the Philosophical
+  Faculty of Yale University in Candidacy for
+  the Degree of Doctor of Philosophy
+
+
+
+
+  Originally Published 1903
+
+
+
+
+PREFACE
+
+
+The following pages are designed to give a historical and critical
+account of all that has been done in the way of translating _Beowulf_
+from the earliest attempts of Sharon Turner in 1805 down to the present
+time. As a corollary to this, it presents a history of the text of the
+poem to the time of the publication of Grein's _Bibliothek der
+angels�chsischen Poesie_ in 1859; for until the publication of this work
+every editor of the poem was also its translator.
+
+It is hoped that the essay may prove useful as a contribution to
+bibliography, and serve as a convenient reference book for those in
+search of information regarding the value of texts and translations of
+_Beowulf_.
+
+The method of treating the various books is, in general, the same.
+I�have tried to give in each case an accurate bibliographical
+description of the volume, a�notion of the value of the text used in
+making it, &c. But the emphasis given to these topics has necessarily
+varied from time to time. In discussing literal translations, for
+example, much attention has been paid to the value of the text, while
+little or nothing is said of the value of the rendering as literature.
+On the other hand, in the case of a book which is literary in aim, the
+attention paid to the critical value of the book is comparatively small.
+At certain periods in the history of the poem, the chief value of a
+translation is its utility as a part of the critical apparatus for the
+interpretation of the poem; at other periods, a�translation lays claim
+to our attention chiefly as imparting the literary features of the
+original.
+
+In speaking of the translations which we may call literary, I�have
+naturally paid most attention to the English versions, and this for
+several reasons. In the first place, _Beowulf_ is an _English_ poem;
+secondly, the number, variety, and importance of the English
+translations warrant this emphasis; thirdly, the present writer is
+unable to discuss in detail the literary and metrical value of
+translations in foreign tongues. The account given of German, Dutch,
+Danish, Swedish, French, and Italian versions is, therefore, of a more
+strictly bibliographical nature; but, whenever possible, some notion has
+been given of the general critical opinion with regard to them.
+
+An asterisk is placed before the titles of books which the present
+writer has not seen.
+
+My thanks are due to the officials of the Library of Yale University,
+who secured for me many of the volumes here described; to Professor
+Ewald Fl�gel of Leland Stanford Junior University, who kindly lent me
+certain transcripts made for him at the British Museum; and to Mr.
+Edward Thorstenberg, Instructor in Swedish at Yale University, for help
+in reading the Danish and Swedish translations.
+
+_July, 1902._
+
+
+
+
+TABLE OF CONTENTS
+
+                                                    PAGE
+  Preliminary Remarks on the Beowulf Manuscript        7
+  Sharon Turner's Extracts                             9
+  Thorkelin's Edition                                 15
+  Grundtvig's Translation                             22
+  Conybeare's Extracts                                28
+  Kemble's Edition                                    33
+  Ettm�ller's Translation                             37
+  Schaldemose's Translation                           41
+  Wackerbarth's Translation                           45
+  Thorpe's Edition                                    49
+  Grein's Translation                                 55
+  Simrock's Translation                               59
+  Heyne's Translation                                 63
+  Von Wolzogen's Translation                          68
+  Arnold's Edition                                    71
+  Botkine's Translation                               75
+  Lumsden's Translation                               79
+  Garnett's Translation                               83
+  Grion's Translation                                 87
+  Wickberg's Translation                              90
+  Earle's Translation                                 91
+  J. L. Hall's Translation                            95
+  Hoffmann's Translation                              99
+  Morris and Wyatt's Translation                     104
+  Simons's Translation                               109
+  Steineck's Translation                             112
+  J. R. Clark Hall's Translation                     114
+  Tinker's Translation                               118
+
+
+APPENDIX I
+
+  INCOMPLETE TRANSLATIONS, AND PARAPHRASES
+
+                                                    PAGE
+  Leo's Digest                                       121
+  Sandras's Account                                  123
+  E. H. Jones's Paraphrase                           123
+  Zinsser's Selection                                126
+  Gibb's Paraphrase                                  128
+  W�gner and Macdowall's Paraphrase                  130
+  Therese Dahn's Paraphrase                          132
+  Stopford Brooke's Selections                       135
+  Miss Ragozin's Paraphrase                          138
+  A. J. Church's Paraphrase                          141
+  Miss Thomson's Paraphrase                          143
+
+
+APPENDIX II
+
+  A BIBLIOGRAPHY OF WORKS WHICH TRANSLATE
+    SELECTIONS FROM 'BEOWULF' INTO ENGLISH           146
+
+
+APPENDIX III
+
+  TWO WORKS NAMED 'BEOWULF'
+
+    I. Manno's Romance                               148
+    II. S. H. Church's Poem                          148
+
+
+INDEX OF TRANSLATORS                                 149
+
+
+
+
+THE TRANSLATIONS OF BEOWULF
+
+
+
+
+PRELIMINARY REMARKS ON THE BEOWULF MANUSCRIPT
+
+
+The unique manuscript of the _Beowulf_ is preserved in the Cottonian
+Library of the British Museum. It is contained in the folio designated
+Cotton Vitellius A. xv, where it occurs ninth in order, filling the
+folios numbered 129a to 198b, inclusive.
+
+The first recorded notice of the MS. is to be found in Wanley's Catalog
+of Anglo-Saxon Manuscripts (Oxford, 1705), Volume III of Hickes's
+_Thesaurus_. The poem is thus described:--
+
+  'Tractatus nobilissimus Poetic� scriptus. Pr�fationis hoc est
+  initium.'
+
+The first nineteen lines follow, transcribed with a few errors.
+
+  'Initium autem primi Capitis sic se habet.'
+
+Lines 53-73, transcribed with a few errors.
+
+  'In hoc libro, qui Poeseos Anglo-Saxonic� egregium est exemplum,
+  descripta videntur bella qu� Beowulfus quidam Danus, ex Regio
+  Scyldingorum stirpe Ortus, gessit contra Sueci� Regulos.' Page
+  218, col. b, and 219, col.�a.
+
+No further notice was taken of the MS. until 1786, when Thorkelin[1]
+made two transcripts of�it.
+
+In 1731 there occurred a disastrous fire which destroyed a number of the
+Cottonian MSS. The Beowulf MS. suffered at this time, its edges being
+scorched and its pages shriveled. As a result, the edges have chipped
+away, and some of the readings have been lost. It does not appear,
+however, that these losses are of so great importance as the remarks of
+some prominent Old English scholars might lead us to suspect. Their
+remarks give the impression that the injury which the MS. received in
+the fire accounts for practically all of the illegible lines. That this
+is not so may be seen by comparing the Wanley transcript with the
+Zupitza _Autotypes_. Writing in 1705, before the Cotton fire, Wanley
+found two illegible words at line 15--illegible because of fading and
+rubbing. Of exactly the same nature appear to be the injuries at lines
+2220�ff., the celebrated passage which is nearly, if not quite,
+unintelligible. It would therefore be a safe assumption that such
+injuries as these happened to the MS. before it became a part of the
+volume, Vitellius A. xv. The injuries due to scorching and burning are
+seldom of the first importance.
+
+This point is worth noting. Each succeeding scholar who transcribed the
+MS., eager to recommend his work, dwelt upon the rapid deterioration of
+the parchment, and the reliability of his own readings as exact
+reproductions of what he himself had seen in the MS. before it reached
+its present ruinous state. The result of this was that the emendations
+of the editor were sometimes accepted by scholars and translators as the
+authoritative readings of the MS., when in reality they were nothing but
+gratuitous additions. This is especially true of Thorpe[2], and the
+false readings which he introduced were never got rid of until the
+Zupitza _Autotypes_ brought to light the sins of the various editors of
+the poem. These statements regarding text and MS. will be developed in
+the following sections of the paper[3].
+
+    [Footnote 1: See infra, p. 16.]  [[Thorkelin]]
+
+    [Footnote 2: See infra, p. 49.]  [[Thorpe]]
+
+    [Footnote 3: See infra on Thorkelin, p. 19; Conybeare, p.�29;
+    Kemble, p.�34; Thorpe, p.�51; Arnold, p.�72.]
+
+
+
+
+SHARON TURNER'S EXTRACTS
+
+
+The History of the Manners, Landed Property, Government, Laws, Poetry,
+Literature, Religion, and Language of the Anglo-Saxons. By Sharon
+Turner, F.A.S. London: Longman, Hurst, Rees, & Orme, 1805.
+
+Being Volume IV of the History of the Anglo-Saxons from their earliest
+appearance above the Elbe, etc. London, 1799-1805. 8vo, pp. 398-408.
+
+Second Edition, corrected and enlarged. London: Longman, Hurst, Rees,
+& Orme, 1807. 2 vols., 4to. _Beowulf_ described, Vol. II, pp. 294-303.
+
+Third Edition. London, 1820.
+
+Fourth Edition. London, 1823.
+
+Fifth Edition. (1827?)
+
+Sixth Edition. London, 1836.
+
+Seventh Edition. London, 1852.
+
+Reprints: Paris, 1840; Philadelphia, 1841.
+
+Translation of Extracts from the first two Parts.
+
+
+_Points of Difference between the Various Editions._
+
+A part of this may be stated in the words of the author:--
+
+  'The poem had remained untouched and unnoticed both here and
+  abroad until I observed its curious contents, and in 1805
+  announced it to the public. I�could then give it only a hasty
+  perusal, and from the MS. having a leaf interposed near its
+  commencement, which belonged to a subsequent part, and from the
+  peculiar obscurity which sometimes attends the Saxon poetry, I�did
+  not at that time sufficiently comprehend it, and had not leisure
+  to apply a closer attention. But in the year 1818 I took it up
+  again, as I was preparing my third edition, and then made that
+  more correct analysis which was inserted in that and the
+  subsequent editions, and which is also exhibited in the present.'
+  --Sixth edition, p.�293, footnote.
+
+The statement that the poem had remained untouched and unnoticed is not
+strictly true. The public had not yet received any detailed information
+regarding it; but Wanley[1] had mentioned the _Beowulf_ in his catalog,
+and Thorkelin had already made two transcripts of the poem, and was at
+work upon an edition. Turner, however, deserves full credit for first
+calling the attention of the English people to the importance of the
+poem.
+
+In the third edition, of which the author speaks, many improvements were
+introduced into the digest of the story and some improvements into the
+text of the translations. Many of these were gleaned from the _editio
+princeps_ of Thorkelin[2]. The story is now told with a fair degree of
+accuracy, although many serious errors remain: e.g. the author did not
+distinguish the correct interpretation of the swimming-match, an extract
+of which is given below. The translations are about as faulty as ever,
+as may be seen by comparing the two extracts. In the first edition only
+the first part of the poem is treated; in the third, selections from the
+second part are added.
+
+No further changes were made in later editions of the History.
+
+Detailed information regarding differences between the first three
+editions may be found below.
+
+
+_Turner, and his Knowledge of Old English._
+
+Sharon Turner (1768-1847) was from early youth devoted to the study of
+Anglo-Saxon history, literature, and antiquities. His knowledge was
+largely derived from the examination of original documents in the
+British Museum[3]. But the very wealth of the new material which he
+found for the study of the literature kept him from making a thorough
+study of it. It is to be remembered that at this time but little was
+known of the peculiar nature of the Old English poetry. Turner gives
+fair discussions of the works of Bede and �lfric, but he knows
+practically nothing of the poetry. With the so-called _Paraphrase_ of
+C�dmon he is, of course, familiar; but his knowledge of _Beowulf_ and
+_Judith_ is derived from the unique, and at that time (1805)
+unpublished, MS., Cotton Vitellius A. xv. Of the contents of the Exeter
+Book he knew nothing. The Vercelli Book had not yet been discovered. The
+materials at hand for his study were a faulty edition of C�dmon and an
+insufficient dictionary. The author, whose interest was of course
+primarily in history, was not familiar with the linguistic work of the
+day. It is, therefore, not surprising that his work was not of the best
+quality.
+
+
+_Lines in the Poem Translated by Turner._
+
+First edition: 18-40; 47-83a; 199b-279; 320-324; 333-336; 499-517a. In
+the second edition are added: 1-17; 41-46; 83b-114; 189-199a; 387-497;
+522-528. In the third edition are added: 529-531; 535-558; 607-646;
+671-674; 720-738; 991-996; 1013-1042; 1060b-1068a; 1159b-1165a;
+1168b-1180a; 1215b-1226a; 1240b-1246a; and a few other detached lines.
+
+
+_Turner's Account of Beowulf in the First Edition of his History._
+
+  'The most interesting remains of the Anglo-Saxon poetry which time
+  has suffered to reach us, are contained in the Anglo-Saxon poem in
+  the Cotton Library, Vitellius A. 15. Wanley mentions it as a poem
+  in which "seem to be described the wars which one Beowulf, a�Dane
+  of the royal race of the Scyldingi, waged against the reguli of
+  Sweden[4]." But this account of the contents of the MS. is
+  incorrect. It is a composition more curious and important. It is a
+  narration of the attempt of Beowulf to wreck the f�the or deadly
+  feud on Hrothgar, for a homicide which he had committed. It may be
+  called an Anglo-Saxon epic poem. It abounds with speeches which
+  Beowulf and Hrothgar and their partisans make to each other, with
+  much occasional description and sentiment.' --Book vi, chap. iv,
+  pp. 398�ff.
+
+
+_The Story of the Poem as Interpreted by Turner._
+
+[Dots indicate the position of the quotations.]
+
+'It begins with a proemium, which introduces its hero Beowulf to our
+notice.... The poet then states the embarkation of Beowulf and his
+partisans....' Turner interprets the prolog as the description of the
+embarkation of Beowulf on a piratical expedition. The accession of
+Hrothgar to the throne of the Danes is then described, and the account
+of his 'homicide' is given. This remarkable mistake was caused by the
+transposition of a sheet from a later part of the poem--the fight with
+Grendel--to the first section of the poem. The sailing of Beowulf and
+the arrival in the Danish land are then given. Turner continues: 'The
+sixth section exhibits Hrothgar's conversation with his nobles, and
+Beowulf's introduction and address to him. The seventh section opens
+with Hrothgar's answer to him, who endeavours to explain the
+circumstance of the provocation. In the eighth section a new speaker
+appears, who is introduced, as almost all the personages in the poem are
+mentioned, with some account of his parentage and character.' Then
+follows the extract given below:
+
+  Hunferth spoke
+  The son of Ecglafe;
+  Who had sat at the foot
+  Of the lord of the Scyldingi
+  Among the band of the battle mystery.
+  To go in the path of Beowulf
+  Was to him a great pride;
+  He was zealous
+  That to him it should be granted
+  That no other man
+      Was esteemed greater in the world
+  Under the heavens than himself.
+    'Art thou Beowulf
+  He that with such profit
+  Dwells in the expansive sea,
+  Amid the contests of the ocean?
+  There yet[5] for riches go!
+  You try for deceitful glory
+  In deep waters[6].--
+  Nor can any man,
+  Whether dear or odious,
+  Restrain you from the sorrowful path--
+  There yet[7] with eye-streams
+  To the miserable you[8] flourish:
+  You meet in the sea-street;
+  You oppress with your hands;
+  [9]You glide over the ocean's waves;
+  The fury of winter rages,
+  Yet on the watery domain
+  Seven nights have ye toiled.'
+
+After this extract, Turner continues:-- 'It would occupy too much room
+in the present volume to give a further account of this interesting
+poem, which well deserves to be submitted to the public, with a
+translation and with ample notes. There are forty-two sections of it in
+the Cotton MS., and it ends there imperfectly. It is perhaps the oldest
+poem of an epic form in the vernacular language of Europe which now
+exists.'
+
+In the second edition the following lines were added:--
+
+'After Hunferthe, another character is introduced:
+
+  Dear to his people,
+  of the land of the Brondingi;
+  the Lord of fair cities,
+  where he had people,
+  barks, and bracelets,
+  Ealwith, the son of Beandane,
+  the faithful companion
+  menaced.
+    "Then I think
+  worse things will be to thee,
+  thou noble one!
+  Every where the rush
+  of grim battle will be made.
+  If thou darest the grendles,
+  the time of a long night
+  will be near to thee."'
+
+
+_Third Edition._
+
+'Hunferth, "the son of Ecglaf, who sat at the feet of the lord of the
+Scyldingi." He is described as jealous of Beowulf's reputation, and as
+refusing to any man more celebrity than himself. He is represented as
+taunting Beowulf on his exploits as a sea-king or vikingr.
+
+    "Art thou Beowulf,
+  he that with such profit
+  labours on the wide sea,
+  amid the contests of the ocean?
+  There you for riches,
+  and for deceitful glory,
+  explore its bays
+  in the deep waters,
+  till you sleep with your elders.
+  Nor can any man restrain you,
+  whether dear or odious to you,
+  from this sorrowful path.
+  There you rush on the wave;
+  there on the water streams:
+  from the miserable you flourish.
+  You place yourselves in the sea-street;
+  you oppress with your hands;
+  you glide over the ocean
+  through the waves of its seas.
+  The fury of the winter rages,
+  yet on the watery domain
+  seven nights have ye toiled."'
+
+
+_Criticism of the Extracts._
+
+Detailed criticism of the extracts is unnecessary. They are, of course,
+utterly useless to-day. Sufficient general criticism of the work is
+found in the preceding sections devoted to a discussion of the author
+and his knowledge of Old English and of the _Beowulf_.
+
+In the third edition the author presents some criticisms of Thorkelin's
+text; but his own work is quite as faulty as the Icelander's, and his
+'corrections' are often misleading.
+
+Turner is to be censured for allowing an account of _Beowulf_ so full of
+inaccuracy to be reprinted year after year with no attempt at its
+improvement or even a warning to the public that it had been superseded
+by later and more scholarly studies.
+
+    [Footnote 1: See supra, p. 7.]  [[Preliminary Remarks]]
+
+    [Footnote 2: See infra, p. 15.]  [[Thorkelin]]
+
+    [Footnote 3: See the Life of Turner by Thomas Seccombe, _Dict.
+    Nat. Biog._]
+
+    [Footnote 4: Wanley, Catal. Saxon MS., p.�218.]
+
+    [Footnote 5: Second edition--
+        Ever acquired under heaven
+        more of the world's glory
+        than himself.]
+
+    [Footnote 6: Second edition--ye.]
+
+    [Footnote 7: Second edition adds--
+        Ye sleep not with your ancestors.]
+
+    [Footnote 8: Second edition omits.]
+
+    [Footnote 9: Second edition reads--
+        You glide over the ocean
+        on the waves of the sea.]
+
+
+
+
+THORKELIN'S EDITION
+
+
+De | Danorum | Rebus Gestis Secul III & IV | Poema Danicum Dialecto
+Anglosaxonica. | Ex Bibliotheca Cottoniana Musaei Britannici | edidit
+versione lat. et indicibus auxit | Grim. Johnson Thorkelin. Dr J�V.�|
+Havni� Typis Th. E. Rangel.�| MDCCXV. 4to, pp. xx, 299, appendix�5.
+
+First Edition. First Translation (Latin).
+
+
+_Circumstances of Publication._
+
+The words of Wanley cited above[1] did not pass unnoticed in Denmark.
+Thorkelin tells us in his introduction that it had long been the desire
+of Suhm[2], Langebeck, Magnusen, and other Danish scholars to inspect
+the MS. in the British Museum. The following is Thorkelin's account of
+his editorial labors:--
+
+  'Via tandem mihi data fuit ad desideratum nimis diu divini vatis
+  Danici incomparabile opus. Arcta etenim, qu� nos et Britannos
+  intercessit amicitia, me allexit, ut, clementissime annuentibus
+  Augustissimis patri� patribus CHRISTIANO VII. et FREDERICO VI.
+  iter in Britanniam anno seculi pr�teriti LXXXVI. ad thesauros
+  bibliothecarum Albionensium perscrutandos facerem....
+  A�curatoribus, Mus�i Britannici, aliarumque Bibliothecarum,
+  potestas mihi data [est] inspiciendi, tractandi, et exscribendi
+  omnia, qu� rebus Danicis lucem affere possent manuscripta. Ad quam
+  rem conficiendam viri nostro pr�conio majores Josephus Planta et
+  Richardus Southgate dicti Mus�i Brit. pr�fecti in me sua officia
+  humanissime contulerunt. Optimo igitur successu et uberrimo cum
+  fructu domum reversus sum ...' (pp. viii,�ix).
+
+Thorkelin thus obtained two copies of the poem, one made with his own
+hand, the other by a scribe ignorant of Old English. These transcripts
+(still preserved in Copenhagen) formed the basis for Thorkelin's
+edition. The account of his studies continues:--
+
+  'Qu�cunque igitur possent hoc meum negotium adjuvare, comparare
+  coepi, magnamque librorum copiam unde quaque congessi, quorum
+  opera carmen aggrederer. In hoc me sedulum ita gessi, ut opus
+  totum anno MDCCCVII confecerim, idem brevi editurus ...' (p.�xv).
+
+Just at this time, unfortunately, Copenhagen was stormed by the English
+fleet, and Thorkelin's text and notes were burned with his library. But
+the transcripts were saved. Thorkelin renewed his labors under the
+patronage of B�low, and at length published in 1815.
+
+
+_Thorkelin, and his Interpretation of the Beowulf._
+
+Grimus Johnssen Thorkelin (or Thorkelsson), 1752-1829, is remembered as
+a scholar in early Germanic history. He had little beside this knowledge
+and his general acquaintance with Old Germanic languages to recommend
+him as an editor of the _Beowulf_. Grundtvig said that the transcript of
+the _Beowulf_ must have been the work of one wholly ignorant of Old
+English[3]. Thorkelin knew nothing of the peculiar style of Old English
+poetry; he could recognize neither kenning, metaphor, nor compound. He
+was not even fitted to undertake the transcription of the text, as the
+following section will make evident.
+
+We have seen how Sharon Turner[4] could describe the _Beowulf_.
+Thorkelin seems to have been little better fitted to understand the
+poem, to say nothing of editing it. He failed to interpret some of the
+simplest events of the story. He did not identify Scyld, nor understand
+that his body was given up to the sea, but thought that King Beowulf
+'expeditionem suscipit navalem.' He failed to identify Breca, and
+thought that Hunferth was describing some piratical voyage of Beowulf's.
+He makes Beowulf reply that 'piratas ubique persequitur et fudit,' and
+'Finlandi� arma infert[5].' He regarded Beowulf as the hero of the
+Sigemund episode. He quite misapprehended the Finn episode, 'Fin, rex
+Frisionum, contra Danis pugnat; vincitur; foedus cum Hrodgaro pangit;
+fidem frangit; pugnans cadit[6].' He regards Beowulf and a son of
+Hunferth as participating in that expedition. He failed to identify
+Hn�f, or Hengest, or Hrothulf, &c.
+
+
+EXTRACT[7].
+
+  Hunfer� maleode                 _Hunferd_ loquebatur
+  Ecglafes bearn                  _Ecglavi_ filius,
+  �e �t fotum s�t                 Qui ad pedes sedit
+  Frean Scyldinga                 Domini Scyldingorum,
+  On band beadu                   Emeritus stipendiis
+  Rune w�s him                    Momordit eum
+  Beowulfes si� modges            _Beowulfi_ itinere elati
+  Mere faran                      Maria sulcando
+  Micel �f�unca                   Magna indignatio,
+  For �on �e he ne u�e     10     Propterea quod ille nesciret
+  ��t �nig o�er man               Ullum alium virum
+  �fre m�r�a                      Magis celebrem
+  �on ma middangardes             In mundo
+  Gehedde under heofenum          Nominari sub coelo
+  �on he sylfa eart               Quam se ipsum.
+  �u se Beowulf                   Tu sis _Beowulfus_,
+  Se �e wi� breccan               Qui ob pr�das
+  Wunne on sidne s�               Ceris per latum �quor
+  Ymb sund flite                  Et maria pugnas.
+  ��r git for wlence       20     Ibi vos ob divitias
+  Wada cunnedon                   Vada explorastis,
+  And for dol gilpe               Et ob falsam gloriam
+  On deop w�ter                   Profundas �quas.
+  Aldrum ne�don                   Annis subacto
+  Ne mic �nig mon                 Non mihi aliquis
+  Ne leof ne la�                  Amicus aut hostis
+  Belean mighte.                  Objicere potest,
+  Sorh fullne si�                 Illacrimabiles expeditiones.
+  �a git on sund reon.            Ubi vos per �quora ruistis,
+  �a git ea gor stream     30     Ibi fluctus sanguinis rivis
+  Earmum �ehton                   Miseri texistis.
+  M�ton mere str�ta               Metiti estis maris strata:
+  Mundum brugdon                  Castella terruistis:
+  Glidon ofer garsecg             Fluitavistis trans �quora.
+  Geofon y�um                     Salis und�
+  Weol wintris wylm               Fervuerunt nimborum �stu.
+  Git on w�teris �ht              Vos in aquarum vadis
+  Seofon night swuncon            Septem noctibus afflicti fuistis.
+  He �e at sunde                  Ille cum sundum
+  Oferflat h�fde          40      Transvolasset,
+  Mare m�gen                      Magis intens� vires
+  �a hine on morgen tid           Illum tempore matutino
+  On hea�o R�mis                  In altam R�mis
+  Holm up �t baer                 Insulam advexere.
+  �onon he gesohte                Deinde petiit
+  Sw�sne.                         Dulcem,
+  Leof his leodum                 Charam suo populo
+  Lond Brondinga                  Terram Brondingorum.
+  Freo�o burh f�gere.             Libertate urbem conspicuam
+  �aer he folc ahte       50      Ibi populo possessam
+  Burh and beagas                 Urbem et opes
+  Beot eal wi�                    Correpsit. Omne contra
+  �e sunu Beanstanes              Tibi filius _Beansteni_
+  Sode gel�ste.                   Vere persolvit.
+
+
+_Criticism of the Text._
+
+In order to show how corrupt the text is, I�append a collation of the
+above passage with the MS. It may be added that the lines are among the
+simplest in the poem, and call for no emendation. In passages that
+present any real difficulty, Thorkelin is, if possible, even more at
+fault.
+
+  Line 1, _for_ maleode _read_ ma�elode.
+       4, _insert period after_ Scyldinga.
+       9, _insert period after_ �f�unca.
+      13, _for_ middangardes _read_ middangeardes.
+      15, _for_ �on _read_ �on{ne}.
+      17, _for_ breccan _read_ brecan (i.e. Brecan).
+      25, _for_ mic _read_ inc.
+      27, _for_ mighte _read_ mihte.
+      37, _for_ w�teris _read_ w�teres.
+      38, _for_ night _read_ niht.
+      40, _insert period after_ oferflat.
+      43, _for_ hea�o R�mis _read_ hea�or�mes (i.e. Hea�or[-�]mas).
+      46, _for_ Sw�sne _read_ sw�sne � [[rune]]�� (i.e. [-e]�el).
+      54, _for_ sode _read_ so�e.
+
+In the composition of his text Thorkelin made all the errors known to
+scribes and editors. He misread words and letters of the MS., although
+he had two transcripts. He dropped letters, combinations of letters, and
+even whole words. He joined words that had no relation to each other;
+he broke words into two or even three parts; he ignored compounds. He
+produced many forms the like of which cannot be found in Old English.
+One further example of his great carelessness may be given. The first
+line of the poem, which is written in large capitals in the�MS.:--
+
+  Hw�t we Gardena....
+
+Thorkelin perversely transcribed:--
+
+  Hw�t wegar Dena....
+
+and for this combination of syllables he chose the translation:--
+
+  Quomodo Danorum.
+
+There is, of course, no such word as 'wegar' in Old English.
+
+Of the necessity of punctuation Thorkelin seems to have been serenely
+unconscious; he did not even follow the guides afforded by the MS. Had
+he done so, he would have saved himself many humiliating errors. For
+example, in the text given above, to have noticed the periods mentioned
+in the collation would have been to avoid two glaring instances of
+'running-in.'
+
+
+_Criticism of the Translation._
+
+But, in spite of the wretched text, it remained for the translation to
+discover the depths of Thorkelin's ignorance. It will be seen by reading
+the extract given from the translation that he did not even perceive
+that two men were swimming in the sea. It is to be remembered, too, that
+his error of the 'piratical expedition' is carried on for sixty
+lines--certainly a triumph of ingenuity. It is useless to attempt a
+classification of the errors in this version. In the words of Kemble:--
+
+  'Nothing but malevolence could cavil at the trivial errors which
+  the very best scholars are daily found to commit, but the case is
+  widely different when those errors are so numerous as totally to
+  destroy the value of a work. I�am therefore most reluctantly
+  compelled to state that not five lines of Thorkelin's edition can
+  be found in succession in which some gross fault, either in the
+  transcription or translation, does not betray the editor's utter
+  ignorance of the Anglo-Saxon language.' --Edition of 1835,
+  Introd., p.�xxix.
+
+
+_Reception of Thorkelin's Edition._
+
+The book was of value only in that it brought Beowulf to the attention
+of scholars. The edition was used by Turner, Grundtvig, and Conybeare.
+I�have found the following notices of the book, which will show how it
+was received by the scholarly world.
+
+  TURNER. On collating the Doctor's printed text with the MS. I�have
+  commonly found an inaccuracy of copying in every page.--Fifth
+  edition, p.�289, footnote.
+
+  KEMBLE, see supra.
+
+  THORPE. (The work of the learned Icelander exhibits) 'a text
+  formed according to his ideas of Anglo-Saxon, and accompanied by
+  his Latin translation, both the one and the other standing equally
+  in need of an Oedipus.' --Edition of 1855, Preface, xiv.
+
+  See also Grundtvig's criticism in _Beowulfs Beorh_, pp. xvii�ff.
+
+    [Footnote 1: Supra, p. 7.]  [[Preliminary Remarks]]
+
+    [Footnote 2: See also Grundtvig's edition of the text of
+    _Beowulf_, p.�xvi.]
+
+    [Footnote 3: See _Beowulfs Beorh_, p.�xviii.]
+
+    [Footnote 4: See supra, p. 11.]  [[Turner's Account...]]
+
+    [Footnote 5: See Thorkelin, p. 257.]
+
+    [Footnote 6: Ibid., p. 259.]
+
+    [Footnote 7: See Thorkelin, p. 40.]
+
+
+
+
+GRUNDTVIG'S TRANSLATION
+
+
+*Bjowulf's Draape. Et Gothisk Helte-digt fra forrige Aar-tusinde af
+Angel-Saxisk paa Danske Riim ved Nic. Fred. Sev. Grundtvig, Pr�st.
+Kj�benhavn, 1820[1]. 8vo, pp. lxxiv, 325.
+
+Bjovulvs-Draapen, et H�inordisk Heltedigt, fra Anguls-Tungen fordansket
+af Nik. Fred. Sev. Grundtvig. Anden forbedrede Udgave. Ki�benhavn. Karl
+Sch�nbergs Forlag. 1865. 8vo, pp. xvi, 224.
+
+First Danish Translation. Ballad Measures.
+
+
+_Grundtvig._
+
+Nicolas Frederic Severin Grundtvig (1783-1872) was especially noted as a
+student of Old Germanic literature. He began his career in 1806 by his
+studies on the _Edda_. This was followed by a book on Northern Mythology
+(1810), and by various creative works in verse and prose, the subjects
+of which were usually drawn from old Danish history. An account of his
+labors on the _Beowulf_ will be found in the following section. His
+interest in Old English literature continued through his long life, and
+he was well and favorably known among the scholars of his day.
+
+
+_Circumstances of Publication._
+
+In _Beowulfs Beorh_ (Copenhagen, 1861), Grundtvig tells the story of his
+early translation of the poem. He had always had a passionate interest
+in Danish antiquities, and was much excited upon the appearance of
+Thorkelin's text[2]. At that time, however, he knew no Old English, and
+his friend Rask, the famous scholar in Germanic philology, being absent
+from Denmark, he resolved to do what he could with the poem himself. He
+began by committing the entire poem to memory. In this way he detected
+many of the outlines which had been obscured by Thorkelin. The results
+of this study he published in the _Copenhagen Sketch-Book_ (_Kj�benhavns
+Skilderie_), 1815. When Thorkelin saw the studies he was furious, and
+pronounced the discoveries mere fabrications.
+
+But Rask, upon his return, thought differently, and proposed to
+Grundtvig that they edit the poem together. They began the work, but
+when they reached line 925 the edition was interrupted by Rask's journey
+into Russia and Asia. With the help of Rask's _Anglo-Saxon Grammar_
+(Stockholm, 1817), Grundtvig proceeded with his translation. By the
+munificence of B�low, who had also given assistance to Thorkelin,
+Grundtvig was relieved of the expense of publication.
+
+
+_Progress of the Interpretation of the Poem._
+
+Grundtvig was the first to understand the story of _Beowulf_. With no
+other materials than Thorkelin's edition of the text and his own
+knowledge of Germanic mythology, he discovered the sea-burial of King
+Scyld, the swimming-match, and the Finn episode. He identified Breca,
+Hn�f, Hengest, King Hrethel, and other characters whose names Thorkelin
+had filched from them.
+
+
+_Text Used._
+
+Rask borrowed the original transcripts which Thorkelin had brought from
+the British Museum, and copied and corrected them. This was the basis of
+Grundtvig's translation.
+
+
+_Differences between the First and Second Editions._
+
+The principal difference is in the introduction; but of the nature and
+extent of changes in the second edition I can give no notion. All my
+information respecting the first volume is derived from transcripts of
+certain parts of it sent me from the British Museum. These copies do not
+reveal any differences between the two translations.
+
+
+_Aim of the Volume, and Nature of the Translation._
+
+We begin by quoting the author's words:--
+
+  'I have studied the poem as if I were going to translate it word
+  for word ... but I will not and have not translated it in that
+  way, and I will venture to maintain that my translation is a
+  faithful one, historically faithful, inasmuch as I have never
+  wilfully altered or interpolated anything, and poetically faithful
+  inasmuch as I have tried with all my might vividly to express what
+  I saw in the poem.... Whoever understands both languages and
+  possesses a poetical sense will see what I mean, and whoever is
+  deficient in knowledge or sense, or both, may stick to his own
+  view, if he will only let me stick to mine, which may be weak
+  enough, but is not so utterly devoid of style and poetry as little
+  pettifoggers in the intellectual world maintain because they can
+  see very well that my method is not theirs. "I�have," said Cicero,
+  "translated Demosthenes, not as a grammarian but as an orator, and
+  therefore have striven not so much to convince as to persuade my
+  readers of the truth of his words": methinks I need no other
+  defence as regards connoisseurs and just judges, and if I am much
+  mistaken in this opinion, then my work is absolutely
+  indefensible[3].' --Pages xxxiv, xxxv.
+
+In the introduction to his text of 1861, Grundtvig speaks of his theory
+of translation, saying that he gave, as it were, new clothes, new money,
+and new language to the poor old Seven Sleepers, so that they could
+associate freely with moderns. He believed that it was necessary to put
+the poem into a form that would seem natural and attractive to the
+readers of the day. In so doing he departed from the letter of the law,
+and rewrote the poem according to his own ideas.
+
+In the second edition the author states that he hopes the poem will
+prove acceptable as a reading-book for schools. Its value as a text-book
+in patriotism is also alluded�to.
+
+
+EXTRACT.
+
+  SJETTE SANG.
+
+  Tr�tten med Hunferd Drost og Tr�sten derover.
+
+  Nu _Hunferd_ tog til Orde[4],
+  Og _Egglavs_ S�n var han,
+  Men Klammeri han gjorde
+  Med Tale sin paa Stand.
+  Han var en fornem Herre,
+  Han sad ved Thronens Fod,
+  Men avindsyg desv�rre,
+  Han var ei Bjovulv god;
+  En Torn var ham i �iet
+  Den �dlings Herref�rd,
+  Som havde B�lgen pl�iet
+  Og �re h�stet der;
+  Thi Hunferd taalte ikke,
+  Med N�sen h�it i Sky,
+  At Nogen vilde stikke
+  Ham selv i Roes og Ry.
+
+    'Er du,' see det var Skosen,
+  'Den Bjovulv Mudderpram,
+  Som dykked efter Rosen
+  Og drev i Land med Skam,
+  Som k�ppedes med _Br�kke_
+  Og holdt sig ei for brav,
+  Dengang I, som to Gi�kke,
+  Omfl�d paa vildne Hav!
+  I vilde med jer Sv�mmen
+  Paa Vandet gi�re Bl�st,
+  Men drev dog kun med Str�mmen,
+  Alt som I kunde bedst;
+  For aldrig Det ei keise
+  Jeg vilde slig en Klik,
+  Som for den Vendereise
+  I paa jert Rygte sik.
+  Paa Landet var I friske,
+  Men Vand kan slukke Ild,
+  I sv�mmed som to Fiske,
+  Ia, snart som d�de Sild;
+  Da sagtnedes Stoheien,
+  Der Storm og B�lge strid
+  Ier viste Vinterveien
+  Alt i en Uges Tid.
+  Dog, om end Narre begge,
+  Kom du dog v�rst deran,
+  Thi fra dig sv�mmed Br�kke
+  Og blev din Overmand;
+  Du artig blev tilbage,
+  Der han en Morgenstund
+  Opskvulpedes saa fage
+  Paa h�ie Rom�s Grund,
+  Hvorfra sin Kaas han satte
+  Til _Brondingernas_ Land,
+  Med Borge der og Skatte
+  Han var en holden Mand;
+  Der havde han sit Rige,
+  Og deiligt var hans Slot,
+  Han elsket var tillige
+  Af hver sin Undersaat.
+  Saa _Bjansteens_ S�n udf�rte
+  Alt hvad han trued med;
+  Men da du, som vi h�rte,
+  Kom der saa galt afsted,
+  Saa t�r jeg nok formode,
+  Om end du gi�r dig kry,
+  Det gi�r slet ingen Gode,
+  Du br�nder dig paany;
+  Ia, vil en Nat du vove
+  At bie Gr�ndel her,
+  Da t�r derfor jeg love,
+  Dig times en Uf�rd.'
+
+
+_Criticism of the Translation._
+
+The poem departs so far from the text of _Beowulf_ that any discussion
+of its accuracy would be out of place. As has been shown by the section
+on the nature of the translation, the author had no intention of being
+true to the letter of the text. Grundtvig's scholarship has been
+discussed above.
+
+The translation may properly be called nothing more than a paraphrase.
+Whole sentences are introduced that have no connection with the original
+text. Throughout the translation is evident the robust, but not always
+agreeable, personality of the translator. In his preface[5] Grundtvig
+remarked that he put nothing into his poem that was not historically and
+poetically true to the original. The statement can only be regarded as
+an unfortunate exaggeration. Grundtvig's style cannot be called even a
+faint reflection of the _Beowulf_ style. He has popularized the story,
+and he has cheapened it. There is no warrant in the original for the
+coarse invective of the extract that has just been cited. In the Old
+English, Hunferth taunts Beowulf, but he never forgets that his rival is
+'doughty in battle' (l.�526). Beowulf is always worthy of his respect.
+In Grundtvig, the taunting degenerates into a scurrilous tirade.
+Hunferth calls Beowulf a 'mudscow'; Breca and Beowulf swim like two
+'dead herrings.' In like manner the character of Hunferth is cheapened.
+In _Beowulf_ he is a jealous courtier, but he is always heroic. In
+Grundtvig he is merely a contemptible braggart, 'with his nose high in
+air,' who will not allow himself to be 'thrown to the rubbish heap.'
+
+The same false manner is retained throughout the poem. In many places it
+reads well--it is often an excellent story. But it can lay no claim to
+historic or poetic fidelity to the _Beowulf_.
+
+
+_Reception of the Book._
+
+The book fell dead from the press. Grundtvig himself tells us that it
+was hardly read outside his own house[6]. Thirty years later he learned
+that the book had never reached the Royal Library at Stockholm. A�copy
+made its way to the British Museum, but it was the one which Grundtvig
+himself carried thither in 1829. This was doubtless the copy that was
+read and criticized by Thorpe and Wackerbarth. Both of these scholars
+spoke of its extreme freedom, but commended its readableness.
+
+    [Footnote 1: This volume I have never seen. My information
+    regarding it is from a scribe in the British Museum.]
+
+    [Footnote 2: See supra, p. 15.]  [[Thorkelin]]
+
+    [Footnote 3: Translation by scribe in British Museum.]
+
+    [Footnote 4: Several variations in meter occur in the translation.]
+
+    [Footnote 5: See supra, p. 24.]  [[Gruntvig: Aim of the Volume...]]
+
+    [Footnote 6: See _Beowulfs Beorh_, p.�xix.]
+
+
+
+
+CONYBEARE'S EXTRACTS
+
+
+Illustrations of Anglo-Saxon Poetry. By John Josias Conybeare, M.A., &c.
+Edited, together with additional notes, introductory notices, &c., by
+his brother, William Daniel Conybeare, M.A., &c. London: printed for
+Harding and Lepard, Pall Mall East, 1826. 8vo, pp. (viii), xcvi, 287.
+
+Anglo-Saxon Poem concerning the Exploits of Beowulf the Dane, pp.
+30-167.
+
+Translation of extracts into English blank verse, with the original text
+of the extracts, and a literal translation of them into Latin prose.
+
+
+_Circumstances of Publication._
+
+The volume had its origin in the Terminal Lectures which the author gave
+as Professor of Anglo-Saxon and Poetry at Oxford from 1809 to 1812[1].
+We know from an autobiographical note printed in the Introduction[2]
+that the _Beowulf_ was finished in October, 1820. But the book did not
+appear until two years after the author's death, and the material which
+it contains is of a slightly earlier date than the title-page would seem
+to indicate--e.g. the volume really antedates the third edition of
+Turner's History discussed above[3].
+
+
+_Conybeare, and the Progress of the Interpretation of the Poem._
+
+Conybeare did not edit the entire poem, and apparently never had any
+intention of so doing. The selections which he translates are based on
+Thorkelin's text. He revises this text, however, in making his
+translations, and even incorporates a collation of Thorkelin's text with
+the MS. (pp. 137-55). This collation, though not complete or accurate,
+was serviceable, and kept Conybeare from falling into some of the errors
+that the Icelander had made. He distinguished by an asterisk the MS.
+readings which were of material importance in giving the sense of a
+passage, and, in fact, constructed for himself a text that was
+practically new.
+
+  'The text has been throughout carefully collated with the original
+  Manuscript, and the translation of Thorkelin revised with all the
+  diligence of which the editor is capable.' --Page�32.
+
+  'Any attempt to restore the metre, and to correct the version
+  throughout, would have exceeded the bounds, and involved much
+  discussion foreign to the purpose of the present work. This must
+  be left to the labours of the Saxon scholar. It is evident,
+  however, that without a more correct text than that of Thorkelin,
+  those labours must be hopeless. The wish of supplying that
+  deficiency, may perhaps apologize for the occupying, by this
+  Collation, so large a space of a work strictly dedicated to other
+  purposes.' --Page 137, footnote.
+
+How much Conybeare improved the text may be seen by comparing his text
+and Latin translation with those of Thorkelin. The first six lines of
+the Prolog follow:--
+
+  CONYBEARE.                    THORKELIN.
+
+  Hw�t we Gar-Dena              Hw�t wegar Dena
+  In [gh]ear-dagum                 In geardagum
+  �eod cyninga                  �eod cyninga
+  �rym [gh]efrunon,                �rym gefrunon
+  Hu �a ��elingas               Hu �a ��elingas
+  Ellen fremodon. --Page 82.    Ellen fremodon. --Page�3.
+
+The translations are even more interesting:--
+
+  Aliquid nos _de_ Bellicorum Danorum     Quomodo Danorum
+  In diebus antiquis                      In principio
+  Popularium regum                        Populus Regum
+  Glori� accepimus,                       Gloriam auxerit,
+  Quomodo tunc principes                  Quomodo principes
+  Virtute valuerint.                      Virtute promoverit.
+
+It will be seen that in these lines Conybeare has at almost every point
+the advantage over Thorkelin, and is indeed very nearly in accord with
+modern texts and translations. But the poem yet awaited a complete
+understanding, for Conybeare could say: 'The Introduction is occupied by
+the praises of Scefing ... and of his son and successor Beowulf. The
+embarkation of the former on a piratical expedition is then detailed at
+some length. In this expedition (if I rightly understand the text)
+himself and his companions were taken or lost at sea' (p.�35). And, in
+general, he misses the same points of the story as Thorkelin, although
+he craftily refrains from translating the obscurer passages.
+
+Conybeare apparently knew nothing of the critical work of Grundtvig.
+This is not surprising when we remember that _Kj�benhavns Skilderie_ was
+probably not known outside of Denmark[4]. Moreover, it is to be
+remembered that Conybeare's extracts from the _Beowulf_ are not really
+later than Grundtvig's translation, since they were made in the same
+year, 1820[5].
+
+
+_Aim of the Volume, and Nature of the Translations._
+
+From the words quoted above with respect to the collation, it will be
+seen that Conybeare in no way regarded his book as a contribution to
+Beowulf scholarship. As professor at Oxford, he attempted a literary
+presentation of the most beautiful parts of the old poetry. His extracts
+are, in general, nothing more than free paraphrases. Wishing to
+popularize the _Beowulf_, he used as a medium of translation a
+peculiarly stilted kind of blank verse. He dressed the poem out in
+elegant phrases in order to hide the barrenness of the original.
+Manifestly he feared the roughness, the remoteness of the poem in its
+natural state. He feared to offend a nation of readers reveling in the
+medievalism of Scott and Byron. A�literal Latin translation was inserted
+to appease the scholar.
+
+
+EXTRACT.
+
+'At a single stroke he (Beowulf) cut through the "_ringed bones_"
+of her neck, and
+
+  Through the frail mantle of the quivering flesh
+  Drove with continuous wound. She to the dust
+  Fell headlong,--and, its work of slaughter done,
+  The gallant sword dropp'd fast a gory dew.
+  Instant, as though heaven's glorious torch had shone,
+  Light was upon the gloom,--all radiant light
+  From that dark mansion's inmost cave burst forth.
+  With hardier grasp the thane of Higelac press'd
+  His weapon's hilt, and furious in his might
+  Paced the wide confines of the Grendel's hold[6].'
+
+      Page 58; _Beo._, 1565-75.
+
+
+LATIN TRANSLATION.
+
+  ... Ossium annulos fregit; telum per omnem penetravit moribundam
+  carnem. Illa in pavimentum corruit. Ensis erat cruentus, militare
+  opus perfectum. Effulgebat lumen, lux intus stetit, non aliter
+  qu�m cum a coelo lucidus splendet �theris lampas. Ille per �des
+  gradiebatur, incessit juxta muros ensem tenens fortiter a capulo
+  Higelaci minister ir� ac constanti� (_sc._ Iratus et constans
+  animi).
+
+      Pages 113, 114.
+
+
+_Criticism of the Translations._
+
+The English version is scarcely more than a paraphrase, as may easily be
+seen by comparing it with the literal translation into Latin. But even
+as a paraphrase it is unsatisfactory. By way of general criticism it may
+be said that, while it attains a kind of dignity, it is not the dignity
+of _Beowulf_, for it is self-conscious. Like _Beowulf_ it is elaborate,
+but it is the elaboration of art rather than of feeling. Moreover, it is
+freighted with Miltonic phrase, and constantly suggests the Miltonic
+movement. The trick of verse in line 3 is quite too exquisite for
+_Beowulf_. The whole piece has a straining after pomp and majesty that
+is utterly foreign to the simple, often baldly simple, ideas and phrases
+of the original. Nearly every adjective is supplied by the translator:
+in Old English the 'sword' is 'bloody,' in Conybeare the 'gallant sword
+drops fast a gory dew'; the cave becomes a mansion; the 'floor' is
+'dust'--dust in an ocean cave!--'heaven's candle' becomes 'heaven's
+glorious torch.' The poem is tricked out almost beyond recognition.
+Beowulf assumes the 'grand manner,' and paces 'the Grendel's hold' like
+one of the strutting emperors of Dryden's elaborate drama.
+
+    [Footnote 1: See Editor's Prefatory Notice, p.�(iii).]
+
+    [Footnote 2: See Prefatory Notice, p. (v), footnote.]
+
+    [Footnote 3: See supra, pp. 14 f.]  [[Turner: Third Edition]]
+
+    [Footnote 4: p. 23. Grundtvig is once mentioned in the notes,
+    but the reference is from the editor, not the author.]
+
+    [Footnote 5: p. 29.]
+
+    [Footnote 6: Conybeare did not translate the episode of the
+    swimming-match.]
+
+
+
+
+KEMBLE'S EDITIONS
+
+
+The Anglo-Saxon poems of Beowulf, the Traveller's Song, and the Battle
+at Finnes-burh. Edited together with a glossary of the more difficult
+words, and an historical preface, by John M. Kemble, Esq., M.A. London:
+William Pickering, 1833. 8vo, pp. xxii, 260. Edition limited to 100
+copies.
+
+The Anglo-Saxon Poems of Beowulf, the Traveller's Song, and the Battle
+of Finnes-burh. Edited by John M. Kemble, Esq., M.A., of Trinity
+College, Cambridge. Second edition. London: William Pickering, 1835.
+8vo, pp. xxxii, 263.
+
+A Translation of the Anglo-Saxon Poem of Beowulf, with a copious
+glossary, preface, and philological notes, by John M. Kemble, Esq.,
+M.A., of Trinity College, Cambridge. London: William Pickering, 1837.
+8vo, pp. lv, 127, appendix, 179.
+
+First English Translation. Prose.
+
+
+_The 1833 Volume._
+
+A sufficient account of this volume is given by Professor Earle, who
+says of�it:--
+
+  'The text was an improvement on Thorkelin, but still very
+  faulty;--to say nothing of inaccuracies from want of proper
+  oversight as the sheets were passing through the press. The
+  Glossary, though short, was a valuable acquisition ... Of this
+  edition only 100 copies were printed;--and it was a happy
+  limitation, as it left room for a new edition as early as 1835,
+  in which the text was edited with far greater care. All the rest
+  remained as before, and the Preface was reprinted word for word.'
+  --_Deeds of Beowulf_, pp. xix,�xx.
+
+
+_The Text of 1835. Kemble's Scholarship._
+
+But whatever may be said of the text of 1833, there is nothing but
+praise for the edition of 1835. In this book the poem first had the
+advantage of a modern scholarly treatment, and for the first time the
+text of the MS. was correctly transcribed. It received its first
+punctuation. For the first time it was properly divided into half-lines,
+with attention to alliteration. The text was freely emended, but the
+suggested readings were placed in the footnotes, in order not to impair
+the value of the text as a reproduction of the MS. The necessity for
+this was made evident by Kemble himself:--
+
+  'But while he makes the necessary corrections, no man is justified
+  in withholding the original readings: for although the laws of a
+  language, ascertained by wide and careful examination of all the
+  cognate tongues, of the hidden springs and ground-principles upon
+  which they rest in common, are like the laws of the Medes and
+  Persians and alter not, yet the very errors of the old writer are
+  valuable, and serve sometimes as guides and clues to the inner
+  being and spiritual tendencies of the language itself. The reader
+  will moreover be spared that, to some people, heart-burning
+  necessity of taking his editor's qualifications too much for
+  granted, if side by side he is allowed to judge of the traditional
+  error, and the proposed correction. I�have endeavoured to
+  accomplish this end by printing the text, letter for letter,
+  as I found it.' --Preface, pp. xxiv�ff.
+
+With this wholesome respect for the tradition of the MS., it is not
+strange that Kemble's carefully chosen emendations should stand to-day
+as of high critical value, and that many of them are retained in modern
+editions of the text[1]. When we compare Kemble's book with Thorkelin's,
+the advance is seen to be little less than astonishing. Thorkelin's
+emendations were worse than useless.
+
+Kemble had a full acquaintance with the new science of comparative
+philology which was developing in Germany under Jakob Grimm. He had
+corresponded, and later studied, with Grimm, and, according to William
+Hunt, was the 'recognised exponent' of his investigations[2]. It is to
+Grimm that Kemble dedicates his volumes, and to him that he repeatedly
+acknowledges his indebtedness. Thus Kemble brought to the study of the
+poem not only a knowledge of the Old English poetry and prose, but
+acquaintance with Old Norse, Gothic, Old High German, and Old Saxon. It
+may sufficiently illustrate his scholarly method to instance examples of
+his treatment of the unique words in _Beowulf_. Take, e.g., the word
+_hose_ in line 924. This word does not appear elsewhere in Old English;
+it does not appear in Lye's _Dictionary_, the only dictionary that was
+at Kemble's disposal. Upon this word Kemble brought to bear his
+knowledge of the Germanic tongues, and by citing Goth. _hansa_, OHG.
+_hansa_, &c., derived the meaning _turma_--a�process in which he is
+supported by a modern authority like Kluge. The study of compounds also
+first began with Kemble. He collected and compared the compounds in
+_hea�o._. Thus he laid the foundation of all modern studies on the Old
+English compound.
+
+
+_Further Critical Material Afforded by the Volume of 1837._
+
+In the 1835 volume twenty-three words were illustrated in the above way.
+But it remained for the 1837 volume to present a complete glossary of
+the poem, containing also important poetic words not in _Beowulf_.
+By reason of its completeness and comparative work, it remained the
+standard commentary on the Old English poetic vocabulary until the
+appearance of Grein's _Sprachschatz_[3].
+
+
+_Aim of Kemble's Translation._
+
+Like his edition of the text, Kemble's translation is quite independent
+of any preceding book; like his edition of the text, its aim was
+faithfulness to the original. He adheres scrupulously to the text, save
+where the original is unintelligible. The translation was designed to be
+used together with the glossary as a part of the apparatus for
+interpreting the poem. He therefore made it strictly literal.
+
+  'The translation is a literal one; I�was bound to give, word for
+  word, the original in all its roughness: I�might have made it
+  smoother, but I purposely avoided doing so, because had the Saxon
+  poet thought as we think, and expressed his thoughts as we express
+  our thoughts, I�might have spared myself the trouble of editing or
+  translating his poem. A�few transpositions of words, &c. caused
+  principally by the want of inflections in New English (since we
+  have now little more than their position by which to express the
+  relations of words to one another) are all that I have allowed
+  myself, and where I have inserted words I have generally printed
+  them in italics.' --
+
+      Postscript to the Preface, p. 1.
+
+
+EXTRACT.
+
+  VIII.
+
+  Hunferth the son of Eglaf spake, _he_ that sat at the feet of the
+  Lord of the Scyldings; he bound up[4] a�quarrelsome speech: to him
+  was the journey of Beowulf, the proud sea-farer, a�great disgust;
+  because he granted not that any other man should ever have beneath
+  the skies, more reputation with the world than he himself: 'Art
+  thou the Beowulf that didst contend with Brecca on the wide sea,
+  in a swimming match, where ye for pride explored the fords, and
+  out of vain glory ventured your lives upon the deep water? nor
+  might any man, friend or foe, blame[5] your sorrowful expedition:
+  there ye rowed upon the sea, there ye two covered the ocean-stream
+  with your arms, measured the sea-streets, whirled them with your
+  hands, glided over the ocean; with the waves of the deep[6] the
+  fury of winter boiled; ye two on the realms of water laboured for
+  a week: he overcame thee in swimming, he had more strength: then
+  at the morning tide the deep sea bore him up on H[-e]athor�mes,
+  whence he sought his own paternal land, dear to his people, the
+  land of the Brondings, where he owned a�nation, a�town, and rings.
+  All his promise to thee, the son of Beanstan truly performed.'
+
+
+_Criticism of the Translation._
+
+Kemble's scholarship enabled him to get a full understanding of the
+poem, and thus to make the first really adequate translation of
+_Beowulf_. He was the first to recognize the significance of kenning,
+metaphor, and compound. Thus his work is to be commended chiefly because
+of its faithfulness. All preceding studies had been wofully
+inaccurate[7]. Kemble's editions became at once the authoritative
+commentary on the text, and held this position until the appearance of
+Grein's _Bibliothek_ (1857). In this latter book, Kemble's text was the
+principal authority used in correcting the work of Thorpe[8]. In spite
+of the fact that this is a literal translation, it sometimes attains
+strength and beauty by reason of its very simplicity.
+
+    [Footnote 1: See Wyatt's text, lines 51, 158, 250, 255, 599, &c.]
+
+    [Footnote 2: See article in the _Dictionary of National Biography_.]
+
+    [Footnote 3: See infra, pp. 56 ff.]
+
+    [Footnote 4: _bound up_, onband, now generally translated 'unbind.']
+
+    [Footnote 5: _blame_, bel[-e]an, rather 'dissuade' than 'blame.']
+
+    [Footnote 6: _with the waves of the deep_, &c., geofon-y�u weol
+    wintrys wylm, so Kemble reads in his text, and for this reading
+    the translation is correct, but he failed to discern the kenning
+    to 'geofon' in 'wintrys wylm.']
+
+    [Footnote 7: See supra on Turner, p. 9; Thorkelin, p.�15;
+    Grundtvig, p.�22; Conybeare, p.�28.]
+
+    [Footnote 8: See infra, p. 49.]  [[Thorpe]]
+
+
+
+
+ETTM�LLER'S TRANSLATION
+
+
+Beowulf. Heldengedicht des achten Jahrhunderts. Zum ersten Male aus dem
+Angels�chsischen in das Neuhochdeutsche stabreimend �bersetzt, und mit
+Einleitung und Anmerkungen versehen von Ludwig Ettm�ller. Z�rich, bei
+Meyer und Zeller, 1840. 8vo, pp. 191.
+
+First German Translation. Imitative measures.
+
+
+_Ettm�ller._
+
+Ernst Moritz Ludwig Ettm�ller (1802-77), at the time of the publication
+of this book, was professor of the German language and literature in the
+Gymnasium at Z�rich. He had already appeared as a translator with a work
+entitled _Lieder der Edda von den Nibelungen_. Later he edited
+selections from the _Beowulf_ in his _Engla and Seaxna Sc�pas and
+B�ceras_ (1850). This text incorporated many new readings. Ettm�ller was
+the first to question the unity of the _Beowulf_, and sketched a theory
+of interpolations which has since been developed by M�llenhoff. The
+first announcement of these views is found in the introduction to this
+translation.
+
+
+_Theory of Translation._
+
+Ettm�ller gives full expression to his theories and aims:--
+
+  'Vor Allem habe ich so w�rtlich als m�glich �bersetzt, da Treue
+  das erste Erforderniss einer guten �bersetzung ist. Dann aber war
+  mein Augenmerk vorz�glich auf Wohlklang und Verst�ndlichkeit
+  gerichtet. Letztere werden bei �bersetzungen dieser Art nur zu oft
+  vernachl�ssigt, da manche der Ansicht sind, ihre Arbeit sei um so
+  besser, je treuer sie die �ussere Form des Originals in allen
+  Einzelheiten wiedergebe. Aber dieweil diese so m�hsam an der
+  Schale knacken, entschl�pft ihnen nicht selten der Kern. Mein
+  Bestreben war demnach keineswegs, z.B. jeden Vers �ngstlich dem
+  Originale nachzubilden, so dass die genaueste �bereinstimmung
+  zwischen der Silbenzahl und den Hebungen oder gar dem Klange der
+  Verse Statt f�nde. Das w�re ohnehin, ohne der deutschen Sprache
+  die schreiendste Gewalt anzuthun, unm�glich gewesen. Ich habe
+  vielmehr darnach mit Sorgfalt gestrebt, die Versbildung des
+  angels�chsischen Gedichtes mir in allen ihren Erscheinungen klar
+  zu machen, und dann frei nach dem gewonnenen Schema gearbeitet.
+  Daher kann ich versichern, dass man f�r jeden Vers meiner
+  �bersetzung gewiss ein angels�chsisches Vorbild findet, wenn auch
+  nicht grade jedesmal die Verse einander decken. Dass dabei
+  �brigens der h�heren Rhythmik, d.h. dem �sthetisch richtigen
+  Verh�ltnisse des Ausdruckes zu dem Ausgedr�ckten oder, mit
+  Klopstock zu reden, des Zeitausdruckes oder Tonverhaltes (der
+  Bewegung) zu dem Gedanken, �berall die gr�sste Sorgfalt zugewendet
+  ward, das braucht, d�nkt mich, keiner besondern Versicherung; dies
+  aber kann erreicht werden auch ohne knechtische Nachbildung des
+  Originals.' --Page�59.
+
+
+_Text, and Indebtedness to Preceding Scholars._
+
+The translation is founded on Kemble's text of 1835[1], to which the
+introduction and notes are also indebted.
+
+Like Kemble, Ettm�ller was a close student of the works of Jakob Grimm,
+and his interpretation of obscure lines (especially passages relating to
+Germanic antiquities) is largely due to the study of such works as the
+_Deutsche Mythologie_ (1833), the _Deutsche Rechtsalterth�mer_ (1828),
+and the _Deutsche Sagen_ (1816-8). Cf. lines 458, 484.
+
+
+EXTRACT.
+
+  Ecgl�fes Sohn H�nferdh da sagte,
+  der zu F�ssen sass dem F�rsten der Skildinge,
+  entband Beadurunen--ihm war Beowulfes Beginn,
+  des muthigen Meerg�ngers, m�chtig zuwider;
+  ungern sah er, dass ein andrer Mann
+  irgend Machtruhmes mehr in Mittelgart,
+  auf Erden �ufnete denn er selber--:
+  'Bist du der Beowulf, der mit Breca k�mpfte
+  in sausender See, im Sundkampfe?                       600
+  Ihr da aus �bermuth Untiefen pr�ftet
+  und aus Tollmuth ihr in tiefem Wasser
+  das Leben wagtet; liesset keinen,
+  nicht Freund noch Feind, da fernen euch
+  von der sorgvollen That, als zur See ihr rudertet.
+  Dort ihr den Egistrom mit Armen wandtet,
+  masset die Meerstrasse, mischtet mit H�nden,
+  glittet �ber's Geerried (Glanderfluthen
+  warf Winters Wuth!), in Wassers Gebiet
+  sieben N�cht' ihr sorgtet: Er, Sieger der Wogen,       610
+  hatte mehr der Macht, denn zur Morgenzeit ihn
+  bei Headhor�mes die Hochfluth antrug.--
+  Von dannen er suchte die s�sse Heimat,
+  lieb seinen Leuten, das Land der Brondinge,
+  die feste Friedeburg, da Volk er hatte,
+  Burg und Bauge;--All Erbot wider dich
+  der Sohn Beanst�nes sorglichst erf�llte.'
+
+
+_Criticism of the Translation._
+
+In his translation Ettm�ller followed in the steps of Kemble[2], but he
+was not slavishly dependent upon him. At times he disagrees with the
+English scholar (cp. e.g., ll. 468, 522, 1331), and offers a translation
+of the passage omitted by him, 3069-74. In general, the translation is
+strictly literal, and follows the original almost line for line.
+
+It was probably well for Ettm�ller that he made his translation thus
+literal. In the history of a foreign-language study there is a period
+when it is best that a translation should be strictly literal, for such
+a work is bound to be called into service as a part of the critical
+apparatus for the interpretation of the tongue. If the early translation
+is not thus literal, it is sure to be superseded later by the more
+faithful rendering, as Schaldemose's superseded Grundtvig's in
+Denmark[3]. It is not until criticism and scholarship have done their
+strictly interpretative work that a translation is safe in attempting to
+render the spirit rather than the letter of the original. The reason for
+this is evident: no real appreciation of the spirit is possible until
+scholarship has provided the means for discovering�it.
+
+By the publication of this volume, therefore, Ettm�ller did for German
+scholarship what Kemble had done for English and Schaldemose was to do
+for Danish scholarship. Yet he might with propriety have made his work
+more simple. His translation is disfigured by numerous strange
+word-combinations which he often transcribed literally from the
+original, e.g. _beadu-runen_ in the third line of the extract. It is
+safe to say that none but a scholar in Old English would be able to
+understand this word--if, indeed, we may call it a word. The text is
+full of such forms. The author is obliged to append notes explaining his
+own translation! He apparently forgets that it is his business as
+translator to render the difficult words as well as the simple ones. In
+Ettm�ller's case it was especially unfortunate, because it gave others
+an opportunity to come forward later with simpler, and hence more
+useful, translations.
+
+
+_Reception of the Translation._
+
+The book had no extraordinary success. A�reprint was never called for,
+and was perhaps hardly to be expected, considering the existence of
+Kemble's volumes. Moreover, the translation was not accompanied by an
+edition of the text. Grein[4], the next German scholar, took his
+inspiration from Kemble[5] and Thorpe[6] rather than from Ettm�ller.
+
+    [Footnote 1: See supra, p. 33.]  [[Kemble]]
+
+    [Footnote 2: See supra, p. 33.]  [[Kemble]]
+
+    [Footnote 3: See supra, p. 22, and infra, p.�41�ff.]
+
+    [Footnote 4: See infra, p. 55.]  [[Grein]]
+
+    [Footnote 5: See supra, p. 33.]  [[Kemble]]
+
+    [Footnote 6: See infra, p. 49.]  [[Thorpe]]
+
+
+
+
+SCHALDEMOSE'S TRANSLATION
+
+
+Beo-wulf og Scopes Widsi�, to angelsaxiske Digte, med Overs�ttelse og
+oplysende Anm�rkninger udgivne af Frederik Schaldemose. Kj�benhavn,
+1847.
+
+Anden Udgave, Kj�benhavn, 1851. 8vo, pp. ii, 188.
+
+Second Danish Translation.
+
+
+_Nature of the Volume, and Indebtedness to Previous Scholars._
+
+In this book the Old English text and the Danish translation were
+printed in parallel columns. The text, which was taken literally from
+Kemble[1], need not detain us here. No mention is made of the work of
+Leo[2], Ettm�ller[3], or of the 1837 volume of Kemble, although the
+influence of the latter is evident throughout the book, as will be shown
+below. The notes are drawn largely from the works of preceding scholars,
+and in these the author makes an occasional acknowledgement of
+indebtedness.
+
+The translation is literal. Grundtvig's translation[4] had been so
+paraphrastic as often to obscure the sense, and always the spirit,
+of the original. Schaldemose had the advantage of presenting the most
+modern text side by side with the translation. Thus the book became a
+valuable _apparatus criticus_ for the Danish student.
+
+
+_Schaldemose._
+
+The life of Frederik Schaldemose (1782-1853) was by no means the quiet,
+retired life of the student. He had, it is true, been professor at the
+school of Nykj�bing from 1816 to 1825, and later devoted himself to
+literary work; but a large part of his life had been spent in military
+service, in which he had had many exciting adventures by land and sea.
+After leaving his professorship he again entered military service.
+Later, he devoted his time alternately to literary and commercial work.
+
+His interest in _Beowulf_ seems to have been, like that of Thorkelin[5],
+primarily the interest of the Danish antiquary. In 1846 he had published
+a collection of Heroic Danish Songs, ancient and modern. It was
+doubtless a desire to add to this collection that led him to undertake
+an edition of the _Beowulf_.
+
+It was hardly to be expected that a man whose life had been so unsettled
+could materially advance the interpretation of Old English poetry.
+
+
+EXTRACT.
+
+  Hunferd sagde,
+  S�nnen af Ecglaf;
+  han sad ved Scyldinge-
+  Styrerens F�dder;
+  Kiv han begyndte,
+  thi kj�r var ham ikke
+  Beowulfs Reise,
+  den raske S�farers,
+  men til Sorg og Harme,        1000
+  thi han saae ei gj�rne
+  at en anden Mand
+  meer Magtroes havde,
+  under Himmelens Skyer
+  end selv han aatte:
+  Er Du den Beowulf,
+  der med Breca kj�mped'
+  paa det vide Hav
+  i V�ddesv�mning,
+  da I af Hovmod                1010
+  Havet udforsked',
+  og dumdristige
+  i dybe Vande
+  vovede Livet;
+  ei vilde Nogen,
+  Ven eller Fjende,
+  afvende eders
+  sorgfulde Tog;
+  til S�en I da roed,
+  vendte med Armene             1020
+  de vilde B�lger,
+  maalde Havveien,
+  med H�nderne br�d den,
+  og svam over Havet
+  mens S�en v�lted
+  vinterlige Vover;
+  saa paa Vandenes Ryg
+  I strede syv N�tter;
+  han, Seirer paa Havet,
+  aatte meer Styrke,            1030
+  thi aarle on Morgenen
+  til Headhor�mes
+  Havet ham f�rde;
+  derfra han s�gde
+  sit F�drenerige,
+  feiret af Sine,
+  Brondinge-Landet
+  det fagre Fristed,
+  hvor et Folk han havde,
+  Borge og Ringe.               1040
+  Saa blev hvad Beanstans
+  S�n Dig loved'
+  sikkerlig opfyldt.
+
+
+_Criticism of the Text and Translation._
+
+There are two good things to be said of this volume: it contains a
+literal translation, and it is a literal translation from Kemble's text.
+Being so, it could not be without merit. There was need of a literal
+translation in Denmark. Grundtvig's version certainly did not fulfil the
+letter of the law, and Thorkelin's had long since been forgotten.
+
+Schaldemose's dependence upon the translation of Kemble is very evident.
+In general, the Danish translator is stopped by the same passages that
+defy the English translator, e.g. the passage which Kemble failed to
+interpret at line 3075 was duly and loyally omitted by Schaldemose.
+
+I can find no evidence for the reiterated[6] statement that Schaldemose
+is throughout his translation slavishly indebted to Ettm�ller. Certain
+it is that he avoided those peculiar forms of Ettm�ller's translation
+which are nothing more than a transliteration from the Old English.
+
+
+_Reception of the Volume._
+
+It is a tribute to the Danish interest in Beowulf that Schaldemose's
+volume soon passed into a second edition. But it was not of a character
+to arouse the interest of scholars in other countries. Thorpe, the next
+editor of the poem, had never seen�it.
+
+The translation, being strictly literal, naturally commanded very little
+attention even in Denmark; while it was utterly without interest for
+readers and students in other countries.
+
+    [Footnote 1: See supra, p. 33.]  [[Kemble]]
+
+    [Footnote 2: See infra, p. 121.]  [[Leo]]
+
+    [Footnote 3: See supra, p. 37.]  [[Ettm�ller]]
+
+    [Footnote 4: See supra, p. 22.]  [[Gruntvig]]
+
+    [Footnote 5: See supra, p. 15.]  [[Thorkelin]]
+
+    [Footnote 6: See W�lker, _Ang. Anz._ IV, 69; Wackerbarth's ed.
+    (see infra, p.�45).]
+
+
+
+
+WACKERBARTH'S TRANSLATION
+
+
+Beowulf, an epic poem translated from the Anglo-Saxon into English
+verse, by A. Diedrich Wackerbarth, A.B., Professor of Anglo-Saxon at the
+College of our Ladye of Oscott. London: William Pickering, 1849. 8vo,
+pp. xlvi, 159.
+
+Second English Translation. Ballad Measures.
+
+
+_Circumstances of Publication._
+
+In the introduction Wackerbarth gives a full account of the history of
+the book:--
+
+  'With respect to the Work now presented to the Public, shortly
+  after the putting forth of Mr. Kemble's Edition of the Anglo-Saxon
+  Text in 1833 I formed the Design of translating it, and early in
+  1837 I commenced the Work. Mr. Kemble's second Volume had not then
+  appeared, and I proceeded but slowly, on account of the Difficulty
+  of the Work, and the utter Inadequacy of any then existing
+  Dictionary. I�still however wrought my Way onward, under the
+  Notion that even if I should not think my Book, when finished, fit
+  for Publication, yet that the MS. would form an amusing Tale for
+  my little Nephews and Nieces, and so I went through about a
+  Quarter of the Poem when Illness put an entire stop to my
+  Progress. Afterwards, though the Appearance of Mr. Kemble's
+  additional Volume, containing the Prose Version, Glossary, &c. had
+  rendered the remainder of my Task comparatively easy, other
+  Matters required my Attention, and the MS. lay untouched until
+  1842, between which Time and the present it has been from Time to
+  Time added to and at length completed, and the whole carefully
+  revised, much being cancelled and retranslated.' --Introduction,
+  p.�viii.
+
+
+_Indebtedness to preceding Scholars._
+
+  'In my Version I have scrupulously adhered to the text of Mr.
+  Kemble, adopting in almost every Instance his Emendations.... My
+  thanks are due to Mr. Kemble ... to the Rev. Dr. Bosworth ... who
+  have ... kindly answered my Inquiries relative to various Matters
+  connected with the poem.' --Pages viii, xiv.
+
+
+_Style and Diction._
+
+  'I have throughout endeavoured to render the Sense and the Words
+  of my Author as closely as the English Language and the Restraints
+  of Metre would allow, and for this Purpose I have not shrunken
+  either from sacrificing Elegance to Faithfulness (for no
+  Translator is at liberty to misrepresent his Author and make an
+  old Saxon Bard speak the Language of a modern Petit Ma�tre) or
+  from uniting English Words to express important Anglo-Saxon
+  compounds.... Some may ask why I have not preserved the
+  Anglo-Saxon alliterative Metre. My Reason is that I do not think
+  the Taste of the English People would at present bear it. I�wish
+  to get my book read, that my Countrymen may become generally
+  acquainted with the Epic of our Ancestors wherewith they have been
+  generally unacquainted, and for this purpose it was necessary to
+  adopt a Metre suited to the Language; whereas the alliterative
+  Metre, heavy even in German, a�Language much more fitted for it
+  than ours, would in English be so heavy that few would be found to
+  labour through a Poem of even half the Length of the Be�wulf's lay
+  when presented in so unattractive a Garb.' --Pages ix,�x.
+
+
+EXTRACT.
+
+  CANTO VIII.
+
+  But haughty Hunferth, Ecg-l�f's Son
+  Who sat at royal Hr�th-g�r's Feet
+  To bind up Words of Strife begun
+    And to address the noble Geat.
+  The proud Sea-Farer's Enterprize                 5
+  Was a vast Grievance in his Eyes:
+  For ill could bear that jealous Man
+  That any other gallant Thane
+  On earth, beneath the Heavens' Span,
+    Worship beyond his own should gain.           10
+  'Art thou Be�-wulf,' then he cry'd,
+  'With Brecca on the Ocean wide
+    That didst in Swimming erst contend,
+  Where ye explor'd the Fords for Pride
+  And risk'd your Lives upon the Tide             15
+    All for vain Glory's empty End?
+  And no Man, whether Foe or Friend,
+  Your sorry Match can reprehend.
+  O'er Seas ye rowed, your Arms o'erspread
+  The Waves, and Sea-paths measur�d.              20
+  The Spray ye with your Hands did urge,
+  And glided o'er the Ocean's Surge;
+  The Waves with Winter's fury boil'd
+  While on the watery Realm ye toil'd,
+    Thus seven Nights were told,                  25
+  Till thee at last he overcame,
+  The stronger in the noble Game.
+  Then him at Morn the billowy Streams
+  In triumph bare to Heatho-r[��]mes
+  From whence he sought his Fatherland,           30
+  And his own Brondings' faithful Band,
+  Where o'er the Folk he held Command,
+    A City, Rings, and Gold.
+  His Promise well and faithfully
+  Did Beanst�n's Son perform to thee;             35
+  And ill I ween, though prov'd thy Might
+  In Onslaught dire and deadly Fight,
+  Twill go with thee, if thou this Night
+    Dar'st wait for Grendel bold.'
+
+
+_Criticism of the Translation._
+
+Wackerbarth's translation is not to be considered as a rival of
+Kemble's[1]--the author did not wish it to be so considered. Kemble
+addressed the world of scholars; Wackerbarth the world of readers.
+Wackerbarth rather resembles Conybeare[2] in trying to reproduce the
+_spirit_ of the poem, and make his book appeal to a popular audience.
+Wackerbarth had the advantage of basing his translation on the accurate
+and scholarly version of Kemble; yet Conybeare and Wackerbarth were
+equally unsuccessful in catching the spirit of the original. The reason
+for their failure is primarily in the media which they chose. It would
+seem that if there were a measure less suited to the Beowulf style than
+the Miltonic blank verse used by Conybeare, it would be the ballad
+measures used by Wackerbarth. The movement of the ballad is easy, rapid,
+and garrulous. Now, if there are three qualities of which the _Beowulf_
+is not possessed, they are ease, rapidity, and garrulity. Not only does
+the poet avoid superfluous words--the ballad never does--but he
+frequently does not use words enough. His meaning is thus often vague
+and nebulous, or harsh and knotted. Nor can the poem properly be called
+rapid. It is often hurried, and more often insufficient in detail, but
+it never has sustained rapidity. The kenning alone is hostile to
+rapidity. The poet lingers lovingly over his thought as if loath to
+leave it; he repeats, amplifies. The description of Grendel's approach
+to Heorot is given three times within twenty lines.
+
+Now these features which have just been described Wackerbarth's ballad
+lines are eminently unfitted to transmit. But there is still another
+reason for shunning them. They are almost continuously suggestive of
+Scott. Of all men else the translator of _Beowulf_ should avoid Scott.
+Scott's medievalism is hundreds of years and miles away from the
+medievalism of _Beowulf_. His is the self-conscious, dramatic, gorgeous
+age of chivalry, of knight and lady, of pomp and pride. _Beowulf_ is
+simple to bareness.
+
+It is in such strong picturesque passages as the swimming-match that
+Wackerbarth's style is worst. There is a plethora of adjectives,
+scarcely one of which is found in the original; but they are of no
+avail--they are too commonplace to render the strength and raciness of
+the original words. There is too much ballad padding--'then he cry'd,'
+'at last,' 'well and faithfully,' 'onslaught dire, and deadly fight.'
+Hunferth prattles. The heroic atmosphere is gone.
+
+In passages calling for calmness, solemnity, or elevation of
+thought--and there are many such--the easy flow of a verse monotonous
+and trivial effectually destroys the beauty of the lines.
+
+But in spite of its very evident limitations, Wackerbarth's translation
+was a move in the right direction. His aim, in his own words, was to
+'get his book read,' and he was wise in choosing a medium that would be
+popular, even if it were not satisfactory to the scholar. It was better
+to have _Beowulf_ according to Wackerbarth than no _Beowulf_ at all.
+
+    [Footnote 1: See supra, p. 33.]  [[Kemble]]
+
+    [Footnote 2: See supra, p. 28.]  [[Conybeare]]
+
+
+
+
+THORPE'S EDITION
+
+
+The Anglo-Saxon Poems of Beowulf, The Scop or Gleeman's Tale, and the
+Fight at Finnesburg. With a literal translation, notes, and glossary,
+&c., by Benjamin Thorpe. Oxford: printed by James Wright, Printer to the
+University. M.DCCC.LV.
+
+*Reprinted, 1875. 12mo, pp. xxxiv, 330.
+
+Third English Translation. Short Lines.
+
+
+_Author's Prefatory Remarks._
+
+  'Twenty-four years have passed since, while residing in Denmark,
+  I�first entertained the design of one day producing an edition of
+  Beowulf; and it was in prosecution of that design that,
+  immediately on my arrival in England in 1830, I�carefully collated
+  the text of Thorkelin's edition with the Cottonian manuscript.
+  Fortunately, no doubt, for the work, a�series of cares, together
+  with other literary engagements, intervened and arrested my
+  progress. I�had, in fact, abandoned every thought of ever resuming
+  the task: it was therefore with no slight pleasure that I hailed
+  the appearance of Mr. Kemble's first edition of the text of
+  Beowulf in 1833....
+
+  'Copies of Mr. Kemble's editions having for some time past been of
+  rare occurrence, I�resolved on resuming my suspended labour, and,
+  as far as I was able, supplying a want felt by many an Anglo-Saxon
+  student both at home and abroad....
+
+  'My first impulse was to print the text of the poem as it appears
+  in the manuscript, with a literal translation in parallel columns,
+  placing all conjectural emendations at the foot of each page; but,
+  on comparing the text with the version in this juxta-position,
+  so numerous and so enormous and puerile did the blunders of the
+  copyist appear, and, consequently, so great the discrepance
+  between the text and the translation, that I found myself
+  compelled to admit into the text the greater number of the
+  conjectural emendations, consigning to the foot of the page the
+  corresponding readings of the manuscript. In every case which I
+  thought might by others be considered questionable, I�have
+  followed the more usual course, of retaining in the text the
+  reading of the manuscript, and placing the proposed correction at
+  foot....
+
+  'Very shortly after I had collated it, the manuscript suffered
+  still further detriment.
+
+  'In forming this edition I resolved to proceed independently of
+  the version or views of every preceding editor.' --Pages vii,
+  viii, xii, xiii.
+
+
+_Criticism of Thorpe's Text._
+
+Considering the amount of time that had elapsed between this and the
+edition of Kemble[1], Thorpe can hardly be said to have made a
+satisfactory advance. In some respects his edition is actually inferior
+to Kemble's. It is probable, for example, that the collation of which
+the author speaks in his introduction was the one which he had made
+twenty years before, and that, in taking up his work a second time,
+he did not trouble himself to revise it. At any rate, the MS. did not
+receive from Thorpe that respectful attention that it had had from
+Kemble. Thorpe was more clever than the former scholar in deciphering
+faded lines of the MS., but he was not always careful to indicate those
+letters which he actually found there, and those he himself supplied
+from conjecture. Yet these readings were often of sufficient importance
+to affect an entire passage, and later scholarship has in many cases
+deciphered readings whose sense is entirely different from Thorpe's.
+Thus his edition presents striking divergences from later texts, while
+no explanation of them is offered in the footnotes. Not only does he
+frequently incorporate his own readings in the text without noting the
+MS. forms, but he even makes mistakes in the MS. forms which he does
+note. A�collation of Thorpe's text with the MS. has revealed a
+carelessness which was all the more reprehensible in that it came from a
+scholar who was thought to be well-nigh infallible. A�few examples of
+this carelessness are given:--
+
+  Line 319 (158)[2], _banan_ (misreads MS. in footnote).
+       487 (241), _Ic_ (word emended from _le_ without noting MS. form).
+       1160 (578), _hw��ere_ (emends without noting the MS. form).
+       1207 (601), _ac him_ (omits a word).
+       4408 (2201), _hilde hlemmum_ (MS. misread in a footnote.
+           Emendation unnecessary).
+
+At line 2218 the MS., badly mutilated at this point, reads,
+
+  _... sl�pende be syre ... de �eofes cr�fte._
+
+In Thorpe's edition the line reads (4443),
+
+  _... sl�pende be fire, fyrena hyrde �e�fes cr�fte._
+
+Not only does he fail to state that he has changed MS. _sy_ to _fi_, but
+he gives no indication that for the words _fyrena hyrde_ there is no
+room in the MS., and that the reading is entirely of his own making.
+
+In order to afford a comparative estimate of the work of Thorpe and
+Kemble, I�append the texts of each as they appear at what is now line
+2000[3].
+
+  THORPE.                           KEMBLE.
+
+  ��t is undyrne,                    [/�] is un-dyrne,
+  dryhten Higel�c,                   dryhten Hige-l�c,
+  (uncer) gemeting                   ... ge-meting
+  monegum fyra,                      moneg[-u] fira
+  hwylce (orleg)-hw�l         5      hwylce ... hw�l
+  uncer Grendles                     uncer Grendles
+  wear� on ��m wange,                wear� on wange,
+  ��r he worna fela                  ��r he worna fela
+  Sige-Scyldingum                    s�ge-(Scyl)dingum
+  sorge gefremede,           10      sorge ge-fremede,
+  yrm�e t� aldre.                    yrm�(o) t� aldre;
+  Ic ��t eall gewr�c,                ic [/�] eall ge-wr�c,
+  sw� ne gylpan �earf                sw� (ne) gylpan �earf
+  Grendles maga                      Grendeles maga
+  ([��]nig) ofer eor�an      15      ([��]nig) ofer eor�an
+	  uht-hlem �one,                     uht-hlem �one,
+  se �e lengest leofa�               (se �e) lengest leofa�
+  l��an cynnes.                      l�dan cynnes,
+  F[��]r-bifongen, ...               (f[��]r)-b�-fongen.
+
+These selections give a good basis for judging the merits and defects of
+Thorpe's edition. Thorpe is seen to have the advantage in deciphering
+certain parts of the text, see e.g. lines 9, 11, 17. On the other hand,
+Kemble is far more conscientious. Thus at line 13 Thorpe reads _ne_ as
+if it were found in the MS. It is not there, and Kemble is right in
+inclosing the letters in parentheses. The same thing is true of _F[��]r_
+in line 19, and Gren{dl}es in line 14. Thorpe's emendations in lines 3
+and 5 are an advance on Kemble, and are still retained in the text. But
+Thorpe might have followed Kemble's punctuation in 18 and 19 to his
+advantage.
+
+
+EXTRACT.
+
+  VIII.
+
+  Hunferth spake,
+  Ecglaf's son,
+  who at {the} feet sat
+  of {the} Scyldings' lord;
+  unbound {a} hostile speech.
+  To him was {the} voyage of Beowulf,
+  {the} bold sea-farer,
+  {a} great displeasure;
+  because he grudged                        1010
+  that any other man
+  ever more glories
+  of mid-earth
+  held under heaven
+  than himself:
+  'Art thou the Beowulf
+  who with Breca strove
+  on {the} wide sea,
+  in {a} swimming strife,
+  where ye from pride                       1020
+  tempted {the} fords,
+  and for foolish vaunt
+  in {the} deep water
+  ventured {your} lives?
+  Nor you any man,
+  nor friend nor foe,
+  might blame
+  {for your} sorrowful voyage,
+  when on {the} sea ye row'd,
+  when ye {the} ocean-stream,               1030
+  with {your} arms deck'd,
+  measur'd {the} sea-ways,
+  with {your} hands vibrated {them},
+  glided o'er {the} main;
+  ocean boil'd with waves,
+  with winter's fury:
+  ye on {the} water's domain,
+  {for} seven nights toil'd.
+  He thee in swimming overcame,
+  {he} had more strength,                   1040
+  when him at morning tide,
+  on to Heatho-r�mes
+  {the} sea bore up;
+  whence he sought
+  {his} dear country,
+  {the} beloved of his people,
+  {the} Brondings' land,
+  {his} fair, peaceful burgh,
+  where he {a} people own'd,
+  {a} burgh and rings.                      1050
+  All {his} promise to thee
+  Beanstan's son
+  truly fulfil'd.
+
+
+_Criticism of the Translation._
+
+This being a strictly literal translation, the reader is referred to the
+sections on the text for a valuation and criticism. It is a question
+whether there was need for another literal rendering in England at this
+time. Kemble's translation was not yet out of date, and with Thorpe's
+new glossary the student had a sufficient apparatus for the
+interpretation of the poem.
+
+Some German scholars have discovered that the short lines in which
+Thorpe's translation is couched are imitative of the Old English
+measure. I�am unable to agree with them. Probably any short-line
+translation would _ipso facto_ assume a choppiness not dissimilar to the
+Old English, and probably plenty of lines could be discovered which
+correspond well enough to the 'five types,' but the agreement seems
+purely fortuitous. It is quite unlikely that Thorpe intended any
+imitation.
+
+
+_Influence of Thorpe's Edition._
+
+The influence of this edition has been considerable. It was the
+principal authority used by Grein[4] and Heyne[5] in constructing their
+texts. Thus its influence was felt in all texts down to the publication
+of the Zupitza _Autotypes_ (1882). Thomas Arnold[6] copied the text
+almost word for word.
+
+    [Footnote 1: See supra, p. 33.]  [[Kemble]]
+
+    [Footnote 2: The numbers in parentheses are those of Wyatt's text.]
+
+    [Footnote 3: Line 3995 in Kemble; 4004 in Thorpe.]
+
+    [Footnote 4: See infra, p. 55.]  [[Grein]]
+
+    [Footnote 5: See infra, p. 63.]  [[Heyne]]
+
+    [Footnote 6: See infra, p. 71.]  [[Arnold]]
+
+
+
+
+GREIN'S TRANSLATIONS
+
+
+Dichtungen der Angelsachsen, stabreimend �bersetzt von C. W. M. Grein.
+Erster Band. G�ttingen: Georg H. Wigand, 1857. 8vo, Beowulf, pp.
+223-308. Zweite (Titel-) Auflage, 1863.
+
+Beowulf. Stabreimend �bersetzt von Professor Dr. C. W. M. Grein. Zweite
+Auflage. Kassel: Georg H. Wigand, 1883. 8vo, pp.�90.
+
+Second German Translation. Imitative Measures.
+
+
+_Grein's Preparation for Scholarly Work._
+
+Christian Wilhelm Michael Grein[1] (1825-77) was eminently well fitted
+for the editing and translating of Old English poetry. He possessed a
+natural aptitude for the study of Germanic Philology, and had the
+advantage of studying with an excellent professor, Franz Eduard
+Christoph Dietrich (1810-83), in the University at Marburg. As early as
+1854 he began his labors as a translator of Old English poetry with a
+version of the _Phoenix_, 'Der Vogel Phoenix: ein angels�chsisches
+Gedicht, stabreimend �bersetzt,' Rinteln, 1854. In the same year he
+printed a translation of the _Heliand_.
+
+In 1855 he assumed the position of Praktikant at the Kassel
+Landesbibliothek. Here he was able to devote a large part of his
+attention to the study of Old English, acquiring a familiarity with the
+poetry of that tongue which it has seldom been the fortune of a scholar
+to surpass. He formed the design of editing and translating the entire
+body of Old English poetry and appending to it a complete glossary which
+should not only give the meanings of the words, but instance every
+occurrence of the word. This design he carried out between the years
+1857 and 1864.
+
+
+_Grein's Texts._
+
+The text of _Beowulf_ is found in Grein's _Bibliothek der
+angels�chsichen Poesie_, Erster Band, G�ttingen, 1857, where it occupies
+pp. 255-341. A�second edition, several times re-edited, is _Beovulf,
+nebst den Fragmenten Finnsburg und Waldere_, Kassel und G�ttingen, 1867.
+
+Grein never saw the MS. of the poem[2]. He based his text on a collation
+of all the preceding editions. This was unfortunate, because, had Grein
+seen the MS., he would doubtless have hastened to make a correct
+transcription of it. As it was, his edition necessarily shares some of
+the faults of its predecessors, since the text had never yet been
+accurately transcribed. A�simple illustration of this defect may be seen
+by examining line 2218 of the text, where Grein reads,
+
+  _be fire, fyrena hyrde_,
+
+following Thorpe[3]. As has been pointed out, this is an impossible
+reading, and one for which there is no justification in the MS. Thorpe,
+however, had presented it as the MS. reading, and Grein could not but
+copy�it.
+
+Like Kemble, Grein had a supreme respect for the readings of the MS.,
+and he announced his intention of following this reading wherever
+possible:--
+
+  'Bei der Behandlung des Textes galt als erste Pflicht,
+  handschriftliche Lesarten, wo es nur immer m�glich war, zu retten
+  und namentlich auch manche angezweifelte, den Lexicis fremde
+  W�rter als wolbegr�ndet nachzuweisen: nur da, wo Verderbniss auf
+  der Hand liegt, habe ich mir mit der gr�ssten Vorsicht Aenderungen
+  erlaubt oder bereits von Andern vorgeschlagene Aenderungen
+  aufgenommen, wobei ich mich m�glichst eng an das handschriftlich
+  gebotene anzuschliessen suchte.' --Vorwort, iv. (_Bibl._).
+
+This was wise. Since the days of Kemble, emendation had become
+unnecessarily frequent. We have seen in what a light-hearted way Thorpe
+spoke of the 'blunders of the scribes,' and how careless he was in the
+preparation of his text. The dialect had not yet received proper
+attention, and the copyists were blamed for errors that they never made.
+
+Grein was extremely clever in filling the lacunae of the MS., and his
+conjectural emendations are frequently retained by later editors.
+
+Still another improvement which he introduced was the full punctuation
+of the text; this was superior to any that had preceded it. In previous
+editions defective punctuation had obscured the sense of the lines; here
+it was made a factor in their interpretation.
+
+
+_Theory of Translation._
+
+Grein's theory of translation is sufficiently expressed in the Vorrede
+to the _Dichtungen_:--
+
+  'Die Sammlung von metrischen Uebersetzungen angels�chsischer
+  Dichtungen, deren erster Band hiermit der Oeffentlichkeit
+  �bergeben wird, soll einen doppelten Zweck erf�llen. Einerseits
+  betrachte ich dieselben als eine wesentliche Erg�nzung, gleichsam
+  als fortlaufenden Commentar zu meiner gleichzeitig in demselben
+  Verlag erscheinenden Textausgabe der angels�chsischen Dichter,
+  indem sie meine Interpretation der Originaltexte, worin ich oft
+  von meinen Vorg�ngern abweiche, einfach vor Augen legen.
+  Andrerseits aber bezweckte ich dadurch die Bekanntschaft mit den
+  in vieler Beziehung so herrlichen dichterischen Erzeugnissen des
+  uns engverwandten englischen Volkes aus der Zeit vor dem
+  gewaltsamen Eindringen des romanischen Elements durch die
+  normannische Eroberung auch in weiteren Kreisen anzubahnen, was
+  sie sowol nach ihrem Inhalte als auch nach der poetischen
+  Behandlung des Stoffes gewiss in hohem Grade verdienen. Daher war
+  ich eifrigst bem�ht, die Uebersetzung dem Original in m�glichster
+  Treue nach Inhalt, Ausdruck und Form eng anzuschliessen:
+  namentlich suchte ich, soweit es immer bei dem heutigen Stande
+  unserer Sprache thunlich war, auch den Rhythmus des Originals
+  nachzubilden, wobei es vor allem auf die Beibehaltung der
+  eigent�mlichen Stellung der Stabreime ankam, ein Punkt, der bei
+  der Uebertragung alter Alliterationspoesien nur zu oft
+  vernachl�ssigt wird.' --Vorrede, iii.
+
+
+_Differences between the two Editions._
+
+The second edition of the translation (see supra, p.�65) was edited from
+Grein's 'Handexemplar' of the _Dichtungen_ after his death by Professor
+W�lker, who has also re-edited the text of the _Bibliothek_. The
+differences are seldom more than verbal, and are largely in the early
+parts of the poem. The second edition is, of course, superior.
+
+
+EXTRACT.
+
+  III.
+
+    Darauf sprach Hunferd, Ecglafs Sohn,
+  der zu den F�ssen sass dem F�rst der Skildinge,            500
+  entband Streitrunen, (ihm war Beowulfs Reise
+  des mutigen Seefahrers sehr zum Aerger,
+  da er durchaus nicht g�nnte, dass ein anderer Mann
+  je mehr des Ruhmes in dem Mittelkreise
+  bes�sse unterm Himmel, denn er selber hatte):              505
+  'Bist du der Beowulf, der einst mit Breka schwamm
+  im Wettkampfe durch die weite See,
+  wo in Verwegenheit ihr die Gew�sser pr�ftet
+  und aus tollem Prahlen in die tiefen Fluten
+  wagtet euer Leben? Nicht wehren konnt' euch beiden         510
+  weder Lieb noch Leid der Leute einer
+  die sorgenvolle Fahrt, als in den Sund ihr rudertet,
+  wo ihr den Oceansstrom mit euren Armen decktet,
+  die Holmstrassen masset, mit den H�nden schluget
+  und �ber den Ocean glittet: der Eisgang des Winters        515
+  wallete in Wogen; in des Wassers Gebiet
+  plagtet ihr euch sieben N�chte.
+          Im Schwimmspiel �berwand er dich:
+  er hatte mehr der Macht; zur Morgenzeit
+  trug ihn der Holm da zu den Heador�men.
+  Von dannen suchte er die s�sse Heimat                      520
+  lieb seinen Leuten, das Land der Brondinge,
+  die liebliche Friedeburg, wo er sein Volk hatte,
+  Burg und Bauge. Da hatte all sein Erbot wider dich
+  vollbracht in Wahrheit Beanstans Sohn[4].'
+
+
+_Criticism of the Translation._
+
+The translation is a literal line-for-line version. Its superiority to
+its predecessors is, therefore, one with the superiority of the text on
+which it is founded.
+
+The translation became at once the standard commentary on _Beowulf_, and
+this position it retained for many years. It is still the standard
+literal translation in Germany, none of the later versions having
+equaled it in point of accuracy.
+
+    [Footnote 1: For biographical facts see Grein-W�lker,
+    _Bibliothek_, Band III, 2te H�lfte, p.�vii.]
+
+    [Footnote 2: See Grein-W�lker, _Bibliothek_, Vorrede.]
+
+    [Footnote 3: See supra, p. 52.]  [[Thorpe: Criticism of Text]]
+
+    [Footnote 4: The second edition presents no variation from this
+    save the omission of the comma in line 501.]
+
+
+
+
+SIMROCK'S TRANSLATION
+
+
+Beowulf. Das �lteste deutsche Epos. Uebersetzt und erl�utert von Dr.
+Karl Simrock. Stuttgart und Augsburg: J. G. Cotta'scher Verlag, 1859.
+8vo, pp. iv, 203.
+
+Third German Translation. Imitative Measures.
+
+
+_Simrock._
+
+Dr. Karl Simrock (1802-1876) brought to the translation of _Beowulf_ the
+thorough knowledge of a scholar, the fine feeling and technique of a
+poet, and an enviable reputation as a translator of Old German poetry.
+At the time when he made his translation of _Beowulf_, he was Professor
+of Old German Literature at Bonn, whither he had been called because of
+his contributions to the study of Old German mythology. His title to
+remembrance rests, however, on his metrical rendering of the
+_Nibelungenlied_, a�work which, in 1892, had passed into its
+fifty-second edition. As an original poet, Simrock is remembered for his
+_Wieland der Schmied_ (1835), and _Gedichte_ (1844).
+
+
+_Object of the Translation._
+
+Simrock wished to do for _Beowulf_ what he had done for the
+_Nibelungenlied_, _Walther von der Vogelweide_, and _Der arme Heinrich_.
+He objected to the too literal work of Ettm�ller[1] and Grein[2], hoping
+in his own work to make the poem readable and to dispense with a 'note
+for every third word':
+
+  'Geist und Stimmung einer fernen Heldenzeit anklingen zu lassen,
+  und doch dem Ausdruck die frische Farbe des Lebens zu verleihen.'
+  --Vorrede, iii.
+
+In this ambition he was justified by his success as a translator of Old
+German poetry.
+
+
+_Nature of the Translation._
+
+The diction of the version is, on the whole, characterized by simplicity
+and ease. Yet the author, like many another translator of Old English,
+tries to give his style an archaic tinge by preserving the compound
+forms characteristic of that language, such as Lustholz, Aelgelage,
+Kampfrunen, a�fault that Ettm�ller had carried to excess. These forms he
+sometimes used to the exclusion of simpler, or even more literal, words.
+The nature of the German language, however, keeps these from being as
+repulsive as they are in English, but they are sufficiently strange to
+mystify and annoy the reader.
+
+The feature of his translation for which Simrock was most concerned was
+the measure:
+
+  'Vor Allem aber den Wohllaut, der echter Poesie unzertrennlich
+  verbunden ist, das schien mir die erste Bedingung, damit der Leser
+  ... den Sinn ahne und von der Sch�nheit des Gedichts ergriffen
+  von Blatt zu Blatt getragen werde. Nur so glaubte ich eine
+  tausendj�hrige Kluft �berbr�cken und dieser mit Angeln und Sachsen
+  ausgewanderten Dichtung neues Heimatsrecht bei uns erwerben zu
+  k�nnen.' --Vorrede, iii,�iv.
+
+He also preserved alliteration, believing that a fondness for that
+poetic adornment may be easily acquired, and that it is by no means
+inconsistent with the genius of modern tongues.
+
+
+_Relation of Translation and other Parts of the Book._
+
+The notes to the translation contain discussions of the episodes and of
+the mythological personages of the poem. There is a discussion of the
+poetic worth of _Beowulf_, and an argument for the German origin of the
+poem. But the translation is the _raison d'�tre_ of the volume, and
+other parts are strictly subordinated to it. The Finnsburg fragment is
+inserted at the end of section�16. As the author does not wish to
+disturb the order of _Beowulf_, he is obliged to place the poem at the
+end of the Finnsburg episode (in _Beowulf_), a�very ill-chosen position,
+where it can only confuse the general reader more than the obscure lines
+to which it is related. This practice of inserting the Finnsburg
+fragment, lately revived by Hoffmann[3], has been generally repudiated.
+
+
+_Text, and Indebtedness to Preceding Scholars._
+
+The text followed is Grein's (1857)[4]. The translator acknowledges his
+indebtedness to the versions of Ettm�ller and Grein.
+
+
+EXTRACT.
+
+  8. HUNFERD.
+
+  Da begann Hunferd,    Ecglafs Sohn,
+  Der zu F�ssen sass    dem F�rsten der Schildinge,
+  Kampfrunen zu entbinden:    ihm war Beowulfs Kunft,
+  Des k�hnen Seeseglers,    schrecklich zuwider.
+  Allzu ungern sah er,    dass ein anderer Mann
+  In diesem Mittelkreiss    mehr des Ruhmes
+  Unterm Himmel h�tte    als Hunferd selbst:
+
+    'Bist du der Beowulf,    der mit _Breka_ schwamm
+  Im Wettkampf einst    durch die weite See?
+  Wo ihr tollk�hn    Untiefen pr�ftet,
+  Mit vermessnem Muth    in den Meeresschl�nden
+  Das Leben wagtet?    Vergebens wehrten euch
+  Die Lieben und Leiden,    die Leute zumal
+  So sorgvolle Reise,    als ihr zum Sunde rudertet,
+  Das angstreiche Weltmeer    mit Armen decktet,
+  Die Meerstrassen masset,    mit den H�nden schlugt
+  Durch die Brandung gleitend;    aufbrauste die Tiefe
+  Wider des Winters Wuth.    Im Wasser m�htet ihr
+  Euch sieben N�chte:    da besiegt' er dich im Schwimmen.
+  Seiner Macht war mehr:    in des Morgens Fr�he
+  Hob ihn die Hochflut    zu den _Heador�men_.
+  Von dannen sucht' er    die s�sse Heimat,
+  Das Leutenliebe,    das Land der _Brondinge_,
+  Die feste Friedensburg,    wo er Volk besass,
+  Burg und Bauge.    Sein Erbieten hatte dir
+  Da _Beanstans_ Geborner    vollbracht und geleistet.'
+
+
+_Criticism of the Translation._
+
+Simrock's translation is commendable for its faithfulness. It is,
+moreover, a�simple and readable version, though in these respects it is
+not equal to Heyne's rendering which was to follow it; but it was easily
+superior to Grein's. Yet, in spite of this, the book is not well known
+among German translations, and has never passed into a second edition.
+This is surprising when we consider the success of Simrock's previous
+translations. The partial failure is accounted for by two facts:
+(1)�Simrock's reputation as a scholar was not equal to that of Grein or
+Heyne, nor had he the advantage of editing the text; (2)�the measure
+which the translation employed has never been popular among readers. No
+German translation in imitative measures, with the single exception of
+Grein's (which has made its appeal as a scholarly work and not as a
+piece of literature), has ever passed into a second edition; while
+versions couched in iambic lines or Nibelungen meters have been
+reprinted.
+
+    [Footnote 1: See supra, p. 37.]  [[Ettm�ller]]
+
+    [Footnote 2: See supra, p. 55.]  [[Grein]]
+
+    [Footnote 3: See infra, p. 99.]  [[Hoffmann]]
+
+    [Footnote 4: See supra, p. 56.]  [[Grein's Texts]]
+
+
+
+
+HEYNE'S TRANSLATION
+
+
+Beowulf. Angels�chsisches Heldengedicht �bersetzt von Moritz Heyne.
+Paderborn: Druck und Verlag von Ferd. Sch�ningh, 1863. 12mo, pp. viii,
+127.
+
+Zweite Auflage. Paderborn: Sch�ningh, 1898. 8vo, pp. viii, 134.
+
+Fourth German Translation. Iambic Pentameter.
+
+
+_Heyne._
+
+The name of Moritz Heyne is one of the most illustrious in the history
+of Beowulf scholarship. The Heyne editions of the text[1] have been
+standard for nearly forty years, while the translation has been recently
+reprinted (1898). Beside his work on the _Beowulf_, this scholar was to
+become prominent as editor of the _Heliand_ and of _Ulfilas_, and as one
+of the staff appointed to complete Grimm's Dictionary.
+
+At the time when he printed his edition of the _Beowulf,_ Heyne was a
+student at Halle, and but twenty-six years of age (born 1837)[2]. In his
+work he had some assistance from Professor Leo[3] of Halle.
+
+
+_Relation of Text and Translation._
+
+The translation was founded on the text of 1863. At the time it was by
+far the best edition that had yet appeared. It was furnished with an
+excellent glossary. The text had the advantage of the valuable work done
+by Grundtvig[4] in collating the two transcripts made by Thorkelin[5].
+It thus came a stage nearer the MS. readings than any other existing
+edition, while it avoided the unnecessary conjectures of the Danish
+editor.
+
+Heyne's text having been five times re-edited, the first edition of the
+translation often fails to conform to readings which have been
+introduced into the text in later editions; but the free nature of the
+translation makes this of no great importance.
+
+
+_Differences between the First and Second Editions of the Translation._
+
+The differences between the two editions are not of much importance. The
+translation is in general, though not always, brought up to the late
+editions of the text, and some changes are made for the improvement of
+the meter.
+
+The first edition contains 3201 lines; the second 3207. The theory and
+aim of the translation are not changed at all.
+
+
+_Aim of Heyne's Translation._
+
+In this translation of the _Beowulf_, Heyne attempts to popularize what
+he considers the most beautiful of the Old English poems. He says
+of�it--
+
+  'Es ist nicht die erste, die ich biete; gleichwol hoffe ich es
+  werde die erste sein, die auch einem gr�ssern Publicum, das noch
+  nicht Gelegenheit hatte, sich mit den �ltern Dialecten unserer
+  Sprache zu besch�ftigen, verst�ndlich ist. Die �ltern deutschen
+  Uebersetzer haben, bei allen Verdiensten ihrer Arbeit, unserer
+  neuhochdeutschen Muttersprache teilweise �bel mitgespielt.'
+  --Vorwort, iii.
+
+With this in view, Heyne put his translation out in a form that would
+make it accessible to all. This was in itself an innovation. The works
+of Ettm�ller[6] and Simrock[7] had been in a more elaborate _format_,
+while Grein's translation[8] was not only expensive, but encumbered with
+other work, and intended primarily for the scholar.
+
+
+_Nature of the Translation._
+
+Heyne chose a new medium for his version, the unrimed iambic line. His
+aim being to get his book read, he avoided a literal translation, and
+rendered with commendable freedom, though not with inaccuracy. He used
+no strange compounds, and shunned an unnatural verse. Thus he produced
+the most readable translation that has ever appeared in Germany. Of his
+own attempt he says--
+
+  'Die vorliegende Uebertragung ist so frei, dass sie das f�r uns
+  schwer oder gar nicht genau nachzubildende allitterierende Versmass
+  des Originals gegen f�nff�ssige Jamben aufgibt, und zu Gunsten des
+  Sinnes sich der angels�chsischen Wort- und Satzstellung nicht zu
+  �ngstlich anschmiegt; dagegen auch wieder so genau, dass sie
+  hoffentlich ein Scherflein zum vollkommenern Verst�ndniss des
+  Textes beitragen wird.' --Vorwort, iii.
+
+Heyne's theory of translation is one that has been very little in vogue
+in Germany. He has been criticized on all sides for his freedom. Yet the
+criticism is undeserved. Heyne is never paraphrastic--he never adds
+anything foreign to the poem. He merely believes in translating the
+obscure as well as the simple ideas of his text. His 'freedom' seldom
+amounts to more than this--
+
+  H[-e] b[-e]ot ne [-a]leh, l. 80 (he belied not his promise)
+  Was er gelobt, erf�llt er.
+
+He occasionally inserts a word for metrical reasons, and sometimes, in
+the interests of clearness, a�demonstrative or personal pronoun, or even
+a proper name (cf. l.�500 of the extract).
+
+
+EXTRACT.
+
+  IX.
+
+  Da sagte Hunferd, Ecglafs Sohn, der Hrodgar            500
+  zu F�ssen sass, dem Herrn der Schildinge,
+  des Streites Siegel l�ste er (denn sehr
+  war Beowulfes Ankunft ihm verhasst,
+  des k�hnen Meerbefahrers; er verg�nnte
+  es Niemand, mehr des Ruhmes als er selber              505
+  sich unterm Himmel jemals zu erwerben):
+  'Bist du der Beowulf, der einst mit Breca
+  sich auf der weiten See im Schwimmkampf mass,
+  als ihr euch k�hnlich in die Tiefen st�rztet,
+  und mit verwegnem Br�sten euer Leben                   510
+  im tiefen Wasser wagtet? Niemand konnte,
+  nicht Freund, nicht Feind, des m�hevollen Weges
+  euch hindern. Da schwammt ihr hinaus in See,
+  wo ihr die wilde Flut mit Armen decktet,
+  des Wassers Strassen masset und die H�nde              515
+  die Wogen werfen liesst; so glittet ihr
+  hin �bers Meer. Die winterlichen Wellen,
+  sie giengen hoch. Der Tage sieben m�htet
+  ihr euch im Wasser: jener �berwand dich
+  im Schwimmen, denn er hatte gr�ssre Kraft.             520
+  Da trug die Hochflut ihn zur Morgenzeit
+  auf zu den Hador�men, von wo aus er,
+  der seinem Volke liebe, seinen Erbsitz
+  im Land der Brandinge, die sch�ne Burg
+  erreichte. Dort besass er Land und Leute               525
+  und Sch�tze. Was er gegen dich gelobt,
+  das hatte Beanstans Sohn f�rwahr erf�llt.'
+
+The extract illustrates sufficiently the characteristics of Heyne's
+rendering. In the first place, attention may be called to the extreme
+freedom of the verse, a�freedom which at times makes the composition
+verge upon prose. In the second place, the translation of the Old
+English phrase _beadu-runen onband_ should be noticed, and compared with
+the translations of Ettm�ller, Grein, and Simrock, who have
+respectively--
+
+  _entband beadurunen_
+  _entband Streitrunen_
+  _Kampfrunen ... entbinden._
+
+Heyne is the only one who translates the phrase in such a way as to make
+the words intelligible to a reader unacquainted with Old English.
+Finally, it should be noticed that the translation is quite as accurate
+as those which preceded it. Heyne certainly succeeded in his attempt to
+make the poem more intelligible to the general reader than it had ever
+been before. While not so serviceable to the scholar as Grein's
+translation, it is undoubtedly the most enjoyable of the German
+versions.
+
+    [Footnote 1: There have been six--1863, 1868, 1873, 1879, 1888,
+    1898; the last two are by Dr. Adolf Socin.]
+
+    [Footnote 2: Heyne is at present Professor in the University of
+    G�ttingen.]
+
+    [Footnote 3: See infra, p. 121.]  [[Leo]]
+
+    [Footnote 4: In _Beowulfs Beorh_. See also supra, p.�22.]
+
+    [Footnote 5: See supra, p. 16.]  [[Thorkelin]]
+
+    [Footnote 6: See supra, p. 37.]  [[Ettm�ller]]
+
+    [Footnote 7: See supra, p. 59.]  [[Simrock]]
+
+    [Footnote 8: See supra, p. 55.]  [[Grein]]
+
+
+
+
+VON WOLZOGEN'S TRANSLATION
+
+
+Beovulf (B�rwelf). Das �lteste deutsche Heldengedicht. Aus dem
+Angels�chsischen von Hans von Wolzogen. Leipzig: Philipp Reclam, jun.
+(1872?).
+
+Volume 430 of Reclam's Universal-Bibliothek. Small 8vo, pp. 104.
+
+Fifth German Translation. Imitative Measures.
+
+
+_Concerning the Translator._
+
+Hans von Wolzogen (born 1848), popularly known as a writer on the
+Wagnerian operas and as conductor of the _Bayreuther Bl�tter_,
+translated three Germanic poems for Reclam's 'Bibliothek': _Beowulf_,
+1872, _Der arme Heinrich_, 1873, and the _Edda_, 1877. There is no
+evidence that he had any _special_ interest in Old English studies.
+
+
+_Aim of the Volume._
+
+As expressed in the 'Vorbemerkung,' the aim of the translator was (1)�to
+provide a readable translation 'f�r unser modernes Publicum,' and (2)�to
+make a convenient handbook for the student, so that the beginner, with
+Grein's text[1] and the present translation, might read the _Beowulf_
+with no very great difficulty. So von Wolzogen made his version 'more
+literal than Heyne's, but freer than Simrock's' (p.�1).
+
+
+_Nature of the Translation._
+
+The translation is in alliterative measures, called by the translator
+imitative of the Old English. Von Wolzogen is concerned for this feature
+of his work, and is at pains to give what he considers a full account of
+the original verse as well as a lengthy defence of alliteration. Archaic
+touches are occasional. The names are 're-translated into German'
+according to a system of which, apparently, von Wolzogen alone holds the
+key:--
+
+  '... diese angels�chsische Form selbst nur eine Uebertragungsform
+  aus den urspr�nglich deutschen Namen ist, wobei manch Einer sogar
+  sinnlos verdreht worden, wie z.B. der Name des Helden selbst, der
+  aus dem deutschen B�rwelf, Jungb�r, zum Beovulf, Bienenwolf,
+  gemacht worden war.' --Vorbemerkung, p.�5.
+
+The account of the Fall of Hygelac and of Heardred, 2354-96, is shifted
+to line 2207 (p.�75).
+
+
+_Text Used._
+
+The translation is apparently founded on one of Grein's texts[2], but
+the work is so inaccurate that exact information on this point is
+impossible from merely internal evidence.
+
+
+EXTRACT.
+
+  DRITTER GESANG.
+
+  HUNFRID.
+
+  _So sagte Hunfrid_[3], der Sohn des _Eckleif_,
+  Dem Schildingenf�rsten zu F�ssen gesessen,
+  Kampfrunen entbindend (es kr�nkte des _B�rwelf_
+  _Muthige Meerfahrt_ m�chtig den Stolzen,
+  Der an Ehren nicht mehr einem andern Manne                       5
+  Zu g�nnen gemeint war im Garten der Mitte,
+  Als wie unter'm Himmel erworben er selbst!):
+  'Bist du der _B�rwelf_, der mit _Brecht_ bek�mpfte
+  Auf weiter See im Wetteschwimmen,
+  Da �berm�thig und ehrbegierig                                   10
+  Eu'r Leben ihr wagtet in Wassertiefen,
+  _Die beid' ihr durchschwammt?_ Da brachte zum Schwanken
+  Den Vorsatz der furchtbaren Fahrt euch Keiner
+  _Mit Bitten und Warnen_, _und_ Beide durchtheiltet
+  Mit gebreiteten Armen die Brandung ihr rudernd,                 15
+  Durchmasset das Meer mit _meisternden_ H�nden
+  Auf wogenden Wegen, w�hrend der Wirbelsturm
+  Rast' in den Well'n, und _ihr rangt mit_ dem Wasser
+  Durch sieben N�chte. Der Sieger im Neidspiel
+  Zeigte sich m�cht'ger; zur Zeit des Morgens                     20
+  Riss zu den Haduraumen die Flut ihn;
+  ins eigene Erbe enteilt' er von dort,
+  Zum Lande der Brandinge, lieb seinen _Mannen_,
+  Zur bergenden Burg. Da gebot er dem Volke
+  _Schlossreich und schatzreich_. Wie geschworen, so hielt        25
+  Sein Versprechen dir redlich der Spr�ssling des _Bonstein_.'
+
+
+_Criticism of the Translation._
+
+Von Wolzogen's translation is hardly trustworthy. A�specimen of his free
+interpretation of the _Beowulf_ diction may be seen in the footnote on
+page 13, where he defines _horng[-e]ap_ (i.e. 'with wide intervals
+between its pinnacles of horn') as 'hornreich,' and translates
+_hornreced_, 'Hornburg.' Inaccurate renderings of the Old English have
+been noted above in italics. They reveal an especial difficulty with the
+kenning, a�device which von Wolzogen apparently did not understand,
+since the entire translation shows an attempt to interpret the kenning
+hypotactically. Had the translator been making a paraphrase,
+inaccuracies like 'muthige Meerfahrt' and 'ihr rangt mit dem Wasser'
+might be excused; but in a translation which was avowedly literal (more
+literal than Heyne's) they appear to be due to nothing less than
+ignorance and carelessness. To give one example from the thousand that
+bear out the truth of this statement, we may cite line 561 (p.�27),
+
+        _Ic him �[-e]node
+  deoran sweorde   sw[-a] hit ged[-e]fe w�s._
+
+which is translated,
+
+            dawider doch diente
+  Mein treffliches Schwert, das treu mir beistand. (p.�27.)
+
+This is not paraphrase; it is sheer misapprehension of the Old English.
+
+A similar misapprehension is seen in line 15 of the extract,
+
+  Mit Bitten und Warnen,
+
+which we are asked to accept as a translation for
+
+  ne l[-e]of n[-e] l[-a]�. (l. 511.)
+
+The verse of von Wolzogen's translation is the poorest of the German
+attempts at imitative measures. The translator is obliged at times to
+append footnotes explaining the scansion of his lines (see pp. 33, 34,
+65, 91). The cesura is frequently not in evidence (cf. lines 14 and 22,
+both of which are also metrically incorrect); the lines are often
+deficient in length (p.�29, line 26; p.�31, line 19; p.�32, line�19).
+
+    [Footnote 1: See supra, p. 55.]  [[Grein]]
+
+    [Footnote 2: See Vorbemerkung, p. 3.]
+
+    [Footnote 3: The italics, save those used for proper names
+    (which are von Wolzogen's), indicate inaccurate renderings.]
+
+
+
+
+ARNOLD'S EDITION
+
+
+Beowulf, a�heroic poem of the eighth century, with a translation, notes,
+and appendix, by Thomas Arnold, M.A. London: Longmans, Green & Co.,
+1876. 8vo, pp. xliii, 223.
+
+Fourth English Translation. Prose.
+
+
+_Circumstances of Publication._
+
+No edition of the text of _Beowulf_ had appeared in England since the
+work of Thorpe[1], now twenty years old. The textual criticism of the
+Germans had, meanwhile, greatly advanced the interpretation of the poem.
+Grein's text of the poem had passed into a second, and Heyne's into a
+third, edition. There was an opportunity, therefore, for an improved
+English edition which should incorporate the results of German
+scholarship. This edition Mr. Thomas Arnold (1823-1900) undertook to
+supply.
+
+
+_Relation of the Parts._
+
+The Introduction contained a new theory of the origin of the poem[2].
+But the important part of the book was the text and translation. There
+is no glossary[3]. The notes are at the bottom of the page. Here
+glossarial, textual, and literary information is bundled together. There
+is a very inadequate bibliography in the Introduction.
+
+
+_Nature of the Translation._
+
+The translation is a literal prose version, printed under the text. It
+resembles Kemble's work[4], rather than Thorpe's[5]. It eschews unwieldy
+compounds, and makes no attempt to acquire an archaic flavor. Supplied
+words are bracketed.
+
+
+_Criticism of the Text._
+
+Arnold had access to the MS., and gave the most thorough description of
+it that had yet appeared. But, strangely enough, he did not make it the
+basis of his edition. He speaks of a 'partial collation' of the�MS., but
+this appears to have been nothing more than a transcription of certain
+fragmentary parts of the MS. One of these passages is printed in the
+Introduction, where it is referred to as an 'exact transcript'; yet, in
+collating it with the Zupitza _Autotypes_, I�have found the following
+errors:--
+
+  Line 2219[6], �eowes _for_ �eofes.
+       2220, biorn _for_ beorna.
+       2211, geweoldum _for_ ge weoldum.
+       2223, b�_for_ �.
+       2225, wea ... _for_ weal ...
+       2226, inwlitode, inwatode _for_ mwatide.
+
+Of course the faded condition of the MS. offers some excuse for one or
+two of these errors, but, if we encounter mistakes in a short transcript
+professedly exact, what would have been the fate of the text had the
+entire MS. been collated?
+
+Professor Garnett[7] has noted that Arnold's text was taken from
+Thorpe's, with some changes to suit the 1857 text of Grein. In order to
+test the accuracy of these statements I have made a collation of the
+texts of Arnold, Thorpe, and the MS. The list of errors in Thorpe's
+text, which I have mentioned in a discussion of that work[8], is
+repeated bodily in Arnold's. Yet there was no excuse at this time for
+the retention of many of these readings. Grundtvig[9] had corrected
+several of them as early as 1861 by his collation of the Thorkelin
+transcripts[10]; Heyne had got rid of them by collating Thorpe's work
+with Kemble's[11] and Grundtvig's. Arnold makes almost no reference to
+the work of Heyne, and incorporates none of his emendations. He also
+overlooked Grein's 1867 text, which contained new readings and a
+glossary. Arnold himself did not emend the text in a single instance.
+
+
+EXTRACT.
+
+  VIII.
+
+  Hunferth spake, the son of Ecglaf, who sat at the feet of the
+  master of the Scyldings; he unbound the secret counsel of his
+  malice. The expedition of Beowulf, the valiant mariner, was to him
+  a great cause of offence; for that he allowed not that any other
+  man on the earth should ever appropriate more deeds of fame under
+  heaven than he himself. 'Art thou that Beowulf who strove against
+  Breca in a swimming-match on the broad sea? where ye two for
+  emulation explored the waves, and for foolish boasting ventured
+  your lives in the deep water. Nor could any man, either friend or
+  foe, warn you off from your perilous adventure. Then ye two rowed
+  on the sea, where with your arms [outspread] ye covered the
+  ocean-stream, measured the sea-ways, churned up [the water] with
+  your hands, glided over the deep; the sea was tossing with waves,
+  the icy wintry sea. Ye two toiled for seven nights in the watery
+  realm; he overcame thee in the match, he had more strength. Then,
+  at dawn of morn, the sea cast him up on [the coast of] the
+  Heathoreamas; thence he, dear in the sight of his people, sought
+  his loved native soil, the land of the Brondings, the fair safe
+  burgh where he was the owner of folk, burgh, and precious jewels.'
+  --Pages 37,�38.
+
+
+_Criticism of the Translation._
+
+The translation is literal, and its value is therefore in direct ratio
+to the value of the text, which has been discussed above.
+
+    [Footnote 1: See supra, p. 49.]  [[Thorpe]]
+
+    [Footnote 2: A�theory which the author continued to regard as
+    partially tenable. See _Notes on Beowulf_ (London, 1898), p.�114.]
+
+    [Footnote 3: Contrast this with the editions of Heyne. See p.�64.]
+
+    [Footnote 4: See supra, p. 33.]  [[Kemble]]
+
+    [Footnote 5: See supra, p. 49.]  [[Thorpe]]
+
+    [Footnote 6: The numbers are those of Wyatt's text; for Zupitza's
+    and Arnold's add�1.]
+
+    [Footnote 7: See _Amer. Journal of Philol._ I. 1.�90.]
+
+    [Footnote 8: See supra, p. 51.]  [[Thorpe: Criticism...]]
+
+    [Footnote 9: See _Beowulfs Beorh_, and p.�22.]
+
+    [Footnote 10: See supra, p. 15.]  [[Thorkelin]]
+
+    [Footnote 11: See supra, p. 33.]  [[Kemble]]
+
+
+
+
+BOTKINE'S TRANSLATION
+
+
+Beowulf, �pop�e Anglo-Saxonne. Traduite en fran�ais, pour la premi�re
+fois, d'apr�s le texte original par L. Botkine, Membre de la Soci�t�
+Nationale havraise d'�tudes diverses. Havre: Lepelletier, 1877. 8vo, pp.
+108.
+
+First French Translation. Prose.
+
+
+_Old English Studies in France._
+
+The only attention that _Beowulf_ had received in France prior to this
+time was in the work of Sandras, _De Carminibus C�dmoni adiudicatis_[1].
+Other scholars, if they devoted themselves to English at all, studied
+chiefly the later periods of the literature[2]. In 1867 the author of
+the article on _Beowulf_ in Larousse's Dictionary could say, 'Le po�me
+n'est pas connu en France.' In 1876 Botkine published a historical and
+critical analysis of the poem[3]. This was the first scholarly attention
+that the poem received in France. In the following year Botkine's
+translation appeared.
+
+France has added nothing to our knowledge of _Beowulf_; there has never
+been another translation, nor even a reprint of Botkine's. There has
+been no further scholarly work done on the poem; and the principal
+literary notices of it, such as Taine's and Jusserand's, have been
+notoriously unsympathetic. The genius of Old English poetry is at the
+furthest possible remove from that of the French.
+
+
+_Aim of the Translation._
+
+It will be made evident in the section that follows on the nature of
+Botkine's translation that his work could never have been intended for
+scholars. Had it been so intended, the translator would have rendered
+more literally. His introduction[4] proves that the book was addressed
+to the general reader rather than the student of Old English.
+
+The Introduction deals with the nature of Old English poetry, and makes
+historical and critical remarks on the _Beowulf_. There are occasional
+notes explanatory of the text.
+
+In his critical work the author is chiefly indebted to Grein[5] and
+Heyne[6].
+
+
+_Nature of the Translation._
+
+The translation, which is in prose, is characterized, as the author
+himself admits, by extreme freedom and occasional omission of words and
+phrases. The author's defence of these may be given here:--
+
+  'Je crois devoir me disculper, en pr�sentant cette premi�re
+  traduction fran�aise de Beowulf, du double reproche qui pourrait
+  m'�tre adress� d'avoir supprim� des passages du po�me et de n'en
+  avoir pas suffisamment respect� la lettre. D'abord je dois dire
+  que les passages que j'ai supprim�s (il y en a fort peu) sont ou
+  tr�s obscurs ou d'une superfluit� choquante. Ensuite, il m'a
+  sembl� qu'en donnant une certaine libert� � ma traduction et en
+  �vitant autant que possible d'y mettre les redites et les
+  p�riphrases de l'original anglo-saxon, je la rendrais meilleure et
+  plus conforme � l'esprit v�ritable de l'oeuvre. Est-ce sacrifier du
+  reste la fid�lit� d'une traduction que d'�pargner au public la
+  lecture de d�tails le plus souvent bizarres et inintelligibles?
+  N'est-il pas plus logique d'en finir de suite avec des artifices
+  po�tiques inconnus � nos litt�ratures modernes, plut�t que de
+  vouloir s'escrimer en vain � les reproduire en fran�ais? Et alors
+  m�me qu'on poursuivrait jusqu'au bout une t�che si ingrate,
+  pourrait-on se flatter en fin de compte d'avoir conserv� au po�me
+  son cachet si indiscutable d'originalit�? Non certes.'
+  --Avertissement, p.�3.
+
+  'Il ne faut pas oublier que, la langue fran�aise diff�rant
+  compl�tement par ses racines de l'anglo-saxon, il ne m'a pas �t�
+  permis d'�luder les difficult�s de l'original comme on a pu le
+  faire parfois en anglais et en allemand.' --Note, p.�4.
+
+It has been customary, in speaking of the work of M. Botkine, to call
+attention to the numerous omissions. This is misleading. The passages
+which the translator has omitted are not the obscure episodes or the
+long digressions, but the metaphors, the parenthetical phrases, and
+especially kennings and similar appositives.
+
+For example, the original has:--
+
+  �[-�]r �t h[-y]�e st[-o]d hringed-stefna
+  [-i]sig ond [-u]t-f[-u]s. (l.�32 f.)
+
+which Botkine renders:--
+
+  Dans la porte se trouvait une barque bien �quip�e. (p.�29.)
+
+The principal passages which Botkine omits entirely are: 1002b-1008a;
+1057b-1062; 1263-1276; 1679-1686.
+
+
+_Text Used._
+
+The author seems to have been well acquainted with the scholarly work
+done on _Beowulf_ up to his time. He mentions in his Notes the
+interpretations of Grein, Grundtvig[7], Ettm�ller[8], Thorpe[9], and
+Kemble[10]. He appears to follow, in general, the text of Heyne, not,
+however, invariably.
+
+
+EXTRACT.
+
+  IX.
+
+  Hunferth, fils d'Ecglaf, qui �tait assis aux pieds du prince des
+  Scyldingas, parla ainsi (l'exp�dition de Beowulf[11] le
+  remplissait de chagrin, parce qu'il ne voulait pas convenir
+  qu'aucun homme[12] e�t plus de gloire[13] que lui-m�me):
+
+  'N'es-tu pas le Beowulf qui essaya ses forces � la nage sur la mer
+  immense avec Breca quand, par bravade, vous avez tent� les flots
+  et que vous avez follement hasard� votre vie dans l'eau profonde?
+  Aucun homme, qu'il f�t ami ou ennemi, ne put vous emp�cher
+  d'entreprendre ce triste voyage.--Vous avez nag� alors sur la
+  mer[14], vous avez suivi les sentiers de l'oc�an. L'hiver agitait
+  les vagues[15]. Vous �tes rest�s en d�tresse pendant sept nuits
+  sous la puissance des flots, mais il t'a vaincu dans la jo�te
+  parce qu'il avait plus de force que toi. Le matin, le flot le
+  porta sur Heatho-r�mas et il alla visiter sa ch�re patrie[16] le
+  pays des Brondingas, o� il poss�dait le peuple, une ville et des
+  tr�sors. Le fils de Beanstan accomplit enti�rement la promesse
+  qu'il t'avait faite.'
+
+
+_Criticism of the Extract and Translation._
+
+If the translation is compared with the text, the reader will be struck
+by the characteristic beauty of the words omitted. We may agree with the
+translator regarding the difficulty of rendering compound and kenning
+into French, and yet the very absence of an attempt to do this
+jeopardizes the value of the translation more than the omission of many
+episodes, for it brings it dangerously near to paraphrase. 'Vous avez
+nag� alors sur la mer, vous avez suivi les sentiers de l'oc�an,' cannot
+possibly be called a translation�of--
+
+                  �[-a] git on sund r[-e]on;
+  �[-�]r git [-e]agor-str[-e]am    earmum �ehton,
+  m[-�]ton mere-str[-�]ta, mundum brugdon,
+  glidon ofer g[-a]r-secg.
+
+ll. 512, ff.
+
+A part of the story has been thrown away with the adjectives. The force
+and beauty of the passage are gone.
+
+But there is another danger in this paraphrastic method. In omitting
+words and phrases, the translator will often misinterpret his original.
+This is especially true of Botkine's work in the obscure episodes where
+he wishes to make the meaning perfectly clear. In attempting to simplify
+the Old English, he departs from the original sense. Instances of this
+may be brought forward from the Finn episode:
+
+                      Folcwaldan sunu
+  d[-o]gra gehwylce Dene weor�ode,
+  Hengestes h[-e]ap hringum wenede,
+  efne sw[-a] sw[-i]�e sinc-gestr[-e]onum
+  f[-�]ttan goldes, sw[-a] h[-e] Fr[-e]sena cyn
+  on b[-e]or-sele byldan wolde.
+
+ll. 1089 ff.
+
+The idea is misinterpreted in Botkine's--
+
+  Le fils de Folcwalda (stipulait qu'il) leur ferait chaque jour une
+  distribution de tr�sors. (p.�50.)
+
+Again, at line 1117 it is said of the lady--
+
+  earme on eaxle    ides gnornode,
+
+meaning that the lady stood by the body (shoulder) of the corpse as it
+lay on the pyre. Botkine makes of this--
+
+  'Elle poussait des lamentations en s'appuyant sur le bras de son
+  fils.' (p.�50.)
+
+The rendering is not without its amusing features, chiefly illustrations
+of the inability of the French language to accommodate itself to
+typically Germanic expressions. Thus when Hrothgar says what is the
+equivalent of 'Thanks be to God for this blessed sight,' Botkine puts
+into his mouth the words: 'Que le Tout-Puissant re�oive mes profonds
+remerc�ments pour ce spectacle!'--which might have been taken from a
+diplomatic note.
+
+    [Footnote 1: See infra, p. 123.]  [[Sandras]]
+
+    [Footnote 2: Save Michel. An account of his work may be found in
+    W�lker's _Grundriss_, ��102.]
+
+    [Footnote 3: _Analyse historique et g�ographique._ Paris, Leroux,
+    1876.]
+
+    [Footnote 4: p. 4.]
+
+    [Footnote 5: See supra, p. 55.]  [[Grein]]
+
+    [Footnote 6: See supra, p. 63.]  [[Heyne]]
+
+    [Footnote 7: See supra, p. 22.]  [[Gruntvig]]
+
+    [Footnote 8: See supra, p. 37.]  [[Ettm�ller]]
+
+    [Footnote 9: See supra, p. 49.]  [[Thorpe]]
+
+    [Footnote 10: See supra, p. 33.]  [[Kemble]]
+
+    [Footnote 11: Omits m[-o]dges mere-faran.]
+
+    [Footnote 12: Omits middan-geardes.]
+
+    [Footnote 13: Omits under heofonum.]
+
+    [Footnote 14: Omits lines 513-515a.]
+
+    [Footnote 15: Omits wintrys wylum.]
+
+    [Footnote 16: Omits l[-e]of his l[-e]odum.]
+
+
+
+
+LUMSDEN'S TRANSLATION
+
+
+Beowulf, an Old English Poem, translated into Modern Rhymes, by
+Lieut.-Colonel H. W. Lumsden[1]. London: C. Kegan Paul & Co., 1881.
+8vo, pp. xx, 114.
+
+Beowulf, an Old English Poem, translated into Modern Rhymes, by
+Lieut.-Colonel H. W. Lumsden, late Royal Artillery. Second edition,
+revised and corrected. London: Kegan Paul, Trench and Co., 1883. 8vo,
+pp. xxx, 179.
+
+Fifth English Translation. Ballad Measures.
+
+
+_Differences between the two Editions, and Indebtedness to Preceding
+Scholars._
+
+In the first edition of the translation a number of passages were
+omitted. Some of these omissions were owing to corrupt text, some to
+extreme obscurity of the original, and some merely to the fact that the
+original was deemed uninteresting. The principal omissions were: 83-86;
+767-770; 1724-1758; 1931-1963; 2061-2062; 2214-2231; 2475; 2930-2932;
+3150-3156. These passages were inserted in the second edition.
+
+  'In this edition I have endeavoured to remove some of the blunders
+  which disfigured its predecessor.... Some parts have been entirely
+  rewritten, and the passages formerly omitted ... have been
+  inserted.... A�few notes have been added; and the introduction has
+  been materially altered and, I�hope, improved.' --Preface to the
+  Second Edition, p.�v.
+
+
+_Aim and Nature of the Translation._
+
+Lumsden's desire was to produce a readable version of the poem. Thus his
+work resembles that of Wackerbarth[2]; and, like Wackerbarth, he couched
+his translation in ballad measures. Lumsden does not vary his measure,
+but preserves the iambic heptameter throughout. His lines rime in
+couplets.
+
+No attempt is made to preserve alliteration or archaic diction.
+
+The Introduction and Notes contain popular expositions of the work of
+preceding scholars. Several of the Notes are original and well worth
+while (see Notes A, C, G,�M).
+
+
+_Texts Used._
+
+The translation is based on Grein's text of 1857[3] and Arnold's text
+(1876)[4]. Garnett has shown[5] that Lumsden ignored the 1867 text of
+Grein and the editions of Heyne. These defects were remedied to some
+extent in the second edition. Lumsden himself never emends the text.
+
+
+EXTRACT[6].
+
+  IV. HUNFERD AND BEOWULF.
+
+  Hunferd the son of Ecglaf spoke--at Hrothgar's feet sat�he--
+  And thus let loose his secret grudge;
+        (for much did him displease
+  The coming of Beowulf now--bold sailor o'er the seas.
+  To none on earth would he allow a greater fame 'mong men
+  Beneath the heavens than his): 'Art thou the same Beowulf then,
+  Who swam a match with Breca once upon the waters wide,
+  When ye vainglorious searched the waves,
+        and risked your lives for pride
+  Upon the deep? Nor hinder you could any friend or foe
+  From that sad venture. Then ye twain did on the waters row;
+  Ye stretched your arms upon the flood;
+        the sea-ways ye did mete;                                   10
+  O'er billows glided--with your hands them tossed--though
+        fiercely beat
+  The rolling tides and wintry waves! Seven nights long toil�d ye
+  In waters' might; but Breca won--he stronger was than thee!
+  And to the Hathor�ms at morn washed shoreward by the flood,
+  Thence his loved native land he sought--the Brondings'
+        country good,
+  And stronghold fair, where he was lord of folk and burg
+        and rings.
+  Right well 'gainst thee his vaunt he kept.
+
+
+_Criticism of the Translation._
+
+The extract illustrates the paraphrastic nature of parts of the
+translation. Lumsden frequently seems to feel it necessary to read a
+meaning into the obscure lines and passages that do not easily lend
+themselves to translation; cf. lines 11, 12. At line 2258 Lumsden
+translates:--
+
+                                The mail that bite of sword
+  O'er clashing shield in fight withstood must follow its dead lord.
+  Never again shall corselet ring as help the warriors bear
+  To comrades far.
+
+The Old English from which this passage is taken reads:--
+
+  ge swylce s[-e]o here-p[-a]d,  s[-i]o �t hilde geb[-a]d
+  ofer borda gebr�c    bite [-i]rena,
+  brosna� �fter beorne;    ne m�g byrnan hring      2260
+  �fter w[-i]g-fruman    w[-i]de f[-e]ran
+  h�le�um be healfe.
+
+The passage is certainly obscure, and the readings are not all
+undoubted, but the words can never be tortured into meaning what Lumsden
+tries to make them mean.
+
+But it would be manifestly unfair to judge a translation addressed to
+the general reader merely by scholarly tests. The work must make its
+appeal as a literary rendering.
+
+The propriety of adopting a ballad measure may be questioned. Probably
+no measure could be found more unlike the Old English lines. Moreover,
+by reason of its long association with purely popular poetry, it
+constantly suggests the commonplace and the trivial. But above all, it
+is reminiscent of a medievalism wholly different from that of _Beowulf_.
+
+The saving grace of the ballad measure is its readableness. It is rather
+effective in passages not too dignified, calling for action. But in
+passages of elevation the line is found wanting:--
+
+  They mourned their king and chanted dirge,
+        and much of him they said;
+  His worthiness they praised,
+        and judged his deeds with tender dread.
+
+But, like Wackerbarth's, Lumsden's translation had the advantage of
+being readable.
+
+    [Footnote 1: Col. Lumsden's translation of the Battle of Maldon,
+    _Macmillan's Magazine_, 55: 371, has been generally admired.]
+
+    [Footnote 2: See supra, p. 45.]  [[Wackerbarth]]
+
+    [Footnote 3: See supra, p. 56.]  [[Grein's Texts]]
+
+    [Footnote 4: See supra, p. 72.]  [[Arnold: Criticism...]]
+
+    [Footnote 5: See _American Journal of Philology_, ii. p.�355.]
+
+    [Footnote 6: From the second edition.]
+
+
+
+
+GARNETT'S TRANSLATION
+
+
+Beowulf: An Anglo-Saxon Poem, and the Fight at Finnsburg, translated by
+James M. Garnett, M.A., LL.D., Boston, U.S.A.: published by Ginn, Heath,
+& Co., 1882. 8vo, pp. xl, 107.
+
+Second Edition, Ginn, Heath, & Co., 1885. 8vo, pp. xlvi, 110.
+
+Third Edition, Ginn & Co., 1892. Reprinted 1899. 8vo, pp. liii, 110.
+
+Fourth Edition, 1900.
+
+Sixth English Translation. Imitative Measures.
+
+
+_Differences between the Editions._
+
+In the second edition the translation was collated with the Grein-W�lker
+text, and wherever necessary, with the Zupitza _Autotypes_. Additions
+were made to the bibliography:--
+
+  'I have revised certain passages with a view to greater accuracy,
+  but I have not changed the plan of the work, for that would have
+  necessitated the re-writing of the whole translation.' --Preface
+  to the second edition.
+
+The third and fourth editions are simple reprints, with some additions
+to the bibliography.
+
+
+_Circumstances of Publication._
+
+As has been pointed out above in the sections on Arnold[1] and
+Lumsden[2], no satisfactory literal translation of _Beowulf_ existed in
+English. Furthermore, an American translation had never appeared. It was
+with a view to presenting the latest German interpretations of the poem
+that Garnett prepared his literal version of the poem. The original
+draft of the translation was made at St. John's College, Md., in the
+session of 1878-79.--Preface to first edition.
+
+
+_Texts Used._
+
+The translation is based on Grein's text of 1867. Notes are added
+showing the variants from Heyne's text of 1879. In the second edition
+notes are added showing the variants from the Grein-W�lker text of 1883.
+
+
+_Method of Translation._
+
+The translation is intended for 'the general reader' and for the 'aid of
+students of the poem.' --Preface to second edition.
+
+The translation is a literal line-for-line version. Of this feature of
+his work Professor Garnett says:--
+
+  'This involves naturally much inversion and occasional obscurity,
+  and lacks smoothness; but it seemed to me to give the general
+  reader a better idea of the poem than a mere prose translation
+  would do, in addition to the advantage of literalness. While it
+  would have been easy, by means of periphrasis and freer
+  translation, to mend some of the defects chargeable to the
+  line-for-line form, the translation would have lacked literalness,
+  which I regarded as the most important object.' --Preface to the
+  first edition.
+
+
+_Nature of the Verse-form._
+
+  'In respect to the rhythmical form, I�have endeavored to preserve
+  two accents to each half-line, with c�sura, and while not seeking
+  alliteration, have employed it purposely wherever it readily
+  presented itself. I�considered that it mattered little whether the
+  feet were iambi or trochees, anap�sts or dactyls, the preservation
+  of the two accents being the main point, and have freely made use
+  of all the usual licences in Early English verse.... To attain
+  this point I have sometimes found it necessary to place unemphatic
+  words in accented positions, and words usually accented in
+  unaccented ones, which licence can also be found in Early English
+  verse.... While the reader of modern English verse may sometimes
+  be offended by the ruggedness of the rhythm, it is hoped that the
+  Anglo-Saxon scholar will make allowances for the difficulty of
+  reproducing, even approximately, the rhythm of the original. The
+  reproduction of the sense as closely as possible had to be kept
+  constantly in view, even to the detriment of the smoothness of the
+  rhythm.' --Preface to the first edition.
+
+
+EXTRACT.
+
+  III.
+
+  Hunferth's taunt. The swimming-match with Breca. Joy in Heorot.
+
+  IX. Hunferth then spoke, the son of Ecglaf,
+  Who at the feet sat of the lord of the Scyldings,          500
+  Unloosed his war-secret (was the coming of Beowulf,
+  The proud sea-farer, to him mickle grief,
+  For that he granted not that any man else
+  Ever more honor of this mid-earth
+  Should gain under heavens than he himself):                505
+  'Art thou that Beowulf who strove with Breca
+  On the broad sea in swimming-match,
+  When ye two for pride the billows tried
+  And for vain boasting in the deep water
+  Risk�d your lives. You two no man,                         510
+  Nor friend nor foe, might then dissuade
+  From sorrowful venture, when ye on the sea swam,
+  When ye the sea-waves with your arms covered,
+  Measured the sea-ways, struck with your hands,
+  Glided o'er ocean; with its great billows                  515
+  Welled up winter's flood. In the power of the waters
+  Ye seven nights strove: he in swimming thee conquered,
+  He had greater might. Then him in the morning
+  On the Heathoremes' land the ocean bore up,
+  Whence he did seek his pleasant home,                      520
+  Dear to his people, the land of the Brondings
+  His fair strong city, where he had people,
+  A city and rings. All his boast against thee
+  The son of Beanstan truly fulfilled.'
+
+
+_Criticism of the Translation._
+
+The translation, in its revised form, is throughout a faithful version
+of the original text. The fault of Garnett's translation is the fault of
+all merely literal translations--inadequacy to render fully the content
+of the original. The rendering may be word for word, but it will not be
+idea for idea. Examples of this inadequacy may be given from the printed
+extract. 'Grief' in line 502 is a very insufficient rendering of
+_�f-�unca_, a�unique word which suggests at once vexation,
+mortification, and jealousy. Had the poet simply meant to express the
+notion of _grief_, he would have used _sorh_, _cearu_, or some other
+common word. In line 508 'pride' hardly gives full expression to the
+idea of _wlence,_ which signifies not only _pride_, but _vain pride, of
+empty end_. In line 517 'conquered' is insufficient as a translation of
+_oferfl[-a]t_, which means to _overcome in swimming, to outswim_.
+
+Examples of this sort can be brought forward from any part of the poem.
+At line 2544 Garnett translates--
+
+  Struggles of battle when warriors contended,
+
+a translation of--
+
+  G[-u]�a ... �onne hnitan f[-e]�an
+
+Here 'hnitan f[-e]�an' refers to the swift clash in battle of two armed
+hosts, a�notion which is ill borne out by the distributive 'warriors'
+and the vague 'contended.'
+
+At line 2598 we find--
+
+  they to wood went
+
+for
+
+  h[-y] on holt bugon,
+
+which, whatever be the meaning of 'bugon,' is surely a misleading
+translation.
+
+The nature of the verse has been sufficiently illustrated by the
+quotations from the author's preface. It would seem from the way in
+which the measure is used that it was a kind of second thought, incident
+upon the use of a line-for-line translation. It is hard to read the
+lines as anything but prose, and, if they appeared in any other form
+upon the page, it is to be questioned whether any one would have guessed
+that they were intended to be imitative.
+
+
+_Reception of Garnett's Translation._
+
+Garnett's volume had a flattering reception. The book received long and
+respectful reviews from the Germans. Professor Child and Henry Sweet
+expressed their approbation. The book has passed through four editions.
+This cordial welcome has been due in large measure to the increasing
+attention given the poem in American colleges and secondary schools.
+Being strictly literal, the book has been of value as a means of
+interpreting the poem.
+
+    [Footnote 1: See supra, p. 71.]  [[Arnold]]
+
+    [Footnote 2: See supra, p. 79.]  [[Lumsden]]
+
+
+
+
+GRION'S TRANSLATION
+
+
+Beovulf, poema epico anglosassone del vii secolo, tradotto e illustrato
+dal Dott. Cav. Giusto Grion, Socio Ordinario.
+
+_In_ Atti della Reale Accademia Lucchese di Scienze, Lettere ed Arti.
+Tomo XXII. Lucca: Tipografia Giusti, 1883. 8vo, pp. 197-379.
+
+First Italian Translation. Imitative Measures.
+
+
+_Contents._
+
+Full discussions of (1)�Mito; (2) Storia; (3)�Letteratura. The latter is
+a fairly complete bibliography of what had been done on _Beowulf_ up to
+this time.
+
+
+_Author's Preliminary Remarks._
+
+  'Il poema consiste di 3183 versi fra cui alcuni in frammenti che
+  noi abbiamo cercato di completare senza alterare lettera del
+  testo. Una mano recente lo ha diviso in 43 canti, detti in ags.
+  fitte; ne notiamo il numero anche nella versione. I�versi che il
+  M�llenhoff reputa interpolati, sono disposti in linee rientranti;
+  quelli attributi ad A portano di pi� questa lettera nella versione
+  nostra interlineare, che segue la parola del testo in maniera da
+  mantenervi anche la sintassi, e�s� che nessuna parola d'un verso
+  prenda posto in un' altra riga. Le parentesi quadre [�] segnano
+  nel testo riempiture di lacune. Nella versione sono queste segnate
+  per lettere corsive.' --Prefazione, p.�251.
+
+
+_Texts Used._
+
+The translator makes use of all the texts and commentaries that had
+appeared up to his time, and even goes so far as to emend the text for
+himself (cf. lines 65, 665, 1107, 2561, 3150).
+
+The Notes are rather full. They are sometimes merely explanatory;
+sometimes there are discussions of the MS. readings, of proposed
+emendations, of history, myth, &c.
+
+
+_Method of Translation._
+
+The translation is literal; the medium an imitative measure of four
+principal stresses, varied occasionally by the expanded line. The
+diction is simple.
+
+
+EXTRACT.
+
+  VIII.
+
+  Hunferd disse, il nato di Eclaf,
+  che a' piedi sedea del prence de' Schildinghi,             500
+  sbrigli� accenti di contesta--eragli la gita di Be�vulf,
+  del coraggioso navigatore, molto a fastidio,
+  perch� non amava, che un altro uomo
+  vieppi� di gloria nell' orbe di mezzo
+  avesse sotto il cielo che lui stesso--:                    505
+  'Sei tu quel Be�vulf, che con Breca nuot�
+  nel vasto pelago per gara marina,
+  quando voi per baldanza l'acque provaste,
+  e per pazzo vanto nel profondo sale
+  la vita arrischiaste? n� voi uomo alcuno,                  510
+  n� caro n� discaro, distorre pot�
+  dalla penosa andata, quando remigaste nell' alto,
+  la corrente dell' oceano colle braccia coprendo
+  misuraste le strade del mare, colle mani batteste,
+  e scivolaste sopra l'astato. Nelle onde del ghebbo         515
+  vagavano i cavalloni d'inverno:
+          voi nel tenere dell' acqua
+  sette notti appen�stevi. Egli nel nuoto ti super�,
+  ebbe pi� forza. E�al tempo mattutino lo
+  port� suso il flutto verso la marittima Ramia
+  donde ei cerc� la dolce patria,                            520
+  cara a sue genti, la terra dei Brondinghi,
+  il vago castel tranquillo, ov' egli popolo avea,
+  rocche e gioie. Il vanto intero contro te
+  il figlio di Beanstan in verit� mantenne.'
+
+
+_Criticism of the Translation._
+
+The present writer cannot attempt a literary criticism of the
+translation.
+
+In purpose and method this version may be compared with that of
+Kemble[1] and of Schaldemose[2]. In each case the translator was
+introducing the poem to a foreign public, and it was therefore well that
+the translation should be literal in order that it might assist in the
+interpretation of the original. There has been no further work done on
+the poem in Italy[3].
+
+While the verse is not strictly imitative in the sense that it preserves
+exactly the Old English system of versification, it aims to maintain the
+general movement of the original lines. The four stresses are kept, save
+where a fifth is used to avoid monotony. These 'expanded lines' are much
+commoner in the Italian than in the Old English.
+
+    [Footnote 1: See supra, p. 33.]  [[Kemble]]
+
+    [Footnote 2: See supra, p. 41.]  [[Schaldemose]]
+
+    [Footnote 3: Of a work by G. Schuhmann, mentioned by W�lker
+    in his _Grundriss_, ��209, I�can ascertain nothing.]
+
+
+
+
+WICKBERG'S TRANSLATION
+
+
+Beowulf, en fornengelsk hjeltedikt, �fversatt af Rudolf Wickberg.
+Westervik, C. O. Ekblad & Comp., 1889. 4to, pp. 48, double columns.
+
+First Swedish Translation. Imitative Measures.
+
+
+_Aim of the Volume._
+
+The translator begins his introduction with a discussion of the
+importance of _Beowulf_ as a historical document. For this reason he is
+especially interested in the episodes:--
+
+  'This important historical interest may then explain the reason
+  for translating the poem into Swedish, and also serve as an excuse
+  for the fact that in the translation the poetic form has not been
+  considered of first importance.' --Inledning, p.�3.
+
+
+_Nature of the Translation._
+
+  'In the translation I have endeavored to make the language
+  readable and modern. A�translation out of an ancient tongue ought
+  never to strive after archaic flavor in point of words and
+  expressions. Since the poet wrote in the language of his day, the
+  translation ought also to use contemporary language.... I�have
+  tried to follow the original faithfully, but not slavishly. For
+  the sake of clearness the half-lines have often been
+  transposed.... The rhythm is still more irregular than the Old
+  English. Alliteration has generally been avoided.' --Inledning,
+  p.�6.
+
+
+_Texts Used._
+
+The author constructs his own text. He explains (p.�6) that he has in
+general taken the MS. as the basis of his text. He has emended by making
+those changes which 'seemed most necessary or most probable.' In places
+where this departure from the MS. has been made, he italicizes the words
+of his translation.
+
+
+EXTRACT.
+
+  8.
+
+  Ecglafs son Hunfer� talade;
+  Vid Scyldingafurstens f�tter satt han,
+  L�ste stridsrunan--den modige sj�faranden
+  Beovulfs resa f�rtr�t honom mycket,
+  F�rty han unnade ej, att n�gon annan man
+  Under himlen skulle n�gonsin vinna
+  St�rre �ra p� jorden �n han sjelf--:
+  '�r du den Beovulf, som m�tte sig med Breca
+  I kappsimning �fver det vida hafvet,
+  Der I �fvermodigt pr�fvaden v�gorna
+  Och f�r djerft skryt v�gaden lifvet
+  I det djupa vattnet? Ej kunde n�gon man,
+  Ljuf eller led, f�rm� eder att afst�
+  Fr�n den sorgfulla f�rden. Sedan summen I i hafvet,
+  Der I med armarna famnaden hafsstr�mmen,
+  M�tten hafsv�gorna, sv�ngden h�nderna,
+  Gleden �fver hafsytan; vintersvallet
+  Sj�d i v�gorna. I�str�fvaden sju n�tter
+  I hafvets v�ld; han �fvervann dig i simning,
+  Hade st�rre styrka. Sedan vid morgontiden
+  Bar hafvet upp honom till de krigiska r�merna.
+  Derifr�n upps�kte han, dyr f�r de sina,
+  Sitt k�ra odal i brondingarnes land,
+  Den fagra fridsborgen, der han hade folk,
+  Berg och ringar. Hela sitt vad med dig
+  Fullgjorde noga Beanstans son.'
+
+
+
+
+EARLE'S TRANSLATION
+
+
+The Deeds of Beowulf, an English Epic of the Eighth Century, done into
+Modern Prose, with an Introduction and Notes by John Earle, M.A., rector
+of Swanswick, Rawlinsonian Professor of Anglo-Saxon in the University of
+Oxford. At the Clarendon Press, 1892 (February). 8vo, pp. c, 203.
+
+Seventh English Translation. Prose.
+
+
+_Circumstances of Publication._
+
+Sixteen years had elapsed since the publication of a scholarly
+translation in England--for Lumsden's[1] can hardly be said to count as
+such. In the meantime Heyne's text[2] had passed into a fifth edition
+(1888); W�lker's revision of Grein's _Bibliothek_ had appeared with a
+new text of _Beowulf_ (1881); Zupitza's _Autotypes_ of the MS. had
+appeared 1882, making it possible to ascertain exactly what was in the
+original text of the poem; the studies of Sievers[3], Cosijn[4],
+Kluge[5], and Bugge[6] had been published, containing masterly
+discussions of text revision. Some of these materials had been used by
+Garnett in his translation, but the majority of them were of later date.
+
+
+_Aim of the Translation._
+
+Nothing is said in the introduction respecting the aim of the
+translation; but it is evident from the Notes that the purpose was
+twofold--to present the latest interpretation of the text, and to afford
+a literary version of the poem.
+
+
+_Texts Used._
+
+  'This translation was originally made from the Fourth Edition of
+  Moritz Heyne's text. His Fifth Edition came out in 1888, and I
+  think I have used it enough to become acquainted with all the
+  changes that Dr. Adolf Socin, the new editor, has introduced.
+  Where they have appeared to me to be improvements, I�have modified
+  my translation accordingly.' --Preface.
+
+But the translator does not depend slavishly upon his text. He
+frequently uses emendations suggested by the scholars mentioned above,
+especially those of Professor Sophus Bugge in _Studien �ber das
+Beowulfsepos_[7]; see lines 457, 871, 900, 936, 1875, 2275.
+
+The Introduction presents a new theory of the origin of the poem. The
+notes are especially interesting because of the large body of quotations
+cited for literary comparison and for the light they throw on Old
+Germanic and medieval customs.
+
+
+EXTRACT.
+
+  VIII.
+
+  _Unferth the king's orator is jealous. He baits the young
+  adventurer, and in a scoffing speech dares him to a night-watch
+  for Grendel. Beowulf is angered, and thus he is drawn out to boast
+  of his youthful feats._
+
+  Unferth made a speech, Ecglaf's son; he who sate at the feet of
+  the Scyldings' lord, broached a quarrelsome theme--the adventure
+  of Beowulf the high-souled voyager was great despite to him,
+  because he grudged that any other man should ever in the world
+  achieve more exploits under heaven than he himself:-- 'Art thou
+  _that_ Beowulf, he who strove with Breca on open sea in
+  swimming-match, where ye twain out of bravado explored the floods,
+  and foolhardily in deep water jeoparded your lives? nor could any
+  man, friend or foe, turn the pair of you from the dismal
+  adventure! What time ye twain plied in swimming, where ye twain
+  covered with your arms the awful stream, meted the sea-streets,
+  buffeted with hands, shot over ocean; the deep boiled with waves,
+  a�wintry surge. Ye twain in the realm of waters toiled a
+  se'nnight; he at swimming outvied thee, had greater force. Then in
+  morning hour the swell cast him ashore on the Heathoram people,
+  whence he made for his own patrimony, dear to his Leeds he made
+  for the land of the Brondings, a�fair stronghold, where he was
+  lord of folk, of city, and of rings. All his boast to thee-ward,
+  Beanstan's son soothly fulfilled. Wherefore I anticipate for thee
+  worse luck--though thou wert everywhere doughty in battle-shocks,
+  in grim war-tug--if thou darest bide in Grendel's way a night-long
+  space.'
+
+
+_Criticism of the Translation._
+
+As a whole, the translation may fairly be called faithful. The
+emendations from which Professor Earle sometimes renders are always
+carefully chosen, and the discussions of obscure lines in the poem are
+of real scholarly interest. But this is not always true of the simpler
+passages of the poem. These are often strained to make them square with
+the translator's personal notions. Thus, at line 1723, Earle reads for
+
+  _Ic �is gid be �[-e] [-a]wraec_
+  It is about thee ... that I have told this tale,
+
+adding in a note, '(In this passage) the living poet steps forward out
+of his Hrothgar, and turns his eyes to the prince for whom he made it
+up' (p.�168). Now this is nothing more than an attempt on the part of
+the translator to wring from the Old English lines some scrap of proof
+for the peculiar theory that he holds of the origin of the poem.
+
+Similarly, he often reads into a single word more than it can possibly
+bear. At line 371 he translates--
+
+  _Hrothgar, helm Scyldinga,_
+  Hrothgar, crown of Scyldings.
+
+But 'crown' is an impossible rendering of 'helm,' which is here used
+figuratively to denote the idea of protection[8], rather than the idea
+of the crowning glory of kingship. Further, in the same passage, 375-6,
+_heard eafora_ (bold son), is wrenched into meaning 'grown-up son.'
+These are but two examples of what is common throughout the translation.
+
+
+_Diction._
+
+The archaic style used by Professor Earle cannot be regarded as highly
+felicitous, since it mixes the diction of various ages. Here are Old
+English archaisms like 'Leeds' and 'burnie'; here are expressions like
+'escheat,' 'page' (attendant), 'emprize,' 'bombard' (drinking-vessel),
+'chivalry.' Here are such specialized words as 'harpoon,' 'belligerent,'
+'pocket-money,' and combinations like 'battailous grip'; while
+throughout the entire translation are scattered modern colloquialisms
+like 'boss' (master), 'tussle,' 'war-tug.'
+
+The reason for these anomalies is evident--the translator wishes to
+imitate the remoteness of the original style. The style is certainly
+remote--at times almost as remote from the language of to-day as is the
+style of _Beowulf_ itself.
+
+    [Footnote 1: See supra, p. 79.]  [[Lumsden]]
+
+    [Footnote 2: See supra, p. 64.]  [[Heyne: Relation of...]]
+
+    [Footnote 3: Paul und Braune's _Beitr�ge_, XI, 328; Ang. XIV, 133.]
+
+    [Footnote 4: _Beitr�ge_, VIII, 568; _Aanteekeningen_, Leiden 1891.]
+
+    [Footnote 5: _Beitr�ge_, IX, 187; VIII, 532.]
+
+    [Footnote 6: _Beitr�ge_, XI, 1; _Studien �ber das Beowulfsepos_.]
+
+    [Footnote 7: _Beitr�ge_, XI, 1 ff.]
+
+    [Footnote 8: See the glossaries of Grein and Wyatt.]
+
+
+
+
+J. L. HALL'S TRANSLATION
+
+
+Beowulf, an Anglo-Saxon Epic Poem, translated by John Lesslie Hall.
+Boston: D. C. Heath and Co., 1892 (May�7).
+
+Reprinted 1900. 8vo, pp. xviii, 110.
+
+Eighth English Translation. Imitative Measures.
+
+
+_Circumstances of Publication._
+
+Presented to the Philosophical Faculty of Johns Hopkins University in
+candidacy for the degree of Doctor of Philosophy by John Lesslie Hall,
+late Professor in the college of William and Mary.
+
+
+_Aim of the Translation._
+
+  'The work is addressed to two classes of readers.... The
+  Anglo-Saxon scholar he [the translator] 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.' --Preface, vii.
+
+
+_Nature of the Translation._
+
+The translation is in imitative measures and in archaic style.
+
+  '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....
+
+  'The measure used in the present translation is believed to be as
+  near a reproduction of the original as modern English affords....
+  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 in every
+  line. End-rhyme has been used occasionally; internal rhyme,
+  sporadically....
+
+  'What Gummere 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....
+
+  'No two accented syllables have been brought together, except
+  occasionally after a c�sural pause.... Or, scientifically
+  speaking, Sievers's C type has been avoided as not consonant with
+  the plan of translation.' --Preface, viii,�ix.
+
+
+_Text._
+
+  'The Heyne-Socin text and glossary have been closely followed.
+  Occasionally a deviation has been made.... Once in a while ...
+  (the translator) has added a conjecture of his own to the
+  emendations quoted from the criticisms of other students of the
+  poem.' --Preface, vii.
+
+The footnotes which contain the conjectural readings are interesting,
+and in one or two cases valuable additions to the suggested emendations
+(cf. p.�15; p.�103, note�3).
+
+
+EXTRACT.
+
+  IX.
+
+  UNFERTH TAUNTS BEOWULF.
+
+    [Sidenote: Unferth, a�thane of Hrothgar, is jealous of Beowulf,
+    and undertakes to twit him.]
+
+  Unferth spoke up, Ecglaf his son,
+  Who sat at the feet of the lord of the Scyldings,
+  Opened the jousting (the journey of Beowulf,
+  Sea-farer doughty, gave sorrow to Unferth
+  And greatest chagrin, too, for granted he never              5
+  That any man else on earth should attain to,
+  Gain under heaven, more glory than he):
+
+    [Sidenote: Did you take part in a swimming-match with Breca?]
+
+    [Sidenote: 'Twas mere folly that actuated you both to risk
+    your lives on the ocean.]
+
+  'Art thou that Beowulf with Breca did struggle,
+  On the wide sea-currents at swimming contended,
+  Where to humor your pride the ocean ye tried,               10
+  From vainest vaunting adventured your bodies
+  In care of the waters? And no one was able
+  Nor lief nor loth one, in the least to dissuade you
+  Your difficult voyage; then ye ventured a-swimming,
+  Where your arms outstretching the streams ye did cover,     15
+  The mere-ways measured, mixing and stirring them,
+  Glided the ocean; angry the waves were,
+  With the weltering of winter. In the water's possession,
+  Ye toiled for a seven-night; he at swimming outdid thee,
+  In strength excelled thee. Then early at morning            20
+  On the Heathoremes' shore the holm-currents tossed him,
+  Sought he thenceward the home of his fathers,
+  Beloved of his liegemen, the land of the Brondings,
+  The peace-castle pleasant, where a people he wielded
+  Had borough and jewels. The pledge that he made thee        25
+  The son of Beanstan hath soothly accomplished.
+
+    [Sidenote: Breca outdid you entirely. Much more will Grendel
+    outdo you, if you vie with him in prowess.]
+
+  Then I ween thou wilt find thee less fortunate issue,
+  Though ever triumphant in onset of battle,
+  A grim grappling, if Grendel thou darest
+  For the space of a night near-by to wait for!               30
+
+
+_Criticism of the Translation._
+
+The translation is faithful, but not literal. The chief difference, for
+example, between this and the translation by Garnett is that Hall makes
+an attempt to preserve the poetic value of the Old English words. He is
+never satisfied with the dictionary equivalent of an Old English
+expression. Thus, in the extract given above, 'from vainest vaunting' is
+given as a translation of _dol-gilpe_--a�great improvement over
+Garnett's rendering, 'for pride.' Similarly, 'mixing and stirring' is
+given as a translation of _mundum brugdon_. This method often leads the
+translator some distance, perhaps too great a distance, from the Old
+English. The following may serve as examples of the heightened color
+that Hall gives to the Old English forms:--
+
+   548, 'the north-wind whistled, fierce in our faces,'
+         for _nor�an-wind hea�o-grim ondhwearf_.
+
+   557, 'my obedient blade,' for _hilde-bille_.
+
+   568, 'foam-dashing currents,' for _brontne ford_.
+
+   587, 'with cold-hearted cruelty thou killedst thy brothers,'
+         for _�[-u] �[-i]num br[-o]�rum t[-o] banan wurde_.
+
+   606, 'the sun in its ether robes,' for _sunne swegl-wered_.
+
+   838, 'in the mist of the morning,' for _on morgen_.
+
+  1311, 'As day was dawning in the dusk of the morning,'
+         for _[-�]r-d�ge_.
+
+Perhaps these paraphrastic renderings are what Dr. Hall is referring to
+when he says in his preface, regarding the nature of the translation,
+'Occasionally some loss has been sustained; but, on the other hand,
+a�gain has here and there been made.'
+
+As for the archaism, that is well enough for those who like it. It is
+never so strange as that of Earle, or the marvelous diction of William
+Morris. But it is not, therefore, dignified or clear. How much dignity
+and clarity a translator has a right to introduce into his rendering is
+a matter of opinion. Mr. Hall was quite conscious of what he was doing,
+and doubtless regarded his diction as well suited to convey the original
+Beowulf spirit.
+
+The chief criticism of the verse is that it is often not verse at all.
+Many passages are indistinguishable from prose. This is a stricture that
+cannot be passed on the Old English, nor on the best modern imitations
+of�it.
+
+  The atheling of Geatmen uttered these words and
+  Heroic did hasten. --Page 51, line 19.
+
+  In war 'neath the water the work with great pains I
+  Performed. --Page 57, line 6.
+
+  Gave me willingly to see on the wall a
+  Heavy old hand-sword. --Page 57, line 11.
+
+  The man was so dear that he failed to suppress the
+  Emotions that moved him. --Page 64, line 59.
+
+There might be an excuse for some of this freedom in blank verse, but in
+measures imitative of the Old English it is utterly out of place. There
+is always a pause at the end of a line in Old English; run-on lines are
+uncommon. There is not an example in _Beowulf_ of an ending so light as
+'the' or 'a' in the verses quoted above.
+
+
+
+
+HOFFMANN'S TRANSLATION
+
+
+Be�wulf. Aeltestes deutsches Heldengedicht. Aus dem Angels�chsischen
+�bertragen von P. Hoffmann. Z�llichau. Verlag von Herm. Liebich (1893?).
+8vo, pp. iii, 183.
+
+*Zweite Ausgabe, Hannover, Schaper, 1900.
+
+Sixth German Translation. Nibelungen Measures.
+
+
+_The Translator._
+
+In _Minerva_ (1902), P. Hoffmann is recorded as 'Ord. Professor' of
+Philosophy and Pedagogy at Gent.
+
+
+_Aim of the Volume._
+
+The translator desired to present a rendering of the poem that should
+attract the general reader. He regarded Simrock's version as too literal
+and archaic[1], the version of von Wolzogen as not sufficiently clear
+and beautiful[2], and the version of Heyne as not sufficiently varied in
+form[3] (Vorwort,�i). He regards the _Beowulf_ as of great importance in
+inspiring patriotism--he always calls the poem German--and even offers a
+comparison of _Beowulf_ with Emperor William I. With the scholarship of
+his subject the author hardly seems concerned.
+
+
+_Text, and Relation of Parts._
+
+The translation is founded on Grein's text of 1867[4].
+
+In addition to the translation, the volume contains articles on the
+history of the text, origin, the Germanic hero-tales, the episodes, the
+esthetic value of the poem. These are decidedly subordinate in interest
+to the translation.
+
+
+_Nature of the Translation._
+
+The translation is in the so-called Nibelungen measures. Archaisms and
+unnatural compounds are avoided.
+
+The Finnsburg fragment is inserted in the text at line 1068, p.�44 of
+the volume. The episode is furnished with a beginning and ending
+original with Hoffmann.
+
+
+EXTRACT.
+
+  VIERTES ABENTEUER.
+
+  VON BEOWULF'S SCHWIMMFAHRT.
+
+    Da hub der Sohn der Ecglaf, Hunferd, zu reden�an;
+  Er sass dem Herrn der Schildinge zu F�ssen, und begann
+  Kampfworte zu entbieten. Dass her Beowulf kam,
+  Der k�hne Meerdurchsegler, schuf seinem Herzen bitter'n Gram.
+
+    Dass unter dem Himmel habe ein andrer Recke mehr,              5
+  Denn er, des Ruhms auf Erden, war ihm zu tragen schwer:
+  'Bist {der} Be�wulf Du, der einst sich in der weiten Flut
+  Mit Breca mass im Schwimmen? Zu hoch vermass sich da Dein Mut!
+
+    'Ihr spranget in die Wellen, vermessen wagtet ihr
+  Das Leben in die Tiefe, aus Ruhm und Ehrbegier!                 10
+  Die Fahrt, die schreckensvolle,
+          nicht Freund noch Feind verleiden
+  Euch konnte. Also triebet im Sund dahin ihr Beiden!
+
+    'Als ihr mit Euren Armen des Meeres Breite decktet,
+  Die Meeresstrassen masset, die H�nde rudernd recktet
+  Durch Brandungswirbel gleitend, vom Wintersturm getrieben       15
+  Hoch auf die Wellen sch�umten;
+          ihr m�htet Euch der N�chte sieben!
+
+    'So rangt ihr mit den Wogen! Da wurde Dir entrafft
+  Der Sieg von ihm, im Schwimmen, sein war die gr�ss're Kraft,
+  Ihn trug der Hochflut Wallen am Morgen an den Strand
+  Der Hadur�men, bald er von da die s�sse Heimat wiederfand.      20
+
+    'Im Lande der Brondinge wie gerne man ihn sah!
+  Zu seiner sch�nen Feste kam er wieder da,
+  Wo er zu eigen hatte Mannen, Burg und Ringe,
+  Der Sohn Beanstan's hatte geleistet sein Erbot Dir allerdinge!'
+
+
+_Criticism of the Translation._
+
+Hoffmann's translation is certainly not a contribution to scholarship.
+It is a sufficient condemnation of the volume to quote the words of the
+Vorwort:--
+
+  'Die Uebersetzungen von Grein, Holder und M�ller sind mir nicht
+  zug�nglich gewesen, auch wie es scheint, nicht sehr bekannt.'
+
+It is not surprising that Hoffmann is unacquainted with the translations
+of Holder and M�ller, as these works have never been made; but that a
+German translator should ignore the version of Grein is a revelation
+indeed.
+
+Even though a translator may not care to embody in his work any new
+interpretations, it is nevertheless his duty to base his translation on
+the best text that he can find. But apparently Hoffmann had never heard
+of the Heyne editions of the text, nor of the Grein-W�lker _Bibliothek_.
+He bases his translation on Grein's text of 1867. He evidently
+considered it a sufficient recommendation of his work to associate with
+it the name of Grein, not troubling himself to discover what advance had
+been made upon the work of that scholar.
+
+Examples of antiquated renderings may be brought forward:--
+
+  P. 1, line 1, Wie grosse Ruhmesthaten.
+     2, line 1, So soll mit Gaben werben im Vaterhause schon.
+    21, line 15 (see Extract), Vom Wintersturm getrieben Hoch
+                auf die Wellen sch�umten.
+    84, line 3, Mothrytho.
+
+Petty inaccuracies due to the nature of the translation also appear. An
+example of this is seen on page 3, at the opening of the first canto--
+
+    Ueber Burg und Mannen nun herrschte manches Jahr
+  Be�wulf der Schilding. Wie hold dem K�nig war
+  Sein Volk! in allen Landen seinen Ruhm man pries
+  Als lange schon sein Vater von dieser Erde Leben liess.
+
+
+_Literary Criticism._
+
+The translation resembles the work of Lumsden[5] and Wackerbarth[6] in
+affording a version of the tale easily readable. And the same criticism
+may be passed on the work of Hoffmann that was passed on the two
+Englishmen. The style and medium chosen are not well fitted to render
+the spirit of the poem. The _Nibelungenlied_ is a poem of the late
+twelfth century. The _Beowulf_ at latest belongs to the eighth. To
+choose for the translation of _Beowulf_, therefore, a�medium surcharged
+with reminiscence of a time, place, and style quite different from those
+of the original is certainly an error. It may find an audience where
+another and more faithful rendering would fail; but it will never win
+the esteem of scholars. In his introduction Hoffmann calls attention to
+the lack of variety in blank verse, but surely it does not have the
+monotony inherent in a recurring rime and strophe.
+
+Again, rime and strophe force upon the author the use of words and
+phrases needed to pad out the verse or stanza. Attention must also be
+called to the fact that the original seldom affords a natural pause at
+the exact point demanded by the use of a strophic form. See the close of
+the following stanzas in the Extract: I, III, IV, V. One effect of the
+forced pause is that there is confusion in the use of kennings, which
+often have to do duty as subject in one stanza and as object in another
+stanza.
+
+Commonplace expressions, incident perhaps upon the use of the measure,
+are not unfrequent. Thus
+
+  Gesagt! gethan!
+
+translates
+
+  ond ��t ge�fndon sw[-a] (line 538).
+
+Traces of this are also found in the extract; see beginning of last
+stanza.
+
+In conclusion, it may be said that Hoffmann's version marks an advance
+in one way only, readableness; and in this it is hardly superior to
+Heyne's rendering, which has the advantage of scholarship.
+
+    [Footnote 1: See supra, p. 59.]  [[Simrock]]
+
+    [Footnote 2: See supra, p. 68.]  [[von Wolzogen]]
+
+    [Footnote 3: See supra, p. 63.]  [[Heyne]]
+
+    [Footnote 4: See supra, p. 56.]  [[Grein's Texts]]
+
+    [Footnote 5: See p. 79.]  [[Lumsden]]
+
+    [Footnote 6: See p. 45.]  [[Wackerbarth]]
+
+
+
+
+MORRIS AND WYATT'S TRANSLATION
+
+
+Colophon: Here endeth the story of Beowulf done out of the old English
+tongue by William Morris and A. J. Wyatt, and printed by said William
+Morris at the Kelmscott Press, Uppermall, Hammersmith, in the county of
+Middlesex, and finished on the tenth day of January, 1895. Large 4to,
+pp. vi, 119.
+
+Troy type. Edition limited to 300 copies on paper and eight on vellum.
+
+Second edition. The Tale of Beowulf, Sometime King of the Folk of the
+Weder Geats, translated by William Morris and A. J. Wyatt. London and
+New York: Longmans, Green, & Co., 1895. 8vo, pp. x, 191.
+
+Ninth English Translation. Imitative Measures.
+
+
+_Differences between the First and Second Editions._
+
+In the second edition a title-page is added. The running commentary,
+printed in rubric on the margin of the first edition, is omitted.
+
+
+_Text Used._
+
+The translation is, in general, conformed to Wyatt's text of 1894,
+departing from it in only a few unimportant details.
+
+
+_Part Taken in the Work by Morris and Wyatt respectively._
+
+The matter is fortunately made perfectly clear in Mackail's _Life of
+William Morris_, vol. ii. p.�284:--
+
+  '(Morris) was not an Anglo-Saxon scholar, and to help him in
+  following the original, he used the aid of a prose translation
+  made for him by Mr. A. J. Wyatt, of Christ's College, Cambridge,
+  with whom he had also read through the original. The plan of their
+  joint labours had been settled in the autumn of 1892. Mr. Wyatt
+  began to supply Morris with his prose paraphrase in February,
+  1893, and he at once began to "rhyme up," as he said, "very eager
+  to be at it, finding it the most delightful work." He was working
+  at it all through the year, and used to read it to Burne-Jones
+  regularly on Sunday mornings in summer.'
+
+The plan of joining with his own the name of his principal teacher was
+one which Morris had used before when translating from a foreign tongue.
+He published his rendering of the _Volsunga Saga_ as the work of 'Eirikr
+Magn�sson and William Morris.' There is no evidence that Mr. Wyatt had
+any hand in forming the final draft of the translation. In defending it,
+Morris took all the responsibility for the book upon himself, and he
+always spoke of it as his own work. In writing to a German student
+toward the end of his life Morris spoke of the translation as his own
+without mentioning Mr. Wyatt[1]. Nor has Mr. Wyatt shown a disposition
+to claim a share in the work. In the preface to his edition of the text
+of _Beowulf_ (Cambridge, 1894), he says:--
+
+  'Mr. William Morris has taken the text of this edition as the
+  basis of his modern metrical rendering of the lay.' --Page xiii.
+
+Finally, it may be added that the specimens of Mr. Wyatt's translation
+printed in the glossary and notes of his book bear no resemblance to the
+work of Morris.
+
+
+_Morris's Theory of Translation._
+
+None despised the merely literal rendering of an epic poem more than
+William Morris. In writing of his version of the _Odyssey_ to Ellis,
+Morris said: 'My translation is a real one so far, not a mere periphrase
+of the original as _all_ the others are.' In translating an ancient
+poem, he tried to reproduce the simplicity and remoteness of phrase
+which he found in his original. He believed it possible, e.g., to
+suggest the archaic flavor of Homer by adopting a diction that bore the
+same relation to modern English that the language of Homer bore to that
+of the age of Pericles. The archaism of the English would represent the
+archaism of the Greek. This method he used in rendering Vergil and
+Homer.
+
+But when he approached the translation of _Beowulf_, he was confronted
+by a new problem. It was evident that fifteenth-century English was
+ill-adapted to convey any just notion of eighth-century English.
+_Beowulf_ required a diction older than that of Sir Thomas Malory or
+Chaucer. Hence it became necessary to discard the theory altogether,
+or else to produce another style which should in some true sense be
+imitative of _Beowulf_. This latter Morris tried to accomplish by
+increasing the archaism of his style by every means in his power. This
+feature is discussed in the following section.
+
+
+_Nature of the Translation._
+
+The translation of _Beowulf_ is written in extremely archaic language.
+An imitative measure of four principal stresses is used. Wherever
+possible, the Old English syntax has been preserved (see line 1242); the
+word-order of the original is retained. The archaic language is wrought
+of several different kinds of words. In the first place, there is the
+'legitimate archaism,' such as 'mickle,' 'burg,' 'bairn'; there are
+forms which are more closely associated with the translation of Old
+English, such as 'middle-garth,' 'ring-stem.' There are modern words
+used with the old signification, such as 'kindly' (in the sense 'of the
+same kind'), 'won war' (in the sense 'wage war'), 'fret' (in the sense
+'eat'). Finally, there are forms which are literally translated from
+Old English: 'the sight seen once only' from _ans[-y]n_, face, 251;
+'spearman' from _garsecg_, ocean (see extract), 'gift-scat' from
+_gif-sceatt_, gift of money, 378; 'the Maker's own making' from
+_metod-sceaft_, doom, 1180. Romance words are excluded whenever
+possible. A�glossary of 'some words not commonly used now' is included
+in the book, but none of the words cited above, save 'burg,' is found
+in�it.
+
+
+EXTRACT.
+
+  IX. UNFERTH CONTENDETH IN WORDS WITH BEOWULF.
+
+    Spake out then Unferth that bairn was of Ecglaf,
+  And he sat at the feet of the lord of the Scyldings,           500
+  He unbound the battle-rune; was Beowulf's faring,
+  Of him the proud mere-farer, mickle unliking,
+  Whereas he begrudg'd it of any man other
+  That he glories more mighty the middle-garth over
+  Should hold under heaven than he himself held:
+    Art thou that Beowulf who won strife with Breca
+  On the wide sea contending in swimming,
+  When ye two for pride's sake search'd out the floods
+  And for a dolt's cry into deep water
+  Thrust both your life-days? No man the twain of you,           510
+  Lief or loth were he, might lay wyte to stay you
+  Your sorrowful journey, when on the sea row'd�ye;
+  Then when the ocean-stream ye with your arms deck'd,
+  Meted the mere-streets, there your hands brandish'd!
+  O'er the Spearman ye glided; the sea with waves welter'd,
+  The surge of the winter. Ye twain in the waves' might
+  For a seven nights swink'd. He outdid thee in swimming,
+  And the more was his might; but him in the morn-tide
+  To the Heatho-Remes' land the holm bore ashore,
+  And thence away sought he to his dear land and lovely,         520
+  The lief to his people sought the land of the Brondings,
+  The fair burg peace-warding, where he the folk owned,
+  The burg and the gold rings. What to theeward he boasted,
+  Beanstan's son, for thee soothly he brought it about.
+
+
+_Criticism of the Translation._
+
+The Morris-Wyatt translation is thoroughly accurate, and is, so to
+speak, an official commentary on the text of Wyatt's edition. It is
+therefore of importance to the student of the _Beowulf_.
+
+As a literary rendering the translation is disappointing. In the first
+place, it must be frankly avowed that the diction is frequently so
+strange that it seems to modern readers well-nigh ridiculous. There are
+certain sentences which cannot but evoke a smile. Such are: '(he)�spoke
+a word backward,' line 315; 'them that in Scaney dealt out the scat,'
+line 1686.
+
+Secondly, the translation is unreadable. There is an avalanche of
+archaisms. One example of the extreme obscurity may be given:--
+
+  'Then rathe was beroom'd, as the rich one was bidding,
+  For the guests a-foot going the floor all withinward.'
+    l. 1975-76.
+
+It would seem that the burden of 'rathe,' 'beroomed,' and 'withinward,'
+were sufficient for any sentence to carry, but we are left to discover
+for ourselves that 'rich one' does not mean rich one, but ruler, that
+the 'floor' is not a floor but a hall, and that the guests are not
+guests, but the ruler's own men.
+
+Morris himself was conscious of the obscurity of the work:--
+
+  'For the language of his version Morris once felt it necessary to
+  make an apology. Except a few words, he said, the words used in it
+  were such as he would not hesitate to use in an original poem of
+  his own. He did not add, however, that their effect, if slipped
+  sparingly in amid his own pellucid construction and facile
+  narrative method, would be very different from their habitual use
+  in a translation.... As the work advanced, he seems to have felt
+  this himself, and his pleasure in the doing of it fell off.'
+  --Mackail's _Life_, ii. 284-5.
+
+Finally, the version does not _translate_. Words like 'Spearman' for
+_Ocean_, and combinations like 'the sight seen once only' for _the
+face_, can be understood only by the intimate student of Old English
+poetry, and there is no reason why such a person should not peruse
+_Beowulf_ in the original tongue rather than in a translation
+occasionally as obscure as the poem itself.
+
+If one can peer through the darkness of Morris's diction, he will
+discover a fairly pleasing use of the so-called imitative measure. The
+verse is not nearly so rough as the original; many of the characteristic
+substitutions are avoided. There is evident a tendency toward the
+'rising verse' and the anapestic foot. The feminine ending is frequently
+used. The verse is, therefore, not strictly imitative in that it retains
+the Old English system of versification, but rather in that it attempts
+to suggest the Old English movement by the use of four principal
+stresses and a varying number of unstressed syllables. Morris's verse is
+the best of all the 'imitative' measures.
+
+    [Footnote 1: See Mackail's _Life_, i. 198.]
+
+
+
+
+SIMONS'S TRANSLATION
+
+
+Be�wulf, Angelsaksisch Volksepos, vertaald in Stafrijm, en met Inleiding
+en Aanteekeningen voorzien door Dr. L. Simons, Briefwisselend Lid der
+Koninklijke Vlaamsche Academie voor Taal- en Letterkunde, Leeraar aan
+'t koninklijk Athenaeum te Brussel. Gent, A. Siffer, 1896. Large 8vo,
+pp. 355.
+
+Published for the Koninklijke Vlaamsche Academie voor Taal- en
+Letterkunde.
+
+First Dutch Translation. Iambic Pentameter.
+
+
+_Aim and Contents of the Volume._
+
+The author's purpose, as stated in 'Een Woord Vooraf,' is to make the
+_Beowulf_ better known to the Dutch public. With this in view he adds to
+his translation copious notes and an exhaustive comment. The titles of
+his various chapters are: De Beschaving in den Beowulf, Christendom,
+Heldensage en Volksepos, Geschiednis, Mythos, Geatas, Nationaliteit van
+den Beowulf, Tijd van Voltooiing, Het Handschrift, De Versbouw, Epische
+Stijl, Innerlijke Geschiednis. Explanatory and critical comment is given
+in the footnotes, and textual criticism in the Notes at the end of the
+volume.
+
+
+_Text Used._
+
+  'I have followed the text of Socin[1]; where I have preferred to
+  give another reading I have justified my proceeding in the Notes
+  at the end of the work.' --Een Woord Vooraf.
+
+
+_Nature of the Translation._
+
+It is a literal translation in iambic pentameter.
+
+  'Of the translation nothing in particular needs to be said. I�have
+  followed my original as closely as possible.' --Een Woord Vooraf.
+
+He adds that this was no easy task, as Dutch does not afford the same
+variety of simile as the Old English.
+
+A page is then given to the discussion of the nature of his verse.
+He first gives his reasons for preferring iambic pentameter to the
+'Reinartsvers,' which some might think best to use.
+
+  'Moreover, the iambic pentameter lends itself well to division
+  into hemistichs, the principal characteristic of the ancient epic
+  versification.' --Een Woord Vooraf.
+
+He has often preferred the simple alliteration (aa, bb) to the Old
+English system[2].
+
+
+EXTRACT.
+
+  IX.
+
+  En Hunferd zeide toen, de zoon van Ecglaf,
+  Die aan die voeten zat des Schyldingvorsten,
+  Het kampgeheim ontkeetnend: (Beowulfs aankomst,
+  Des koenen golfvaart gaf hem grooten aanstoot,
+  Omdat hij geenszins aan een ander gunde
+  Der mannen, meerder roem op aard te rapen,
+  Bene�n de wolken, dan hem was geworden.)
+  'Zijt gij die Beowulf, die met Brecca aanbond
+  Den wedstrijd op de wijde zee, in 't zwemmen
+  Met dezen streven dorst, toen boud gij beiden
+  Navorschtet in den vloed en gij uit grootspraak
+  Uw leven waagdet in het diepe water?
+  Geen stervling was in staat, noch vriend noch vijand,
+  De roekelooze reis u af te raden.
+  Toen braakt gij beiden roeiend door de baren
+  En dektet onder uwen arm de deining,
+  Gij maat de zeebahn, zwaaiend met de handen,
+  Doorgleedt de waterwieling, schoon met golven
+  De kil opklotste bij des winters branding.
+  Op deze wijze wurmdet gij te gader
+  Wel zeven nachten in 't bezit der zee�n.
+  Doch gene ging in vaart u ver te boven;
+  Hij had toch meerder macht. De strooming stuwde
+  Hem met den morgen heen ten Headoraemen,
+  Van waar hij wedervond, de volksgevierde,
+  Het lieve stambezit, het land der Brondings,
+  De schoone schatburg, waar hij wapenlieden
+  En goed en goud bezat. De zoon van Beanstan
+  Hield tegen u geheel zijn woord in waarheid.'
+
+
+_Criticism of the Translation._
+
+The translation seems to aim chiefly at accuracy, which accounts for the
+rather large number of notes containing readings suggested by various
+commentators. The translator uses freely compounds and metaphors similar
+to those in the original text. This seems occasionally to militate
+against the clearness of the work. Thus, it is doubtful whether
+'kampgeheim ontkeetnend' of the extract conveys to the modern Dutch
+reader any notion similar to that of the Old English _beadu-runen
+onband_.
+
+The present writer is unable to offer any literary criticism of the
+translation.
+
+    [Footnote 1: Fifth edition of Heyne's text, 1888.]
+
+    [Footnote 2: At this point Simons speaks as if ab, ab, were the
+    common form of alliteration in Old English, whereas it is rather
+    uncommon.]
+
+
+
+
+STEINECK'S TRANSLATION
+
+
+Altenglische Dichtungen (Beowulf, Elene, u.a.) in wortgetreuer
+Uebersetzung von H.�Steineck. Leipzig, 1898, O.�R. Reisland. 8vo,
+Beowulf, pp. 1-102.
+
+Seventh German Translation. Line for line.
+
+
+_Aim of the Volume, and Nature of the Translation._
+
+  'Die vorliegende Uebersetzung ist aus dem Bed�rfnis einer
+  wortgetreuen Wiedergabe altenglischer Denkm�ler entstanden. Soweit
+  es der Sinn zuliess, ist das Bestreben dahin gegangen, f�r jedes
+  altenglische Wort das etymologisch entsprechende neuhochdeutsche,
+  wenn vorhanden, einzusetzen. So ist die Uebersetzung zugleich ein
+  sprachgeschichtliches Werk.' --Vorwort.
+
+
+_Text Used._
+
+The translation is based on Heyne's text of 1863[1] (Vorwort).
+Fragmentary passages are not restored.
+
+
+EXTRACT.
+
+  IX.
+
+  Hunferd sprach, des Ecgl�f Sohn,                               500
+  Welcher zu F�ssen sass des Herren der Scyldinge;
+  Er l�ste der Streiter Geheimniss--ihm war Beowulfs Fahrt,
+  Des mutigen Meerfahrers, zu grossem Neid,
+  Weil er nicht g�nnte, dass irgend ein anderer
+  Jemals nun mehr Ruhmesthaten
+  Unter dem Himmel der Erde erwarb als er selbst:
+  'Bist du B�owulf, der du mit Breca k�mpftest
+  Auf weiter See in einem Wettschwimmen,
+  Dort durchforschtet ihr beide aus Stolz die Fluten
+  Und wagtet aus verwegener Ruhmsucht im tiefen Wasser
+  Euer Leben? Euch beiden konnte keiner,                         510
+  Weder Freund noch Feind, vorwerfen
+  Die gefahrvolle Reise; da rudertet ihr beide im Wasser,
+  Dort �berdecktet ihr beide den Wasserstrom mit Armen,
+  Ihr masst die Meeresstrassen, mit H�nden schwangt ihr,
+  Ihr glittet �ber die Flut; das Meer wallte in Fluten,
+  Des Winters Gewoge; ihr m�htet euch in des Wassers Gewalt
+  Sieben N�chte ab; er besiegte dich beim Schwimmen,
+  Er hatte gr�ssere Kraft. Da warf ihn in der Morgenzeit
+  An das Heador�menland die See,
+  Von dort aus suchte er das traute Stammgut auf,                520
+  Der seinen Leuten Teure, das Land der Brondinge,
+  Die sch�ne Friedensburg, wo er Volk besass,
+  Burg und Ringe. Alles, wozu er sich dir verpflichtete,
+  Leistete der Sohn B�anst�ns wahrhaftig.'
+
+
+_Criticism of the Translation._
+
+It would be manifestly unfair to criticize this translation for its want
+of grace and melody, because it is avowedly a literal rendering, and a
+literal rendering makes no attempt to attain these qualities. But there
+are certain things which are indispensable in a good literal
+translation. It is imperative that such a translation should be based on
+the best text of the original poem. What has Steineck done? He has gone
+back thirty-five years and chosen an early and inaccurate edition of a
+work that has been five times re-edited, Heyne's text of 1863! It seems
+almost incredible that a German, living in the midst of scholars who
+have done more than any other people to interpret the _Beowulf_, should
+ignore the fruits of their efforts.
+
+It is unnecessary to enumerate the faults of this translation due to
+dependence upon an antiquated edition of the text. Suffice it to say
+that when the edition of 1863 was printed the text had not yet been
+properly transcribed from the MS.[2]
+
+But there are evidences of an inaccuracy of a different kind that betray
+a carelessness utterly reprehensible. The author is apparently unable to
+transliterate properly the Old English names. Thus he has Vealhpeon and
+Vealhpeo (for Wealhtheow), Ecgpeow, Halbdaene (for Healfdene),
+Ermanarich, &c.
+
+In his attempt to produce an etymological document, the translator
+uses many compounds such as even the German language might be better
+without; such are--Sippenschar (sibbegedriht), 730; Schattenwandler
+(sceadugenga), 704; Wangenpolster (hl[-e]or-bolster), 689; Leibpanzer
+(l[-i]c-syrce), 550. As compounds these may not be offensive to a
+German; but the trouble with them is that they do not translate the
+Old English ideas.
+
+Finally, it may be asked why a translation that appeals only as a
+literal rendering should not be strictly literal, noting its every
+variation from the original, italicizing supplied words, holding to the
+original word-order.
+
+Steineck's translation did not advance the interpretation of _Beowulf_
+a�whit. In point of accuracy the book is not worthy to stand with good
+translations thirty years old.
+
+    [Footnote 1: See supra, p. 64.]  [[Heyne: Relation of...]]
+
+    [Footnote 2: See also supra, p. 8.]  [[Preliminary Remarks]]
+
+
+
+
+J. R. C. HALL'S TRANSLATION
+
+
+Beowulf, and the Fight at Finnsburg, a�translation into modern English
+prose, with an Introduction and Notes, by John R. Clark Hall, M.A.,
+Ph.D. With twelve illustrations[1]. London: Swan Sonnenschein and
+Company, Lim., 1901. 8vo, pp. xlv, 203.
+
+Tenth English Translation. Prose.
+
+
+_Translator, and Circumstances of Publication._
+
+Hitherto Dr. Hall had been chiefly known to the learned world for his
+excellent _Anglo-Saxon Dictionary for Students_.
+
+Up to this time no prose translation had appeared in England since 1876,
+save Earle's[2], which for the elementary student was practically
+useless. Moreover, this translation was the first to embody the results
+of various studies on the poem during the past decade.
+
+
+_Contents._
+
+Unlike the preceding works on _Beowulf_, it may be said that the
+introductory and illustrative matter in this book is of quite as much
+importance as the translation. The author says of his book:--
+
+  'The following pages comprise a short statement of what is
+  actually known with respect to the poem of _Beowulf_, another
+  statement of what seems to me most likely to be true amongst the
+  almost innumerable matters of conjecture concerning it, and a few
+  words of literary appreciation.' --Introduction, p.�ix.
+
+Statements similar to these have been put forth by other translators of
+the poem, but the material of their volume has not always borne them
+out. The studies of the poem in the Introduction are sufficient for a
+school edition of _Beowulf_--a�similar body of information is not found
+in any of the existing editions--while annotations of some importance to
+the elementary student are found in the notes and running comment. The
+book contains, beside the translation, a�discussion of the form,
+language, geographical allusions, date, and composition of the poem,
+as well as a useful, though inaccurate, bibliography[3].
+
+
+_Text Used._
+
+The translation is founded on the text of A. J. Wyatt, Cambridge, 1894.
+Dr. Hall does not always follow the interpretations given in Wyatt's
+glossary, nor is the punctuation of the translation conformed to that of
+the Old English text.
+
+
+_Indebtedness to Preceding Scholars._
+
+In his translation Dr. Hall seems to be most indebted to the work of
+Professor Earle[4] (see lines 4, 71, 517, 852, 870, 926, 996, 1213,
+1507, 2021, 3034, &c.).
+
+Frequent reference is also made to the work of Cosijn, _Aanteekeningen
+op den Beowulf_ (1892). The work of other scholars, such as Bugge,
+Heyne, Socin, is also referred�to.
+
+
+_Nature of the Translation._
+
+The translation is a literal prose version. It is constantly interrupted
+by bits of running comment, designed to overcome the inherent obscurity
+of the poem, or to afford an elaborate digest of the story if read
+without the translation (p.�7).
+
+The rendering avoids archaisms.
+
+Bugge's restoration is used at line 3150; the passage at line 2215 is
+not restored.
+
+
+EXTRACT.
+
+  VIII.
+
+  UNFERTH TAUNTS BEOWULF. BEOWULF'S CONTEST WITH BRECA.
+
+  (Lines 499-558.)
+
+  (499-505). _Now comes a jarring note. Unferth, a�Danish courtier,
+  is devoured by jealousy, and taunts Beowulf._
+
+  Then Unferth, the son of Ecglaf, who sat at the feet of the lord
+  of the Scyldings, spoke, and gave vent to secret thoughts of
+  strife,--the journey of Beowulf, the brave sea-farer, was a great
+  chagrin to him, for he grudged that any other man under heaven
+  should ever obtain more glory on this middle-earth than he
+  himself.
+
+  (506-528). _'Art thou the same Beowulf,' says he, 'who ventured on
+  a foolhardy swimming match with Breca on the open sea in winter,
+  for seven days, and got beaten? A�worse fate is in store for thee
+  when thou meetest Grendel!'_
+
+  'Art thou that Beowulf who strove with Breca, contested with him
+  on the open sea, in a swimming contest, when ye two for vainglory
+  tried the floods, and ventured your lives in deep water for idle
+  boasting? Nor could any man, friend or foe, dissuade you from your
+  sorry enterprise when ye swam on the sea; when ye compassed the
+  flowing stream with your arms, meted out the sea-paths, battled
+  with your hands, and glided over the ocean; when the sea, the
+  winter's flood, surged with waves. Ye two toiled in the water's
+  realm seven nights; he overcame you at swimming, he had the
+  greater strength. Then, at morning time, the ocean cast him up on
+  the Heathor�mas' land. Thence, dear to his people, he sought his
+  beloved fatherland, the land of the Brondings, his fair
+  stronghold-city, where he had subjects and treasures and a
+  borough. The son of Beanstan performed faithfully all that he had
+  pledged himself to. So I expect for thee a worse fatality,--though
+  thou hast everywhere prevailed in rush of battle,--gruesome
+  war,--if thou darest await Grendel at close quarters for the space
+  of a night.'
+
+
+_Criticism of the Translation._
+
+The extract is typical of all that is best in the translation. It is a
+thoroughly accurate piece of work, failing only where Wyatt's edition of
+the text is unsatisfactory. Translations like 'gave vent to secret
+thoughts of strife' and 'thou hast prevailed in the rush of battle' show
+that the work is the outcome of long thought and deep appreciation. At
+times the translation, as here, verges on a literary rendering. But in
+this respect the first part of the poem is vastly superior to the later
+parts, though all three are marred by extreme literalness. Dr. Hall did
+not always escape the strange diction that has so often before
+disfigured the translations of _Beowulf_:--
+
+  Line 2507, 'my unfriendly hug finished his bony frame.'
+   "   2583, 'The Geat's free-handed friend crowed not in pride
+              of victory.'
+   "   2655, 'Fell the foe and shield the Weder-Geat Lord's life.'
+   "   2688, 'the public scourge, the dreadful salamander.'
+   "   2834, 'show his form' (said of the Dragon).
+   "   2885, 'hopelessly escheated from your breed.'
+
+It is also rather surprising to learn from Dr. Hall that Beowulf was one
+of those that 'advanced home government' (l.�3005).
+
+It should be added that the explanatory comment which constantly
+interrupts the translation, often six or eight times in a section, is
+annoying, both because it distracts the attention and because it is
+often presented in a style wholly inappropriate to the context.
+
+But this absence of ease and dignity does not hinder Dr. Hall's
+translation from being an excellent rendering of the matter of the poem,
+at once less fanciful than Earle's[5] and more modern than Garnett's[6],
+its only rivals as a literal translation. That it conveys an adequate
+notion of the style of _Beowulf_, however, it is impossible to affirm.
+
+    [Footnote 1: Chiefly of Anglo-Saxon antiquities.]
+
+    [Footnote 2: See supra, p. 91.]  [[Earle]]
+
+    [Footnote 3: See my forthcoming review of the book in the
+    _Journal of Germanic Philology_.]
+
+    [Footnote 4: See supra, p. 91.]  [[Earle]]
+
+    [Footnote 5: See supra, p. 91.]  [[Earle]]
+
+    [Footnote 6: See supra, p. 83.]  [[Garnett]]
+
+
+
+
+TINKER'S TRANSLATION
+
+
+Beowulf, translated out of the Old English by Chauncey Brewster Tinker,
+M.A. New York: Newson and Co., 1902. 12mo, pp. 158.
+
+Eleventh English Translation. Prose.
+
+
+_Aim of the Volume and Nature of the Translation._
+
+  'The present translation of _Beowulf_ is an attempt to make as
+  simple and readable a version of the poem as is consistent with
+  the character of the original. Archaic forms, which have been much
+  in favor with translators of Old English, have been excluded,
+  because it has been thought that vigor and variety are not
+  incompatible with simple, idiomatic English....
+
+  The principal ways in which the present version differs from a
+  merely literal translation are the following: (1)�in a rather
+  broad interpretation of pregnant words and phrases; (2)�in a
+  conception of some of the Old English compounds as conventional
+  phrases in which the original metaphorical sense is dead; (3)�in a
+  free treatment of connecting words; (4)�in frequent substitution
+  of a proper name for an ambiguous pronoun.
+
+  The translation is based on the text of A.�J. Wyatt (Cambridge,
+  1898); a�few departures from his readings are enumerated in the
+  Notes.' --Preface, pp. 5,�6.
+
+
+EXTRACT.
+
+  VIII and IX.
+
+  _Unferth, a�thane of Hrothgar, grows jealous of Beowulf and taunts
+  him, raking up old tales of a swimming-match with Breca. Beowulf
+  is angered and boastfully tells the truth touching that adventure,
+  and puts Unferth to silence. Queen Wealhtheow passes the cup.
+  Hrothgar commends Heorot to the care of Beowulf._
+
+  Unferth, the son of Ecglaf, who sat at the feet of the lord of the
+  Scyldings, spoke, and stirred up a quarrel; the coming of Beowulf,
+  the brave seafarer, vexed him sore, for he would not that any
+  other man under heaven should ever win more glories in this world
+  than he himself. 'Art thou that Beowulf who didst strive with
+  Breca on the broad sea and didst contend with him in swimming,
+  when ye two, foolhardy, made trial of the waves and for a mad
+  boast risked your lives in the deep water? None, friend or foe,
+  could turn you from the sorry venture when ye two swam out upon
+  the sea. But ye enfolded the ocean-streams with your arms,
+  measured the sea-streets, buffeted the water with your hands,
+  gliding over the deep. The ocean was tossing with waves,
+  a�winter's sea. Seven nights ye toiled in the power of the waters;
+  and he overcame thee in the match, for he had the greater
+  strength. Then at morning-tide the sea cast him up on the coast of
+  the Heathor�mas, whence he, beloved of his people, went to his
+  dear fatherland, the country of the Brondings, and his own fair
+  city where he was lord of a stronghold, and of subjects and
+  treasure. Verily, the son of Beanstan made good all his boast
+  against thee. Wherefore, though thou hast ever been valiant in the
+  rush of battle, I�look to a grim fight, yea, and a worse issue,
+  for thee, if thou darest for the space of one night abide near
+  Grendel.'
+
+
+
+
+APPENDIX I
+
+INCOMPLETE TRANSLATIONS, AND PARAPHRASES
+
+
+
+
+LEO'S DIGEST
+
+
+B��wulf, dasz[1] �lteste deutsche in angels�chsischer mundart erhaltene
+heldengedicht nach seinem inhalte, und nach seinen historischen und
+mythologischen beziehungen betrachtet. Ein beitrag zur geschichte alter
+deutscher geisteszust�nde. Von H. Leo. Halle, bei Eduard Anton, 1839.
+8vo, pp. xx, 120.
+
+Selections Translated into German Prose.
+
+
+_Contents of the Volume, and Nature of the Translation._
+
+This was the first German book to give any extended account of the poem.
+
+The titles of the chapters are: I. Historische Anlehnung; II. Mythischer
+Inhalt; III. Die geographischen Angaben; IV. Genealogische Verh�ltnisse
+der in dem Liede vorkommenden Helden; V. Uebersicht des Inhalts des
+Gedichtes von B��wulf. In this fifth chapter are found the extracts from
+_Beowulf_. It will be seen that the chapter is somewhat subordinate to
+the others, its chief purpose being to furnish a kind of digest of the
+poem, to be used principally as a work of reference. A�desire to
+condense leads the translator to omit lines that he does not deem
+essential to an understanding of the events and characters of the poem.
+Unfortunately his omissions are often the most poetical lines of the
+_Beowulf_. For example, he omits the description of Beowulf's
+sea-voyage; Hrothgar's account of the haunt of Grendel and his dam is
+curtailed; the dying words of Beowulf, perhaps the most beautiful lines
+in the poem, are clipped. Further examples may be found in the extract
+given below. This insufficiency is excused by the fact that Leo's main
+object in preparing the book was to prove certain theories that he held
+respecting the origin and date of the poem.
+
+The text from which he translates is Kemble's[2].
+
+
+EXTRACT.
+
+  ACHTER GESANG.
+
+  H�nfer� Ecgl�fs sohn, der zu des scildingenf�rsten f�ssen sasz,
+  began da ein streiterregendesz gespr�ch; denn er wird eifers�chtig
+  auf den rum, den B��wulf sich zu erwerben geht. Er selbst wil der
+  ber�mteste sein unter den wolken. Er sagte: 'Bistu der B��wulf,
+  der mit Br�cca ein wetschwimmen hielt sieben tage und n�chte lang,
+  bis er dich in schwimmen besigte, der kr�ftigere man; dann am
+  achten morgen stig er auf He��or�mes ansz land und gieng heim zu
+  den Brondingen, wo er eine burg und edlesz gefolge und reichtum
+  hatte? B��nst�nes sohn hat dir allesz geleistet, wasz er gewettet
+  hatte.'
+
+_Omissions_:--
+
+  Line 502, m[-o]dges mere-faran.
+   "   507-517 _entire_.
+   "   520, sw[-�]sne [-e]�el, l[-e]of his l[-e]odum.
+
+
+_Criticism of the Extract._
+
+As an analysis this is good enough; as a translation of the passage it
+is of course utterly inadequate--it omits the very best lines in the
+original. The book served, however, as a running digest of the story,
+and as such gave an excellent idea of the contents of the poem. But
+Ettm�ller was justified in calling the translation which he published
+the next year, 'the first German translation[3].'
+
+    [Footnote 1: Leo was a spelling reformer.]
+
+    [Footnote 2: See supra, p. 33.]  [[Kemble]]
+
+    [Footnote 3: See supra, p. 37.]  [[Ettm�ller]]
+
+
+
+
+SANDRAS'S ACCOUNT
+
+
+De carminibus anglo-saxonicis C�dmoni adjudicatis Disquisitio. Has
+theses Parisiensi Litterarum Facultati proponebat S. G. Sandras in
+Lycaeo Claromontensi Professor. Parisiis, Apud A. Durand, Bibliopolam,
+1859. 8vo, pp. 87. Beowulf described _Cap. Primum_, ��2, De Profana
+Poesi, pp. 10-19.
+
+Extracts Translated into Latin Prose.
+
+
+The only significance of this book is that it contained the first
+information about _Beowulf_ given to the French public. About ten lines
+are literally translated in Cap. I, ��1, all under the general title, De
+Poesi Saxonica. In ��2 the poem is rather carefully sketched, much after
+the manner of Leo[1], from Beowulf's arrival in the Danish land to the
+fight with Grendel.
+
+    [Footnote 1: See supra, p. 122.]  [[Leo]]
+
+
+
+
+E. H. JONES'S PARAPHRASE
+
+
+Popular Romances of the Middle Ages. By George W. Cox, M.A., and Eustace
+Hinton Jones. London: Longmans, Green, & Co., 1871. 8vo, _Beowulf_ (by
+E. H. Jones), pp. 382-398.
+
+*Second edition, in one volume (containing, in addition to the romances
+in the first edition, those formerly published under the title 'Tales of
+the Teutonic Lands'). C. Kegan Paul & Company: London, 1880 (1879).
+
+A Paraphrase for General Readers.
+
+
+_Aim of the Volume._
+
+  'The thought that these old romances may be presented to
+  Englishmen of the present day in a form which shall retain their
+  real vigour without the repulsive characteristics impressed on
+  them by a comparatively rude and ignorant age may not, perhaps, be
+  regarded as inexcusably presumptuous. With greater confidence it
+  may be affirmed that, if we turn to these old legends or romances
+  at all, it should be for the purpose of learning what they really
+  were, and not with any wish of seeing them through a glass which
+  shall reflect chiefly our own thoughts about them and throw over
+  them a colouring borrowed from the sentiment of the nineteenth
+  century.
+
+  'These two conditions have, it is hoped, been strictly observed in
+  the versions here given of some of the great romances of medi�val
+  Europe. While special care has been taken to guard against the
+  introduction even of phrases not in harmony with the original
+  narratives, not less pains have been bestowed on the task of
+  preserving all that is essential in the narrative; and thus it may
+  perhaps be safely said that the readers of this volume will obtain
+  from it an adequate knowledge of these time-honoured stories,
+  without having their attention and their patience overtaxed by a
+  multiplicity of superfluous and therefore utterly irksome
+  details.' --Preface, pp. vi, vii.
+
+
+_Nature of the Paraphrase._
+
+The poem is relieved of all the episodes except the prolog and King
+Hrothgar's discourse. Sometimes these omissions seem unnecessary. It is
+certainly a mistake to sacrifice the swimming-match, lively in its
+narrative, dramatic in setting.
+
+On the other hand, the author makes an attempt to preserve as much as
+possible of the original style. So anxious is he to save every
+picturesque word of the original, that he sometimes transfers
+expressions from the passages which he is obliged to drop and inserts
+them in other parts of the story.
+
+
+EXTRACT[1].
+
+  'Away to the westward among the people of the Ge�ts lived a man,
+  strongest of his race, tall, mighty-handed, and clean made. He was
+  a thane, kinsman to Hygel�c the Ge�tish chief, and nobly born,
+  being son of Ecgtheow the W�gmunding, a�war-prince who wedded with
+  the daughter of Hrethel the Ge�t. This man heard of Grendel's
+  deeds, of Hrothg�r's sorrow, and the sore distress of the Danes,
+  and having sought out fifteen warriors, he entered into a
+  new-pitched ship to seek the war-king across the sea. Bird-like
+  the vessel's swan-necked prow breasted the white sea-foam till the
+  warriors reached the windy walls of cliff and the steep mountains
+  of the Danish shores. They thanked God because the wave-ways had
+  been easy to them; then, sea-wearied, lashed their wide-bosomed
+  ship to an anchorage, donned their war-weeds, and came to Heorot,
+  the gold and jewelled house. Brightly gleamed their armour and
+  merrily sang the ring-iron of their trappings as they marched into
+  the palace.' --Pages 384-5.
+
+
+_Criticism of the Paraphrase._
+
+The object of a paraphrase is to present all the essential matter of the
+original, in a style materially simpler than, though not unrelated to,
+the original.
+
+The matter of Mr. Jones's paraphrase is not above criticism. It is full
+of minor errors. In the extract, for example, the original does not say
+that the heroes 'donned their war-weeds,' nor that there were mountains
+on the shores of Denmark.
+
+The style of the work is much better. It is throughout strong and clear,
+not over-sentimental. It is, perhaps, too intimate; it savors slightly
+of the _M�rchen_. This absence of vigor and remoteness may be due to the
+nature of the volume of which this paraphrase is only a part.
+
+    [Footnote 1: Swimming-match omitted.]
+
+
+
+
+ZINSSER'S SELECTION
+
+
+Jahresbericht �ber die Realschule zu Forbach (Lothringen) f�r das
+Schuljahr 1880 bis 1881, mit welchem zu der �ffentlichen Pr�fung am
+Freitag den 12. August 1881 ergebenst einladet der Director A.
+Knitterscheid.
+
+Voran geht eine Abhandlung des ordentlichen Lehrers G. Zinsser: Der
+'Kampf Beowulfs mit Grendel,' als Probe einer metrischen Uebersetzung
+des angels�chsischen Epos 'Be�vulf.' Saarbr�cken. Druck von Gebr�der
+Hofer. 1881. 4to, pp. 18, double columns, Schulnachrichten�6.
+
+The First 836 Lines translated in Iambic Pentameter.
+
+
+_Aim, Contents, and Method of Translation._
+
+  'Gleichwol wird das Gedicht in deutscher Sprache noch wenig
+  gelesen; und es mag darum gerechtfertigt sein, wenn auch ein
+  weniger Berufener ein Sch�rflein zum weiteren Bekanntwerden dieses
+  altehrw�rdigen Erzeugnisses germanischen Geistes beitragen will.
+  Derselbe hat in seiner Uebersetzung, von welcher im Folgenden von
+  3184 Versen nur die ersten 826[1], n�mlich der Kampf Beowulfs mit
+  Grendel mit vorausgehender Genealogie der d�nischen K�nige,
+  vorgef�hrt werden, alles vermieden, was dem Laien das Verst�ndnis
+  erschweren k�nnte. Die am Schluss beigef�gten mythologischen,
+  historischen und geographischen Erl�uterungen k�nnen auch denen
+  willkommen sein, welche sich eingehender mit dem Gedicht
+  besch�ftigen wollen.' --Einleitung,�4.
+
+
+_Text Used._
+
+The text used is Heyne's edition of 1873 (see Einleitung,�4).
+
+
+EXTRACT.
+
+  9.
+
+  Doch Hunferd, Ecglafs Sohn, der beim Gelage
+  Zu F�ssen Hrodgars, seines Herren, sass,
+  War voll Verdruss, der Ruhm des Beowulf
+  Erregte bittren Neid im Busen ihm.
+  Er konnte nicht ertragen, wenn beim Volke
+  Ein andrer mehr gepriesen ward, als er.
+  Voll Aerger sucht' er H�ndel, also sprechend:
+  'Du bist gewiss der Beowulf, der einst
+  Im Meer mit Breca um die Wette schwamm?
+  Ihr masset damals euch in k�hnem Wagen!
+  Das m�hevolle Werk euch auszureden
+  Vermochte niemand, tollk�hn setztet ihr
+  Das Leben ein und schwammt ins Meer hinaus.
+  Zerteiltet mit den Armen kraftgemut
+  Des Meeres Wogen, glittet rasch dahin
+  In kalter Flut. Ihr m�htet sieben N�chte
+  Euch ab, und endlich siegte Brecas St�rke,
+  Er war dir doch voran an Heldenkraft.
+  Ihn trug die Flut zur Morgenzeit hinauf
+  Zum Hador�menstrand. Von dort gelangt'
+  Er dann zu seiner Burg in Brondingland,
+  Die, starkbefestigt, funkelndes Geschmied,
+  Der Spangen und Juwelen viele birgt.
+  Es jubelte sein Volk dem Herren zu,
+  Der k�hn sein Wort gel�st, nachdem er so
+  Im Wettkampf gl�nzend hatte obgesiegt!'
+
+
+_Criticism of the Extract._
+
+The translation is very free. Lines that are obscure in the original are
+not allowed to be obscure in the translation, even if they have to have
+a meaning read into them. For example, in the extract quoted above,
+_beadu-runen onband_ of the original is rendered 'sucht' er H�ndel,'
+thoroughly intelligible, but not accurate. There is at times a tendency
+to paraphrase, or even to introduce an original sentence into the poem.
+An example of this may be seen at the close of the first canto:--
+
+                      'unerforschlich sind
+  Und dunkel oft die Wege des Geschickes[2].' --Page 5, l.�54.
+
+Words are occasionally omitted. In the extract above _ne l[-e]of n[-e]
+l[-a]�_ (l.�511) and _sunu B[-e]anst[-a]nes_ (l.�524) are omitted in
+translation. There are no lines in the original which correspond to the
+last line and a half of the extract.
+
+Of course by adopting this method of translation the writer attains his
+purpose. His poem is readable, but readable at the expense of accuracy.
+As a paraphrase, the version is commendable; but it is hardly of
+importance in any other way.
+
+    [Footnote 1: According to the Old English text, 836.]
+
+    [Footnote 2: The Old English reads:--
+
+                    Men ne cunnon
+        secgan t[-o] s[-o]�e, sele-r[-�]dende
+        h�le� under heofenum, hw[-a] �[-�]m hl�ste onf[-e]ng.
+            --Lines 50-52.]
+
+
+
+
+GIBB'S PARAPHRASE
+
+*Gudrun and other Stories, from the Epics of the Middle Ages, by John
+Gibb. M. Japp & Company: London: Edinburgh (printed), 1881.
+
+Gudrun, Beowulf, and Roland, with other mediaeval tales by John Gibb,
+with twenty illustrations. Second edition. London: T. Fisher Unwin, 1884
+(1883).
+
+8vo, _Beowulf_, pp. 135-168, with three illustrations[1].
+
+A Paraphrase in English Prose.
+
+
+_Aim of the Volume._
+
+  'I have not translated them (the poems) literally, but have told
+  their stories faithfully in simple language, with the special
+  design of interesting young people, although I am not without hope
+  that they will be read by some who can no longer be called young.'
+  --Prefatory Note.
+
+
+_Nature of the Paraphrase._
+
+The following parts are omitted: (1) All episodes except the Prolog;
+(2)�All lines that do not have to do directly with the story; (3)�All
+the descriptive adjectives and kennings of the poem.
+
+Gibb seems to care nothing for the beauties of the style. How much he
+has sacrificed may be seen by noting his rendering of the celebrated
+description of Grendel's haunt:--
+
+  'I know not their home. It is in a dark lake overshadowed by
+  trees. Into that lake the stag will not plunge, even although the
+  hounds are close upon it, so fearful and unholy is the place.'
+
+An illustration of the same thing may be seen by noting the omission of
+phrases from the swimming-match.
+
+
+EXTRACT.
+
+  But Hunferth, the son of Ecglaf, who sat at the feet of King
+  Hrothgar, was displeased. He was grieved that any hero should come
+  to the land boasting that he could do what no one among the Danes
+  could do. He said scornfully to Beowulf--
+
+  'Tell me, art thou the Beowulf whom Breca overcame in a swimming
+  match? I�heard the tale. You both ventured out like foolish men
+  among the waves in the days of winter. For seven nights you swam
+  together, but Breca was the stronger. Thou wilt have a worse
+  defeat shouldst thou venture to meet Grendel in the darkness of
+  the night.' --Page 144.
+
+
+_Criticism of the Paraphrase._
+
+In comparison with the work of Mr. Jones[2], it may be said that Mr.
+Gibb's paraphrase is fuller, reproduces more events, and follows more
+faithfully the original order. He supplies fewer explanatory words and
+sentences. But, on the other hand, Mr. Gibb's work, unlike Mr. Jones's,
+has no merits of style--it is all on a dead level of prose. Thus it sins
+against one of the laws of paraphrase: that the writer, in relieving
+himself of the exacting duties of translator, must present the story in
+a more literary and more truly adequate medium. Mr. Gibb's is one of the
+poorer paraphrases.
+
+
+_Indebtedness to Arnold._
+
+At page 280 of the concluding chapter, the author speaks of the history
+and character of the poem. It will be found on reference to this section
+that the author is a follower of the views set forth in the edition of
+Mr. Thomas Arnold[3]. It is probable that Mr. Gibb was indebted to this
+book for much of his paraphrase, but the free character of the version
+prevents any decision on this point.
+
+    [Footnote 1: Woodcuts; two of them are identical with the ones
+    given in the W�gner-MacDowall paraphrase: see infra, p.�130.]
+
+    [Footnote 2: See supra, p. 123.]  [[Sandras]]
+
+    [Footnote 3: See supra, p. 71.]  [[Arnold]]
+
+
+
+
+THE W�GNER-MACDOWALL PARAPHRASE
+
+
+Epics and Romances of the Middle Ages. Adapted from the Work of Dr. W.
+W�gner by M.�W. MacDowall, and edited by W. S. W. Anson. Philadelphia:
+J. B. Lippincott & Co., London: W. Swan Sonnenschein & Co., 1883. 8vo,
+_Beowulf_, pp. 347-364, with two illustrations[1].
+
+Second Edition, Oct. 1883.
+
+Sixth Edition, 1890.
+
+Eighth Edition, 1896.
+
+_Beowulf_ Retold, with Changes and Additions.
+
+The paraphrase is adapted from _Deutsche Heldensagen f�r Schule und
+Haus_, by Dr. W. W�gner (Leipzig, 1881).
+
+
+_Aim of the Book._
+
+From the nature of the changes made in the story, it is evident that an
+appeal is made to younger readers. This is borne out by the statement on
+p.�9 of the Introduction.
+
+
+_Changes in the Story._
+
+The story does not pretend to do more than follow the most general
+outlines of the original. The most important changes are in the first
+division of the poem, where it would seem that no changes whatever were
+needed. The principal additions are the following:--
+
+(1) A�minstrel flees from plague-stricken Heorot, sails to the Geatish
+land, and sings the terror wrought by Grendel, urging Beowulf to come
+and save the people.
+
+(2) The swimming-match is introduced into the action of the story, with
+the _motif_ radically altered. Breca is represented as winning the
+match.
+
+(3) The incident of Beowulf's refusal of the crown is amplified and
+introduced into the story at the opening of the third part.
+
+(4) The story differs from the original in a number of minor details.
+
+
+EXTRACT.
+
+  The minstrel tuned his harp and sang of Beowulf's heroic deeds,
+  and prophesied that he would conquer and slay the monster of the
+  morass. This praise made Hunford, one of the courtiers, angry and
+  jealous. He said it was Breka, not Beowulf, that had won the
+  golden chain[2]; that the Gothic hero was undertaking an
+  enterprise that would very likely lead him to his death; and he
+  advised him to think twice before attacking Grendel. Upon this,
+  Beowulf exclaimed indignantly that he had won a good sword instead
+  of the golden chain, and that it was sharp enough both to pierce
+  the hide of the monster and to cut out a slanderous tongue.
+
+
+_Criticism of the Paraphrase._
+
+The extract gives a good idea of the author's sins of omission and
+commission. It will be seen, for example, that the tone of the entire
+passage is altered. The bit of repartee in the last sentence is wholly
+foreign to the Beowulf manner, which is outright and downright--the very
+opposite of subtilty. The false manner is evident at once when we
+compare the reply of the hero in the original, 'Thou art the murderer of
+thine own brethren, and thou shalt be damned in Hell. Wait till
+to-night, and thou shalt see which of us is the stronger.'
+
+The story is, if possible, more garbled than the style. The mission of
+the minstrel and the mangled account of the swimming-match have no
+essential or artistic relation to the context. They are merely inserted
+to add to the action of the piece.
+
+The popularity of the book is attested by the number of editions through
+which it has passed. The volume contains also paraphrases of the legends
+about Arthur, Charlemagne, and Tannh�user, as well as the story of the
+Nibelungs. These must account for its enduring success; but it is
+unfortunate that this, the poorest of the Beowulf paraphrases, should
+thus have found an audience which it did not deserve and could never
+have commanded for itself.
+
+    [Footnote 1: Woodcuts; inaccurate.]
+
+    [Footnote 2: A�prize offered by King Hygelak for the victor in
+    the match.]
+
+
+
+
+THERESE DAHN'S PARAPHRASE
+
+
+Walhall. Germanische G�tter- und Heldensagen. F�r Alt und Jung am
+deutschen Herd erz�hlt von Felix Dahn und Therese Dahn, geb. Freiin von
+Droste-H�lshoff. Mit neunundf�nfzig Bildertafeln, Textbildern,
+Kopfleisten und Schlussst�cken nach Federzeichnungen von Johannes
+Gehrts. Kreuznach, Verlag von R. Voigtl�nder, 1883.
+
+Seventh Edition, 1885.
+
+Eleventh Edition, 1891.
+
+Twelfth Edition (Leipzig), 1898.
+
+8vo, _Beowulf_ (by Therese Dahn[1]), pp. 361-405, with two
+illustrations.
+
+A Paraphrase in German Prose for General Readers.
+
+
+_Therese Dahn._
+
+Therese Dahn, born Freiin von Droste-H�lshoff, was born in 1845, and
+married Felix Dahn in 1873. With him she published in 1873 at Leipzig a
+volume of poems (_Gedichte_). For certain of her verses in this volume
+she received high praise. She has since continued creative work. She
+resides at Breslau, where Felix Dahn is professor in the University.
+Of the stories in the present volume she wrote, beside _Beowulf_, _Die
+W�lsungen_, _Kudrun_, the story of K�nig Wilkinus, &c., _Wieland der
+Schmied_, _Walther und Hildgund_, and the stories from the _Dietrich_
+saga and the _Nibelungen_ saga.
+
+
+_Nature of the Paraphrase._
+
+The following parts of the story are omitted entirely: the account of
+the first King Beowulf in the Prolog; the Sigemund episode, Hrothgar's
+Discourse; the Thrytho episode; the Freawaru episode; Beowulf's account
+of his Fight with Grendel as told to King Hygelac; the Battle of
+Ravenswood.
+
+Other changes in the story are as follows: the sorrows of the Danes as
+told in the Prolog are attributed to the reign of King Heremod; in a
+separate Kapitel (III) are gathered the Sorrows of King Hrethel, the
+account of Ongentheow, the Fall of Hygelac, and the Death of Heardred.
+The Fight at Finnsburg is added and an original beginning provided
+for�it.
+
+Obscure words, phrases, and lines are omitted; and explanatory words are
+inserted from time to time.
+
+
+_Indebtedness to Simrock._
+
+The translation was evidently made with Simrock's translation[2] in
+hand; possibly it may have been made directly from that version.
+Evidence of the dependence upon Simrock may be found at every step. The
+forms of the proper names invented by Simrock are repeated here (e.g.,
+Aeskhere, H�dkynn, Ochthere). His renderings of the unique words in the
+poem (sometimes in a slightly simplified form) are used in the
+paraphrase. Often the original word used by Simrock is added in
+parentheses (cf., e.g., Simrock, p.�72.6 with Dahn, p.�382, and p.�73.44
+with Dahn, p.�383). Further evidence may be found by comparing the
+extracts given in this work.
+
+
+EXTRACT.
+
+  _Hunferd_, des K�nigs erster S�nger, hub da ein Streitlied an; ihm
+  war Beowulfs Ankunft leid: denn er liebte es nicht, dass ein ihn
+  anderer an Ruhm �bertreffe.
+
+  'Bist du der Beowulf, der einst im Wettkampf mit _Breka_ durch die
+  See schwamm? Wo ihr tollk�hn in vermessenem Mut euer Leben in den
+  tiefen Wassern wagtet? Weder Freund noch Feind konnten euch
+  abhalten. Da rudertet ihr in den Sund, masset die Meeresstrassen,
+  schlugt die Wasser mit den H�nden, �ber die Tiefen gleitend. Die
+  winterkalte See st�rmte und brauste: sieben N�chte schwammt ihr im
+  Wasser. Breka besiegte dich: er hatte mehr Kraft. Die Hochflut
+  warf ihn am n�chsten Morgen ans Land, von we er in seine Heimat
+  eilte, in das Land der _Brondinge_, wo er �ber Burg und Volk
+  gebietet.' --Page 370.
+
+
+_Criticism of the Paraphrase._
+
+In many places the work is practically a translation, so closely has the
+original been followed. The style is agreeable and simple; but most of
+what is beautiful in the diction belongs to Simrock rather than to Frau
+Dahn.
+
+The omissions are the most sensible that I have found in a paraphrase.
+Nothing of first importance has been lost.
+
+    [Footnote 1: See p. 662.]
+
+    [Footnote 2: See supra, p. 59.]  [[Simrock]]
+
+
+
+
+STOPFORD BROOKE'S SELECTIONS
+
+
+The History of Early English Literature, being the History of English
+Poetry from its Beginnings to the Accession of King �lfred. By Stopford
+A. Brooke. New York and London: The Macmillan Co., 1892. 8vo, _Beowulf_,
+pp. 12-92.
+
+English Literature from the Beginning to the Norman Conquest. By
+Stopford A. Brooke. New York and London: The Macmillan Co., 1898.
+8vo, _Beowulf_, pp. 58-83.
+
+Digest, Running Comment, and Translation of Copious Extracts into
+Imitative Measures.
+
+
+_Reasons for including this Book._
+
+This volume is included here because of the great influence it has had
+in forming popular notions regarding the _Beowulf_. The eminence of Mr.
+Brooke as a critic and as a poet has given him the attention of an
+audience hardly commanded by any other writer included in this paper.
+
+Again, the number of lines actually translated by Mr. Brooke is equal to
+that in many of the volumes described in this section.
+
+
+_Difference between the two Editions._
+
+The account in the second volume is much shorter than that in the first;
+only twelve pages are given to the story of Beowulf, while the first
+volume gives forty-three. The later book omits all discussion of the
+episodes, and, although parts of the older volume are retained, the
+matter is, in general, re-written.
+
+
+_Method of Translation._
+
+Translated extracts accompany the story as told by Mr. Brooke.
+
+In his Preface (p. ix), the author speaks of the futility of prose
+translations of poetry, and of the inadequacy of modern English media
+for translating the spirit of the poetry. Finally he adopts a line which
+he hopes will 'fulfil the needs and follow closely the peculiarities' of
+Old English.
+
+  'I chose after many experiments, the trochaic movement used in
+  this book, each half-line consisting of trochees following one
+  another, with a syllable at the end, chiefly a long one, to mark
+  the division of the line. I�varied the line as much as I could,
+  introducing, often rashly, metrical changes; for the fault of this
+  movement is its monotony. I�have sometimes tried an iambic
+  movement, but rarely; for this trochaic line with a beat at the
+  end of each half-verse seemed to me to get the nearest to the
+  sound of the Anglo-Saxon line, even though it is frequently
+  un-similar to that line itself. I�used alliteration whenever I
+  could, and stressed as much as possible the alliterated words, and
+  I changed the length of the line with the changes of the original.
+  But when I could not easily alliterate my line or stress the
+  alliterated word, I�did not try to do�so.'
+
+The author adopts an archaic diction. The word-order of the Old English
+is followed whenever possible.
+
+
+_Text Used._
+
+The text appears to be that of Grein-W�lker (1883).
+
+
+EXTRACT[1].
+
+  There at haven stood,    hung with rings the ship,
+  Ice-bright, for the outpath eager,    craft of Aethelings.
+  So their lord, the well-beloved,    all at length they laid
+  In the bosom of the bark,    him the bracelet-giver,--
+  By the mast the mighty king.    Many gifts were there
+  Fretted things of fairness    brought from far-off ways.--
+  Never heard I of a keel    hung more comelily about
+  With the weeds of war,    with the weapons of the battle,
+  With the bills and byrnies.    On his breast there lay
+  A great heap of gems    that should go with him,
+  Far to fare away    in the Flood's possession[2]. --Page�26.
+
+    [Footnote 1: The swimming-match is not available for illustration
+    here.]
+
+    [Footnote 2: In the second edition, the penultimate line reads,
+    'Jewels great and heaped,' &c.]
+
+
+_Criticism of the Translation._
+
+While the extracts cannot always be praised for their accuracy, they
+are, perhaps, sufficiently faithful for a popular work. When the author
+undertakes to emend the text for himself, or offers an original
+interpretation, his work is not always trustworthy. Emendations in his
+Beowulf selections, however, are rare.
+
+The style of the extracts seems needlessly obscure. This is due in part
+to following too closely the original word-order (see lines 4 and 5 of
+the extract), and in part to the free use of archaic language. Mr.
+Brooke does not hesitate to employ such forms as, 'house-carles,'
+'grit-wall,' 'ness-slopes,' 'host-shafts,' 'war-wood,' 'gold-flak�d
+shields,' 'grinning-masked helms,' which it would seem must be quite
+unintelligible to the majority of Mr. Brooke's readers.
+
+The verse, which has been fully discussed above, is, perhaps, the most
+satisfactory feature of Mr. Brooke's work. Of course it is not strictly
+imitative, as he himself explains, but it gives a fairly good impression
+of the movement of the Old English verse.
+
+
+
+
+MISS RAGOZIN'S PARAPHRASE
+
+
+Tales of the Heroic Ages. Siegfried, the Hero of the North, and Beowulf,
+the Hero of the Anglo-Saxons, by Zena�de A. Ragozin. G. P. Putnam's
+Sons, New York and London, 1898. 8vo, _Beowulf_, pp. 211-323, with Note
+at p.�323, and with four illustrations by George T. Tobin.
+
+School Edition, New York, W. B. Harison, 1900.
+
+A Paraphrase in English Prose.
+
+
+_The Author, and the Aim of her Book._
+
+Miss Zena�de Alexeievna Ragozin, a�Russian by birth, an American by
+adoption, has devoted herself to the popularization of history and
+mythology. In the series _Stories of the Nations_, she has published,
+_The Story of Chaldea_, _The Story of Assyria_, _The Story of Media,
+Babylon, and Persia_, _The Story of Vedic India_. Of late she has turned
+her attention to the mythology of the various European nations, and has
+written of Siegfried, Frithjof, and Roland.
+
+The object of her work may be given in her own words:--
+
+  '(The series is) intended as parallel reading to history, and
+  planned to illustrate history.... Great changes are coming over
+  the schools, ... changes in the right direction, which may shortly
+  amount to a revolution, when there will be no reason why these
+  _Tales of the Heroic Ages_ should not, although addressed to young
+  people at large, find a place, if not in the school curriculum, at
+  least in the wide margin of so-called 'Supplementary Reading.' May
+  they prove acceptable, not alone to the young, to whom they are
+  specially addressed, but also, as has been felicitously said, to
+  "the old with young tastes."' --Pages xx, xxii.
+
+
+_Method of Paraphrase._
+
+  '(The style) should be simple and epical; faithfully following the
+  main lines, bringing out also the characteristic details--the
+  poetical beauties, picturesque traits, and original dialogue,
+  as much as may be consistent with necessary condensation and,
+  frequently, elimination. It should be a consecutive, lively
+  narrative, with the necessary elucidating explanations
+  incorporated in the text and with the fewest and briefest possible
+  footnotes, while it should contain no critical or mythological
+  digressions.... What we want in telling it to the young, is to
+  take the epic just as it is, condensing and expurgating, but not
+  changing; rendering the characters, scenes and situations with the
+  faithfulness and reverence due to the masterpiece of a race; using
+  as much as possible, especially in the dialogue, the words of the
+  original.... (The language) should be simple, though not untinged
+  with quaintness, and even in places a certain degree of archaism.'
+  --Pages xvi, xix, xxi.
+
+
+_Indebtedness to Earle._
+
+  'Professor Earle's[1] version has been fully utilized in the
+  present volume, even to the extent of frequently making use of its
+  wording, where it is not too archaic or literal for ordinary
+  purposes.' --Page 330, footnote.
+
+Some notion of the extent of this borrowing may be had by examining the
+extract printed below and the criticism that follows.
+
+
+EXTRACT.
+
+  Yet there was one eye that gleamed not with merriment and
+  goodwill, one head that hatched no friendly thoughts, because the
+  heart swelled with malice and envy. Unferth it was, the king's own
+  story-teller, who sat at his feet, to be ready at all times to
+  amuse him. He broached a quarrelsome theme--an adventure in
+  Beowulf's youth, the only contest in his record the issue of
+  which, though hard fought, might be called doubtful. For this
+  Unferth was an envious wight, whose soul grudged that any man
+  should achieve greater things than himself.
+
+  'Art thou not,' he began tauntingly, 'that same Beowulf who strove
+  with Breca on open sea in a swimming-match, in which ye both
+  wantonly exposed your lives, and no man, either friend or foe,
+  could turn you from the foolish venture? A�se'nnight ye twain
+  toiled in the realm of the waters, and, if I err not, he outdid
+  thee in swimming, for he had greater strength. Wherefore I fear me
+  much that thou mayest meet with sorry luck if thou darest to bide
+  here for Grendel for the space of a whole night.'
+
+
+_Criticism of the Paraphrase._
+
+It may be inferred from the dependence upon the work of Earle that Miss
+Ragozin's knowledge of Old English is of the slightest. This inference
+is borne out by frequent misapprehension of the original sense, due in
+large measure to the use of a single translation. Thus on page 245,
+Grendel is called 'the God-sent scourge,' and, again, on p.�322, Beowulf
+is described as having been 'most genial to his nobles.' Both of these
+errors are due to misapprehension of Professor Earle's translation. The
+list of proper names on p.�331 reveals an ignorance of some fundamental
+facts of Old English pronunciation. Of course, an intimate knowledge of
+the Beowulf style and diction is not indispensable to the writer of a
+paraphrase, but the writer who has it will naturally be superior to the
+writer without it. For illustration, Miss Thomson[2] never misinterprets
+a passage as does Miss Ragozin on page 264, where nearly every sentence
+is false to the Beowulf manner.
+
+The paraphrase is slightly disfigured by the distinctively Romance words
+which disfigure Earle's translation.
+
+But these slight defects need not blind us to the service done by Miss
+Ragozin in making Beowulf accessible to school children. The style is,
+in general, strong and effective, not without some of the beauty and
+dignity of the Old English, but relieved of the more obscure and
+recondite features of that style.
+
+    [Footnote 1: See supra, p. 91.]  [[Earle]]
+
+    [Footnote 2: See infra, p. 143.]  [[Thomson]]
+
+
+
+
+MR. CHURCH'S PARAPHRASE
+
+
+Heroes of Chivalry and Romance. By the Rev. A. J. Church, M.A. London:
+Seeley and Company, 1898. 8vo, _Beowulf_, pp. 3-60. With two
+illustrations in colours by George Morrow.
+
+Beowulf Retold.
+
+
+_Contents of the Volume._
+
+'The Story of Beowulf,' 'King Arthur and the Round Table,' 'The Treasure
+of the Nibelungs.'
+
+
+_Indebtedness to Kemble and Earle._
+
+  'In writing the story of Beowulf I have been helped by Kemble's
+  translation and notes[1], and still more by Professor Earle's[2]
+  admirable edition.' --Author's Note.
+
+
+_Nature of the Paraphrase._
+
+All obscure words (especially kennings) and lines are dropped. Many
+explanatory remarks are inserted to elucidate the story. All speeches
+are greatly shortened. Beowulf's tale of the fight is omitted entirely.
+The episodes are omitted, with the exception of the Sigemund episode,
+one-half of which is translated into heroic couplets, and the Finn
+episode, which is referred to in a single stanza which paraphrases the
+story.
+
+
+_Concerning the Author._
+
+The Rev. Alfred John Church (born 1829) is known chiefly for his
+popularizations of the classics. His best-known works are _Stories from
+Homer_ and _Stories from Virgil_. The present volume is an attempt to do
+for some of the Germanic legends what had already been done for Homer
+and Virgil.
+
+
+EXTRACT.
+
+  But while they feasted envy stirred in the heart of Unferth, son
+  of Ecglaf. He was the King's orator, and he took it ill that
+  Beowulf should have come to the land of the Danes on this great
+  enterprise, for he was one who could not endure that any man under
+  heaven should do greater deeds than himself. Therefore he stood up
+  in the hall and spake: 'Art thou that Beowulf who contended with
+  Breca in swimming on the open sea? 'Twas, indeed, a�foolhardy
+  thing so to put your lives in jeopardy, yet no man could turn you
+  from your adventure. Seven days and nights ye toiled, one against
+  the other, but he in the end prevailed, for he had the greater
+  strength. And on the eighth morning the waves cast him ashore on
+  the land of the Heathoram, whence he journeyed back to the city of
+  the Bronding, of which he was lord. So did Breca, son of Beanstan,
+  make good his boast against thee.'
+
+
+_Criticism of the Paraphrase._
+
+The extract is so much fuller than the other parts of the paraphrase
+that it hardly gives a fair notion of the nature of the work. The author
+has appreciated the dramatic quality of the swimming episode and
+preserved it nearly entire. Other parts of the story are much less
+fortunate.
+
+A little knowledge of Old English would have done the author no harm,
+and would have saved him from some errors. His most evident mistakes are
+in the forms of the proper names. Such forms as these occur in his book:
+Veleda, Hugon, Weopstan (sic), Hrethin, Hrethet.
+
+The diction is unfortunate. The coast-warden becomes a 'squire' (p.�7);
+Heorot is a 'banqueting hall' (p.�4, showing the influence of Kemble's
+translation); Beowulf and Breca were 'pages at the King's court' (p.�13,
+showing the influence of Earle's translation).
+
+Petty inaccuracies occur throughout, such as, 'I counsel that thou
+refuse not' (p.�9); 'A faithful squire must needs know the troubles of
+his lord' (p.�7). In point of accuracy this version is quite inferior to
+the work of Miss Thomson[3]; and in point of style and atmosphere to
+that of Mr. Jones[4], Miss Ragozin[5], or Miss Thomson. The book,
+however, is readable, and the author's name will doubtless serve to give
+it a certain success.
+
+    [Footnote 1: See supra, p. 33.]  [[Kemble]]
+
+    [Footnote 2: See supra, p. 91.]  [[Earle]]
+
+    [Footnote 3: See infra, p. 143.]  [[Thomson]]
+
+    [Footnote 4: See supra, p. 123.]  [[Sandras]]
+
+    [Footnote 5: See supra, p. 138.]  [[Ragozin]]
+
+
+
+
+MISS THOMSON'S PARAPHRASE
+
+
+The Adventures of Beowulf, translated from the Old English and adapted
+to the Use of Schools by Clara Thomson[1]. London: Horace Marshall and
+Son, 1899. 8vo, pp. 95. In the 'New English Series,' edited by E. E.
+Speight.
+
+A Paraphrase in English Prose.
+
+
+_Aim of the Volume._
+
+  'It is meant mainly to arouse in children an interest in the
+  beginnings of our literature--a�subject that is still terribly
+  neglected in schools. It makes no pretension to being an adequate
+  or satisfactory version for grown-up readers.' --Page�6.
+
+
+_Method of Paraphrase._
+
+  '[Discrepancies in the poem] I�have endeavoured to smooth over by
+  omission or by very slight additions; and whenever of two readings
+  of a doubtful passage, one is more easily comprehensible than the
+  other, I�have always adhered to this, even if on philological
+  grounds it seems less probable.'...
+
+  'Many of the episodes in the story have been greatly shortened or
+  altogether omitted, since they interrupt the course of the
+  narrative, or divert the interest from the main theme.'
+  --Pages�5,�6.
+
+This statement is more modest than need be. It will be found that only
+two of the episodes are passed without mention--the Prolog and the Tale
+of Thrytho. The Legend of Sigemund and the Tale of Finn are rather fully
+treated, and the Story of Freawaru and the Battle of Ravenswood are both
+referred to. In each case the episodes are carefully woven into the
+story, and that without superfluous words.
+
+The words and sentences which are supplied are very carefully chosen,
+and most of them have a prototype somewhere in the poem.
+
+
+EXTRACT.
+
+  Now, though most of Hrothgar's men rejoiced to see Beowulf, and
+  honoured him for his generous thought in coming to their help,
+  there was one who looked on him with dislike and envy, and was
+  jealous of the favour shown him by the king. This was Hunferth,
+  who was sitting on the da�s at Hrothgar's feet. And when he heard
+  what this visitor intended to do, he grew angry and moody, because
+  he could not bear that any other man on earth should obtain
+  greater honour than he himself. So he began to rake up old tales
+  that he had heard of Beowulf, and tried to turn them to his hurt,
+  saying scornfully:
+
+  'Art thou that Beowulf who once strove on the wide sea in a
+  swimming-match with Breca, when ye two in boasting dared to breast
+  the wave, and for vainglory risked your lives in the deep water?
+  There was no man, friend nor foe, who could dissuade you from that
+  sorrowful journey; but ye swam in the surf, stretching out your
+  arms over the waves, and stirring up the surge with your hands. So
+  did ye glide across the ocean, while the waves weltered in wintry
+  storms, and for seven nights ye laboured in the tumult of the
+  seas. But in the end the victory was with Breca, for his might was
+  the greater. Then on the morning of the eighth day the tide bore
+  him to the shore of Norway, whence he visited his beloved home,
+  the fair city of safety, where he ruled over many people, over
+  towns and treasure. Truly he did perform all his boast against
+  thee.'
+
+
+_Criticism of the Paraphrase._
+
+In the opinion of the present writer, no better paraphrase of _Beowulf_
+exists.
+
+It is perhaps unfortunate that the word 'translated' is used on the
+title-page, for this is misleading. The proper form is that used on the
+cover of the book, 'Beowulf, told by Miss Clara Thomson.'
+
+It were sufficient praise to point out that the author has contrived to
+retain practically all of the poem, without ever falsifying its spirit
+by introducing a superabundance of explanatory phrases[2]. She is always
+true to the story (as Miss Ragozin[3] is not, for example, in the first
+section of her work); she is equally true to the spirit of the poem (as
+Mr. Gibb[4] is not). The style is both vigorous and simple, not unworthy
+of the story it tells.
+
+It will be surprising if Miss Thomson's work is not popular in England,
+and the book should be known and used in this country.
+
+    [Footnote 1: Miss Thomson is better known as the biographer of
+    Samuel Richardson. See _Samuel Richardson, a�Biographical and
+    Critical Study_. London, 1900.]
+
+    [Footnote 2: The author's argument against inserting the Prolog
+    is sound enough; but the omission of any part of the poem in a
+    paraphrase so good as Miss Thomson's is to be regretted.]
+
+    [Footnote 3: See supra, p. 138.]  [[Ragozin]]
+
+    [Footnote 4: See supra, p. 128.]  [[Gibb]]
+
+
+
+
+APPENDIX II
+
+A BIBLIOGRAPHY OF WORKS WHICH CONTAIN SELECTIONS FROM BEOWULF
+TRANSLATED INTO ENGLISH
+
+
+(_Only works which translate at least thirty lines are noted._)
+
+TEN BRINK, BERNHARD, AND KENNEDY, HORACE, in Early English Literature
+(to Wiclif). London and New York, 1883. Verse.
+
+BROWN, ANNA R., in Poet Lore, II, 133, 185. Verse, ll. 26-53, and
+1493-1571.
+
+GUMMERE, F. B., in the American Journal of Philology, VII, 77,
+ll. 1-52. Verse.
+
+---- in Germanic Origins (New York, 1892), pp. 109�ff. Verse.
+
+LONGFELLOW, HENRY WADSWORTH, in Poets and Poetry of Europe, lines 18-40;
+53-83; 189-257; 1789-1803; 2455-2462. Verse.
+
+MORLEY, HENRY, in English Writers, I, pp. 287�ff. (second edition,
+London, 1887). Verse.
+
+ROBINSON, W. CLARKE, in Introduction to our Early English Literature
+(London, 1885). Lines 87-98 (verse), and 1-52 (prose).
+
+SMITH, C. SPRAGUE, in the New Englander, IV, p.�49. Lines 711-838;
+Section XII, Section XIII, 1493-1652; Section XXIII, Section XXIV.
+Verse.
+
+SWEET, HENRY, in Warton's History of English Poetry, ed. W. Carew
+Hazlitt (London, 1877). Vol. II, pp. 11-12. Prose.
+
+TOLMAN, A. H., in Transactions of the Modern Language Association, III,
+pp. 19�ff. In the 'Style of Anglo-Saxon Poetry.' Prose.
+
+
+_Incomplete Paraphrase._
+
+PALMER, BERTHA, in Stories from the Classic Literature of many Nations
+(New York, 1898), pp. 262-263. Beowulf's Fight with Grendel, using J. L.
+Hall's translation as a basis.
+
+
+
+
+APPENDIX III
+
+TWO WORKS NAMED 'BEOWULF'
+
+
+I.
+
+Beowulf, Roman von Karl Manno (pseud. Carl von Lemcke). In _Deutsche
+Roman-Zeitung_, Jahrg. 19, Bde. 1, 2. Berlin, 1882.
+
+A modern romance, having no relation to the Old English poem.
+
+
+II.
+
+_Mr. S. H. Church's 'Beowulf.'_
+
+Beowulf, a�Poem by Samuel Harden Church. New York: Stokes and Co., 1901.
+
+An original poem, using some of the Beowulf material.
+
+After speaking of his original intention of translating the _Beowulf_,
+which he later discarded, the author says:--
+
+  'I have ... composed an original narrative in which the leading
+  characters and some of the incidents of the early work[1] have
+  been freely used, but as materials only. I�have transferred to my
+  hero, Beowulf, the picturesque history of Sceaf[2]; have changed
+  the relationship of characters and incidents; have inserted the
+  illumination of Beowulf's soul, and his banishment; and have
+  introduced the love motive between Beowulf and Freaware that runs
+  through the poem to the end. Indeed the structure, language,
+  style, description, elaboration, interpretation, and development
+  of the story are new. I�have arbitrarily laid the scene in
+  England, under purely idealized conditions; and have initiated
+  nearly all that the poem contains of womanhood, of love, of
+  religion, of state-policy, and of domestic life and manners. It
+  is clear, therefore, that my work must not be judged either as a
+  translation, version, or paraphrase of the old Beowulf.'
+
+    [Footnote 1: i.e., the translation.]
+
+    [Footnote 2: Scyld]
+
+
+
+
+INDEX OF TRANSLATORS
+
+
+  Arnold, Thomas, 71-4.
+  Botkine, L., 75-9.
+  ten Brink, B., and Kennedy, H. M., 146.
+  Brooke, S. A., 135-7.
+  Brown, Anna R., 146.
+  Church, A. J., 141-3.
+  Conybeare, J. J., 28-32.
+  Cox and Jones, _see_ Jones.
+  Dahn, T., 132-4.
+  Earle, John, 91-5.
+  Ettm�ller, L., 37-41.
+  Garnett, J. M., 83-7.
+  Gibb, J., 128-30.
+  Grein, C. W. M., 55-9.
+  Grion, G., 87-9.
+  Grundtvig, N. F. S., 22-8.
+  Gummere, F. B., 146.
+  Hall, John Lesslie, 95-9.
+  Hall, John R. Clark, 114-8.
+  Heyne, M., 63-7.
+  Hoffmann, P., 99-103.
+  Jones, E. H., 123-5.
+  Kemble, J. M., 33-7.
+  Kennedy, H. M., _see_ ten Brink.
+  Lemcke, Carl von, _see_ Manno.
+  Leo, H., 121-3.
+  Longfellow, H. W., 146.
+  Lumsden, H. W., 79-82.
+  MacDowall, M. W., 130-2.
+  Morley, H., 146.
+  Morris, W., 104-9.
+  Palmer, B., 147.
+  Ragozin, Z. A., 138-40.
+  Robinson, W. C., 146.
+  Sandras, G. S., 123.
+  Schaldemose, F., 41-5.
+  Simons, L., 109-11.
+  Simrock, K., 59-63.
+  Smith, C. S., 146.
+  Steineck, H., 112-4.
+  Sweet, H., 147.
+  Thomson, C., 143-5.
+  Thorkelin, G. J., 15-21.
+  Thorpe, B., 49-55.
+  Tinker, C. B., 118-20.
+  Tolman, A. H., 147.
+  Turner, S., 9-15.
+  Wackerbarth, A. D., 45-9.
+  W�gner, W., 130-2.
+  Wickberg, R., 90, 91.
+  von Wolzogen, H., 68-71.
+  Wyatt, A. J., 104-9.
+  Zinsser, G., 126-8.
+
+
+       *       *       *       *       *
+           *       *       *       *
+       *       *       *       *       *
+
+ERRATA (noted by transcriber):
+
+The word "invisible" means that there is an appropriately sized gap,
+but the character itself is not present.
+
+In German texts, the word or word element "wohl" is consistently
+spelled "wol". Other variant spellings are not noted.
+
+Translations marked with a bracketed asterisk [*] were checked against
+the original texts.
+
+THORKELIN
+  Dr J V. [_periods printed as shown_]
+  (Criticism) ... sw�sne � [[rune]]�� (i.e. [-e]�el).
+    [_the original text shows the runic letter called "edhel";
+    second period in "i.e." invisible_]
+
+GRUNDTVIG
+  Bjowulf's Draape  [Drape]
+  Bjovulvs-Draapen, et H�inordisk Heltedigt  [Drapen ... Hoinordisk]
+
+ETTM�LLER[*]
+  (Theory) nach dem gewonnenen Schema  [gewonnen]
+  (Extract) bei Headhor�mes  [Heador�mes]
+
+SCHALDEMOSE
+  Beo-wulf og Scopes Widsi�  [_letter � printed as d with bar_]
+
+SIMROCK[*]
+  (Nature) der Sch�nheit des Gedichts  [Gedichtes]
+  (Extract) In diesem Mittelkreiss  [Mittelkreis]
+  da besiegt' er dich im Schwimmen.
+    [_letter "i" in "Schwimmen" invisible_]
+
+HEYNE[*]
+  (Aim) nicht die erste, die ich biete
+    [_"ich" emphatic (gesperrt) in Heyne original_]
+  (Nature) allitterierende Versmass  [alliterierende]
+  f�nff�ssige Jamben  [Iamben]
+  (Extract) mit verwegnem Br�sten  [verwegnen]
+  Da schwammt ihr hinaus in See  [_shown as printed_]
+  das hatte Beanstans Sohn
+    [_text corrects misspelled "Banstan" in Heyne original_]
+
+ARNOLD
+  (Criticism) nothing more than a transcription  [mroe]
+
+GARNETT
+  (Nature) ... 'In respect to the rhythmical form
+    [_open quote invisible_]
+
+GRION
+  [_All apostrophes are spaced as in the original_]
+  (Preliminary) e�s� che nessuna parola  [si che]
+
+J. L. HALL
+  (Criticism) ... a�gain has here and there been made.
+    [_close quote missing_]
+  'the' or 'a' in the verses quoted above
+    [_open quote in "the" invisible_]
+
+SIMONS[*]
+  Leeraar aan 't koninklijk Athenaeum  [aan't]
+  (Aim and Contents) Geschiednis  [Geschiedenis]
+  (Extract) Gij maat de zeebaan  [zeebahn]
+
+J. R. C. HALL
+  (Nature) without the translation (p.�7).
+    [_closing parenthesis invisible_]
+  (Criticism) '... the Weder-Geat Lord's life.'
+    [_close quote missing_]
+
+W�GNER-MACDOWALL
+  Adapted from the Work of Dr. W. W�gner by M. W. MacDowall  [W. M.]
+
+RAGOZIN
+  _The Story of Vedic India_.
+    [_extraneous close quote at end of sentence_]
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Translations of Beowulf, by 
+Chauncey Brewster Tinker
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+<pre>
+
+Project Gutenberg's The Translations of Beowulf, by Chauncey Brewster Tinker
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Translations of Beowulf
+       A Critical Biography
+
+Author: Chauncey Brewster Tinker
+
+Release Date: July 1, 2008 [EBook #25942]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE TRANSLATIONS OF BEOWULF ***
+
+
+
+
+Produced by Louise Hope, David Starner and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<div class = "mynote">
+<p><a name = "start" id = "start">This text</a> includes a few
+characters that require utf-8 (unicode) file encoding.</p>
+
+<p class = "inset">
+œ &nbsp; (“oe” ligature)<br>
+ā ē ī ō ū ȳ ǣ &nbsp; (vowels with macron or “long” mark)<br>
+ǽ &nbsp; (æ with accent)<br>
+ȝ &nbsp; (yogh)<br>
+þ̷ þ̸ &nbsp; (thorn with line, typically abbreviating “that”)</p>
+
+<p>Most of these letters are rare and occur only in the quotations from
+Old English. If any of them do not display properly&mdash;in particular,
+if the diacritic does not appear directly above the letter&mdash;or if
+the apostrophes and quotation marks in this paragraph appear as garbage,
+you may have an incompatible browser or unavailable fonts. First, make
+sure that the browser’s “character set” or “file encoding” is set to
+Unicode (UTF-8). You may also need to change your browser’s default
+font.</p>
+
+<p>Typographical errors are shown in the text with <ins class =
+"correction" title = "like this">mouse-hover popups</ins>. The
+translations of Ettmüller, Simrock, Heyne and Simons were checked
+against the original texts. In German texts, the word or word element
+“wohl” is consistently spelled “wol”. All asterisks are in the
+original.</p>
+
+</div>
+
+<div class = "titlepage">
+
+<h2>YALE STUDIES IN ENGLISH</h2>
+
+<h3 class = "smallcaps">ALBERT S. COOK, Editor</h3>
+
+<p>&nbsp;</p>
+
+<h2>XVI</h2>
+
+<h1>THE TRANSLATIONS OF BEOWULF</h1>
+
+<h2>A CRITICAL BIBLIOGRAPHY</h2>
+
+<p>&nbsp;</p>
+
+<h6>BY</h6>
+
+<h3>CHAUNCEY B. TINKER</h3>
+
+<h5>A PORTION OF A THESIS PRESENTED TO THE PHILOSOPHICAL<br>
+FACULTY OF YALE UNIVERSITY IN CANDIDACY FOR<br>
+THE DEGREE OF DOCTOR OF PHILOSOPHY</h5>
+
+</div>
+
+<hr class = "tiny">
+
+<h6>Originally Published 1903</h6>
+
+<hr class = "tiny">
+
+<div class = "preface">
+
+<span class = "pagenum">3</span>
+
+<h3><a name = "preface" id = "preface">PREFACE</a></h3>
+
+
+<p><span class = "firstword">The</span> following pages are designed to
+give a historical and critical account of all that has been done in the
+way of translating <i>Beowulf</i> from the earliest attempts of Sharon
+Turner in 1805 down to the present time. As a corollary to this, it
+presents a history of the text of the poem to the time of the
+publication of Grein’s <i>Bibliothek der angelsächsischen Poesie</i> in
+1859; for until the publication of this work every editor of the poem
+was also its translator.</p>
+
+<p>It is hoped that the essay may prove useful as a contribution to
+bibliography, and serve as a convenient reference book for those in
+search of information regarding the value of texts and translations of
+<i>Beowulf</i>.</p>
+
+<p>The method of treating the various books is, in general, the same.
+I&nbsp;have tried to give in each case an accurate bibliographical
+description of the volume, a&nbsp;notion of the value of the text used
+in making it, &amp;c. But the emphasis given to these topics has
+necessarily varied from time to time. In discussing literal
+translations, for example, much attention has been paid to the value of
+the text, while little or nothing is said of the value of the rendering
+as literature. On the other hand, in the case of a book which is
+literary in aim, the attention paid to the critical value of the book is
+comparatively small. At certain periods in the history of the poem, the
+chief value of a translation is its utility as a part of the critical
+apparatus for the
+<span class = "pagenum">4</span>
+interpretation of the poem; at other periods, a&nbsp;translation lays
+claim to our attention chiefly as imparting the literary features of the
+original.</p>
+
+<p>In speaking of the translations which we may call literary,
+I&nbsp;have naturally paid most attention to the English versions, and
+this for several reasons. In the first place, <i>Beowulf</i> is an
+<i>English</i> poem; secondly, the number, variety, and importance of
+the English translations warrant this emphasis; thirdly, the present
+writer is unable to discuss in detail the literary and metrical value of
+translations in foreign tongues. The account given of German, Dutch,
+Danish, Swedish, French, and Italian versions is, therefore, of a more
+strictly bibliographical nature; but, whenever possible, some notion has
+been given of the general critical opinion with regard to them.</p>
+
+<p>An asterisk is placed before the titles of books which the present
+writer has not seen.</p>
+
+<p>My thanks are due to the officials of the Library of Yale University,
+who secured for me many of the volumes here described; to Professor
+Ewald Flügel of Leland Stanford Junior University, who kindly lent me
+certain transcripts made for him at the British Museum; and to Mr.
+Edward Thorstenberg, Instructor in Swedish at Yale University, for help
+in reading the Danish and Swedish translations.</p>
+
+<p class = "space">
+<i>July</i>, 1902.</p>
+
+
+<hr class = "mid">
+
+<span class = "pagenum">5</span>
+<h3><a name = "contents" id = "contents">TABLE OF CONTENTS</a></h3>
+
+<table class = "toc" summary = "contents">
+<tr>
+<td></td>
+<td class = "number smaller">PAGE</td>
+</tr>
+<tr>
+<td class = "smallcaps">
+<p>Preliminary Remarks on the Beowulf Manuscript</p>
+</td>
+<td class = "number"><a href = "#prelim">7</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Sharon Turner’s Extracts
+</td>
+<td class = "number"><a href = "#trans_turner">9</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Thorkelin’s Edition
+</td>
+<td class = "number"><a href = "#trans_thorkelin">15</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Grundtvig’s Translation
+</td>
+<td class = "number"><a href = "#trans_grundtvig">22</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Conybeare’s Extracts
+</td>
+<td class = "number"><a href = "#trans_conybeare">28</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Kemble’s Edition
+</td>
+<td class = "number"><a href = "#trans_kemble">33</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Ettmüller’s Translation
+</td>
+<td class = "number"><a href = "#trans_ettmuller">37</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Schaldemose’s Translation
+</td>
+<td class = "number"><a href = "#trans_schaldemose">41</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Wackerbarth’s Translation
+</td>
+<td class = "number"><a href = "#trans_wackerbarth">45</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Thorpe’s Edition
+</td>
+<td class = "number"><a href = "#trans_thorpe">49</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Grein’s Translation
+</td>
+<td class = "number"><a href = "#trans_grein">55</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Simrock’s Translation
+</td>
+<td class = "number"><a href = "#trans_simrock">59</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Heyne’s Translation
+</td>
+<td class = "number"><a href = "#trans_heyne">63</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+von Wolzogen’s Translation
+</td>
+<td class = "number"><a href = "#trans_wolzogen">68</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Arnold’s Edition
+</td>
+<td class = "number"><a href = "#trans_arnold">71</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Botkine’s Translation
+</td>
+<td class = "number"><a href = "#trans_botkine">75</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Lumsden’s Translation
+</td>
+<td class = "number"><a href = "#trans_lumsden">79</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Garnett’s Translation
+</td>
+<td class = "number"><a href = "#trans_garnett">83</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Grion’s Translation
+</td>
+<td class = "number"><a href = "#trans_grion">87</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Wickberg’s Translation
+</td>
+<td class = "number"><a href = "#trans_wickberg">90</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Earle’s Translation
+</td>
+<td class = "number"><a href = "#trans_earle">91</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+J. L. Hall’s Translation
+</td>
+<td class = "number"><a href = "#trans_jl_hall">95</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Hoffmann’s Translation
+</td>
+<td class = "number"><a href = "#trans_hoffmann">99</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Morris and Wyatt’s Translation
+</td>
+<td class = "number"><a href = "#trans_morris_wyatt">104</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Simons’s Translation
+</td>
+<td class = "number"><a href = "#trans_simons">109</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Steineck’s Translation
+</td>
+<td class = "number"><a href = "#trans_steineck">112</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+J. R. Clark Hall’s Translation
+</td>
+<td class = "number"><a href = "#trans_jrc_hall">114</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Tinker’s Translation
+</td>
+<td class = "number"><a href = "#trans_tinker">118</a></td>
+</tr>
+
+<tr>
+<td colspan = "2">
+<span class = "pagenum">6</span>
+<h4>APPENDIX I</h4>
+
+<h5>INCOMPLETE TRANSLATIONS, AND PARAPHRASES</h5>
+</td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Leo’s Digest
+</td>
+<td class = "number"><a href = "#para_leo">121</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Sandras’s Account
+</td>
+<td class = "number"><a href = "#para_sandras">123</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+E. H. Jones’s Paraphrase
+</td>
+<td class = "number"><a href = "#para_jones">123</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Zinsser’s Selection
+</td>
+<td class = "number"><a href = "#para_zinsser">126</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Gibb’s Paraphrase
+</td>
+<td class = "number"><a href = "#para_gibb">128</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Wägner and MacDowall’s Paraphrase
+</td>
+<td class = "number"><a href = "#para_wagner_macdowall">130</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Therese Dahn’s Paraphrase
+</td>
+<td class = "number"><a href = "#para_dahn">132</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Stopford Brooke’s Selections
+</td>
+<td class = "number"><a href = "#para_brooke">135</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Miss Ragozin’s Paraphrase
+</td>
+<td class = "number"><a href = "#para_ragozin">138</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+A. J. Church’s Paraphrase
+</td>
+<td class = "number"><a href = "#para_church">141</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Miss Thomson’s Paraphrase
+</td>
+<td class = "number"><a href = "#para_thomson">143</a></td>
+</tr>
+<tr>
+<td colspan = "2">
+<h4>APPENDIX II</h4>
+</td>
+</tr>
+<tr>
+<td class = "smallcaps">
+<p>A Bibliography of Works which translate Selections from ‘Beowulf’
+into English</p>
+</td>
+<td class = "number"><a href = "#biblio">146</a></td>
+</tr>
+<tr>
+<td colspan = "2">
+<h4>APPENDIX III</h4>
+
+<h5>TWO WORKS NAMED ‘BEOWULF’</h5>
+</td>
+</tr>
+<tr>
+<td class = "smallcaps">
+&nbsp;I. &nbsp; Manno’s Romance
+</td>
+<td class = "number"><a href = "#appIII_manno">148</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+II. &nbsp; S. H. Church’s Poem
+</td>
+<td class = "number"><a href = "#appIII_church">148</a></td>
+</tr>
+<tr class = "space">
+<td class = "smallcaps">
+Index of Translators
+</td>
+<td class = "number"><a href = "#index">149</a></td>
+</tr>
+</table>
+
+</div>
+
+<hr class = "tiny">
+
+<span class = "pagenum">7</span>
+<h2>THE TRANSLATIONS OF BEOWULF</h2>
+
+<hr class = "tiny">
+
+<div class = "maintext">
+
+<h3><a name = "prelim" id = "prelim">PRELIMINARY REMARKS ON THE<br>
+BEOWULF MANUSCRIPT</a></h3>
+
+<p><span class = "firstword">The</span> unique manuscript of the
+<i>Beowulf</i> is preserved in the Cottonian Library of the British
+Museum. It is contained in the folio designated Cotton Vitellius A. xv,
+where it occurs ninth in order, filling the folios numbered 129a to
+198b, inclusive.</p>
+
+<p>The first recorded notice of the MS. is to be found in Wanley’s
+Catalog of Anglo-Saxon Manuscripts (Oxford, 1705), Volume III of
+Hickes’s <i>Thesaurus</i>. The poem is thus described:&mdash;</p>
+
+<blockquote>
+‘Tractatus nobilissimus Poeticè scriptus. Præfationis hoc est initium.’
+</blockquote>
+
+<p>The first nineteen lines follow, transcribed with a few errors.</p>
+
+<blockquote>
+‘Initium autem primi Capitis sic se habet.’
+</blockquote>
+
+<p>Lines 53&ndash;73, transcribed with a few errors.</p>
+
+<blockquote>
+‘In hoc libro, qui Poeseos Anglo-Saxonicæ egregium est exemplum,
+descripta videntur bella quæ Beowulfus quidam Danus, ex Regio
+Scyldingorum stirpe Ortus, gessit contra Sueciæ Regulos.’ Page 218, col.
+b, and 219, col.&nbsp;a.
+</blockquote>
+
+<p>No further notice was taken of the MS. until 1786, when Thorkelin<a
+class = "tag" name = "tag_prelim1" id = "tag_prelim1" href =
+"#note_prelim1">1</a> made two transcripts of&nbsp;it.</p>
+
+<p>In 1731 there occurred a disastrous fire which destroyed a number of
+the Cottonian MSS. The Beowulf MS. suffered at this time, its edges
+being scorched and its pages shriveled. As a result, the edges have
+chipped
+<span class = "pagenum">8</span>
+away, and some of the readings have been lost. It does not appear,
+however, that these losses are of so great importance as the remarks of
+some prominent Old English scholars might lead us to suspect. Their
+remarks give the impression that the injury which the MS. received in
+the fire accounts for practically all of the illegible lines. That this
+is not so may be seen by comparing the Wanley transcript with the
+Zupitza <i>Autotypes</i>. Writing in 1705, before the Cotton fire,
+Wanley found two illegible words at line 15&mdash;illegible because of
+fading and rubbing. Of exactly the same nature appear to be the injuries
+at lines 2220&nbsp;ff., the celebrated passage which is nearly, if not
+quite, unintelligible. It would therefore be a safe assumption that such
+injuries as these happened to the MS. before it became a part of the
+volume, Vitellius A. xv. The injuries due to scorching and burning are
+seldom of the first importance.</p>
+
+<p>This point is worth noting. Each succeeding scholar who transcribed
+the MS., eager to recommend his work, dwelt upon the rapid deterioration
+of the parchment, and the reliability of his own readings as exact
+reproductions of what he himself had seen in the MS. before it reached
+its present ruinous state. The result of this was that the emendations
+of the editor were sometimes accepted by scholars and translators as the
+authoritative readings of the MS., when in reality they were nothing but
+gratuitous additions. This is especially true of Thorpe<a class = "tag"
+name = "tag_prelim2" id = "tag_prelim2" href = "#note_prelim2">2</a>,
+and the false readings which he introduced were never got rid of until
+the Zupitza <i>Autotypes</i> brought to light the sins of the various
+editors of the poem. These statements regarding text and MS. will be
+developed in the following sections of the paper<a class = "tag" name =
+"tag_prelim3" id = "tag_prelim3" href = "#note_prelim3">3</a>.</p>
+
+<div class = "footnote">
+<p>
+<a name = "note_prelim1" id = "note_prelim1" href =
+"#tag_prelim1">1.</a>
+See infra, <a href = "#trans_thorkelin">p. 16</a>.</p>
+
+<p>
+<a name = "note_prelim2" id = "note_prelim2" href =
+"#tag_prelim2">2.</a>
+See infra, <a href = "#trans_thorpe">p. 49</a>.</p>
+
+<p>
+<a name = "note_prelim3" id = "note_prelim3" href =
+"#tag_prelim3">3.</a>
+See infra on Thorkelin, <a href = "#trans_thorkelin">p. 19</a>;
+Conybeare, <a href = "#trans_conybeare">p.&nbsp;29</a>; Kemble, <a href
+= "#trans_kemble">p.&nbsp;34</a>; Thorpe, <a href =
+"#trans_thorpe">p.&nbsp;51</a>; Arnold, <a href =
+"#trans_arnold">p.&nbsp;72</a>.</p>
+</div>
+
+
+<hr class = "mid">
+
+<span class = "pagenum">9</span>
+
+<h3><a name = "trans_turner" id = "trans_turner">
+SHARON TURNER’S EXTRACTS</a></h3>
+
+<p><span class = "firstword">The</span> History of the Manners, Landed
+Property, Government, Laws, Poetry, Literature, Religion, and Language
+of the Anglo-Saxons. By Sharon Turner, F.A.S. London: Longman, Hurst,
+Rees, &amp; Orme, 1805.</p>
+
+<p>Being Volume IV of the History of the Anglo-Saxons from their
+earliest appearance above the Elbe, etc. London, 1799&ndash;1805.
+8<sup>o</sup>, pp. 398&ndash;408.</p>
+
+<p>Second Edition, corrected and enlarged. London: Longman, Hurst, Rees,
+&amp; Orme, 1807. 2 vols., 4<sup>o</sup>. <i>Beowulf</i> described, Vol.
+II, pp. 294&ndash;303.</p>
+
+<p>Third Edition. London, 1820.</p>
+
+<p>Fourth Edition. London, 1823.</p>
+
+<p>Fifth Edition. (1827?)</p>
+
+<p>Sixth Edition. London, 1836.</p>
+
+<p>Seventh Edition. London, 1852.</p>
+
+<p>Reprints: Paris, 1840; Philadelphia, 1841.</p>
+
+<p class = "space">
+Translation of Extracts from the first two Parts.</p>
+
+
+<h5>Points of Difference between the Various Editions.</h5>
+
+<p>A part of this may be stated in the words of the author:&mdash;</p>
+
+<blockquote>
+‘The poem had remained untouched and unnoticed both here and abroad
+until I observed its curious contents, and in 1805 announced it to the
+public. I&nbsp;could then give it only a hasty perusal, and from the MS.
+having a leaf interposed near its commencement, which belonged to a
+subsequent part, and from the peculiar obscurity which sometimes attends
+the Saxon poetry, I&nbsp;did not at that time sufficiently comprehend
+it, and had not leisure to apply a closer attention. But in the year
+1818 I took it up again, as I was preparing my third edition, and then
+made that more correct analysis which was inserted in that and the
+subsequent editions, and which is also exhibited in the present.’
+&mdash;Sixth edition, p.&nbsp;293, footnote.
+</blockquote>
+
+<span class = "pagenum">10</span>
+<p>The statement that the poem had remained untouched and unnoticed is
+not strictly true. The public had not yet received any detailed
+information regarding it; but Wanley<a class = "tag" name =
+"tag_turner1" id = "tag_turner1" href = "#note_turner1">1</a> had
+mentioned the <i>Beowulf</i> in his catalog, and Thorkelin had already
+made two transcripts of the poem, and was at work upon an edition.
+Turner, however, deserves full credit for first calling the attention of
+the English people to the importance of the poem.</p>
+
+<p>In the third edition, of which the author speaks, many improvements
+were introduced into the digest of the story and some improvements into
+the text of the translations. Many of these were gleaned from the
+<i>editio princeps</i> of Thorkelin<a class = "tag" name = "tag_turner2"
+id = "tag_turner2" href = "#note_turner2">2</a>. The story is now told
+with a fair degree of accuracy, although many serious errors remain:
+e.g. the author did not distinguish the correct interpretation of the
+swimming-match, an extract of which is given below. The translations are
+about as faulty as ever, as may be seen by comparing the two extracts.
+In the first edition only the first part of the poem is treated; in the
+third, selections from the second part are added.</p>
+
+<p>No further changes were made in later editions of the History.</p>
+
+<p>Detailed information regarding differences between the first three
+editions may be found below.</p>
+
+
+<h5>Turner, and his Knowledge of Old English.</h5>
+
+<p>Sharon Turner (1768&ndash;1847) was from early youth devoted to the
+study of Anglo-Saxon history, literature, and antiquities. His knowledge
+was largely derived from the examination of original documents in the
+British Museum<a class = "tag" name = "tag_turner3" id = "tag_turner3"
+href = "#note_turner3">3</a>. But the very wealth of the new material
+which he found for the study of the literature kept him from making a
+thorough study of it. It is to be remembered
+<span class = "pagenum">11</span>
+that at this time but little was known of the peculiar nature of the Old
+English poetry. Turner gives fair discussions of the works of Bede and
+Ælfric, but he knows practically nothing of the poetry. With the
+so-called <i>Paraphrase</i> of Cædmon he is, of course, familiar; but
+his knowledge of <i>Beowulf</i> and <i>Judith</i> is derived from the
+unique, and at that time (1805) unpublished, MS., Cotton Vitellius A.
+xv. Of the contents of the Exeter Book he knew nothing. The Vercelli
+Book had not yet been discovered. The materials at hand for his study
+were a faulty edition of Cædmon and an insufficient dictionary. The
+author, whose interest was of course primarily in history, was not
+familiar with the linguistic work of the day. It is, therefore, not
+surprising that his work was not of the best quality.</p>
+
+
+<h5>Lines in the Poem Translated by Turner.</h5>
+
+<p>First edition: 18&ndash;40; 47&ndash;83a; 199b-279; 320&ndash;324;
+333&ndash;336; 499&ndash;517a. In the second edition are added:
+1&ndash;17; 41&ndash;46; 83b-114; 189&ndash;199a; 387&ndash;497;
+522&ndash;528. In the third edition are added: 529&ndash;531;
+535&ndash;558; 607&ndash;646; 671&ndash;674; 720&ndash;738;
+991&ndash;996; 1013&ndash;1042; 1060b-1068a; 1159b-1165a; 1168b-1180a;
+1215b-1226a; 1240b-1246a; and a few other detached lines.</p>
+
+
+<h5><a name = "trans_turner_account" id = "trans_turner_account">
+Turner’s Account of Beowulf in the First Edition of his
+History.</a></h5>
+
+<blockquote>
+‘The most interesting remains of the Anglo-Saxon poetry which time has
+suffered to reach us, are contained in the Anglo-Saxon poem in the
+Cotton Library, Vitellius A. 15. Wanley mentions it as a poem in which
+“seem to be described the wars which one Beowulf, a&nbsp;Dane of the
+royal race of the Scyldingi, waged against the reguli of Sweden<a class
+= "tag" name = "tag_turner4" id = "tag_turner4" href =
+"#note_turner4">4</a>.” But this account of the contents of the MS. is
+incorrect. It is a composition more curious and important. It is a
+narration of the attempt
+<span class = "pagenum">12</span>
+of Beowulf to wreck the fæthe or deadly feud on Hrothgar, for a homicide
+which he had committed. It may be called an Anglo-Saxon epic poem. It
+abounds with speeches which Beowulf and Hrothgar and their partisans
+make to each other, with much occasional description and sentiment.’
+&mdash;Book vi, chap. iv, pp. 398&nbsp;ff.
+</blockquote>
+
+
+<h5>The Story of the Poem as Interpreted by Turner.</h5>
+
+<p class = "center smaller">
+[Dots indicate the position of the quotations.]</p>
+
+<p>‘It begins with a proemium, which introduces its hero Beowulf to our
+notice.&nbsp;.&nbsp;.&nbsp;. The poet then states the embarkation of
+Beowulf and his partisans.&nbsp;.&nbsp;.&nbsp;.’ Turner interprets the
+prolog as the description of the embarkation of Beowulf on a piratical
+expedition. The accession of Hrothgar to the throne of the Danes is then
+described, and the account of his ‘homicide’ is given. This remarkable
+mistake was caused by the transposition of a sheet from a later part of
+the poem&mdash;the fight with Grendel&mdash;to the first section of the
+poem. The sailing of Beowulf and the arrival in the Danish land are then
+given. Turner continues: ‘The sixth section exhibits Hrothgar’s
+conversation with his nobles, and Beowulf’s introduction and address to
+him. The seventh section opens with Hrothgar’s answer to him, who
+endeavours to explain the circumstance of the provocation. In the eighth
+section a new speaker appears, who is introduced, as almost all the
+personages in the poem are mentioned, with some account of his parentage
+and character.’ Then follows the extract given below:</p>
+
+<div class = "verse">
+<p><span class = "firstword">Hunferth</span> spoke</p>
+<p>The son of Ecglafe;</p>
+<p>Who had sat at the foot</p>
+<p>Of the lord of the Scyldingi</p>
+<p>Among the band of the battle mystery.</p>
+<p>To go in the path of Beowulf</p>
+<p>Was to him a great pride;</p>
+<p>He was zealous</p>
+<p>That to him it should be granted</p>
+<p>That no other man</p>
+<span class = "pagenum">13</span>
+<p class = "indent">
+Was esteemed greater in the world</p>
+<p>Under the heavens than himself.</p>
+<p class = "indent">
+‘Art thou Beowulf</p>
+<p>He that with such profit</p>
+<p>Dwells in the expansive sea,</p>
+<p>Amid the contests of the ocean?</p>
+<p>There yet<a class = "tag" name = "tag_turner5" id = "tag_turner5"
+href = "#note_turner5">5</a> for riches go!</p>
+<p>You try for deceitful glory</p>
+<p>In deep waters<a class = "tag" name = "tag_turner6" id =
+"tag_turner6" href = "#note_turner6">6</a>.&mdash;</p>
+<p>Nor can any man,</p>
+<p>Whether dear or odious,</p>
+<p>Restrain you from the sorrowful path&mdash;</p>
+<p>There yet<a class = "tag" name = "tag_turner7" id = "tag_turner7"
+href = "#note_turner7">7</a> with eye-streams</p>
+<p>To the miserable you<a class = "tag" name = "tag_turner8" id =
+"tag_turner8" href = "#note_turner8">8</a> flourish:</p>
+<p>You meet in the sea-street;</p>
+<p>You oppress with your hands;</p>
+<p><a class = "tag" name = "tag_turner9" id = "tag_turner9" href =
+"#note_turner9">9</a>You glide over the ocean’s waves;</p>
+<p>The fury of winter rages,</p>
+<p>Yet on the watery domain</p>
+<p>Seven nights have ye toiled.’</p>
+</div>
+
+<p>After this extract, Turner continues:&mdash; ‘It would occupy too
+much room in the present volume to give a further account of this
+interesting poem, which well deserves to be submitted to the public,
+with a translation and with ample notes. There are forty-two sections of
+it in the Cotton MS., and it ends there imperfectly. It is perhaps the
+oldest poem of an epic form in the vernacular language of Europe which
+now exists.’</p>
+
+<span class = "pagenum">14</span>
+<p>In the second edition the following lines were added:&mdash;</p>
+
+<p>‘After Hunferthe, another character is introduced:</p>
+
+<div class = "verse">
+<p>Dear to his people,</p>
+<p>of the land of the Brondingi;</p>
+<p>the Lord of fair cities,</p>
+<p>where he had people,</p>
+<p>barks, and bracelets,</p>
+<p>Ealwith, the son of Beandane,</p>
+<p>the faithful companion</p>
+<p>menaced.</p>
+<p class = "indent">
+“Then I think</p>
+<p>worse things will be to thee,</p>
+<p>thou noble one!</p>
+<p>Every where the rush</p>
+<p>of grim battle will be made.</p>
+<p>If thou darest the grendles,</p>
+<p>the time of a long night</p>
+<p>will be near to thee.”’</p>
+</div>
+
+
+<h5><a name = "trans_turner_third" id = "trans_turner_third">
+Third Edition.</a></h5>
+
+<p>‘Hunferth, “the son of Ecglaf, who sat at the feet of the lord of the
+Scyldingi.” He is described as jealous of Beowulf’s reputation, and as
+refusing to any man more celebrity than himself. He is represented as
+taunting Beowulf on his exploits as a sea-king or vikingr.</p>
+
+<div class = "verse">
+<p class = "indent">
+“Art thou Beowulf,</p>
+<p>he that with such profit</p>
+<p>labours on the wide sea,</p>
+<p>amid the contests of the ocean?</p>
+<p>There you for riches,</p>
+<p>and for deceitful glory,</p>
+<p>explore its bays</p>
+<p>in the deep waters,</p>
+<p>till you sleep with your elders.</p>
+<p>Nor can any man restrain you,</p>
+<p>whether dear or odious to you,</p>
+<p>from this sorrowful path.</p>
+<p>There you rush on the wave;</p>
+<p>there on the water streams:</p>
+<span class = "pagenum">15</span>
+<p>from the miserable you flourish.</p>
+<p>You place yourselves in the sea-street;</p>
+<p>you oppress with your hands;</p>
+<p>you glide over the ocean</p>
+<p>through the waves of its seas.</p>
+<p>The fury of the winter rages,</p>
+<p>yet on the watery domain</p>
+<p>seven nights have ye toiled.”’</p>
+</div>
+
+
+<h5>Criticism of the Extracts.</h5>
+
+<p>Detailed criticism of the extracts is unnecessary. They are, of
+course, utterly useless to-day. Sufficient general criticism of the work
+is found in the preceding sections devoted to a discussion of the author
+and his knowledge of Old English and of the <i>Beowulf</i>.</p>
+
+<p>In the third edition the author presents some criticisms of
+Thorkelin’s text; but his own work is quite as faulty as the
+Icelander’s, and his ‘corrections’ are often misleading.</p>
+
+<p>Turner is to be censured for allowing an account of <i>Beowulf</i> so
+full of inaccuracy to be reprinted year after year with no attempt at
+its improvement or even a warning to the public that it had been
+superseded by later and more scholarly studies.</p>
+
+<div class = "footnote">
+<p>
+<a name = "note_turner1" id = "note_turner1" href =
+"#tag_turner1">1.</a>
+See supra, <a href = "#prelim">p. 7</a>.</p>
+
+<p>
+<a name = "note_turner2" id = "note_turner2" href =
+"#tag_turner2">2.</a>
+See infra, <a href = "#trans_thorkelin">p. 15</a>.</p>
+
+<p>
+<a name = "note_turner3" id = "note_turner3" href =
+"#tag_turner3">3.</a>
+See the Life of Turner by Thomas Seccombe, <i>Dict. Nat. Biog.</i></p>
+
+<p>
+<a name = "note_turner4" id = "note_turner4" href =
+"#tag_turner4">4.</a>
+Wanley, Catal. Saxon MS., p. 218.</p>
+
+<p>
+<a name = "note_turner5" id = "note_turner5" href =
+"#tag_turner5">5.</a>
+Second edition&mdash;</p>
+
+<div class = "verse">
+<p>Ever acquired under heaven</p>
+<p>more of the world’s glory</p>
+<p>than himself. </p>
+</div>
+
+<p>
+<a name = "note_turner6" id = "note_turner6" href =
+"#tag_turner6">6.</a>
+Second edition&mdash;ye.</p>
+
+<p>
+<a name = "note_turner7" id = "note_turner7" href =
+"#tag_turner7">7.</a>
+Second edition adds&mdash;</p>
+
+<p class = "verse">
+Ye sleep not with your ancestors. </p>
+
+<p>
+<a name = "note_turner8" id = "note_turner8" href =
+"#tag_turner8">8.</a>
+Second edition omits.</p>
+
+<p>
+<a name = "note_turner9" id = "note_turner9" href =
+"#tag_turner9">9.</a>
+Second edition reads&mdash;</p>
+
+<div class = "verse">
+<p>You glide over the ocean</p>
+<p>on the waves of the sea.</p>
+</div>
+
+</div>
+
+
+<hr class = "mid">
+
+<h3><a name = "trans_thorkelin" id = "trans_thorkelin">
+THORKELIN’S EDITION</a></h3>
+
+<p><span class = "firstword">De</span> | Danorum | Rebus Gestis Secul
+<span class = "smallroman">III</span> &amp; <span class =
+"smallroman">IV</span> | Poema Danicum Dialecto Anglosaxonica. | Ex
+Bibliotheca Cottoniana Musaei Britannici | edidit versione lat. et
+indicibus auxit | Grim. Johnson Thorkelin. <ins class = "correction"
+title = "periods . printed as shown">Dr&nbsp;J&nbsp;V.</ins> | Havniæ
+<span class = "pagenum">16</span>
+Typis Th. E. Rangel. | <span class = "smallroman">MDCCXV</span>. 4to,
+pp. xx, 299, appendix&nbsp;5.</p>
+
+<p class = "space">
+First Edition. First Translation (Latin).</p>
+
+
+<h5>Circumstances of Publication.</h5>
+
+<p>The words of Wanley cited above<a class = "tag" name =
+"tag_thorkelin1" id = "tag_thorkelin1" href = "#note_thorkelin1">1</a>
+did not pass unnoticed in Denmark. Thorkelin tells us in his
+introduction that it had long been the desire of Suhm<a class = "tag"
+name = "tag_thorkelin2" id = "tag_thorkelin2" href =
+"#note_thorkelin2">2</a>, Langebeck, Magnusen, and other Danish scholars
+to inspect the MS. in the British Museum. The following is Thorkelin’s
+account of his editorial labors:&mdash;</p>
+
+<blockquote>
+‘Via tandem mihi data fuit ad desideratum nimis diu divini vatis Danici
+incomparabile opus. Arcta etenim, quæ nos et Britannos intercessit
+amicitia, me allexit, ut, clementissime annuentibus Augustissimis patriæ
+patribus <span class = "smallcaps">Christiano VII.</span> et <span class
+= "smallcaps">Frederico VI.</span> iter in Britanniam anno seculi
+præteriti <span class = "smallroman">LXXXVI</span>. ad thesauros
+bibliothecarum Albionensium perscrutandos facerem.&nbsp;.&nbsp;.&nbsp;.
+A&nbsp;curatoribus, Musæi Britannici, aliarumque Bibliothecarum,
+potestas mihi data [est] inspiciendi, tractandi, et exscribendi omnia,
+quæ rebus Danicis lucem affere possent manuscripta. Ad quam rem
+conficiendam viri nostro præconio majores Josephus Planta et Richardus
+Southgate dicti Musæi Brit. præfecti in me sua officia humanissime
+contulerunt. Optimo igitur successu et uberrimo cum fructu domum
+reversus sum&nbsp;.&nbsp;.&nbsp;.’ (pp. viii,&nbsp;ix).
+</blockquote>
+
+<p>Thorkelin thus obtained two copies of the poem, one made with his own
+hand, the other by a scribe ignorant of Old English. These transcripts
+(still preserved in Copenhagen) formed the basis for Thorkelin’s
+edition. The account of his studies continues:&mdash;</p>
+
+<blockquote>
+‘Quæcunque igitur possent hoc meum negotium adjuvare, comparare coepi,
+magnamque librorum copiam unde quaque congessi, quorum opera carmen
+aggrederer. In hoc me sedulum ita gessi, ut opus totum anno <span class
+= "smallroman">MDCCCVII</span> confecerim, idem brevi
+editurus&nbsp;.&nbsp;.&nbsp;.’ (p.&nbsp;xv).
+</blockquote>
+
+<p>Just at this time, unfortunately, Copenhagen was stormed by the
+English fleet, and Thorkelin’s text and notes were
+<span class = "pagenum">17</span>
+burned with his library. But the transcripts were saved. Thorkelin
+renewed his labors under the patronage of Bülow, and at length published
+in 1815.</p>
+
+
+<h5>Thorkelin, and his Interpretation of the Beowulf.</h5>
+
+<p>Grimus Johnssen Thorkelin (or Thorkelsson), 1752&ndash;1829, is
+remembered as a scholar in early Germanic history. He had little beside
+this knowledge and his general acquaintance with Old Germanic languages
+to recommend him as an editor of the <i>Beowulf</i>. Grundtvig said that
+the transcript of the <i>Beowulf</i> must have been the work of one
+wholly ignorant of Old English<a class = "tag" name = "tag_thorkelin3"
+id = "tag_thorkelin3" href = "#note_thorkelin3">3</a>. Thorkelin knew
+nothing of the peculiar style of Old English poetry; he could recognize
+neither kenning, metaphor, nor compound. He was not even fitted to
+undertake the transcription of the text, as the following section will
+make evident.</p>
+
+<p>We have seen how Sharon Turner<a class = "tag" name =
+"tag_thorkelin4" id = "tag_thorkelin4" href = "#note_thorkelin4">4</a>
+could describe the <i>Beowulf</i>. Thorkelin seems to have been little
+better fitted to understand the poem, to say nothing of editing it. He
+failed to interpret some of the simplest events of the story. He did not
+identify Scyld, nor understand that his body was given up to the sea,
+but thought that King Beowulf ‘expeditionem suscipit navalem.’ He failed
+to identify Breca, and thought that Hunferth was describing some
+piratical voyage of Beowulf’s. He makes Beowulf reply that ‘piratas
+ubique persequitur et fudit,’ and ‘Finlandiæ arma infert<a class = "tag"
+name = "tag_thorkelin5" id = "tag_thorkelin5" href =
+"#note_thorkelin5">5</a>.’ He regarded Beowulf as the hero of the
+Sigemund episode. He quite misapprehended the Finn episode, ‘Fin, rex
+Frisionum, contra Danis pugnat; vincitur; fœdus cum Hrodgaro pangit;
+fidem frangit; pugnans cadit<a class = "tag" name = "tag_thorkelin6" id
+= "tag_thorkelin6" href = "#note_thorkelin6">6</a>.’ He regards Beowulf
+and a son of Hunferth as participating
+<span class = "pagenum">18</span>
+in that expedition. He failed to identify Hnæf, or Hengest, or Hrothulf,
+&amp;c.</p>
+
+
+<h4>Extract<a class = "tag" name = "tag_thorkelin7" id =
+"tag_thorkelin7" href = "#note_thorkelin7">7</a>.</h4>
+
+<table class = "verse" summary = "parallel poems">
+<tr>
+<td>Hunferþ maleode</td>
+<td></td>
+<td><i>Hunferd</i> loquebatur</td>
+</tr>
+<tr>
+<td>Ecglafes bearn</td>
+<td></td>
+<td><i>Ecglavi</i> filius,</td>
+</tr>
+<tr>
+<td>Þe æt fotum sæt</td>
+<td></td>
+<td>Qui ad pedes sedit</td>
+</tr>
+<tr>
+<td>Frean Scyldinga</td>
+<td></td>
+<td>Domini Scyldingorum,</td>
+</tr>
+<tr>
+<td>On band beadu</td>
+<td></td>
+<td>Emeritus stipendiis</td>
+</tr>
+<tr>
+<td>Rune wæs him</td>
+<td></td>
+<td>Momordit eum</td>
+</tr>
+<tr>
+<td>Beowulfes siþ modges</td>
+<td></td>
+<td><i>Beowulfi</i> itinere elati</td>
+</tr>
+<tr>
+<td>Mere faran</td>
+<td></td>
+<td>Maria sulcando</td>
+</tr>
+<tr>
+<td>Micel æfþunca</td>
+<td></td>
+<td>Magna indignatio,</td>
+</tr>
+<tr>
+<td>For þon þe he ne uþe</td>
+<td class = "number">10</td>
+<td>Propterea quod ille nesciret</td>
+</tr>
+<tr>
+<td>Þæt ænig oþer man</td>
+<td></td>
+<td>Ullum alium virum</td>
+</tr>
+<tr>
+<td>Æfre mærþa</td>
+<td></td>
+<td>Magis celebrem</td>
+</tr>
+<tr>
+<td>Þon ma middangardes</td>
+<td></td>
+<td>In mundo</td>
+</tr>
+<tr>
+<td>Gehedde under heofenum</td>
+<td></td>
+<td>Nominari sub coelo</td>
+</tr>
+<tr>
+<td>Þon he sylfa eart</td>
+<td></td>
+<td>Quam se ipsum.</td>
+</tr>
+<tr>
+<td>Þu se Beowulf</td>
+<td></td>
+<td>Tu sis <i>Beowulfus</i>,</td>
+</tr>
+<tr>
+<td>Se þe wiþ breccan</td>
+<td></td>
+<td>Qui ob prædas</td>
+</tr>
+<tr>
+<td>Wunne on sidne sæ</td>
+<td></td>
+<td>Ceris per latum æquor</td>
+</tr>
+<tr>
+<td>Ymb sund flite</td>
+<td></td>
+<td>Et maria pugnas.</td>
+</tr>
+<tr>
+<td>Þær git for wlence</td>
+<td class = "number">20</td>
+<td>Ibi vos ob divitias</td>
+</tr>
+<tr>
+<td>Wada cunnedon</td>
+<td></td>
+<td>Vada explorastis,</td>
+</tr>
+<tr>
+<td>And for dol gilpe</td>
+<td></td>
+<td>Et ob falsam gloriam</td>
+</tr>
+<tr>
+<td>On deop wæter</td>
+<td></td>
+<td>Profundas æquas.</td>
+</tr>
+<tr>
+<td>Aldrum neþdon</td>
+<td></td>
+<td>Annis subacto</td>
+</tr>
+<tr>
+<td>Ne mic ænig mon</td>
+<td></td>
+<td>Non mihi aliquis</td>
+</tr>
+<tr>
+<td>Ne leof ne laþ</td>
+<td></td>
+<td>Amicus aut hostis</td>
+</tr>
+<tr>
+<td>Belean mighte.</td>
+<td></td>
+<td>Objicere potest,</td>
+</tr>
+<tr>
+<td>Sorh fullne siþ</td>
+<td></td>
+<td>Illacrimabiles expeditiones.</td>
+</tr>
+<tr>
+<td>Þa git on sund reon.</td>
+<td></td>
+<td>Ubi vos per æquora ruistis,</td>
+</tr>
+<tr>
+<td>Þa git ea gor stream</td>
+<td class = "number">30</td>
+<td>Ibi fluctus sanguinis rivis</td>
+</tr>
+<tr>
+<td>Earmum þehton</td>
+<td></td>
+<td>Miseri texistis.</td>
+</tr>
+<tr>
+<td>Mæton mere stræta</td>
+<td></td>
+<td>Metiti estis maris strata:</td>
+</tr>
+<tr>
+<td>Mundum brugdon</td>
+<td></td>
+<td>Castella terruistis:</td>
+</tr>
+<tr>
+<td>Glidon ofer garsecg</td>
+<td></td>
+<td>Fluitavistis trans æquora.</td>
+</tr>
+<tr>
+<td>Geofon yþum</td>
+<td></td>
+<td>Salis undæ</td>
+</tr>
+<tr>
+<td>Weol wintris wylm</td>
+<td>
+<span class = "pagenum">19</span>
+</td>
+<td>Fervuerunt nimborum æstu.</td>
+</tr>
+<tr>
+<td>Git on wæteris æht</td>
+<td></td>
+<td>Vos in aquarum vadis</td>
+</tr>
+<tr>
+<td>Seofon night swuncon</td>
+<td></td>
+<td>Septem noctibus afflicti fuistis.</td>
+</tr>
+<tr>
+<td>He þe at sunde</td>
+<td></td>
+<td>Ille cum sundum</td>
+</tr>
+<tr>
+<td>Oferflat hæfde</td>
+<td class = "number">40</td>
+<td>Transvolasset,</td>
+</tr>
+<tr>
+<td>Mare mægen</td>
+<td></td>
+<td>Magis intensæ vires</td>
+</tr>
+<tr>
+<td>Þa hine on morgen tid</td>
+<td></td>
+<td>Illum tempore matutino</td>
+</tr>
+<tr>
+<td>On heaþo Ræmis</td>
+<td></td>
+<td>In altam Ræmis</td>
+</tr>
+<tr>
+<td>Holm up æt baer</td>
+<td></td>
+<td>Insulam advexere.</td>
+</tr>
+<tr>
+<td>Þonon he gesohte</td>
+<td></td>
+<td>Deinde petiit</td>
+</tr>
+<tr>
+<td>Swæsne.</td>
+<td></td>
+<td>Dulcem,</td>
+</tr>
+<tr>
+<td>Leof his leodum</td>
+<td></td>
+<td>Charam suo populo</td>
+</tr>
+<tr>
+<td>Lond Brondinga</td>
+<td></td>
+<td>Terram Brondingorum.</td>
+</tr>
+<tr>
+<td>Freoþo burh fægere.</td>
+<td></td>
+<td>Libertate urbem conspicuam</td>
+</tr>
+<tr>
+<td>Þaer he folc ahte</td>
+<td class = "number">50</td>
+<td>Ibi populo possessam</td>
+</tr>
+<tr>
+<td>Burh and beagas</td>
+<td></td>
+<td>Urbem et opes</td>
+</tr>
+<tr>
+<td>Beot eal wiþ</td>
+<td></td>
+<td>Correpsit. Omne contra</td>
+</tr>
+<tr>
+<td>Þe sunu Beanstanes</td>
+<td></td>
+<td>Tibi filius <i>Beansteni</i></td>
+</tr>
+<tr>
+<td>Sode gelæste.</td>
+<td></td>
+<td>Vere persolvit.</td>
+</tr>
+</table>
+
+<h5>Criticism of the Text.</h5>
+
+<p>In order to show how corrupt the text is, I&nbsp;append a collation
+of the above passage with the MS. It may be added that the lines are
+among the simplest in the poem, and call for no emendation. In passages
+that present any real difficulty, Thorkelin is, if possible, even more
+at fault.</p>
+
+<table class = "lines" summary = "details of translations">
+<tr>
+<td class = "number">
+Line 1,</td>
+<td><i>for</i> maleode <i>read</i> maþelode.</td>
+</tr>
+<tr>
+<td class = "number">4,</td>
+<td><i>insert period after</i> Scyldinga.</td>
+</tr>
+<tr>
+<td class = "number">9,</td>
+<td><i>insert period after</i> æfþunca.</td>
+</tr>
+<tr>
+<td class = "number">13,</td>
+<td><i>for</i> middangardes <i>read</i> middangeardes.</td>
+</tr>
+<tr>
+<td class = "number">15,</td>
+<td><i>for</i> þon <i>read</i> þon<i>ne</i>.</td>
+</tr>
+<tr>
+<td class = "number">17,</td>
+<td><i>for</i> breccan <i>read</i> brecan (i.e. Brecan).</td>
+</tr>
+<tr>
+<td class = "number">25,</td>
+<td><i>for</i> mic <i>read</i> inc.</td>
+</tr>
+<tr>
+<td class = "number">27,</td>
+<td><i>for</i> mighte <i>read</i> mihte.</td>
+</tr>
+<tr>
+<td class = "number">37,</td>
+<td><i>for</i> wæteris <i>read</i> wæteres.</td>
+</tr>
+<tr>
+<td class = "number">38,</td>
+<td><i>for</i> night <i>read</i> niht.</td>
+</tr>
+<tr>
+<td class = "number">40,</td>
+<td><i>insert period after</i> oferflat.
+<span class = "pagenum">20</span></td>
+</tr>
+<tr>
+<td class = "number">43,</td>
+<td><i>for</i> heaþo Ræmis <i>read</i> heaþoræmes (i.e.
+Heaþorǣmas).</td>
+</tr>
+<tr>
+<td class = "number">46,</td>
+<td><i>for</i> Swæsne <i>read</i> swæsne · ᛟ ·
+(<ins class = "correction" title = "second . invisible">i.e.</ins>
+<ins class = "correction" title = "‘edhel’ is name of runic character">ēðel</ins>).</td>
+</tr>
+<tr>
+<td class = "number">54,</td>
+<td><i>for</i> sode <i>read</i> soðe.</td>
+</tr>
+</table>
+
+<p>In the composition of his text Thorkelin made all the errors known to
+scribes and editors. He misread words and letters of the MS., although
+he had two transcripts. He dropped letters, combinations of letters, and
+even whole words. He joined words that had no relation to each other; he
+broke words into two or even three parts; he ignored compounds. He
+produced many forms the like of which cannot be found in Old English.
+One further example of his great carelessness may be given. The first
+line of the poem, which is written in large capitals in
+the&nbsp;MS.:&mdash;</p>
+
+<p class = "verse">
+Hwæt we Gardena. . . .</p>
+
+<p>Thorkelin perversely transcribed:&mdash;</p>
+
+<p class = "verse">
+Hwæt wegar Dena. . . .</p>
+
+<p>and for this combination of syllables he chose the
+translation:&mdash;</p>
+
+<p class = "verse">
+Quomodo Danorum.</p>
+
+<p>There is, of course, no such word as ‘wegar’ in Old English.</p>
+
+<p>Of the necessity of punctuation Thorkelin seems to have been serenely
+unconscious; he did not even follow the guides afforded by the MS. Had
+he done so, he would have saved himself many humiliating errors. For
+example, in the text given above, to have noticed the periods mentioned
+in the collation would have been to avoid two glaring instances of
+‘running-in.’</p>
+
+
+<h5>Criticism of the Translation.</h5>
+
+<p>But, in spite of the wretched text, it remained for the translation
+to discover the depths of Thorkelin’s ignorance. It will be seen by
+reading the extract given from the
+<span class = "pagenum">21</span>
+translation that he did not even perceive that two men were swimming in
+the sea. It is to be remembered, too, that his error of the ‘piratical
+expedition’ is carried on for sixty lines&mdash;certainly a triumph of
+ingenuity. It is useless to attempt a classification of the errors in
+this version. In the words of Kemble:&mdash;</p>
+
+<blockquote>
+‘Nothing but malevolence could cavil at the trivial errors which the
+very best scholars are daily found to commit, but the case is widely
+different when those errors are so numerous as totally to destroy the
+value of a work. I&nbsp;am therefore most reluctantly compelled to state
+that not five lines of Thorkelin’s edition can be found in succession in
+which some gross fault, either in the transcription or translation, does
+not betray the editor’s utter ignorance of the Anglo-Saxon language.’
+&mdash;Edition of 1835, Introd., p.&nbsp;xxix.
+</blockquote>
+
+
+<h5>Reception of Thorkelin’s Edition.</h5>
+
+<p>The book was of value only in that it brought Beowulf to the
+attention of scholars. The edition was used by Turner, Grundtvig, and
+Conybeare. I&nbsp;have found the following notices of the book, which
+will show how it was received by the scholarly world.</p>
+
+<blockquote>
+<span class = "smallcaps">Turner.</span> On collating the Doctor’s
+printed text with the MS. I&nbsp;have commonly found an inaccuracy of
+copying in every page.&mdash;Fifth edition, p.&nbsp;289, footnote.
+</blockquote>
+
+<blockquote>
+<span class = "smallcaps">Kemble</span>, see supra.
+</blockquote>
+
+<blockquote>
+<span class = "smallcaps">Thorpe.</span> (The work of the learned
+Icelander exhibits) ‘a text formed according to his ideas of
+Anglo-Saxon, and accompanied by his Latin translation, both the one and
+the other standing equally in need of an Œdipus.’ &mdash;Edition of
+1855, Preface, xiv.
+</blockquote>
+
+<blockquote>
+See also Grundtvig’s criticism in <i>Beowulfs Beorh</i>, pp.
+xvii&nbsp;ff.
+</blockquote>
+
+
+<div class = "footnote">
+<p>
+<a name = "note_thorkelin1" id = "note_thorkelin1" href =
+"#tag_thorkelin1">1.</a>
+Supra, p. 7.</p>
+
+<p>
+<a name = "note_thorkelin2" id = "note_thorkelin2" href =
+"#tag_thorkelin2">2.</a>
+See also Grundtvig’s edition of the text of <i>Beowulf</i>,
+p.&nbsp;xvi.</p>
+
+<p>
+<a name = "note_thorkelin3" id = "note_thorkelin3" href =
+"#tag_thorkelin3">3.</a>
+See <i>Beowulfs Beorh</i>, p. xviii.</p>
+
+<p>
+<a name = "note_thorkelin4" id = "note_thorkelin4" href =
+"#tag_thorkelin4">4.</a>
+See supra, <a href = "#trans_turner_account">p. 11</a>.</p>
+
+<p>
+<a name = "note_thorkelin5" id = "note_thorkelin5" href =
+"#tag_thorkelin5">5.</a>
+See Thorkelin, p. 257.</p>
+
+<p>
+<a name = "note_thorkelin6" id = "note_thorkelin6" href =
+"#tag_thorkelin6">6.</a>
+Ibid., p. 259.</p>
+
+<p>
+<a name = "note_thorkelin7" id = "note_thorkelin7" href =
+"#tag_thorkelin7">7.</a>
+See Thorkelin, p. 40.</p>
+</div>
+
+
+<hr class = "mid">
+
+<span class = "pagenum">22</span>
+
+<h3><a name = "trans_grundtvig" id = "trans_grundtvig">
+GRUNDTVIG’S TRANSLATION</a></h3>
+
+<p>*Bjowulf’s <ins class = "correction" title = "text reads ‘Drape’">Draape</ins>. Et Gothisk Helte-digt fra forrige Aar-tusinde af
+Angel-Saxisk paa Danske Riim ved Nic. Fred. Sev. Grundtvig, Præst.
+Kjøbenhavn, 1820<a class = "tag" name = "tag_grundtvig1" id =
+"tag_grundtvig1" href = "#note_grundtvig1">1</a>. 8<sup>o</sup>, pp.
+lxxiv, 325.</p>
+
+<p>Bjovulvs-<ins class = "correction" title = "text reads ‘Drapen’">Draapen</ins>, et <ins class = "correction" title = "text reads ‘Hoinordisk’">Høinordisk</ins> Heltedigt, fra Anguls-Tungen
+fordansket af Nik. Fred. Sev. Grundtvig. Anden forbedrede Udgave.
+Kiøbenhavn. Karl Schønbergs Forlag. 1865. 8<sup>o</sup>, pp. xvi,
+224.</p>
+
+<p class = "space">
+First Danish Translation. Ballad Measures.</p>
+
+
+<h5>Grundtvig.</h5>
+
+<p>Nicolas Frederic Severin Grundtvig (1783&ndash;1872) was especially
+noted as a student of Old Germanic literature. He began his career in
+1806 by his studies on the <i>Edda</i>. This was followed by a book on
+Northern Mythology (1810), and by various creative works in verse and
+prose, the subjects of which were usually drawn from old Danish history.
+An account of his labors on the <i>Beowulf</i> will be found in the
+following section. His interest in Old English literature continued
+through his long life, and he was well and favorably known among the
+scholars of his day.</p>
+
+
+<h5>Circumstances of Publication.</h5>
+
+<p>In <i>Beowulfs Beorh</i> (Copenhagen, 1861), Grundtvig tells the
+story of his early translation of the poem. He had always had a
+passionate interest in Danish antiquities, and was much excited upon the
+appearance of Thorkelin’s text<a class = "tag" name = "tag_grundtvig2"
+id = "tag_grundtvig2" href = "#note_grundtvig2">2</a>. At that time,
+however, he knew no Old English,
+<span class = "pagenum">23</span>
+and his friend Rask, the famous scholar in Germanic philology, being
+absent from Denmark, he resolved to do what he could with the poem
+himself. He began by committing the entire poem to memory. In this way
+he detected many of the outlines which had been obscured by Thorkelin.
+The results of this study he published in the <i>Copenhagen
+Sketch-Book</i> (<i>Kjøbenhavns Skilderie</i>), 1815. When Thorkelin saw
+the studies he was furious, and pronounced the discoveries mere
+fabrications.</p>
+
+<p>But Rask, upon his return, thought differently, and proposed to
+Grundtvig that they edit the poem together. They began the work, but
+when they reached line 925 the edition was interrupted by Rask’s journey
+into Russia and Asia. With the help of Rask’s <i>Anglo-Saxon Grammar</i>
+(Stockholm, 1817), Grundtvig proceeded with his translation. By the
+munificence of Bülow, who had also given assistance to Thorkelin,
+Grundtvig was relieved of the expense of publication.</p>
+
+
+<h5>Progress of the Interpretation of the Poem.</h5>
+
+<p>Grundtvig was the first to understand the story of <i>Beowulf</i>.
+With no other materials than Thorkelin’s edition of the text and his own
+knowledge of Germanic mythology, he discovered the sea-burial of King
+Scyld, the swimming-match, and the Finn episode. He identified Breca,
+Hnæf, Hengest, King Hrethel, and other characters whose names Thorkelin
+had filched from them.</p>
+
+
+<h5>Text Used.</h5>
+
+<p>Rask borrowed the original transcripts which Thorkelin had brought
+from the British Museum, and copied and corrected them. This was the
+basis of Grundtvig’s translation.</p>
+
+
+<span class = "pagenum">24</span>
+<h5>Differences between the First and Second Editions.</h5>
+
+<p>The principal difference is in the introduction; but of the nature
+and extent of changes in the second edition I can give no notion. All my
+information respecting the first volume is derived from transcripts of
+certain parts of it sent me from the British Museum. These copies do not
+reveal any differences between the two translations.</p>
+
+
+<h5><a name = "trans_grundtvig_aim" id = "trans_grundtvig_aim">
+Aim of the Volume, and Nature of the Translation.</a></h5>
+
+<p>We begin by quoting the author’s words:&mdash;</p>
+
+<blockquote>
+‘I have studied the poem as if I were going to translate it word for
+word&nbsp;.&nbsp;.&nbsp;. but I will not and have not translated it in
+that way, and I will venture to maintain that my translation is a
+faithful one, historically faithful, inasmuch as I have never wilfully
+altered or interpolated anything, and poetically faithful inasmuch as I
+have tried with all my might vividly to express what I saw in the
+poem.&nbsp;.&nbsp;.&nbsp;. Whoever understands both languages and
+possesses a poetical sense will see what I mean, and whoever is
+deficient in knowledge or sense, or both, may stick to his own view, if
+he will only let me stick to mine, which may be weak enough, but is not
+so utterly devoid of style and poetry as little pettifoggers in the
+intellectual world maintain because they can see very well that my
+method is not theirs. “I&nbsp;have,” said Cicero, “translated
+Demosthenes, not as a grammarian but as an orator, and therefore have
+striven not so much to convince as to persuade my readers of the truth
+of his words”: methinks I need no other defence as regards connoisseurs
+and just judges, and if I am much mistaken in this opinion, then my work
+is absolutely indefensible<a class = "tag" name = "tag_grundtvig3" id =
+"tag_grundtvig3" href = "#note_grundtvig3">3</a>.’ &mdash;Pages xxxiv,
+xxxv.
+</blockquote>
+
+<p>In the introduction to his text of 1861, Grundtvig speaks of his
+theory of translation, saying that he gave, as it were, new clothes, new
+money, and new language to the poor old Seven Sleepers, so that they
+could associate freely with moderns. He believed that it was necessary
+to put the poem into a form that would seem natural and
+<span class = "pagenum">25</span>
+attractive to the readers of the day. In so doing he departed from the
+letter of the law, and rewrote the poem according to his own ideas.</p>
+
+<p>In the second edition the author states that he hopes the poem will
+prove acceptable as a reading-book for schools. Its value as a text-book
+in patriotism is also alluded&nbsp;to.</p>
+
+
+<h4>Extract.</h4>
+
+<h5 class = "smallcaps">Sjette Sang.</h5>
+
+<p>Trætten med Hunferd Drost og Trøsten derover.</p>
+
+<div class = "verse">
+<p>Nu <i>Hunferd</i> tog til Orde<a class = "tag" name =
+"tag_grundtvig4" id = "tag_grundtvig4" href =
+"#note_grundtvig4">4</a>,</p>
+<p>Og <i>Egglavs</i> Søn var han,</p>
+<p>Men Klammeri han gjorde</p>
+<p>Med Tale sin paa Stand.</p>
+<p>Han var en fornem Herre,</p>
+<p>Han sad ved Thronens Fod,</p>
+<p>Men avindsyg desværre,</p>
+<p>Han var ei Bjovulv god;</p>
+<p>En Torn var ham i Øiet</p>
+<p>Den Ædlings Herrefærd,</p>
+<p>Som havde Bølgen pløiet</p>
+<p>Og Ære høstet der;</p>
+<p>Thi Hunferd taalte ikke,</p>
+<p>Med Næsen høit i Sky,</p>
+<p>At Nogen vilde stikke</p>
+<p>Ham selv i Roes og Ry.</p>
+
+<p class = "stanza indent">
+‘Er du,’ see det var Skosen,</p>
+<p>‘Den Bjovulv Mudderpram,</p>
+<p>Som dykked efter Rosen</p>
+<p>Og drev i Land med Skam,</p>
+<p>Som kæppedes med <i>Brække</i></p>
+<p>Og holdt sig ei for brav,</p>
+<p>Dengang I, som to Giække,</p>
+<p>Omflød paa vildne Hav!</p>
+<p>I vilde med jer Svømmen</p>
+<p>Paa Vandet giøre Blæst,</p>
+<p>Men drev dog kun med Strømmen,</p>
+<p>Alt som I kunde bedst;</p>
+<span class = "pagenum">26</span>
+<p>For aldrig Det ei keise</p>
+<p>Jeg vilde slig en Klik,</p>
+<p>Som for den Vendereise</p>
+<p>I paa jert Rygte sik.</p>
+<p>Paa Landet var I friske,</p>
+<p>Men Vand kan slukke Ild,</p>
+<p>I svømmed som to Fiske,</p>
+<p>Ia, snart som døde Sild;</p>
+<p>Da sagtnedes Stoheien,</p>
+<p>Der Storm og Bølge strid</p>
+<p>Ier viste Vinterveien</p>
+<p>Alt i en Uges Tid.</p>
+<p>Dog, om end Narre begge,</p>
+<p>Kom du dog værst deran,</p>
+<p>Thi fra dig svømmed Brække</p>
+<p>Og blev din Overmand;</p>
+<p>Du artig blev tilbage,</p>
+<p>Der han en Morgenstund</p>
+<p>Opskvulpedes saa fage</p>
+<p>Paa høie Romøs Grund,</p>
+<p>Hvorfra sin Kaas han satte</p>
+<p>Til <i>Brondingernas</i> Land,</p>
+<p>Med Borge der og Skatte</p>
+<p>Han var en holden Mand;</p>
+<p>Der havde han sit Rige,</p>
+<p>Og deiligt var hans Slot,</p>
+<p>Han elsket var tillige</p>
+<p>Af hver sin Undersaat.</p>
+<p>Saa <i>Bjansteens</i> Søn udførte</p>
+<p>Alt hvad han trued med;</p>
+<p>Men da du, som vi hørte,</p>
+<p>Kom der saa galt afsted,</p>
+<p>Saa tør jeg nok formode,</p>
+<p>Om end du giør dig kry,</p>
+<p>Det giør slet ingen Gode,</p>
+<p>Du brænder dig paany;</p>
+<p>Ia, vil en Nat du vove</p>
+<p>At bie Grændel her,</p>
+<p>Da tør derfor jeg love,</p>
+<p>Dig times en Ufærd.’</p>
+</div>
+
+
+<span class = "pagenum">27</span>
+<h5>Criticism of the Translation.</h5>
+
+<p>The poem departs so far from the text of <i>Beowulf</i> that any
+discussion of its accuracy would be out of place. As has been shown by
+the section on the nature of the translation, the author had no
+intention of being true to the letter of the text. Grundtvig’s
+scholarship has been discussed above.</p>
+
+<p>The translation may properly be called nothing more than a
+paraphrase. Whole sentences are introduced that have no connection with
+the original text. Throughout the translation is evident the robust, but
+not always agreeable, personality of the translator. In his preface<a
+class = "tag" name = "tag_grundtvig5" id = "tag_grundtvig5" href =
+"#note_grundtvig5">5</a> Grundtvig remarked that he put nothing into his
+poem that was not historically and poetically true to the original. The
+statement can only be regarded as an unfortunate exaggeration.
+Grundtvig’s style cannot be called even a faint reflection of the
+<i>Beowulf</i> style. He has popularized the story, and he has cheapened
+it. There is no warrant in the original for the coarse invective of the
+extract that has just been cited. In the Old English, Hunferth taunts
+Beowulf, but he never forgets that his rival is ‘doughty in battle’
+(l.&nbsp;526). Beowulf is always worthy of his respect. In Grundtvig,
+the taunting degenerates into a scurrilous tirade. Hunferth calls
+Beowulf a ‘mudscow’; Breca and Beowulf swim like two ‘dead herrings.’ In
+like manner the character of Hunferth is cheapened. In <i>Beowulf</i> he
+is a jealous courtier, but he is always heroic. In Grundtvig he is
+merely a contemptible braggart, ‘with his nose high in air,’ who will
+not allow himself to be ‘thrown to the rubbish heap.’</p>
+
+<p>The same false manner is retained throughout the poem. In many places
+it reads well&mdash;it is often an excellent
+<span class = "pagenum">28</span>
+story. But it can lay no claim to historic or poetic fidelity to the
+<i>Beowulf</i>.</p>
+
+
+<h5>Reception of the Book.</h5>
+
+<p>The book fell dead from the press. Grundtvig himself tells us that it
+was hardly read outside his own house<a class = "tag" name =
+"tag_grundtvig6" id = "tag_grundtvig6" href = "#note_grundtvig6">6</a>.
+Thirty years later he learned that the book had never reached the Royal
+Library at Stockholm. A&nbsp;copy made its way to the British Museum,
+but it was the one which Grundtvig himself carried thither in 1829. This
+was doubtless the copy that was read and criticized by Thorpe and
+Wackerbarth. Both of these scholars spoke of its extreme freedom, but
+commended its readableness.</p>
+
+<div class = "footnote">
+<p>
+<a name = "note_grundtvig1" id = "note_grundtvig1" href =
+"#tag_grundtvig1">1.</a>
+This volume I have never seen. My information regarding it is from a
+scribe in the British Museum.</p>
+
+<p>
+<a name = "note_grundtvig2" id = "note_grundtvig2" href =
+"#tag_grundtvig2">2.</a>
+See supra, <a href = "#trans_thorkelin">p. 15</a>.</p>
+
+<p>
+<a name = "note_grundtvig3" id = "note_grundtvig3" href =
+"#tag_grundtvig3">3.</a>
+Translation by scribe in British Museum.</p>
+
+<p>
+<a name = "note_grundtvig4" id = "note_grundtvig4" href =
+"#tag_grundtvig4">4.</a>
+Several variations in meter occur in the translation.</p>
+
+<p>
+<a name = "note_grundtvig5" id = "note_grundtvig5" href =
+"#tag_grundtvig5">5.</a>
+See supra, <a href = "#trans_grundtvig_aim">p. 24</a>.</p>
+
+<p>
+<a name = "note_grundtvig6" id = "note_grundtvig6" href =
+"#tag_grundtvig6">6.</a>
+See <i>Beowulfs Beorh</i>, p. xix.</p>
+</div>
+
+
+<hr class = "mid">
+
+<h3><a name = "trans_conybeare" id = "trans_conybeare">
+CONYBEARE’S EXTRACTS</a></h3>
+
+<p>Illustrations of Anglo-Saxon Poetry. By John Josias Conybeare, M.A.,
+&amp;c. Edited, together with additional notes, introductory notices,
+&amp;c., by his brother, William Daniel Conybeare, M.A., &amp;c. London:
+printed for Harding and Lepard, Pall Mall East, 1826. 8<sup>o</sup>, pp.
+(viii), xcvi, 287.</p>
+
+<p>Anglo-Saxon Poem concerning the Exploits of Beowulf the Dane, pp.
+30&ndash;167.</p>
+
+<p class = "space">
+Translation of extracts into English blank verse, with the original text
+of the extracts, and a literal translation of them into Latin prose.</p>
+
+
+<h5>Circumstances of Publication.</h5>
+
+<p>The volume had its origin in the Terminal Lectures which the author
+gave as Professor of Anglo-Saxon and
+<span class = "pagenum">29</span>
+Poetry at Oxford from 1809 to 1812<a class = "tag" name =
+"tag_conybeare1" id = "tag_conybeare1" href = "#note_conybeare1">1</a>.
+We know from an autobiographical note printed in the Introduction<a
+class = "tag" name = "tag_conybeare2" id = "tag_conybeare2" href =
+"#note_conybeare2">2</a> that the <i>Beowulf</i> was finished in
+October, 1820. But the book did not appear until two years after the
+author’s death, and the material which it contains is of a slightly
+earlier date than the title-page would seem to indicate&mdash;e.g. the
+volume really antedates the third edition of Turner’s History discussed
+above<a class = "tag" name = "tag_conybeare3" id = "tag_conybeare3" href
+= "#note_conybeare3">3</a>.</p>
+
+
+<h5>Conybeare, and the Progress of the Interpretation of the Poem.</h5>
+
+<p>Conybeare did not edit the entire poem, and apparently never had any
+intention of so doing. The selections which he translates are based on
+Thorkelin’s text. He revises this text, however, in making his
+translations, and even incorporates a collation of Thorkelin’s text with
+the MS. (pp. 137&ndash;55). This collation, though not complete or
+accurate, was serviceable, and kept Conybeare from falling into some of
+the errors that the Icelander had made. He distinguished by an asterisk
+the MS. readings which were of material importance in giving the sense
+of a passage, and, in fact, constructed for himself a text that was
+practically new.</p>
+
+<blockquote>
+‘The text has been throughout carefully collated with the original
+Manuscript, and the translation of Thorkelin revised with all the
+diligence of which the editor is capable.’ &mdash;Page&nbsp;32.
+</blockquote>
+
+<blockquote>
+‘Any attempt to restore the metre, and to correct the version
+throughout, would have exceeded the bounds, and involved much discussion
+foreign to the purpose of the present work. This must be left to the
+labours of the Saxon scholar. It is evident, however, that without a
+more correct text than that of Thorkelin, those labours must be
+hopeless. The wish of supplying that deficiency, may perhaps
+<span class = "pagenum">30</span>
+apologize for the occupying, by this Collation, so large a space of a
+work strictly dedicated to other purposes.’ &mdash;Page 137, footnote.
+</blockquote>
+
+<p>How much Conybeare improved the text may be seen by comparing his
+text and Latin translation with those of Thorkelin. The first six lines
+of the Prolog follow:&mdash;</p>
+
+<table class = "verse" summary = "parallel poems">
+<tr>
+<th class = "smallcaps">Conybeare.</th>
+<th class = "smallcaps">Thorkelin.</th>
+</tr>
+
+<tr>
+<td>Hwæt we Gar-Dena</td>
+<td>Hwæt wegar Dena</td>
+</tr>
+<tr>
+<td>In ȝear-dagum</td>
+<td>In geardagum</td>
+</tr>
+<tr>
+<td>Ðeod cyninga</td>
+<td>Þeod cyninga</td>
+</tr>
+<tr>
+<td>Ðrym ȝefrunon,</td>
+<td>Þrym gefrunon</td>
+</tr>
+<tr>
+<td>Hu ða Æðelingas</td>
+<td>Hu ða æþelingas</td>
+</tr>
+<tr>
+<td>Ellen fremodon. &mdash;Page 82.</td>
+<td>Ellen fremodon. &mdash;Page&nbsp;3.</td>
+</tr>
+<tr>
+<td class = "full" colspan = "2">
+<p>The translations are even more interesting:&mdash;</p>
+</td>
+</tr>
+<tr>
+<td>Aliquid nos <i>de</i> Bellicorum Danorum</td>
+<td>Quomodo Danorum</td>
+</tr>
+<tr>
+<td>In diebus antiquis</td>
+<td>In principio</td>
+</tr>
+<tr>
+<td>Popularium regum</td>
+<td>Populus Regum</td>
+</tr>
+<tr>
+<td>Gloriâ accepimus,</td>
+<td>Gloriam auxerit,</td>
+</tr>
+<tr>
+<td>Quomodo tunc principes</td>
+<td>Quomodo principes</td>
+</tr>
+<tr>
+<td>Virtute valuerint.</td>
+<td>Virtute promoverit.</td>
+</tr>
+</table>
+
+<p>It will be seen that in these lines Conybeare has at almost every
+point the advantage over Thorkelin, and is indeed very nearly in accord
+with modern texts and translations. But the poem yet awaited a complete
+understanding, for Conybeare could say: ‘The Introduction is occupied by
+the praises of Scefing&nbsp;.&nbsp;.&nbsp;. and of his son and successor
+Beowulf. The embarkation of the former on a piratical expedition is then
+detailed at some length. In this expedition (if I rightly understand the
+text) himself and his companions were taken or lost at sea’
+(p.&nbsp;35). And, in general, he misses the same points of the story as
+Thorkelin, although he craftily refrains from translating the obscurer
+passages.</p>
+
+<p>Conybeare apparently knew nothing of the critical work of Grundtvig.
+This is not surprising when we remember that <i>Kjøbenhavns
+Skilderie</i> was probably not known outside
+<span class = "pagenum">31</span>
+of Denmark<a class = "tag" name = "tag_conybeare4" id = "tag_conybeare4"
+href = "#note_conybeare4">4</a>. Moreover, it is to be remembered that
+Conybeare’s extracts from the <i>Beowulf</i> are not really later than
+Grundtvig’s translation, since they were made in the same year, 1820<a
+class = "tag" name = "tag_conybeare5" id = "tag_conybeare5" href =
+"#note_conybeare5">5</a>.</p>
+
+
+<h5>Aim of the Volume, and Nature of the Translations.</h5>
+
+<p>From the words quoted above with respect to the collation, it will be
+seen that Conybeare in no way regarded his book as a contribution to
+Beowulf scholarship. As professor at Oxford, he attempted a literary
+presentation of the most beautiful parts of the old poetry. His extracts
+are, in general, nothing more than free paraphrases. Wishing to
+popularize the <i>Beowulf</i>, he used as a medium of translation a
+peculiarly stilted kind of blank verse. He dressed the poem out in
+elegant phrases in order to hide the barrenness of the original.
+Manifestly he feared the roughness, the remoteness of the poem in its
+natural state. He feared to offend a nation of readers reveling in the
+medievalism of Scott and Byron. A&nbsp;literal Latin translation was
+inserted to appease the scholar.</p>
+
+
+<h4>Extract.</h4>
+
+<p>‘At a single stroke he (Beowulf) cut through the “<i>ringed
+bones</i>” of her neck, and</p>
+
+<div class = "verse">
+<p>Through the frail mantle of the quivering flesh</p>
+<p>Drove with continuous wound. She to the dust</p>
+<p>Fell headlong,&mdash;and, its work of slaughter done,</p>
+<p>The gallant sword dropp’d fast a gory dew.</p>
+<p>Instant, as though heaven’s glorious torch had shone,</p>
+<p>Light was upon the gloom,&mdash;all radiant light</p>
+<p>From that dark mansion’s inmost cave burst forth.</p>
+<p>With hardier grasp the thane of Higelac press’d</p>
+<span class = "pagenum">32</span>
+<p>His weapon’s hilt, and furious in his might</p>
+<p>Paced the wide confines of the Grendel’s hold<a class = "tag" name =
+"tag_conybeare6" id = "tag_conybeare6" href =
+"#note_conybeare6">6</a>.’</p>
+</div>
+
+<p class = "page">
+Page 58; <i>Beo.</i>, 1565&ndash;75.</p>
+
+<h5 class = "smallcaps">Latin Translation.</h5>
+
+<blockquote>
+... Ossium annulos fregit; telum per omnem penetravit moribundam carnem.
+Illa in pavimentum corruit. Ensis erat cruentus, militare opus
+perfectum. Effulgebat lumen, lux intus stetit, non aliter quàm cum a
+cœlo lucidus splendet ætheris lampas. Ille per ædes gradiebatur,
+incessit juxta muros ensem tenens fortiter a capulo Higelaci minister
+irâ ac constantiâ (<i>sc.</i> Iratus et constans animi).
+</blockquote>
+
+<p class = "page">
+Pages 113, 114.</p>
+
+
+<h5>Criticism of the Translations.</h5>
+
+<p>The English version is scarcely more than a paraphrase, as may easily
+be seen by comparing it with the literal translation into Latin. But
+even as a paraphrase it is unsatisfactory. By way of general criticism
+it may be said that, while it attains a kind of dignity, it is not the
+dignity of <i>Beowulf</i>, for it is self-conscious. Like <i>Beowulf</i>
+it is elaborate, but it is the elaboration of art rather than of
+feeling. Moreover, it is freighted with Miltonic phrase, and constantly
+suggests the Miltonic movement. The trick of verse in line 3 is quite
+too exquisite for <i>Beowulf</i>. The whole piece has a straining after
+pomp and majesty that is utterly foreign to the simple, often baldly
+simple, ideas and phrases of the original. Nearly every adjective is
+supplied by the translator: in Old English the ‘sword’ is ‘bloody,’ in
+Conybeare the ‘gallant sword drops fast a gory dew’; the cave becomes a
+mansion; the ‘floor’ is ‘dust’&mdash;dust in an ocean
+cave!&mdash;‘heaven’s candle’ becomes ‘heaven’s glorious torch.’ The
+poem is tricked out almost beyond recognition. Beowulf assumes the
+‘grand manner,’ and paces ‘the Grendel’s hold’ like one of the strutting
+emperors of Dryden’s elaborate drama.</p>
+
+
+<div class = "footnote">
+<p>
+<a name = "note_conybeare1" id = "note_conybeare1" href =
+"#tag_conybeare1">1.</a>
+See Editor’s Prefatory Notice, p. (iii).</p>
+
+<p>
+<a name = "note_conybeare2" id = "note_conybeare2" href =
+"#tag_conybeare2">2.</a>
+See Prefatory Notice, p. (v), footnote.</p>
+
+<p>
+<a name = "note_conybeare3" id = "note_conybeare3" href =
+"#tag_conybeare3">3.</a>
+See supra, <a href = "#trans_turner_third">pp. 14 f.</a></p>
+
+<p>
+<a name = "note_conybeare4" id = "note_conybeare4" href =
+"#tag_conybeare4">4.</a>
+p. 23. Grundtvig is once mentioned in the notes, but the reference is
+from the editor, not the author.</p>
+
+<p>
+<a name = "note_conybeare5" id = "note_conybeare5" href =
+"#tag_conybeare5">5.</a>
+p. 29.</p>
+
+<p>
+<a name = "note_conybeare6" id = "note_conybeare6" href =
+"#tag_conybeare6">6.</a>
+Conybeare did not translate the episode of the swimming-match.</p>
+</div>
+
+
+<hr class = "mid">
+
+<span class = "pagenum">33</span>
+
+<h3><a name = "trans_kemble" id = "trans_kemble">
+KEMBLE’S EDITIONS</a></h3>
+
+<p>The Anglo-Saxon poems of Beowulf, the Traveller’s Song, and the
+Battle at Finnes-burh. Edited together with a glossary of the more
+difficult words, and an historical preface, by John M. Kemble, Esq.,
+M.A. London: William Pickering, 1833. 8<sup>o</sup>, pp. xxii, 260.
+Edition limited to 100 copies.</p>
+
+<p>The Anglo-Saxon Poems of Beowulf, the Traveller’s Song, and the
+Battle of Finnes-burh. Edited by John M. Kemble, Esq., M.A., of Trinity
+College, Cambridge. Second edition. London: William Pickering, 1835.
+8<sup>o</sup>, pp. xxxii, 263.</p>
+
+<p>A Translation of the Anglo-Saxon Poem of Beowulf, with a copious
+glossary, preface, and philological notes, by John M. Kemble, Esq.,
+M.A., of Trinity College, Cambridge. London: William Pickering, 1837.
+8<sup>o</sup>, pp. lv, 127, appendix, 179.</p>
+
+<p class = "space">
+First English Translation. Prose.</p>
+
+
+<h5>The 1833 Volume.</h5>
+
+<p>A sufficient account of this volume is given by Professor Earle, who
+says of&nbsp;it:&mdash;</p>
+
+<blockquote>
+‘The text was an improvement on Thorkelin, but still very
+faulty;&mdash;to say nothing of inaccuracies from want of proper
+oversight as the sheets were passing through the press. The Glossary,
+though short, was a valuable acquisition&nbsp;.&nbsp;.&nbsp;. Of this
+edition only 100 copies were printed;&mdash;and it was a happy
+limitation, as it left room for a new edition as early as 1835, in which
+the text was edited with far greater care. All the rest remained as
+before, and the Preface was reprinted word for word.’ &mdash;<i>Deeds of
+Beowulf</i>, pp. xix,&nbsp;xx.
+</blockquote>
+
+
+<h5>The Text of 1835. Kemble’s Scholarship.</h5>
+
+<p>But whatever may be said of the text of 1833, there is nothing but
+praise for the edition of 1835. In this book
+<span class = "pagenum">34</span>
+the poem first had the advantage of a modern scholarly treatment, and
+for the first time the text of the MS. was correctly transcribed. It
+received its first punctuation. For the first time it was properly
+divided into half-lines, with attention to alliteration. The text was
+freely emended, but the suggested readings were placed in the footnotes,
+in order not to impair the value of the text as a reproduction of the
+MS. The necessity for this was made evident by Kemble
+himself:&mdash;</p>
+
+<blockquote>
+‘But while he makes the necessary corrections, no man is justified in
+withholding the original readings: for although the laws of a language,
+ascertained by wide and careful examination of all the cognate tongues,
+of the hidden springs and ground-principles upon which they rest in
+common, are like the laws of the Medes and Persians and alter not, yet
+the very errors of the old writer are valuable, and serve sometimes as
+guides and clues to the inner being and spiritual tendencies of the
+language itself. The reader will moreover be spared that, to some
+people, heart-burning necessity of taking his editor’s qualifications
+too much for granted, if side by side he is allowed to judge of the
+traditional error, and the proposed correction. I&nbsp;have endeavoured
+to accomplish this end by printing the text, letter for letter, as I
+found it.’ &mdash;Preface, pp. xxiv&nbsp;ff.
+</blockquote>
+
+<p>With this wholesome respect for the tradition of the MS., it is not
+strange that Kemble’s carefully chosen emendations should stand to-day
+as of high critical value, and that many of them are retained in modern
+editions of the text<a class = "tag" name = "tag_kemble1" id =
+"tag_kemble1" href = "#note_kemble1">1</a>. When we compare Kemble’s
+book with Thorkelin’s, the advance is seen to be little less than
+astonishing. Thorkelin’s emendations were worse than useless.</p>
+
+<p>Kemble had a full acquaintance with the new science of comparative
+philology which was developing in Germany under Jakob Grimm. He had
+corresponded, and later studied, with Grimm, and, according to William
+Hunt, was the ‘recognised exponent’ of his investigations<a class =
+"tag" name = "tag_kemble2" id = "tag_kemble2" href =
+"#note_kemble2">2</a>. It is to
+<span class = "pagenum">35</span>
+Grimm that Kemble dedicates his volumes, and to him that he repeatedly
+acknowledges his indebtedness. Thus Kemble brought to the study of the
+poem not only a knowledge of the Old English poetry and prose, but
+acquaintance with Old Norse, Gothic, Old High German, and Old Saxon. It
+may sufficiently illustrate his scholarly method to instance examples of
+his treatment of the unique words in <i>Beowulf</i>. Take, e.g., the
+word <i>hose</i> in line 924. This word does not appear elsewhere in Old
+English; it does not appear in Lye’s <i>Dictionary</i>, the only
+dictionary that was at Kemble’s disposal. Upon this word Kemble brought
+to bear his knowledge of the Germanic tongues, and by citing Goth.
+<i>hansa</i>, OHG. <i>hansa</i>, &amp;c., derived the meaning
+<i>turma</i>&mdash;a&nbsp;process in which he is supported by a modern
+authority like Kluge. The study of compounds also first began with
+Kemble. He collected and compared the compounds in <i>heaðo.</i>. Thus
+he laid the foundation of all modern studies on the Old English
+compound.</p>
+
+
+<h5>Further Critical Material Afforded by the Volume of 1837.</h5>
+
+<p>In the 1835 volume twenty-three words were illustrated in the above
+way. But it remained for the 1837 volume to present a complete glossary
+of the poem, containing also important poetic words not in
+<i>Beowulf</i>. By reason of its completeness and comparative work, it
+remained the standard commentary on the Old English poetic vocabulary
+until the appearance of Grein’s <i>Sprachschatz</i><a class = "tag" name
+= "tag_kemble3" id = "tag_kemble3" href = "#note_kemble3">3</a>.</p>
+
+
+<h5>Aim of Kemble’s Translation.</h5>
+
+<p>Like his edition of the text, Kemble’s translation is quite
+independent of any preceding book; like his edition of the text, its aim
+was faithfulness to the original. He adheres scrupulously to the text,
+save where the original
+<span class = "pagenum">36</span>
+is unintelligible. The translation was designed to be used together with
+the glossary as a part of the apparatus for interpreting the poem. He
+therefore made it strictly literal.</p>
+
+<blockquote>
+‘The translation is a literal one; I was bound to give, word for word,
+the original in all its roughness: I&nbsp;might have made it smoother,
+but I purposely avoided doing so, because had the Saxon poet thought as
+we think, and expressed his thoughts as we express our thoughts,
+I&nbsp;might have spared myself the trouble of editing or translating
+his poem. A&nbsp;few transpositions of words, &amp;c. caused principally
+by the want of inflections in New English (since we have now little more
+than their position by which to express the relations of words to one
+another) are all that I have allowed myself, and where I have inserted
+words I have generally printed them in italics.’ &mdash;
+</blockquote>
+
+<p class = "page">
+Postscript to the Preface, p. 1.</p>
+
+
+<h4>Extract.</h4>
+
+<h5 class = "smallroman">VIII.</h5>
+
+<blockquote>
+Hunferth the son of Eglaf spake, <i>he</i> that sat at the feet of the
+Lord of the Scyldings; he bound up<a class = "tag" name = "tag_kemble4"
+id = "tag_kemble4" href = "#note_kemble4">4</a> a&nbsp;quarrelsome
+speech: to him was the journey of Beowulf, the proud sea-farer,
+a&nbsp;great disgust; because he granted not that any other man should
+ever have beneath the skies, more reputation with the world than he
+himself: ‘Art thou the Beowulf that didst contend with Brecca on the
+wide sea, in a swimming match, where ye for pride explored the fords,
+and out of vain glory ventured your lives upon the deep water? nor might
+any man, friend or foe, blame<a class = "tag" name = "tag_kemble5" id =
+"tag_kemble5" href = "#note_kemble5">5</a> your sorrowful expedition:
+there ye rowed upon the sea, there ye two covered the ocean-stream with
+your arms, measured the sea-streets, whirled them with your hands,
+glided over the ocean; with the waves of the deep<a class = "tag" name =
+"tag_kemble6" id = "tag_kemble6" href = "#note_kemble6">6</a> the fury
+of winter boiled; ye two on the realms of water laboured for a week: he
+overcame thee in swimming, he had more strength: then at the morning
+tide the deep sea bore him up on Hēathoræmes, whence he sought his own
+paternal land, dear to his people, the land of the Brondings, where he
+owned
+<span class = "pagenum">37</span>
+a&nbsp;nation, a&nbsp;town, and rings. All his promise to thee, the son
+of Beanstan truly performed.’
+</blockquote>
+
+
+<h5>Criticism of the Translation.</h5>
+
+<p>Kemble’s scholarship enabled him to get a full understanding of the
+poem, and thus to make the first really adequate translation of
+<i>Beowulf</i>. He was the first to recognize the significance of
+kenning, metaphor, and compound. Thus his work is to be commended
+chiefly because of its faithfulness. All preceding studies had been
+wofully inaccurate<a class = "tag" name = "tag_kemble7" id =
+"tag_kemble7" href = "#note_kemble7">7</a>. Kemble’s editions became at
+once the authoritative commentary on the text, and held this position
+until the appearance of Grein’s <i>Bibliothek</i> (1857). In this latter
+book, Kemble’s text was the principal authority used in correcting the
+work of Thorpe<a class = "tag" name = "tag_kemble8" id = "tag_kemble8"
+href = "#note_kemble8">8</a>. In spite of the fact that this is a
+literal translation, it sometimes attains strength and beauty by reason
+of its very simplicity.</p>
+
+
+<div class = "footnote">
+<p>
+<a name = "note_kemble1" id = "note_kemble1" href =
+"#tag_kemble1">1.</a>
+See Wyatt’s text, lines 51, 158, 250, 255, 599, &amp;c.</p>
+
+<p>
+<a name = "note_kemble2" id = "note_kemble2" href =
+"#tag_kemble2">2.</a>
+See article in the <i>Dictionary of National Biography</i>.</p>
+
+<p>
+<a name = "note_kemble3" id = "note_kemble3" href =
+"#tag_kemble3">3.</a>
+See infra, pp. 56 ff.</p>
+
+<p>
+<a name = "note_kemble4" id = "note_kemble4" href =
+"#tag_kemble4">4.</a>
+<i>bound up</i>, onband, now generally translated ‘unbind.’</p>
+
+<p>
+<a name = "note_kemble5" id = "note_kemble5" href =
+"#tag_kemble5">5.</a>
+<i>blame</i>, belēan, rather ‘dissuade’ than ‘blame.’</p>
+
+<p>
+<a name = "note_kemble6" id = "note_kemble6" href =
+"#tag_kemble6">6.</a>
+<i>with the waves of the deep</i>, &amp;c., geofon-yþu weol wintrys
+wylm, so Kemble reads in his text, and for this reading the translation
+is correct, but he failed to discern the kenning to ‘geofon’ in ‘wintrys
+wylm.’</p>
+
+<p>
+<a name = "note_kemble7" id = "note_kemble7" href =
+"#tag_kemble7">7.</a>
+See supra on Turner, p. 9; Thorkelin, p. 15; Grundtvig, p.&nbsp;22;
+Conybeare, p.&nbsp;28.</p>
+
+<p>
+<a name = "note_kemble8" id = "note_kemble8" href =
+"#tag_kemble8">8.</a>
+See infra, <a href = "#trans_thorpe">p. 49</a>.</p>
+</div>
+
+
+<hr class = "mid">
+
+<h3><a name = "trans_ettmuller" id = "trans_ettmuller">
+ETTMÜLLER’S TRANSLATION</a></h3>
+
+<p>Beowulf. Heldengedicht des achten Jahrhunderts. Zum ersten Male aus
+dem Angelsächsischen in das Neuhochdeutsche stabreimend übersetzt, und
+mit Einleitung und Anmerkungen versehen von Ludwig Ettmüller. Zürich,
+bei Meyer und Zeller, 1840. 8<sup>o</sup>, pp. 191.</p>
+
+<p class = "space">
+First German Translation. Imitative measures.</p>
+
+
+<h5>Ettmüller.</h5>
+
+<p>Ernst Moritz Ludwig Ettmüller (1802&ndash;77), at the time of the
+publication of this book, was professor of the German
+<span class = "pagenum">38</span>
+language and literature in the Gymnasium at Zürich. He had already
+appeared as a translator with a work entitled <i>Lieder der Edda von den
+Nibelungen</i>. Later he edited selections from the <i>Beowulf</i> in
+his <i>Engla and Seaxna Scôpas and Bôceras</i> (1850). This text
+incorporated many new readings. Ettmüller was the first to question the
+unity of the <i>Beowulf</i>, and sketched a theory of interpolations
+which has since been developed by Müllenhoff. The first announcement of
+these views is found in the introduction to this translation.</p>
+
+
+<h5>Theory of Translation.</h5>
+
+<p>Ettmüller gives full expression to his theories and aims:&mdash;</p>
+
+<blockquote>
+‘Vor Allem habe ich so wörtlich als möglich übersetzt, da Treue das
+erste Erforderniss einer guten Übersetzung ist. Dann aber war mein
+Augenmerk vorzüglich auf Wohlklang und Verständlichkeit gerichtet.
+Letztere werden bei Übersetzungen dieser Art nur zu oft vernachlässigt,
+da manche der Ansicht sind, ihre Arbeit sei um so besser, je treuer sie
+die äussere Form des Originals in allen Einzelheiten wiedergebe. Aber
+dieweil diese so mühsam an der Schale knacken, entschlüpft ihnen nicht
+selten der Kern. Mein Bestreben war demnach keineswegs, z.B. jeden Vers
+ängstlich dem Originale nachzubilden, so dass die genaueste
+Übereinstimmung zwischen der Silbenzahl und den Hebungen oder gar dem
+Klange der Verse Statt fände. Das wäre ohnehin, ohne der deutschen
+Sprache die schreiendste Gewalt anzuthun, unmöglich gewesen. Ich habe
+vielmehr darnach mit Sorgfalt gestrebt, die Versbildung des
+angelsächsischen Gedichtes mir in allen ihren Erscheinungen klar zu
+machen, und dann frei nach dem <ins class = "correction" title = "text reads ‘gewonnen’">gewonnenen</ins> Schema gearbeitet. Daher kann ich
+versichern, dass man für jeden Vers meiner Übersetzung gewiss ein
+angelsächsisches Vorbild findet, wenn auch nicht grade jedesmal die
+Verse einander decken. Dass dabei übrigens der höheren Rhythmik, d.h.
+dem ästhetisch richtigen Verhältnisse des Ausdruckes zu dem
+Ausgedrückten oder, mit Klopstock zu reden, des Zeitausdruckes oder
+Tonverhaltes (der Bewegung) zu dem Gedanken, überall die grösste
+Sorgfalt zugewendet ward, das braucht, dünkt mich, keiner besondern
+Versicherung; dies aber kann erreicht werden auch ohne knechtische
+Nachbildung des Originals.’ &mdash;Page&nbsp;59.
+</blockquote>
+
+
+<span class = "pagenum">39</span>
+<h5>Text, and Indebtedness to Preceding Scholars.</h5>
+
+<p>The translation is founded on Kemble’s text of 1835<a class = "tag"
+name = "tag_ettmuller1" id = "tag_ettmuller1" href =
+"#note_ettmuller1">1</a>, to which the introduction and notes are also
+indebted.</p>
+
+<p>Like Kemble, Ettmüller was a close student of the works of Jakob
+Grimm, and his interpretation of obscure lines (especially passages
+relating to Germanic antiquities) is largely due to the study of such
+works as the <i>Deutsche Mythologie</i> (1833), the <i>Deutsche
+Rechtsalterthümer</i> (1828), and the <i>Deutsche Sagen</i>
+(1816&ndash;8). Cf. lines 458, 484.</p>
+
+
+<h4>Extract.</h4>
+
+<div class = "verse lines">
+<p>Ecglâfes Sohn Hûnferdh da sagte,</p>
+<p>der zu Füssen sass dem Fürsten der Skildinge,</p>
+<p>entband Beadurunen&mdash;ihm war Beowulfes Beginn,</p>
+<p>des muthigen Meergängers, mächtig zuwider;</p>
+<p>ungern sah er, dass ein andrer Mann</p>
+<p>irgend Machtruhmes mehr in Mittelgart,</p>
+<p>auf Erden äufnete denn er selber&mdash;:</p>
+<p>‘Bist du der Beowulf, der mit Breca kämpfte</p>
+<span class = "linenum">600</span>
+<p>in sausender See, im Sundkampfe?</p>
+<p>Ihr da aus Übermuth Untiefen prüftet</p>
+<p>und aus Tollmuth ihr in tiefem Wasser</p>
+<p>das Leben wagtet; liesset keinen,</p>
+<p>nicht Freund noch Feind, da fernen euch</p>
+<p>von der sorgvollen That, als zur See ihr rudertet.</p>
+<p>Dort ihr den Egistrom mit Armen wandtet,</p>
+<p>masset die Meerstrasse, mischtet mit Händen,</p>
+<p>glittet über’s Geerried (Glanderfluthen</p>
+<p>warf Winters Wuth!), in Wassers Gebiet</p>
+<span class = "linenum">610</span>
+<p>sieben Nächt’ ihr sorgtet: Er, Sieger der Wogen,</p>
+<p>hatte mehr der Macht, denn zur Morgenzeit ihn</p>
+<p>bei <ins class = "correction" title = "text reads ‘Headoræmes’">Headhoræmes</ins> die Hochfluth antrug.&mdash;</p>
+<p>Von dannen er suchte die süsse Heimat,</p>
+<p>lieb seinen Leuten, das Land der Brondinge,</p>
+<p>die feste Friedeburg, da Volk er hatte,</p>
+<p>Burg und Bauge;&mdash;All Erbot wider dich</p>
+<p>der Sohn Beanstânes sorglichst erfüllte.’</p>
+</div>
+
+
+<span class = "pagenum">40</span>
+<h5>Criticism of the Translation.</h5>
+
+<p>In his translation Ettmüller followed in the steps of Kemble<a class
+= "tag" name = "tag_ettmuller2" id = "tag_ettmuller2" href =
+"#note_ettmuller2">2</a>, but he was not slavishly dependent upon him.
+At times he disagrees with the English scholar (cp. e.g., ll. 468, 522,
+1331), and offers a translation of the passage omitted by him,
+3069&ndash;74. In general, the translation is strictly literal, and
+follows the original almost line for line.</p>
+
+<p>It was probably well for Ettmüller that he made his translation thus
+literal. In the history of a foreign-language study there is a period
+when it is best that a translation should be strictly literal, for such
+a work is bound to be called into service as a part of the critical
+apparatus for the interpretation of the tongue. If the early translation
+is not thus literal, it is sure to be superseded later by the more
+faithful rendering, as Schaldemose’s superseded Grundtvig’s in Denmark<a
+class = "tag" name = "tag_ettmuller3" id = "tag_ettmuller3" href =
+"#note_ettmuller3">3</a>. It is not until criticism and scholarship have
+done their strictly interpretative work that a translation is safe in
+attempting to render the spirit rather than the letter of the original.
+The reason for this is evident: no real appreciation of the spirit is
+possible until scholarship has provided the means for
+discovering&nbsp;it.</p>
+
+<p>By the publication of this volume, therefore, Ettmüller did for
+German scholarship what Kemble had done for English and Schaldemose was
+to do for Danish scholarship. Yet he might with propriety have made his
+work more simple. His translation is disfigured by numerous strange
+word-combinations which he often transcribed literally from the
+original, e.g. <i>beadu-runen</i> in the third line of the extract. It
+is safe to say that none but a scholar in Old English would be able to
+understand this word&mdash;if, indeed, we may call it a word. The text
+is full of such forms. The author
+<span class = "pagenum">41</span>
+is obliged to append notes explaining his own translation! He apparently
+forgets that it is his business as translator to render the difficult
+words as well as the simple ones. In Ettmüller’s case it was especially
+unfortunate, because it gave others an opportunity to come forward later
+with simpler, and hence more useful, translations.</p>
+
+
+<h5>Reception of the Translation.</h5>
+
+<p>The book had no extraordinary success. A&nbsp;reprint was never
+called for, and was perhaps hardly to be expected, considering the
+existence of Kemble’s volumes. Moreover, the translation was not
+accompanied by an edition of the text. Grein<a class = "tag" name =
+"tag_ettmuller4" id = "tag_ettmuller4" href = "#note_ettmuller4">4</a>,
+the next German scholar, took his inspiration from Kemble<a class =
+"tag" name = "tag_ettmuller5" id = "tag_ettmuller5" href =
+"#note_ettmuller5">5</a> and Thorpe<a class = "tag" name =
+"tag_ettmuller6" id = "tag_ettmuller6" href = "#note_ettmuller6">6</a>
+rather than from Ettmüller.</p>
+
+<div class = "footnote">
+<p>
+<a name = "note_ettmuller1" id = "note_ettmuller1" href =
+"#tag_ettmuller1">1.</a>
+See supra, <a href = "#trans_kemble">p. 33</a>.</p>
+
+<p>
+<a name = "note_ettmuller2" id = "note_ettmuller2" href =
+"#tag_ettmuller2">2.</a>
+See supra, <a href = "#trans_kemble">p. 33</a>.</p>
+
+<p>
+<a name = "note_ettmuller3" id = "note_ettmuller3" href =
+"#tag_ettmuller3">3.</a>
+See supra, <a href = "#trans_grundtvig">p. 22</a>, and infra, <a href =
+"#trans_schaldemose">p. 41 ff.</a></p>
+
+<p>
+<a name = "note_ettmuller4" id = "note_ettmuller4" href =
+"#tag_ettmuller4">4.</a>
+See infra, <a href = "#trans_grein">p. 55</a>.</p>
+
+<p>
+<a name = "note_ettmuller5" id = "note_ettmuller5" href =
+"#tag_ettmuller5">5.</a>
+See supra, <a href = "#trans_kemble">p. 33</a>.</p>
+
+<p>
+<a name = "note_ettmuller6" id = "note_ettmuller6" href =
+"#tag_ettmuller6">6.</a>
+See infra, <a href = "#trans_thorpe">p. 49</a>.</p>
+</div>
+
+
+<hr class = "mid">
+
+<h3><a name = "trans_schaldemose" id = "trans_schaldemose">
+SCHALDEMOSE’S TRANSLATION</a></h3>
+
+<p>Beo-wulf og Scopes <ins class = "correction" title = "letter ‘edh’ printed as d with bar">Widsið</ins>, to angelsaxiske Digte, med
+Oversættelse og oplysende Anmærkninger udgivne af Frederik Schaldemose.
+Kjøbenhavn, 1847.</p>
+
+<p>Anden Udgave, Kjøbenhavn, 1851. 8<sup>o</sup>, pp. ii, 188.</p>
+
+<p class = "space">
+Second Danish Translation.</p>
+
+
+<h5>Nature of the Volume, and Indebtedness to Previous Scholars.</h5>
+
+<p>In this book the Old English text and the Danish translation were
+printed in parallel columns. The text, which was taken literally from
+Kemble<a class = "tag" name = "tag_schaldemose1" id = "tag_schaldemose1"
+href = "#note_schaldemose1">1</a>, need not detain us here. No mention
+is made of the work of Leo<a class = "tag" name = "tag_schaldemose2" id
+= "tag_schaldemose2" href = "#note_schaldemose2">2</a>, Ettmüller<a
+class = "tag" name = "tag_schaldemose3" id = "tag_schaldemose3" href =
+"#note_schaldemose3">3</a>, or of the 1837 volume of Kemble, although
+<span class = "pagenum">42</span>
+the influence of the latter is evident throughout the book, as will be
+shown below. The notes are drawn largely from the works of preceding
+scholars, and in these the author makes an occasional acknowledgement of
+indebtedness.</p>
+
+<p>The translation is literal. Grundtvig’s translation<a class = "tag"
+name = "tag_schaldemose4" id = "tag_schaldemose4" href =
+"#note_schaldemose4">4</a> had been so paraphrastic as often to obscure
+the sense, and always the spirit, of the original. Schaldemose had the
+advantage of presenting the most modern text side by side with the
+translation. Thus the book became a valuable <i>apparatus criticus</i>
+for the Danish student.</p>
+
+
+<h5>Schaldemose.</h5>
+
+<p>The life of Frederik Schaldemose (1782&ndash;1853) was by no means
+the quiet, retired life of the student. He had, it is true, been
+professor at the school of Nykjøbing from 1816 to 1825, and later
+devoted himself to literary work; but a large part of his life had been
+spent in military service, in which he had had many exciting adventures
+by land and sea. After leaving his professorship he again entered
+military service. Later, he devoted his time alternately to literary and
+commercial work.</p>
+
+<p>His interest in <i>Beowulf</i> seems to have been, like that of
+Thorkelin<a class = "tag" name = "tag_schaldemose5" id =
+"tag_schaldemose5" href = "#note_schaldemose5">5</a>, primarily the
+interest of the Danish antiquary. In 1846 he had published a collection
+of Heroic Danish Songs, ancient and modern. It was doubtless a desire to
+add to this collection that led him to undertake an edition of the
+<i>Beowulf</i>.</p>
+
+<p>It was hardly to be expected that a man whose life had been so
+unsettled could materially advance the interpretation of Old English
+poetry.</p>
+
+
+<span class = "pagenum">43</span>
+<h4>Extract.</h4>
+
+<div class = "verse lines">
+<p>Hunferd sagde,</p>
+<p>Sønnen af Ecglaf;</p>
+<p>han sad ved Scyldinge-</p>
+<p>Styrerens Fødder;</p>
+<p>Kiv han begyndte,</p>
+<p>thi kjær var ham ikke</p>
+<p>Beowulfs Reise,</p>
+<p>den raske Søfarers,</p>
+<span class = "linenum">1000</span>
+<p>men til Sorg og Harme,</p>
+<p>thi han saae ei gjærne</p>
+<p>at en anden Mand</p>
+<p>meer Magtroes havde,</p>
+<p>under Himmelens Skyer</p>
+<p>end selv han aatte:</p>
+<p>Er Du den Beowulf,</p>
+<p>der med Breca kjæmped’</p>
+<p>paa det vide Hav</p>
+<p>i Væddesvømning,</p>
+<span class = "linenum">1010</span>
+<p>da I af Hovmod</p>
+<p>Havet udforsked’,</p>
+<p>og dumdristige</p>
+<p>i dybe Vande</p>
+<p>vovede Livet;</p>
+<p>ei vilde Nogen,</p>
+<p>Ven eller Fjende,</p>
+<p>afvende eders</p>
+<p>sorgfulde Tog;</p>
+<p>til Søen I da roed,</p>
+<span class = "linenum">1020</span>
+<p>vendte med Armene</p>
+<p>de vilde Bølger,</p>
+<p>maalde Havveien,</p>
+<p>med Hænderne brød den,</p>
+<p>og svam over Havet</p>
+<p>mens Søen vælted</p>
+<p>vinterlige Vover;</p>
+<p>saa paa Vandenes Ryg</p>
+<p>I strede syv Nætter;</p>
+<p>han, Seirer paa Havet,</p>
+<span class = "linenum">1030</span>
+<p>aatte meer Styrke,</p>
+<span class = "pagenum">44</span>
+<p>thi aarle on Morgenen</p>
+<p>til Headhoræmes</p>
+<p>Havet ham førde;</p>
+<p>derfra han søgde</p>
+<p>sit Fædrenerige,</p>
+<p>feiret af Sine,</p>
+<p>Brondinge-Landet</p>
+<p>det fagre Fristed,</p>
+<p>hvor et Folk han havde,</p>
+<span class = "linenum">1040</span>
+<p>Borge og Ringe.</p>
+<p>Saa blev hvad Beanstans</p>
+<p>Søn Dig loved’</p>
+<p>sikkerlig opfyldt.</p>
+</div>
+
+
+<h5>Criticism of the Text and Translation.</h5>
+
+<p>There are two good things to be said of this volume: it contains a
+literal translation, and it is a literal translation from Kemble’s text.
+Being so, it could not be without merit. There was need of a literal
+translation in Denmark. Grundtvig’s version certainly did not fulfil the
+letter of the law, and Thorkelin’s had long since been forgotten.</p>
+
+<p>Schaldemose’s dependence upon the translation of Kemble is very
+evident. In general, the Danish translator is stopped by the same
+passages that defy the English translator, e.g. the passage which Kemble
+failed to interpret at line 3075 was duly and loyally omitted by
+Schaldemose.</p>
+
+<p>I can find no evidence for the reiterated<a class = "tag" name =
+"tag_schaldemose6" id = "tag_schaldemose6" href =
+"#note_schaldemose6">6</a> statement that Schaldemose is throughout his
+translation slavishly indebted to Ettmüller. Certain it is that he
+avoided those peculiar forms of Ettmüller’s translation which are
+nothing more than a transliteration from the Old English.</p>
+
+
+<h5>Reception of the Volume.</h5>
+
+<p>It is a tribute to the Danish interest in Beowulf that Schaldemose’s
+volume soon passed into a second edition.
+<span class = "pagenum">45</span>
+But it was not of a character to arouse the interest of scholars in
+other countries. Thorpe, the next editor of the poem, had never
+seen&nbsp;it.</p>
+
+<p>The translation, being strictly literal, naturally commanded very
+little attention even in Denmark; while it was utterly without interest
+for readers and students in other countries.</p>
+
+
+<div class = "footnote">
+<p>
+<a name = "note_schaldemose1" id = "note_schaldemose1" href =
+"#tag_schaldemose1">1.</a>
+See supra, <a href = "#trans_kemble">p. 33</a>.</p>
+
+<p>
+<a name = "note_schaldemose2" id = "note_schaldemose2" href =
+"#tag_schaldemose2">2.</a>
+See infra, <a href = "#para_leo">p. 121</a>.</p>
+
+<p>
+<a name = "note_schaldemose3" id = "note_schaldemose3" href =
+"#tag_schaldemose3">3.</a>
+See supra, <a href = "#trans_ettmuller">p. 37</a>.</p>
+
+<p>
+<a name = "note_schaldemose4" id = "note_schaldemose4" href =
+"#tag_schaldemose4">4.</a>
+See supra, <a href = "#trans_grundtvig">p. 22</a>.</p>
+
+<p>
+<a name = "note_schaldemose5" id = "note_schaldemose5" href =
+"#tag_schaldemose5">5.</a>
+See supra, <a href = "#trans_thorkelin">p. 15</a>.</p>
+
+<p>
+<a name = "note_schaldemose6" id = "note_schaldemose6" href =
+"#tag_schaldemose6">6.</a>
+See Wülker, <i>Ang. Anz.</i> IV, 69; Wackerbarth’s ed. (see infra,
+<a href = "#trans_wackerbarth">p.&nbsp;45</a>).</p>
+</div>
+
+
+<hr class = "mid">
+
+<h3><a name = "trans_wackerbarth" id = "trans_wackerbarth">
+WACKERBARTH’S TRANSLATION</a></h3>
+
+<p>Beowulf, an epic poem translated from the Anglo-Saxon into English
+verse, by A. Diedrich Wackerbarth, A.B., Professor of Anglo-Saxon at the
+College of our Ladye of Oscott. London: William Pickering, 1849.
+8<sup>o</sup>, pp. xlvi, 159.</p>
+
+<p class = "space">
+Second English Translation. Ballad Measures.</p>
+
+
+<h5>Circumstances of Publication.</h5>
+
+<p>In the introduction Wackerbarth gives a full account of the history
+of the book:&mdash;</p>
+
+<blockquote>
+‘With respect to the Work now presented to the Public, shortly after the
+putting forth of Mr. Kemble’s Edition of the Anglo-Saxon Text in 1833 I
+formed the Design of translating it, and early in 1837 I commenced the
+Work. Mr. Kemble’s second Volume had not then appeared, and I proceeded
+but slowly, on account of the Difficulty of the Work, and the utter
+Inadequacy of any then existing Dictionary. I&nbsp;still however wrought
+my Way onward, under the Notion that even if I should not think my Book,
+when finished, fit for Publication, yet that the MS. would form an
+amusing Tale for my little Nephews and Nieces, and so I went through
+about a Quarter of the Poem when Illness put an entire stop to my
+Progress. Afterwards, though the Appearance of Mr. Kemble’s additional
+Volume, containing the Prose
+<span class = "pagenum">46</span>
+Version, Glossary, &amp;c. had rendered the remainder of my Task
+comparatively easy, other Matters required my Attention, and the MS. lay
+untouched until 1842, between which Time and the present it has been
+from Time to Time added to and at length completed, and the whole
+carefully revised, much being cancelled and retranslated.’
+&mdash;Introduction, p.&nbsp;viii.
+</blockquote>
+
+
+<h5>Indebtedness to preceding Scholars.</h5>
+
+<blockquote>
+‘In my Version I have scrupulously adhered to the text of Mr. Kemble,
+adopting in almost every Instance his Emendations.&nbsp;.&nbsp;.&nbsp;.
+My thanks are due to Mr. Kemble&nbsp;.&nbsp;.&nbsp;. to the Rev. Dr.
+Bosworth&nbsp;.&nbsp;.&nbsp;. who have&nbsp;.&nbsp;.&nbsp;. kindly
+answered my Inquiries relative to various Matters connected with the
+poem.’ &mdash;Pages viii, xiv.
+</blockquote>
+
+
+<h5>Style and Diction.</h5>
+
+<blockquote>
+‘I have throughout endeavoured to render the Sense and the Words of my
+Author as closely as the English Language and the Restraints of Metre
+would allow, and for this Purpose I have not shrunken either from
+sacrificing Elegance to Faithfulness (for no Translator is at liberty to
+misrepresent his Author and make an old Saxon Bard speak the Language of
+a modern Petit Maître) or from uniting English Words to express
+important Anglo-Saxon compounds.&nbsp;.&nbsp;.&nbsp;. Some may ask why I
+have not preserved the Anglo-Saxon alliterative Metre. My Reason is that
+I do not think the Taste of the English People would at present bear it.
+I&nbsp;wish to get my book read, that my Countrymen may become generally
+acquainted with the Epic of our Ancestors wherewith they have been
+generally unacquainted, and for this purpose it was necessary to adopt a
+Metre suited to the Language; whereas the alliterative Metre, heavy even
+in German, a&nbsp;Language much more fitted for it than ours, would in
+English be so heavy that few would be found to labour through a Poem of
+even half the Length of the Beówulf’s lay when presented in so
+unattractive a Garb.’ &mdash;Pages ix,&nbsp;x.
+</blockquote>
+
+
+<h4>Extract.</h4>
+
+<h5 class = "smallcaps">Canto VIII.</h5>
+
+<div class = "verse lines">
+<p>But haughty Hunferth, Ecg-láf’s Son</p>
+<p>Who sat at royal Hróth-gár’s Feet</p>
+<p>To bind up Words of Strife begun</p>
+<p class = "indent">
+And to address the noble Geat.</p>
+<span class = "pagenum">47</span>
+<span class = "linenum">5</span>
+<p>The proud Sea-Farer’s Enterprize</p>
+<p>Was a vast Grievance in his Eyes:</p>
+<p>For ill could bear that jealous Man</p>
+<p>That any other gallant Thane</p>
+<p>On earth, beneath the Heavens’ Span,</p>
+<span class = "linenum">10</span>
+<p class = "indent">
+Worship beyond his own should gain.</p>
+<p>‘Art thou Beó-wulf,’ then he cry’d,</p>
+<p>‘With Brecca on the Ocean wide</p>
+<p class = "indent">
+That didst in Swimming erst contend,</p>
+<p>Where ye explor’d the Fords for Pride</p>
+<span class = "linenum">15</span>
+<p>And risk’d your Lives upon the Tide</p>
+<p class = "indent">
+All for vain Glory’s empty End?</p>
+<p>And no Man, whether Foe or Friend,</p>
+<p>Your sorry Match can reprehend.</p>
+<p>O’er Seas ye rowed, your Arms o’erspread</p>
+<span class = "linenum">20</span>
+<p>The Waves, and Sea-paths measuréd.</p>
+<p>The Spray ye with your Hands did urge,</p>
+<p>And glided o’er the Ocean’s Surge;</p>
+<p>The Waves with Winter’s fury boil’d</p>
+<p>While on the watery Realm ye toil’d,</p>
+<span class = "linenum">25</span>
+<p class = "indent">
+Thus seven Nights were told,</p>
+<p>Till thee at last he overcame,</p>
+<p>The stronger in the noble Game.</p>
+<p>Then him at Morn the billowy Streams</p>
+<p>In triumph bare to Heatho-rǽmes</p>
+<span class = "linenum">30</span>
+<p>From whence he sought his Fatherland,</p>
+<p>And his own Brondings’ faithful Band,</p>
+<p>Where o’er the Folk he held Command,</p>
+<p class = "indent">
+A City, Rings, and Gold.</p>
+<p>His Promise well and faithfully</p>
+<span class = "linenum">35</span>
+<p>Did Beanstán’s Son perform to thee;</p>
+<p>And ill I ween, though prov’d thy Might</p>
+<p>In Onslaught dire and deadly Fight,</p>
+<p>Twill go with thee, if thou this Night</p>
+<p class = "indent">
+Dar’st wait for Grendel bold.’</p>
+</div>
+
+
+<h5>Criticism of the Translation.</h5>
+
+<p>Wackerbarth’s translation is not to be considered as a rival of
+Kemble’s<a class = "tag" name = "tag_wackerbarth1" id =
+"tag_wackerbarth1" href = "#note_wackerbarth1">1</a>&mdash;the author
+did not wish it to be
+<span class = "pagenum">48</span>
+so considered. Kemble addressed the world of scholars; Wackerbarth the
+world of readers. Wackerbarth rather resembles Conybeare<a class = "tag"
+name = "tag_wackerbarth2" id = "tag_wackerbarth2" href =
+"#note_wackerbarth2">2</a> in trying to reproduce the <i>spirit</i> of
+the poem, and make his book appeal to a popular audience. Wackerbarth
+had the advantage of basing his translation on the accurate and
+scholarly version of Kemble; yet Conybeare and Wackerbarth were equally
+unsuccessful in catching the spirit of the original. The reason for
+their failure is primarily in the media which they chose. It would seem
+that if there were a measure less suited to the Beowulf style than the
+Miltonic blank verse used by Conybeare, it would be the ballad measures
+used by Wackerbarth. The movement of the ballad is easy, rapid, and
+garrulous. Now, if there are three qualities of which the <i>Beowulf</i>
+is not possessed, they are ease, rapidity, and garrulity. Not only does
+the poet avoid superfluous words&mdash;the ballad never does&mdash;but
+he frequently does not use words enough. His meaning is thus often vague
+and nebulous, or harsh and knotted. Nor can the poem properly be called
+rapid. It is often hurried, and more often insufficient in detail, but
+it never has sustained rapidity. The kenning alone is hostile to
+rapidity. The poet lingers lovingly over his thought as if loath to
+leave it; he repeats, amplifies. The description of Grendel’s approach
+to Heorot is given three times within twenty lines.</p>
+
+<p>Now these features which have just been described Wackerbarth’s
+ballad lines are eminently unfitted to transmit. But there is still
+another reason for shunning them. They are almost continuously
+suggestive of Scott. Of all men else the translator of <i>Beowulf</i>
+should avoid Scott. Scott’s medievalism is hundreds of years and miles
+away from the medievalism of <i>Beowulf</i>. His is the self-conscious,
+dramatic, gorgeous age of
+<span class = "pagenum">49</span>
+chivalry, of knight and lady, of pomp and pride. <i>Beowulf</i> is
+simple to bareness.</p>
+
+<p>It is in such strong picturesque passages as the swimming-match that
+Wackerbarth’s style is worst. There is a plethora of adjectives,
+scarcely one of which is found in the original; but they are of no
+avail&mdash;they are too commonplace to render the strength and raciness
+of the original words. There is too much ballad padding&mdash;‘then he
+cry’d,’ ‘at last,’ ‘well and faithfully,’ ‘onslaught dire, and deadly
+fight.’ Hunferth prattles. The heroic atmosphere is gone.</p>
+
+<p>In passages calling for calmness, solemnity, or elevation of
+thought&mdash;and there are many such&mdash;the easy flow of a verse
+monotonous and trivial effectually destroys the beauty of the lines.</p>
+
+<p>But in spite of its very evident limitations, Wackerbarth’s
+translation was a move in the right direction. His aim, in his own
+words, was to ‘get his book read,’ and he was wise in choosing a medium
+that would be popular, even if it were not satisfactory to the scholar.
+It was better to have <i>Beowulf</i> according to Wackerbarth than no
+<i>Beowulf</i> at all.</p>
+
+<div class = "footnote">
+<p>
+<a name = "note_wackerbarth1" id = "note_wackerbarth1" href =
+"#tag_wackerbarth1">1.</a>
+See supra, <a href = "#trans_kemble">p. 33</a>.</p>
+
+<p>
+<a name = "note_wackerbarth2" id = "note_wackerbarth2" href =
+"#tag_wackerbarth2">2.</a>
+See supra, <a href = "#trans_conybeare">p. 28</a>.</p>
+</div>
+
+
+<hr class = "mid">
+
+<h3><a name = "trans_thorpe" id = "trans_thorpe">
+THORPE’S EDITION</a></h3>
+
+<p>The Anglo-Saxon Poems of Beowulf, The Scop or Gleeman’s Tale, and the
+Fight at Finnesburg. With a literal translation, notes, and glossary,
+&amp;c., by Benjamin Thorpe. Oxford: printed by James Wright, Printer to
+the University. <span class = "smallroman">M.DCCC.LV.</span></p>
+
+<p>*Reprinted, 1875. 12<sup>o</sup>, pp. xxxiv, 330.</p>
+
+<p class = "space">
+Third English Translation. Short Lines.</p>
+
+
+<span class = "pagenum">50</span>
+<h5>Author’s Prefatory Remarks.</h5>
+
+<blockquote>
+‘Twenty-four years have passed since, while residing in Denmark,
+I&nbsp;first entertained the design of one day producing an edition of
+Beowulf; and it was in prosecution of that design that, immediately on
+my arrival in England in 1830, I&nbsp;carefully collated the text of
+Thorkelin’s edition with the Cottonian manuscript. Fortunately, no
+doubt, for the work, a&nbsp;series of cares, together with other
+literary engagements, intervened and arrested my progress. I&nbsp;had,
+in fact, abandoned every thought of ever resuming the task: it was
+therefore with no slight pleasure that I hailed the appearance of Mr.
+Kemble’s first edition of the text of Beowulf in
+1833.&nbsp;.&nbsp;.&nbsp;.
+</blockquote>
+
+<blockquote>
+‘Copies of Mr. Kemble’s editions having for some time past been of rare
+occurrence, I&nbsp;resolved on resuming my suspended labour, and, as far
+as I was able, supplying a want felt by many an Anglo-Saxon student both
+at home and abroad.&nbsp;.&nbsp;.&nbsp;.
+</blockquote>
+
+<blockquote>
+‘My first impulse was to print the text of the poem as it appears in the
+manuscript, with a literal translation in parallel columns, placing all
+conjectural emendations at the foot of each page; but, on comparing the
+text with the version in this juxta-position, so numerous and so
+enormous and puerile did the blunders of the copyist appear, and,
+consequently, so great the discrepance between the text and the
+translation, that I found myself compelled to admit into the text the
+greater number of the conjectural emendations, consigning to the foot of
+the page the corresponding readings of the manuscript. In every case
+which I thought might by others be considered questionable, I&nbsp;have
+followed the more usual course, of retaining in the text the reading of
+the manuscript, and placing the proposed correction at
+foot.&nbsp;.&nbsp;.&nbsp;.
+</blockquote>
+
+<blockquote>
+‘Very shortly after I had collated it, the manuscript suffered still
+further detriment.
+</blockquote>
+
+<blockquote>
+‘In forming this edition I resolved to proceed independently of the
+version or views of every preceding editor.’ &mdash;Pages vii, viii,
+xii, xiii.
+</blockquote>
+
+
+<h5><a name = "trans_thorpe_text" id = "trans_thorpe_text">
+Criticism of Thorpe’s Text.</a></h5>
+
+<p>Considering the amount of time that had elapsed between this and the
+edition of Kemble<a class = "tag" name = "tag_thorpe1" id =
+"tag_thorpe1" href = "#note_thorpe1">1</a>, Thorpe can hardly be said to
+have made a satisfactory advance. In some respects his edition is
+actually inferior to Kemble’s. It is probable,
+<span class = "pagenum">51</span>
+for example, that the collation of which the author speaks in his
+introduction was the one which he had made twenty years before, and
+that, in taking up his work a second time, he did not trouble himself to
+revise it. At any rate, the MS. did not receive from Thorpe that
+respectful attention that it had had from Kemble. Thorpe was more clever
+than the former scholar in deciphering faded lines of the MS., but he
+was not always careful to indicate those letters which he actually found
+there, and those he himself supplied from conjecture. Yet these readings
+were often of sufficient importance to affect an entire passage, and
+later scholarship has in many cases deciphered readings whose sense is
+entirely different from Thorpe’s. Thus his edition presents striking
+divergences from later texts, while no explanation of them is offered in
+the footnotes. Not only does he frequently incorporate his own readings
+in the text without noting the MS. forms, but he even makes mistakes in
+the MS. forms which he does note. A&nbsp;collation of Thorpe’s text with
+the MS. has revealed a carelessness which was all the more reprehensible
+in that it came from a scholar who was thought to be well-nigh
+infallible. A&nbsp;few examples of this carelessness are
+given:&mdash;</p>
+
+<table class = "lines" summary = "details of translations">
+<tr>
+<td class = "number">Line 319 (158)<a class = "tag" name = "tag_thorpe2"
+id = "tag_thorpe2" href = "#note_thorpe2">2</a>,</td>
+<td><p><i>banan</i> (misreads MS. in footnote).</p></td>
+</tr>
+<tr>
+<td class = "number">487 (241),</td>
+<td><p><i>Ic</i> (word emended from <i>le</i> without noting MS.
+form).</p></td>
+</tr>
+<tr>
+<td class = "number">1160 (578),</td>
+<td><p><i>hwæþere</i> (emends without noting the MS. form).</p></td>
+</tr>
+<tr>
+<td class = "number">1207 (601),</td>
+<td><i>ac him</i> (omits a word).</td>
+</tr>
+<tr>
+<td class = "number">4408 (2201),</td>
+<td><p><i>hilde hlemmum</i> (MS. misread in a footnote. Emendation
+unnecessary).</p></td>
+</tr>
+</table>
+
+<p>At line 2218 the MS., badly mutilated at this point, reads,</p>
+
+<p class = "verse">
+<i>. . . slæpende be syre . . . de þeofes cræfte.</i></p>
+
+<span class = "pagenum">52</span>
+<p><a name = "trans_thorpe_comp" id = "trans_thorpe_comp">In Thorpe’s
+edition</a> the line reads (4443),</p>
+
+<p class = "verse">
+<i>... slæpende be fire, fyrena hyrde þeófes cræfte.</i></p>
+
+<p>Not only does he fail to state that he has changed MS. <i>sy</i> to
+<i>fi</i>, but he gives no indication that for the words <i>fyrena
+hyrde</i> there is no room in the MS., and that the reading is entirely
+of his own making.</p>
+
+<p>In order to afford a comparative estimate of the work of Thorpe and
+Kemble, I&nbsp;append the texts of each as they appear at what is now
+line 2000<a class = "tag" name = "tag_thorpe3" id = "tag_thorpe3" href =
+"#note_thorpe3">3</a>.</p>
+
+<table class = "verse" summary = "parallel poems">
+<tr>
+<th class = "smallcaps">Thorpe.</th>
+<td></td>
+<th class = "smallcaps">Kemble.</th>
+</tr>
+<tr>
+<td>Þæt is undyrne,</td>
+<td></td>
+<td>þ̷ is un-dyrne,</td>
+</tr>
+<tr>
+<td>dryhten Higelác,</td>
+<td></td>
+<td>dryhten Hige-lác,</td>
+</tr>
+<tr>
+<td>(uncer) gemeting</td>
+<td></td>
+<td>. . . ge-meting</td>
+</tr>
+<tr>
+<td>monegum fyra,</td>
+<td></td>
+<td>monegū fira</td>
+</tr>
+<tr>
+<td>hwylce (orleg)-hwíl</td>
+<td class = "number">5</td>
+<td>hwylce&nbsp;.&nbsp;.&nbsp;. hwíl</td>
+</tr>
+<tr>
+<td>uncer Grendles</td>
+<td></td>
+<td>uncer Grendles</td>
+</tr>
+<tr>
+<td>wearð on þám wange,</td>
+<td></td>
+<td>wearð on wange,</td>
+</tr>
+<tr>
+<td>þær he worna fela</td>
+<td></td>
+<td>þær he worna fela</td>
+</tr>
+<tr>
+<td>Sige-Scyldingum</td>
+<td></td>
+<td>síge-(Scyl)dingum</td>
+</tr>
+<tr>
+<td>sorge gefremede,</td>
+<td class = "number">10</td>
+<td>sorge ge-fremede,</td>
+</tr>
+<tr>
+<td>yrmðe tó aldre.</td>
+<td></td>
+<td>yrmð(o) tó aldre;</td>
+</tr>
+<tr>
+<td>Ic þæt eall gewræc,</td>
+<td></td>
+<td>ic þ̷ eall ge-wræc,</td>
+</tr>
+<tr>
+<td>swá ne gylpan þearf</td>
+<td></td>
+<td>swá (ne) gylpan ðearf</td>
+</tr>
+<tr>
+<td>Grendles maga</td>
+<td></td>
+<td>Grendeles maga</td>
+</tr>
+<tr>
+<td>(ǽnig) ofer eorðan</td>
+<td class = "number">15</td>
+<td>(ǽnig) ofer eorðan</td>
+</tr>
+<tr>
+<td>uht-hlem þone,</td>
+<td></td>
+<td>uht-hlem ðone,</td>
+</tr>
+<tr>
+<td>se þe lengest leofað</td>
+<td></td>
+<td>(se þe) lengest leofað</td>
+</tr>
+<tr>
+<td>láðan cynnes.</td>
+<td></td>
+<td>ládan cynnes,</td>
+</tr>
+<tr>
+<td>Fǽr-bifongen, . . .</td>
+<td></td>
+<td>(fǽr)-bí-fongen.</td>
+</tr>
+</table>
+
+<p>These selections give a good basis for judging the merits and defects
+of Thorpe’s edition. Thorpe is seen to have the advantage in deciphering
+certain parts of the text, see e.g. lines 9, 11, 17. On the other hand,
+Kemble is far more conscientious. Thus at line 13 Thorpe reads <i>ne</i>
+as if it were found in the MS. It is not there, and Kemble is right in
+inclosing the letters in parentheses. The same
+<span class = "pagenum">53</span>
+thing is true of <i>Fǽr</i> in line 19, and Gren<i>dl</i>es in line 14.
+Thorpe’s emendations in lines 3 and 5 are an advance on Kemble, and are
+still retained in the text. But Thorpe might have followed Kemble’s
+punctuation in 18 and 19 to his advantage.</p>
+
+
+<h4>Extract.</h4>
+
+<h5 class = "smallroman">VIII.</h5>
+
+<div class = "verse lines">
+<p>Hunferth spake,</p>
+<p>Ecglaf’s son,</p>
+<p>who at <i>the</i> feet sat</p>
+<p>of <i>the</i> Scyldings’ lord;</p>
+<p>unbound <i>a</i> hostile speech.</p>
+<p>To him was <i>the</i> voyage of Beowulf,</p>
+<p><i>the</i> bold sea-farer,</p>
+<p><i>a</i> great displeasure;</p>
+<span class = "linenum">1010</span>
+<p>because he grudged</p>
+<p>that any other man</p>
+<p>ever more glories</p>
+<p>of mid-earth</p>
+<p>held under heaven</p>
+<p>than himself:</p>
+<p>‘Art thou the Beowulf</p>
+<p>who with Breca strove</p>
+<p>on <i>the</i> wide sea,</p>
+<p>in <i>a</i> swimming strife,</p>
+<span class = "linenum">1020</span>
+<p>where ye from pride</p>
+<p>tempted <i>the</i> fords,</p>
+<p>and for foolish vaunt</p>
+<p>in <i>the</i> deep water</p>
+<p>ventured <i>your</i> lives?</p>
+<p>Nor you any man,</p>
+<p>nor friend nor foe,</p>
+<p>might blame</p>
+<p><i>for your</i> sorrowful voyage,</p>
+<p>when on <i>the</i> sea ye row’d,</p>
+<span class = "linenum">1030</span>
+<p>when ye <i>the</i> ocean-stream,</p>
+<p>with <i>your</i> arms deck’d,</p>
+<p>measur’d <i>the</i> sea-ways,</p>
+<p>with <i>your</i> hands vibrated <i>them</i>,</p>
+<span class = "pagenum">54</span>
+<p>glided o’er <i>the</i> main;</p>
+<p>ocean boil’d with waves,</p>
+<p>with winter’s fury:</p>
+<p>ye on <i>the</i> water’s domain,</p>
+<p><i>for</i> seven nights toil’d.</p>
+<p>He thee in swimming overcame,</p>
+<span class = "linenum">1040</span>
+<p><i>he</i> had more strength,</p>
+<p>when him at morning tide,</p>
+<p>on to Heatho-ræmes</p>
+<p><i>the</i> sea bore up;</p>
+<p>whence he sought</p>
+<p><i>his</i> dear country,</p>
+<p><i>the</i> beloved of his people,</p>
+<p><i>the</i> Brondings’ land,</p>
+<p><i>his</i> fair, peaceful burgh,</p>
+<p>where he <i>a</i> people own’d,</p>
+<span class = "linenum">1050</span>
+<p><i>a</i> burgh and rings.</p>
+<p>All <i>his</i> promise to thee</p>
+<p>Beanstan’s son</p>
+<p>truly fulfil’d.</p>
+</div>
+
+
+<h5>Criticism of the Translation.</h5>
+
+<p>This being a strictly literal translation, the reader is referred to
+the sections on the text for a valuation and criticism. It is a question
+whether there was need for another literal rendering in England at this
+time. Kemble’s translation was not yet out of date, and with Thorpe’s
+new glossary the student had a sufficient apparatus for the
+interpretation of the poem.</p>
+
+<p>Some German scholars have discovered that the short lines in which
+Thorpe’s translation is couched are imitative of the Old English
+measure. I&nbsp;am unable to agree with them. Probably any short-line
+translation would <i>ipso facto</i> assume a choppiness not dissimilar
+to the Old English, and probably plenty of lines could be discovered
+which correspond well enough to the ‘five types,’ but the agreement
+seems purely fortuitous. It is quite unlikely that Thorpe intended any
+imitation.</p>
+
+
+<span class = "pagenum">55</span>
+<h5>Influence of Thorpe’s Edition.</h5>
+
+<p>The influence of this edition has been considerable. It was the
+principal authority used by Grein<a class = "tag" name = "tag_thorpe4"
+id = "tag_thorpe4" href = "#note_thorpe4">4</a> and Heyne<a class =
+"tag" name = "tag_thorpe5" id = "tag_thorpe5" href =
+"#note_thorpe5">5</a> in constructing their texts. Thus its influence
+was felt in all texts down to the publication of the Zupitza
+<i>Autotypes</i> (1882). Thomas Arnold<a class = "tag" name =
+"tag_thorpe6" id = "tag_thorpe6" href = "#note_thorpe6">6</a> copied the
+text almost word for word.</p>
+
+<div class = "footnote">
+<p>
+<a name = "note_thorpe1" id = "note_thorpe1" href =
+"#tag_thorpe1">1.</a>
+See supra, <a href = "#trans_kemble">p. 33</a>.</p>
+
+<p>
+<a name = "note_thorpe2" id = "note_thorpe2" href =
+"#tag_thorpe2">2.</a>
+The numbers in parentheses are those of Wyatt’s text.</p>
+
+<p>
+<a name = "note_thorpe3" id = "note_thorpe3" href =
+"#tag_thorpe3">3.</a>
+Line 3995 in Kemble; 4004 in Thorpe.</p>
+
+<p>
+<a name = "note_thorpe4" id = "note_thorpe4" href =
+"#tag_thorpe4">4.</a>
+See infra, <a href = "#trans_grein">p. 55</a>.</p>
+
+<p>
+<a name = "note_thorpe5" id = "note_thorpe5" href =
+"#tag_thorpe5">5.</a>
+See infra, <a href = "#trans_heyne">p. 63</a>.</p>
+
+<p>
+<a name = "note_thorpe6" id = "note_thorpe6" href =
+"#tag_thorpe6">6.</a>
+See infra, <a href = "#trans_arnold">p. 71</a>.</p>
+</div>
+
+
+<hr class = "mid">
+
+<h3><a name = "trans_grein" id = "trans_grein">
+GREIN’S TRANSLATIONS</a></h3>
+
+<p>Dichtungen der Angelsachsen, stabreimend übersetzt von C. W. M.
+Grein. Erster Band. Göttingen: Georg H. Wigand, 1857. 8<sup>o</sup>,
+Beowulf, pp. 223&ndash;308. Zweite (Titel-) Auflage, 1863.</p>
+
+<p>Beowulf. Stabreimend übersetzt von Professor Dr. C. W. M. Grein.
+Zweite Auflage. Kassel: Georg H. Wigand, 1883. 8<sup>o</sup>,
+pp.&nbsp;90.</p>
+
+<p class = "space">
+Second German Translation. Imitative Measures.</p>
+
+
+<h5>Grein’s Preparation for Scholarly Work.</h5>
+
+<p>Christian Wilhelm Michael Grein<a class = "tag" name = "tag_grein1"
+id = "tag_grein1" href = "#note_grein1">1</a> (1825&ndash;77) was
+eminently well fitted for the editing and translating of Old English
+poetry. He possessed a natural aptitude for the study of Germanic
+Philology, and had the advantage of studying with an excellent
+professor, Franz Eduard Christoph Dietrich (1810&ndash;83), in the
+University at Marburg. As early as 1854 he began his labors as a
+translator of Old English poetry with a version of the <i>Phoenix</i>,
+‘Der Vogel Phoenix: ein angelsächsisches Gedicht, stabreimend
+übersetzt,’
+<span class = "pagenum">56</span>
+Rinteln, 1854. In the same year he printed a translation of the
+<i>Heliand</i>.</p>
+
+<p>In 1855 he assumed the position of Praktikant at the Kassel
+Landesbibliothek. Here he was able to devote a large part of his
+attention to the study of Old English, acquiring a familiarity with the
+poetry of that tongue which it has seldom been the fortune of a scholar
+to surpass. He formed the design of editing and translating the entire
+body of Old English poetry and appending to it a complete glossary which
+should not only give the meanings of the words, but instance every
+occurrence of the word. This design he carried out between the years
+1857 and 1864.</p>
+
+
+<h5><a name = "trans_grein_texts" id = "trans_grein_texts">
+Grein’s Texts.</a></h5>
+
+<p>The text of <i>Beowulf</i> is found in Grein’s <i>Bibliothek der
+angelsächsichen Poesie</i>, Erster Band, Göttingen, 1857, where it
+occupies pp. 255&ndash;341. A&nbsp;second edition, several times
+re-edited, is <i>Beovulf, nebst den Fragmenten Finnsburg und
+Waldere</i>, Kassel und Göttingen, 1867.</p>
+
+<p>Grein never saw the MS. of the poem<a class = "tag" name =
+"tag_grein2" id = "tag_grein2" href = "#note_grein2">2</a>. He based his
+text on a collation of all the preceding editions. This was unfortunate,
+because, had Grein seen the MS., he would doubtless have hastened to
+make a correct transcription of it. As it was, his edition necessarily
+shares some of the faults of its predecessors, since the text had never
+yet been accurately transcribed. A&nbsp;simple illustration of this
+defect may be seen by examining line 2218 of the text, where Grein
+reads,</p>
+
+<p class = "verse">
+<i>be fire, fyrena hyrde</i>,</p>
+
+<p>following Thorpe<a class = "tag" name = "tag_grein3" id =
+"tag_grein3" href = "#note_grein3">3</a>. As has been pointed out, this
+is an impossible reading, and one for which there is no justification in
+the MS. Thorpe, however, had presented it as the MS. reading, and Grein
+could not but copy&nbsp;it.</p>
+
+<span class = "pagenum">57</span>
+<p>Like Kemble, Grein had a supreme respect for the readings of the MS.,
+and he announced his intention of following this reading wherever
+possible:&mdash;</p>
+
+<blockquote>
+‘Bei der Behandlung des Textes galt als erste Pflicht, handschriftliche
+Lesarten, wo es nur immer möglich war, zu retten und namentlich auch
+manche angezweifelte, den Lexicis fremde Wörter als wolbegründet
+nachzuweisen: nur da, wo Verderbniss auf der Hand liegt, habe ich mir
+mit der grössten Vorsicht Aenderungen erlaubt oder bereits von Andern
+vorgeschlagene Aenderungen aufgenommen, wobei ich mich möglichst eng an
+das handschriftlich gebotene anzuschliessen suchte.’ &mdash;Vorwort, iv.
+(<i>Bibl.</i>).
+</blockquote>
+
+<p>This was wise. Since the days of Kemble, emendation had become
+unnecessarily frequent. We have seen in what a light-hearted way Thorpe
+spoke of the ‘blunders of the scribes,’ and how careless he was in the
+preparation of his text. The dialect had not yet received proper
+attention, and the copyists were blamed for errors that they never
+made.</p>
+
+<p>Grein was extremely clever in filling the lacunae of the MS., and his
+conjectural emendations are frequently retained by later editors.</p>
+
+<p>Still another improvement which he introduced was the full
+punctuation of the text; this was superior to any that had preceded it.
+In previous editions defective punctuation had obscured the sense of the
+lines; here it was made a factor in their interpretation.</p>
+
+
+<h5>Theory of Translation.</h5>
+
+<p>Grein’s theory of translation is sufficiently expressed in the
+Vorrede to the <i>Dichtungen</i>:&mdash;</p>
+
+<blockquote>
+‘Die Sammlung von metrischen Uebersetzungen angelsächsischer Dichtungen,
+deren erster Band hiermit der Oeffentlichkeit übergeben wird, soll einen
+doppelten Zweck erfüllen. Einerseits betrachte ich dieselben als eine
+wesentliche Ergänzung, gleichsam als fortlaufenden Commentar zu meiner
+gleichzeitig in demselben Verlag erscheinenden Textausgabe der
+angelsächsischen Dichter, indem sie meine Interpretation
+<span class = "pagenum">58</span>
+der Originaltexte, worin ich oft von meinen Vorgängern abweiche, einfach
+vor Augen legen. Andrerseits aber bezweckte ich dadurch die
+Bekanntschaft mit den in vieler Beziehung so herrlichen dichterischen
+Erzeugnissen des uns engverwandten englischen Volkes aus der Zeit vor
+dem gewaltsamen Eindringen des romanischen Elements durch die
+normannische Eroberung auch in weiteren Kreisen anzubahnen, was sie
+sowol nach ihrem Inhalte als auch nach der poetischen Behandlung des
+Stoffes gewiss in hohem Grade verdienen. Daher war ich eifrigst bemüht,
+die Uebersetzung dem Original in möglichster Treue nach Inhalt, Ausdruck
+und Form eng anzuschliessen: namentlich suchte ich, soweit es immer bei
+dem heutigen Stande unserer Sprache thunlich war, auch den Rhythmus des
+Originals nachzubilden, wobei es vor allem auf die Beibehaltung der
+eigentümlichen Stellung der Stabreime ankam, ein Punkt, der bei der
+Uebertragung alter Alliterationspoesien nur zu oft vernachlässigt wird.’
+&mdash;Vorrede, iii.
+</blockquote>
+
+
+<h5>Differences between the two Editions.</h5>
+
+<p>The second edition of the translation (see supra, <ins class =
+"correction" title = "error for ‘p. 55’"><a href =
+"#trans_grein">p.&nbsp;65</a></ins>) was edited from Grein’s
+‘Handexemplar’ of the <i>Dichtungen</i> after his death by Professor
+Wülker, who has also re-edited the text of the <i>Bibliothek</i>. The
+differences are seldom more than verbal, and are largely in the early
+parts of the poem. The second edition is, of course, superior.</p>
+
+
+<h4>Extract.</h4>
+
+<h5 class = "smallroman">III.</h5>
+
+<div class = "verse lines">
+<p class = "indent">
+Darauf sprach Hunferd, Ecglafs Sohn,</p>
+<span class = "linenum">500</span>
+<p>der zu den Füssen sass dem Fürst der Skildinge,</p>
+<p>entband Streitrunen, (ihm war Beowulfs Reise</p>
+<p>des mutigen Seefahrers sehr zum Aerger,</p>
+<p>da er durchaus nicht gönnte, dass ein anderer Mann</p>
+<p>je mehr des Ruhmes in dem Mittelkreise</p>
+<span class = "linenum">505</span>
+<p>besässe unterm Himmel, denn er selber hatte):</p>
+<p>‘Bist du der Beowulf, der einst mit Breka schwamm</p>
+<p>im Wettkampfe durch die weite See,</p>
+<p>wo in Verwegenheit ihr die Gewässer prüftet</p>
+<p>und aus tollem Prahlen in die tiefen Fluten</p>
+<span class = "linenum">510</span>
+<p>wagtet euer Leben? Nicht wehren konnt’ euch beiden</p>
+<p>weder Lieb noch Leid der Leute einer</p>
+<span class = "pagenum">59</span>
+<p>die sorgenvolle Fahrt, als in den Sund ihr rudertet,</p>
+<p>wo ihr den Oceansstrom mit euren Armen decktet,</p>
+<p>die Holmstrassen masset, mit den Händen schluget</p>
+<span class = "linenum">515</span>
+<p>und über den Ocean glittet: der Eisgang des Winters</p>
+<p>wallete in Wogen; in des Wassers Gebiet</p>
+<p>plagtet ihr euch sieben Nächte. Im Schwimmspiel überwand er dich:</p>
+<p>er hatte mehr der Macht; zur Morgenzeit</p>
+<p>trug ihn der Holm da zu den Headorämen.</p>
+<span class = "linenum">520</span>
+<p>Von dannen suchte er die süsse Heimat</p>
+<p>lieb seinen Leuten, das Land der Brondinge,</p>
+<p>die liebliche Friedeburg, wo er sein Volk hatte,</p>
+<p>Burg und Bauge. Da hatte all sein Erbot wider dich</p>
+<p>vollbracht in Wahrheit Beanstans Sohn<a class = "tag" name =
+"tag_grein4" id = "tag_grein4" href = "#note_grein4">4</a>.’</p>
+</div>
+
+
+<h5>Criticism of the Translation.</h5>
+
+<p>The translation is a literal line-for-line version. Its superiority
+to its predecessors is, therefore, one with the superiority of the text
+on which it is founded.</p>
+
+<p>The translation became at once the standard commentary on
+<i>Beowulf</i>, and this position it retained for many years. It is
+still the standard literal translation in Germany, none of the later
+versions having equaled it in point of accuracy.</p>
+
+
+<div class = "footnote">
+<p>
+<a name = "note_grein1" id = "note_grein1" href = "#tag_grein1">1.</a>
+For biographical facts see Grein-Wülker, <i>Bibliothek</i>, Band III,
+2te Hälfte, p.&nbsp;vii.</p>
+
+<p>
+<a name = "note_grein2" id = "note_grein2" href = "#tag_grein2">2.</a>
+See Grein-Wülker, <i>Bibliothek</i>, Vorrede.</p>
+
+<p>
+<a name = "note_grein3" id = "note_grein3" href = "#tag_grein3">3.</a>
+See supra, <a href = "#trans_thorpe_comp">p. 52</a>.</p>
+
+<p>
+<a name = "note_grein4" id = "note_grein4" href = "#tag_grein4">4.</a>
+The second edition presents no variation from this save the omission of
+the comma in line 501.</p>
+</div>
+
+
+<hr class = "mid">
+
+<h3><a name = "trans_simrock" id = "trans_simrock">
+SIMROCK’S TRANSLATION</a></h3>
+
+<p>Beowulf. Das älteste deutsche Epos. Uebersetzt und erläutert von Dr.
+Karl Simrock. Stuttgart und Augsburg: J. G. Cotta’scher Verlag, 1859.
+8<sup>o</sup>, pp. iv, 203.</p>
+
+<p class = "space">
+Third German Translation. Imitative Measures.</p>
+
+
+<h5>Simrock.</h5>
+
+<p>Dr. Karl Simrock (1802&ndash;1876) brought to the translation of
+<i>Beowulf</i> the thorough knowledge of a scholar,
+<span class = "pagenum">60</span>
+the fine feeling and technique of a poet, and an enviable reputation as
+a translator of Old German poetry. At the time when he made his
+translation of <i>Beowulf</i>, he was Professor of Old German Literature
+at Bonn, whither he had been called because of his contributions to the
+study of Old German mythology. His title to remembrance rests, however,
+on his metrical rendering of the <i>Nibelungenlied</i>, a&nbsp;work
+which, in 1892, had passed into its fifty-second edition. As an original
+poet, Simrock is remembered for his <i>Wieland der Schmied</i> (1835),
+and <i>Gedichte</i> (1844).</p>
+
+
+<h5>Object of the Translation.</h5>
+
+<p>Simrock wished to do for <i>Beowulf</i> what he had done for the
+<i>Nibelungenlied</i>, <i>Walther von der Vogelweide</i>, and <i>Der
+arme Heinrich</i>. He objected to the too literal work of Ettmüller<a
+class = "tag" name = "tag_simrock1" id = "tag_simrock1" href =
+"#note_simrock1">1</a> and Grein<a class = "tag" name = "tag_simrock2"
+id = "tag_simrock2" href = "#note_simrock2">2</a>, hoping in his own
+work to make the poem readable and to dispense with a ‘note for every
+third word’:</p>
+
+<blockquote>
+‘Geist und Stimmung einer fernen Heldenzeit anklingen zu lassen, und
+doch dem Ausdruck die frische Farbe des Lebens zu verleihen.’
+&mdash;Vorrede, iii.
+</blockquote>
+
+<p>In this ambition he was justified by his success as a translator of
+Old German poetry.</p>
+
+
+<h5>Nature of the Translation.</h5>
+
+<p>The diction of the version is, on the whole, characterized by
+simplicity and ease. Yet the author, like many another translator of Old
+English, tries to give his style an archaic tinge by preserving the
+compound forms characteristic of that language, such as Lustholz,
+Aelgelage, Kampfrunen, a&nbsp;fault that Ettmüller had carried to
+excess. These forms he sometimes used to the exclusion of simpler, or
+even
+<span class = "pagenum">61</span>
+more literal, words. The nature of the German language, however, keeps
+these from being as repulsive as they are in English, but they are
+sufficiently strange to mystify and annoy the reader.</p>
+
+<p>The feature of his translation for which Simrock was most concerned
+was the measure:</p>
+
+<blockquote>
+‘Vor Allem aber den Wohllaut, der echter Poesie unzertrennlich verbunden
+ist, das schien mir die erste Bedingung, damit der
+Leser&nbsp;.&nbsp;.&nbsp;. den Sinn ahne und von der Schönheit des <ins
+class = "correction" title = "text reads ‘Gedichtes’">Gedichts</ins>
+ergriffen von Blatt zu Blatt getragen werde. Nur so glaubte ich eine
+tausendjährige Kluft überbrücken und dieser mit Angeln und Sachsen
+ausgewanderten Dichtung neues Heimatsrecht bei uns erwerben zu können.’
+&mdash;Vorrede, iii,&nbsp;iv.
+</blockquote>
+
+<p>He also preserved alliteration, believing that a fondness for that
+poetic adornment may be easily acquired, and that it is by no means
+inconsistent with the genius of modern tongues.</p>
+
+
+<h5>Relation of Translation and other Parts of the Book.</h5>
+
+<p>The notes to the translation contain discussions of the episodes and
+of the mythological personages of the poem. There is a discussion of the
+poetic worth of <i>Beowulf</i>, and an argument for the German origin of
+the poem. But the translation is the <i>raison d’être</i> of the volume,
+and other parts are strictly subordinated to it. The Finnsburg fragment
+is inserted at the end of section&nbsp;16. As the author does not wish
+to disturb the order of <i>Beowulf</i>, he is obliged to place the poem
+at the end of the Finnsburg episode (in <i>Beowulf</i>), a&nbsp;very
+ill-chosen position, where it can only confuse the general reader more
+than the obscure lines to which it is related. This practice of
+inserting the Finnsburg fragment, lately revived by Hoffmann<a class =
+"tag" name = "tag_simrock3" id = "tag_simrock3" href =
+"#note_simrock3">3</a>, has been generally repudiated.</p>
+
+
+<span class = "pagenum">62</span>
+<h5>Text, and Indebtedness to Preceding Scholars.</h5>
+
+<p>The text followed is Grein’s (1857)<a class = "tag" name =
+"tag_simrock4" id = "tag_simrock4" href = "#note_simrock4">4</a>. The
+translator acknowledges his indebtedness to the versions of Ettmüller
+and Grein.</p>
+
+
+<h4>Extract.</h4>
+
+<h5 class = "smallcaps">8. Hunferd.</h5>
+
+<div class = "verse">
+<p>Da begann Hunferd, &nbsp; &nbsp; Ecglafs Sohn,</p>
+<p>Der zu Füssen sass &nbsp; &nbsp; dem Fürsten der Schildinge,</p>
+<p>Kampfrunen zu entbinden: &nbsp; &nbsp; ihm war Beowulfs Kunft,</p>
+<p>Des kühnen Seeseglers, &nbsp; &nbsp; schrecklich zuwider.</p>
+<p>Allzu ungern sah er, &nbsp; &nbsp; dass ein anderer Mann</p>
+<p>In diesem <ins class = "correction" title = "text reads ‘Mittelkreis’">Mittelkreiss</ins> &nbsp; &nbsp; mehr des Ruhmes</p>
+<p>Unterm Himmel hätte &nbsp; &nbsp; als Hunferd selbst:</p>
+
+<p class = "stanza indent">
+‘Bist du der Beowulf, &nbsp; &nbsp; der mit <i>Breka</i> schwamm</p>
+<p>Im Wettkampf einst &nbsp; &nbsp; durch die weite See?</p>
+<p>Wo ihr tollkühn &nbsp; &nbsp; Untiefen prüftet,</p>
+<p>Mit vermessnem Muth &nbsp; &nbsp; in den Meeresschlünden</p>
+<p>Das Leben wagtet? &nbsp; &nbsp; Vergebens wehrten euch</p>
+<p>Die Lieben und Leiden, &nbsp; &nbsp; die Leute zumal</p>
+<p>So sorgvolle Reise, &nbsp; &nbsp; als ihr zum Sunde rudertet,</p>
+<p>Das angstreiche Weltmeer &nbsp; &nbsp; mit Armen decktet,</p>
+<p>Die Meerstrassen masset, &nbsp; &nbsp; mit den Händen schlugt</p>
+<p>Durch die Brandung gleitend; &nbsp; &nbsp; aufbrauste die Tiefe</p>
+<p>Wider des Winters Wuth. &nbsp; &nbsp; Im Wasser mühtet ihr</p>
+<p>Euch sieben Nächte: &nbsp; &nbsp; da besiegt’ er dich im <ins class =
+"correction" title = "‘i’ invisible">Schwimmen</ins>.</p>
+<p>Seiner Macht war mehr: &nbsp; &nbsp; in des Morgens Frühe</p>
+<p>Hob ihn die Hochflut &nbsp; &nbsp; zu den <i>Headorämen</i>.</p>
+<p>Von dannen sucht’ er &nbsp; &nbsp; die süsse Heimat,</p>
+<p>Das Leutenliebe, &nbsp; &nbsp; das Land der <i>Brondinge</i>,</p>
+<p>Die feste Friedensburg, &nbsp; &nbsp; wo er Volk besass,</p>
+<p>Burg und Bauge. &nbsp; &nbsp; Sein Erbieten hatte dir</p>
+<p>Da <i>Beanstans</i> Geborner &nbsp; &nbsp; vollbracht und
+geleistet.’</p>
+</div>
+
+
+<h5>Criticism of the Translation.</h5>
+
+<p>Simrock’s translation is commendable for its faithfulness. It is,
+moreover, a&nbsp;simple and readable version, though in
+<span class = "pagenum">63</span>
+these respects it is not equal to Heyne’s rendering which was to follow
+it; but it was easily superior to Grein’s. Yet, in spite of this, the
+book is not well known among German translations, and has never passed
+into a second edition. This is surprising when we consider the success
+of Simrock’s previous translations. The partial failure is accounted for
+by two facts: (1)&nbsp;Simrock’s reputation as a scholar was not equal
+to that of Grein or Heyne, nor had he the advantage of editing the text;
+(2)&nbsp;the measure which the translation employed has never been
+popular among readers. No German translation in imitative measures, with
+the single exception of Grein’s (which has made its appeal as a
+scholarly work and not as a piece of literature), has ever passed into a
+second edition; while versions couched in iambic lines or Nibelungen
+meters have been reprinted.</p>
+
+
+<div class = "footnote">
+<p>
+<a name = "note_simrock1" id = "note_simrock1" href =
+"#tag_simrock1">1.</a>
+See supra, <a href = "#trans_ettmuller">p. 37</a>.</p>
+
+<p>
+<a name = "note_simrock2" id = "note_simrock2" href =
+"#tag_simrock2">2.</a>
+See supra, <a href = "#trans_grein">p. 55</a>.</p>
+
+<p>
+<a name = "note_simrock3" id = "note_simrock3" href =
+"#tag_simrock3">3.</a>
+See infra, <a href = "#trans_hoffmann">p. 99</a>.</p>
+
+<p>
+<a name = "note_simrock4" id = "note_simrock4" href =
+"#tag_simrock4">4.</a>
+See supra, <a href = "#trans_grein_texts">p. 56</a>.</p>
+</div>
+
+
+<hr class = "mid">
+
+<h3><a name = "trans_heyne" id = "trans_heyne">
+HEYNE’S TRANSLATION</a></h3>
+
+<p>Beowulf. Angelsächsisches Heldengedicht übersetzt von Moritz Heyne.
+Paderborn: Druck und Verlag von Ferd. Schöningh, 1863. 12<sup>o</sup>,
+pp. viii, 127.</p>
+
+<p>Zweite Auflage. Paderborn: Schöningh, 1898. 8<sup>o</sup>, pp. viii,
+134.</p>
+
+<p class = "space">
+Fourth German Translation. Iambic Pentameter.</p>
+
+
+<h5>Heyne.</h5>
+
+<p>The name of Moritz Heyne is one of the most illustrious in the
+history of Beowulf scholarship. The Heyne editions of the text<a class =
+"tag" name = "tag_heyne1" id = "tag_heyne1" href = "#note_heyne1">1</a>
+have been standard for nearly forty years,
+<span class = "pagenum">64</span>
+while the translation has been recently reprinted (1898). Beside his
+work on the <i>Beowulf</i>, this scholar was to become prominent as
+editor of the <i>Heliand</i> and of <i>Ulfilas</i>, and as one of the
+staff appointed to complete Grimm’s Dictionary.</p>
+
+<p>At the time when he printed his edition of the <i>Beowulf,</i> Heyne
+was a student at Halle, and but twenty-six years of age (born 1837)<a
+class = "tag" name = "tag_heyne2" id = "tag_heyne2" href =
+"#note_heyne2">2</a>. In his work he had some assistance from Professor
+Leo<a class = "tag" name = "tag_heyne3" id = "tag_heyne3" href =
+"#note_heyne3">3</a> of Halle.</p>
+
+
+<h5><a name = "trans_heyne_relation" id = "trans_heyne_relation">
+Relation of Text and Translation.</a></h5>
+
+<p>The translation was founded on the text of 1863. At the time it was
+by far the best edition that had yet appeared. It was furnished with an
+excellent glossary. The text had the advantage of the valuable work done
+by Grundtvig<a class = "tag" name = "tag_heyne4" id = "tag_heyne4" href
+= "#note_heyne4">4</a> in collating the two transcripts made by
+Thorkelin<a class = "tag" name = "tag_heyne5" id = "tag_heyne5" href =
+"#note_heyne5">5</a>. It thus came a stage nearer the MS. readings than
+any other existing edition, while it avoided the unnecessary conjectures
+of the Danish editor.</p>
+
+<p>Heyne’s text having been five times re-edited, the first edition of
+the translation often fails to conform to readings which have been
+introduced into the text in later editions; but the free nature of the
+translation makes this of no great importance.</p>
+
+
+<h5>Differences between the First and Second Editions of the
+Translation.</h5>
+
+<p>The differences between the two editions are not of much importance.
+The translation is in general, though not always, brought up to the late
+editions of the text,
+<span class = "pagenum">65</span>
+and some changes are made for the improvement of the meter.</p>
+
+<p>The first edition contains 3201 lines; the second 3207. The theory
+and aim of the translation are not changed at all.</p>
+
+
+<h5>Aim of Heyne’s Translation.</h5>
+
+<p>In this translation of the <i>Beowulf</i>, Heyne attempts to
+popularize what he considers the most beautiful of the Old English
+poems. He says of&nbsp;it&mdash;</p>
+
+<blockquote>
+‘Es ist nicht die erste, die <ins class = "correction" title = "word is emphatic (gesperrt) in Heyne original">ich</ins> biete; gleichwol hoffe
+ich es werde die erste sein, die auch einem grössern Publicum, das noch
+nicht Gelegenheit hatte, sich mit den ältern Dialecten unserer Sprache
+zu beschäftigen, verständlich ist. Die ältern deutschen Uebersetzer
+haben, bei allen Verdiensten ihrer Arbeit, unserer neuhochdeutschen
+Muttersprache teilweise übel mitgespielt.’ &mdash;Vorwort, iii.
+</blockquote>
+
+<p>With this in view, Heyne put his translation out in a form that would
+make it accessible to all. This was in itself an innovation. The works
+of Ettmüller<a class = "tag" name = "tag_heyne6" id = "tag_heyne6" href
+= "#note_heyne6">6</a> and Simrock<a class = "tag" name = "tag_heyne7"
+id = "tag_heyne7" href = "#note_heyne7">7</a> had been in a more
+elaborate <i>format</i>, while Grein’s translation<a class = "tag" name
+= "tag_heyne8" id = "tag_heyne8" href = "#note_heyne8">8</a> was not
+only expensive, but encumbered with other work, and intended primarily
+for the scholar.</p>
+
+
+<h5>Nature of the Translation.</h5>
+
+<p>Heyne chose a new medium for his version, the unrimed iambic line.
+His aim being to get his book read, he avoided a literal translation,
+and rendered with commendable freedom, though not with inaccuracy. He
+used no strange compounds, and shunned an unnatural verse. Thus he
+produced the most readable translation that has ever appeared in
+Germany. Of his own attempt he says&mdash;</p>
+
+<blockquote>
+‘Die vorliegende Uebertragung ist so frei, dass sie das für uns schwer
+oder gar nicht genau nachzubildende <ins class = "correction" title =
+"text reads ‘alliterierende’">allitterierende</ins> Versmass des
+Originals gegen fünffüssige <ins class = "correction" title = "text reads ‘Iamben’">Jamben</ins> aufgibt, und zu Gunsten des
+<span class = "pagenum">66</span>
+Sinnes sich der angelsächsischen Wort- und Satzstellung nicht zu
+ängstlich anschmiegt; dagegen auch wieder so genau, dass sie hoffentlich
+ein Scherflein zum vollkommenern Verständniss des Textes beitragen
+wird.’ &mdash;Vorwort, iii.
+</blockquote>
+
+<p>Heyne’s theory of translation is one that has been very little in
+vogue in Germany. He has been criticized on all sides for his freedom.
+Yet the criticism is undeserved. Heyne is never paraphrastic&mdash;he
+never adds anything foreign to the poem. He merely believes in
+translating the obscure as well as the simple ideas of his text. His
+‘freedom’ seldom amounts to more than this&mdash;</p>
+
+<div class = "verse">
+<p>Hē bēot ne āleh, l. 80 (he belied not his promise)</p>
+<p>Was er gelobt, erfüllt er.</p>
+</div>
+
+<p>He occasionally inserts a word for metrical reasons, and sometimes,
+in the interests of clearness, a&nbsp;demonstrative or personal pronoun,
+or even a proper name (cf. l.&nbsp;500 of the extract).</p>
+
+
+<h4>Extract.</h4>
+
+<h5 class = "smallroman">IX.</h5>
+
+<div class = "verse lines">
+<span class = "linenum">500</span>
+<p>Da sagte Hunferd, Ecglafs Sohn, der Hrodgar</p>
+<p>zu Füssen sass, dem Herrn der Schildinge,</p>
+<p>des Streites Siegel löste er (denn sehr</p>
+<p>war Beowulfes Ankunft ihm verhasst,</p>
+<p>des kühnen Meerbefahrers; er vergönnte</p>
+<span class = "linenum">505</span>
+<p>es Niemand, mehr des Ruhmes als er selber</p>
+<p>sich unterm Himmel jemals zu erwerben):</p>
+<p>‘Bist du der Beowulf, der einst mit Breca</p>
+<p>sich auf der weiten See im Schwimmkampf mass,</p>
+<p>als ihr euch kühnlich in die Tiefen stürztet,</p>
+<span class = "linenum">510</span>
+<p>und mit <ins class = "correction" title = "text reads ‘verwegnen’">verwegnem</ins> Brüsten euer Leben</p>
+<p>im tiefen Wasser wagtet? Niemand konnte,</p>
+<p>nicht Freund, nicht Feind, des mühevollen Weges</p>
+<p>euch hindern. Da schwammt ihr hinaus <ins class = "correction" title
+= "text shown as printed">in See</ins>,</p>
+<p>wo ihr die wilde Flut mit Armen decktet,</p>
+<span class = "linenum">515</span>
+<p>des Wassers Strassen masset und die Hände</p>
+<p>die Wogen werfen liesst; so glittet ihr</p>
+<p>hin übers Meer. Die winterlichen Wellen,</p>
+<span class = "pagenum">67</span>
+<p>sie giengen hoch. Der Tage sieben mühtet</p>
+<p>ihr euch im Wasser: jener überwand dich</p>
+<span class = "linenum">520</span>
+<p>im Schwimmen, denn er hatte grössre Kraft.</p>
+<p>Da trug die Hochflut ihn zur Morgenzeit</p>
+<p>auf zu den Hadorämen, von wo aus er,</p>
+<p>der seinem Volke liebe, seinen Erbsitz</p>
+<p>im Land der Brandinge, die schöne Burg</p>
+<span class = "linenum">525</span>
+<p>erreichte. Dort besass er Land und Leute</p>
+<p>und Schätze. Was er gegen dich gelobt,</p>
+<p>das hatte <ins class = "correction" title = "text corrects misspelled ‘Banstan’ in Heyne original">Beanstans</ins> Sohn fürwahr erfüllt.’</p>
+</div>
+
+<p>The extract illustrates sufficiently the characteristics of Heyne’s
+rendering. In the first place, attention may be called to the extreme
+freedom of the verse, a&nbsp;freedom which at times makes the
+composition verge upon prose. In the second place, the translation of
+the Old English phrase <i>beadu-runen onband</i> should be noticed, and
+compared with the translations of Ettmüller, Grein, and Simrock, who
+have respectively&mdash;</p>
+
+<div class = "verse">
+<p><i>entband beadurunen</i></p>
+<p><i>entband Streitrunen</i></p>
+<p><i>Kampfrunen . . . entbinden.</i></p>
+</div>
+
+<p>Heyne is the only one who translates the phrase in such a way as to
+make the words intelligible to a reader unacquainted with Old English.
+Finally, it should be noticed that the translation is quite as accurate
+as those which preceded it. Heyne certainly succeeded in his attempt to
+make the poem more intelligible to the general reader than it had ever
+been before. While not so serviceable to the scholar as Grein’s
+translation, it is undoubtedly the most enjoyable of the German
+versions.</p>
+
+<div class = "footnote">
+<p>
+<a name = "note_heyne1" id = "note_heyne1" href = "#tag_heyne1">1.</a>
+There have been six&mdash;1863, 1868, 1873, 1879, 1888, 1898; the last
+two are by Dr. Adolf Socin.</p>
+
+<p>
+<a name = "note_heyne2" id = "note_heyne2" href = "#tag_heyne2">2.</a>
+Heyne is at present Professor in the University of Göttingen.</p>
+
+<p>
+<a name = "note_heyne3" id = "note_heyne3" href = "#tag_heyne3">3.</a>
+See infra, <a href = "#para_leo">p. 121</a>.</p>
+
+<p>
+<a name = "note_heyne4" id = "note_heyne4" href = "#tag_heyne4">4.</a>
+In <i>Beowulfs Beorh</i>. See also supra, <a href =
+"#trans_grundtvig">p. 22</a>.</p>
+
+<p>
+<a name = "note_heyne5" id = "note_heyne5" href = "#tag_heyne5">5.</a>
+See supra, <a href = "#trans_thorkelin">p. 16</a>.</p>
+
+<p>
+<a name = "note_heyne6" id = "note_heyne6" href = "#tag_heyne6">6.</a>
+See supra, <a href = "#trans_ettmuller">p. 37</a>.</p>
+
+<p>
+<a name = "note_heyne7" id = "note_heyne7" href = "#tag_heyne7">7.</a>
+See supra, <a href = "#trans_simrock">p. 59</a>.</p>
+
+<p>
+<a name = "note_heyne8" id = "note_heyne8" href = "#tag_heyne8">8.</a>
+See supra, <a href = "#trans_grein">p. 55</a>.</p>
+</div>
+
+
+<hr class = "mid">
+
+<span class = "pagenum">68</span>
+
+<h3><a name = "trans_wolzogen" id = "trans_wolzogen">
+VON WOLZOGEN’S TRANSLATION</a></h3>
+
+<p>Beovulf (Bärwelf). Das älteste deutsche Heldengedicht. Aus dem
+Angelsächsischen von Hans von Wolzogen. Leipzig: Philipp Reclam, jun.
+(1872?).</p>
+
+<p>Volume 430 of Reclam’s Universal-Bibliothek. Small 8<sup>o</sup>, pp.
+104.</p>
+
+<p class = "space">
+Fifth German Translation. Imitative Measures.</p>
+
+
+<h5>Concerning the Translator.</h5>
+
+<p>Hans von Wolzogen (born 1848), popularly known as a writer on the
+Wagnerian operas and as conductor of the <i>Bayreuther Blätter</i>,
+translated three Germanic poems for Reclam’s ‘Bibliothek’:
+<i>Beowulf</i>, 1872, <i>Der arme Heinrich</i>, 1873, and the
+<i>Edda</i>, 1877. There is no evidence that he had any <i>special</i>
+interest in Old English studies.</p>
+
+
+<h5>Aim of the Volume.</h5>
+
+<p>As expressed in the ‘Vorbemerkung,’ the aim of the translator was
+(1)&nbsp;to provide a readable translation ‘für unser modernes
+Publicum,’ and (2)&nbsp;to make a convenient handbook for the student,
+so that the beginner, with Grein’s text<a class = "tag" name =
+"tag_wolzogen1" id = "tag_wolzogen1" href = "#note_wolzogen1">1</a> and
+the present translation, might read the <i>Beowulf</i> with no very
+great difficulty. So von Wolzogen made his version ‘more literal than
+Heyne’s, but freer than Simrock’s’ (p.&nbsp;1).</p>
+
+
+<h5>Nature of the Translation.</h5>
+
+<p>The translation is in alliterative measures, called by the translator
+imitative of the Old English. Von Wolzogen is concerned for this feature
+of his work, and is at pains to
+<span class = "pagenum">69</span>
+give what he considers a full account of the original verse as well as a
+lengthy defence of alliteration. Archaic touches are occasional. The
+names are ‘re-translated into German’ according to a system of which,
+apparently, von Wolzogen alone holds the key:&mdash;</p>
+
+<blockquote>
+‘... diese angelsächsische Form selbst nur eine Uebertragungsform aus
+den ursprünglich deutschen Namen ist, wobei manch Einer sogar sinnlos
+verdreht worden, wie z.B. der Name des Helden selbst, der aus dem
+deutschen Bärwelf, Jungbär, zum Beovulf, Bienenwolf, gemacht worden
+war.’ &mdash;Vorbemerkung, p.&nbsp;5.
+</blockquote>
+
+<p>The account of the Fall of Hygelac and of Heardred, 2354&ndash;96, is
+shifted to line 2207 (p.&nbsp;75).</p>
+
+
+<h5>Text Used.</h5>
+
+<p>The translation is apparently founded on one of Grein’s texts<a class
+= "tag" name = "tag_wolzogen2" id = "tag_wolzogen2" href =
+"#note_wolzogen2">2</a>, but the work is so inaccurate that exact
+information on this point is impossible from merely internal
+evidence.</p>
+
+
+<h4>Extract.</h4>
+
+<h5 class = "smallcaps">Dritter Gesang.</h5>
+<h5 class = "smallroman">HUNFRID.</h5>
+
+<div class = "verse lines">
+<p><i>So sagte Hunfrid</i><a class = "tag" name = "tag_wolzogen3" id =
+"tag_wolzogen3" href = "#note_wolzogen3">3</a>, der Sohn des
+<i>Eckleif</i>,</p>
+<p>Dem Schildingenfürsten zu Füssen gesessen,</p>
+<p>Kampfrunen entbindend (es kränkte des <i>Bärwelf</i></p>
+<p><i>Muthige Meerfahrt</i> mächtig den Stolzen,</p>
+<span class = "linenum">5</span>
+<p>Der an Ehren nicht mehr einem andern Manne</p>
+<p>Zu gönnen gemeint war im Garten der Mitte,</p>
+<p>Als wie unter’m Himmel erworben er selbst!):</p>
+<p>‘Bist du der <i>Bärwelf</i>, der mit <i>Brecht</i> bekämpfte</p>
+<p>Auf weiter See im Wetteschwimmen,</p>
+<span class = "linenum">10</span>
+<p>Da übermüthig und ehrbegierig</p>
+<p>Eu’r Leben ihr wagtet in Wassertiefen,</p>
+<span class = "pagenum">70</span>
+<p><i>Die beid’ ihr durchschwammt?</i> Da brachte zum Schwanken</p>
+<p>Den Vorsatz der furchtbaren Fahrt euch Keiner</p>
+<p><i>Mit Bitten und Warnen</i>, <i>und</i> Beide durchtheiltet</p>
+<span class = "linenum">15</span>
+<p>Mit gebreiteten Armen die Brandung ihr rudernd,</p>
+<p>Durchmasset das Meer mit <i>meisternden</i> Händen</p>
+<p>Auf wogenden Wegen, während der Wirbelsturm</p>
+<p>Rast’ in den Well’n, und <i>ihr rangt mit</i> dem Wasser</p>
+<p>Durch sieben Nächte. Der Sieger im Neidspiel</p>
+<span class = "linenum">20</span>
+<p>Zeigte sich mächt’ger; zur Zeit des Morgens</p>
+<p>Riss zu den Haduraumen die Flut ihn;</p>
+<p>ins eigene Erbe enteilt’ er von dort,</p>
+<p>Zum Lande der Brandinge, lieb seinen <i>Mannen</i>,</p>
+<p>Zur bergenden Burg. Da gebot er dem Volke</p>
+<span class = "linenum">25</span>
+<p><i>Schlossreich und schatzreich</i>. Wie geschworen, so hielt</p>
+<p>Sein Versprechen dir redlich der Sprössling des <i>Bonstein</i>.’</p>
+</div>
+
+
+<h5>Criticism of the Translation.</h5>
+
+<p>Von Wolzogen’s translation is hardly trustworthy. A&nbsp;specimen of
+his free interpretation of the <i>Beowulf</i> diction may be seen in the
+footnote on page 13, where he defines <i>horngēap</i> (i.e. ‘with wide
+intervals between its pinnacles of horn’) as ‘hornreich,’ and translates
+<i>hornreced</i>, ‘Hornburg.’ Inaccurate renderings of the Old English
+have been noted above in italics. They reveal an especial difficulty
+with the kenning, a&nbsp;device which von Wolzogen apparently did not
+understand, since the entire translation shows an attempt to interpret
+the kenning hypotactically. Had the translator been making a paraphrase,
+inaccuracies like ‘muthige Meerfahrt’ and ‘ihr rangt mit dem Wasser’
+might be excused; but in a translation which was avowedly literal (more
+literal than Heyne’s) they appear to be due to nothing less than
+ignorance and carelessness. To give one example from the thousand that
+bear out the truth of this statement, we may cite line 561
+(p.&nbsp;27),</p>
+
+<div class = "verse">
+<p class = "halfline">
+<i>Ic him þēnode</i></p>
+<p><i>deoran sweorde &nbsp; &nbsp; swā hit gedēfe wæs.</i></p>
+</div>
+
+<span class = "pagenum">71</span>
+<p>which is translated,</p>
+
+<div class = "verse">
+<p class = "halfline">
+dawider doch diente</p>
+<p>Mein treffliches Schwert, das treu mir beistand. (p.&nbsp;27.)</p>
+</div>
+
+<p>This is not paraphrase; it is sheer misapprehension of the Old
+English.</p>
+
+<p>A similar misapprehension is seen in line 15 of the extract,</p>
+
+<p class = "verse">
+Mit Bitten und Warnen,</p>
+
+<p>which we are asked to accept as a translation for</p>
+
+<p class = "verse">
+ne lēof nē lāð. (l. 511.)</p>
+
+<p>The verse of von Wolzogen’s translation is the poorest of the German
+attempts at imitative measures. The translator is obliged at times to
+append footnotes explaining the scansion of his lines (see pp. 33, 34,
+65, 91). The cesura is frequently not in evidence (cf. lines 14 and 22,
+both of which are also metrically incorrect); the lines are often
+deficient in length (p.&nbsp;29, line 26; p.&nbsp;31, line 19;
+p.&nbsp;32, line&nbsp;19).</p>
+
+<div class = "footnote">
+<p>
+<a name = "note_wolzogen1" id = "note_wolzogen1" href =
+"#tag_wolzogen1">1.</a>
+See supra, <a href = "#trans_grein">p. 55</a>.</p>
+
+<p>
+<a name = "note_wolzogen2" id = "note_wolzogen2" href =
+"#tag_wolzogen2">2.</a>
+See Vorbemerkung, p. 3.</p>
+
+<p>
+<a name = "note_wolzogen3" id = "note_wolzogen3" href =
+"#tag_wolzogen3">3.</a>
+The italics, save those used for proper names (which are von
+Wolzogen’s), indicate inaccurate renderings.</p>
+</div>
+
+
+<hr class = "mid">
+
+<h3><a name = "trans_arnold" id = "trans_arnold">
+ARNOLD’S EDITION</a></h3>
+
+<p>Beowulf, a&nbsp;heroic poem of the eighth century, with a
+translation, notes, and appendix, by Thomas Arnold, M.A. London:
+Longmans, Green &amp; Co., 1876. 8<sup>o</sup>, pp. xliii, 223.</p>
+
+<p class = "space">
+Fourth English Translation. Prose.</p>
+
+
+<h5>Circumstances of Publication.</h5>
+
+<p>No edition of the text of <i>Beowulf</i> had appeared in England
+since the work of Thorpe<a class = "tag" name = "tag_arnold1" id =
+"tag_arnold1" href = "#note_arnold1">1</a>, now twenty years
+<span class = "pagenum">72</span>
+old. The textual criticism of the Germans had, meanwhile, greatly
+advanced the interpretation of the poem. Grein’s text of the poem had
+passed into a second, and Heyne’s into a third, edition. There was an
+opportunity, therefore, for an improved English edition which should
+incorporate the results of German scholarship. This edition Mr. Thomas
+Arnold (1823&ndash;1900) undertook to supply.</p>
+
+
+<h5>Relation of the Parts.</h5>
+
+<p>The Introduction contained a new theory of the origin of the poem<a
+class = "tag" name = "tag_arnold2" id = "tag_arnold2" href =
+"#note_arnold2">2</a>. But the important part of the book was the text
+and translation. There is no glossary<a class = "tag" name =
+"tag_arnold3" id = "tag_arnold3" href = "#note_arnold3">3</a>. The notes
+are at the bottom of the page. Here glossarial, textual, and literary
+information is bundled together. There is a very inadequate bibliography
+in the Introduction.</p>
+
+
+<h5>Nature of the Translation.</h5>
+
+<p>The translation is a literal prose version, printed under the text.
+It resembles Kemble’s work<a class = "tag" name = "tag_arnold4" id =
+"tag_arnold4" href = "#note_arnold4">4</a>, rather than Thorpe’s<a class
+= "tag" name = "tag_arnold5" id = "tag_arnold5" href =
+"#note_arnold5">5</a>. It eschews unwieldy compounds, and makes no
+attempt to acquire an archaic flavor. Supplied words are bracketed.</p>
+
+
+<h5><a name = "trans_arnold_crit" id = "trans_arnold_crit">
+Criticism of the Text.</a></h5>
+
+<p>Arnold had access to the MS., and gave the most thorough description
+of it that had yet appeared. But, strangely enough, he did not make it
+the basis of his edition. He speaks of a ‘partial collation’ of
+the&nbsp;MS.,
+<span class = "pagenum">73</span>
+but this appears to have been nothing <ins class = "correction" title =
+"text reads ‘mroe’">more</ins> than a transcription of certain
+fragmentary parts of the MS. One of these passages is printed in the
+Introduction, where it is referred to as an ‘exact transcript’; yet, in
+collating it with the Zupitza <i>Autotypes</i>, I&nbsp;have found the
+following errors:&mdash;</p>
+
+<table class = "lines" summary = "details of translations">
+<tr>
+<td>Line 2219<a class = "tag" name = "tag_arnold6" id = "tag_arnold6"
+href = "#note_arnold6">6</a>,</td>
+<td>þeowes <i>for</i> þeofes.</td>
+</tr>
+<tr>
+<td class = "number">2220,</td>
+<td>biorn <i>for</i> beorna.</td>
+</tr>
+<tr>
+<td class = "number">2211,</td>
+<td>geweoldum <i>for</i> ge weoldum.</td>
+</tr>
+<tr>
+<td class = "number">2223,</td>
+<td>b <i>for</i> þ.</td>
+</tr>
+<tr>
+<td class = "number">2225,</td>
+<td>wea . . . <i>for</i> weal . . .</td>
+</tr>
+<tr>
+<td class = "number">2226,</td>
+<td>inwlitode, inwatode <i>for</i> mwatide.</td>
+</tr>
+</table>
+
+<p>Of course the faded condition of the MS. offers some excuse for one
+or two of these errors, but, if we encounter mistakes in a short
+transcript professedly exact, what would have been the fate of the text
+had the entire MS. been collated?</p>
+
+<p>Professor Garnett<a class = "tag" name = "tag_arnold7" id =
+"tag_arnold7" href = "#note_arnold7">7</a> has noted that Arnold’s text
+was taken from Thorpe’s, with some changes to suit the 1857 text of
+Grein. In order to test the accuracy of these statements I have made a
+collation of the texts of Arnold, Thorpe, and the MS. The list of errors
+in Thorpe’s text, which I have mentioned in a discussion of that work<a
+class = "tag" name = "tag_arnold8" id = "tag_arnold8" href =
+"#note_arnold8">8</a>, is repeated bodily in Arnold’s. Yet there was no
+excuse at this time for the retention of many of these readings.
+Grundtvig<a class = "tag" name = "tag_arnold9" id = "tag_arnold9" href =
+"#note_arnold9">9</a> had corrected several of them as early as 1861 by
+his collation of the Thorkelin transcripts<a class = "tag" name =
+"tag_arnold10" id = "tag_arnold10" href = "#note_arnold10">10</a>; Heyne
+had got rid of them by collating Thorpe’s work with Kemble’s<a class =
+"tag" name = "tag_arnold11" id = "tag_arnold11" href =
+"#note_arnold11">11</a> and Grundtvig’s. Arnold makes almost no
+<span class = "pagenum">74</span>
+reference to the work of Heyne, and incorporates none of his
+emendations. He also overlooked Grein’s 1867 text, which contained new
+readings and a glossary. Arnold himself did not emend the text in a
+single instance.</p>
+
+
+<h4>Extract.</h4>
+
+<h5 class = "smallroman">VIII.</h5>
+
+<blockquote>
+Hunferth spake, the son of Ecglaf, who sat at the feet of the master of
+the Scyldings; he unbound the secret counsel of his malice. The
+expedition of Beowulf, the valiant mariner, was to him a great cause of
+offence; for that he allowed not that any other man on the earth should
+ever appropriate more deeds of fame under heaven than he himself. ‘Art
+thou that Beowulf who strove against Breca in a swimming-match on the
+broad sea? where ye two for emulation explored the waves, and for
+foolish boasting ventured your lives in the deep water. Nor could any
+man, either friend or foe, warn you off from your perilous adventure.
+Then ye two rowed on the sea, where with your arms [outspread] ye
+covered the ocean-stream, measured the sea-ways, churned up [the water]
+with your hands, glided over the deep; the sea was tossing with waves,
+the icy wintry sea. Ye two toiled for seven nights in the watery realm;
+he overcame thee in the match, he had more strength. Then, at dawn of
+morn, the sea cast him up on [the coast of] the Heathoreamas; thence he,
+dear in the sight of his people, sought his loved native soil, the land
+of the Brondings, the fair safe burgh where he was the owner of folk,
+burgh, and precious jewels.’ &mdash;Pages 37,&nbsp;38.
+</blockquote>
+
+
+<h5>Criticism of the Translation.</h5>
+
+<p>The translation is literal, and its value is therefore in direct
+ratio to the value of the text, which has been discussed above.</p>
+
+<div class = "footnote">
+<p>
+<a name = "note_arnold1" id = "note_arnold1" href =
+"#tag_arnold1">1.</a>
+See supra, <a href = "#trans_thorpe">p. 49</a>.</p>
+
+<p>
+<a name = "note_arnold2" id = "note_arnold2" href =
+"#tag_arnold2">2.</a>
+A theory which the author continued to regard as partially tenable. See
+<i>Notes on Beowulf</i> (London, 1898), p.&nbsp;114.</p>
+
+<p>
+<a name = "note_arnold3" id = "note_arnold3" href =
+"#tag_arnold3">3.</a>
+Contrast this with the editions of Heyne. See p.&nbsp;64.</p>
+
+<p>
+<a name = "note_arnold4" id = "note_arnold4" href =
+"#tag_arnold4">4.</a>
+See supra, <a href = "#trans_kemble">p. 33</a>.</p>
+
+<p>
+<a name = "note_arnold5" id = "note_arnold5" href =
+"#tag_arnold5">5.</a>
+See supra, <a href = "#trans_thorpe">p. 49</a>.</p>
+
+<p>
+<a name = "note_arnold6" id = "note_arnold6" href =
+"#tag_arnold6">6.</a>
+The numbers are those of Wyatt’s text; for Zupitza’s and Arnold’s
+add&nbsp;1.</p>
+
+<p>
+<a name = "note_arnold7" id = "note_arnold7" href =
+"#tag_arnold7">7.</a>
+See <i>Amer. Journal of Philol.</i> I. 1.&nbsp;90.</p>
+
+<p>
+<a name = "note_arnold8" id = "note_arnold8" href =
+"#tag_arnold8">8.</a>
+See supra, <a href = "#trans_thorpe_text">p. 51</a>.</p>
+
+<p>
+<a name = "note_arnold9" id = "note_arnold9" href =
+"#tag_arnold9">9.</a>
+See <i>Beowulfs Beorh</i>, and <a href = "#trans_grundtvig">p.
+22</a>.</p>
+
+<p>
+<a name = "note_arnold10" id = "note_arnold10" href =
+"#tag_arnold10">10.</a>
+See supra, <a href = "#trans_thorkelin">p. 15</a>.</p>
+
+<p>
+<a name = "note_arnold11" id = "note_arnold11" href =
+"#tag_arnold11">11.</a>
+See supra, <a href = "#trans_kemble">p. 33</a>.</p>
+</div>
+
+
+<hr class = "mid">
+
+<span class = "pagenum">75</span>
+
+<h3><a name = "trans_botkine" id = "trans_botkine">
+BOTKINE’S TRANSLATION</a></h3>
+
+<p>Beowulf, Épopée Anglo-Saxonne. Traduite en français, pour la première
+fois, d’après le texte original par L. Botkine, Membre de la Société
+Nationale havraise d’Études diverses. Havre: Lepelletier, 1877.
+8<sup>o</sup>, pp. 108.</p>
+
+<p class = "space">
+First French Translation. Prose.</p>
+
+
+<h5>Old English Studies in France.</h5>
+
+<p>The only attention that <i>Beowulf</i> had received in France prior
+to this time was in the work of Sandras, <i>De Carminibus Cædmoni
+adiudicatis</i><a class = "tag" name = "tag_botkine1" id =
+"tag_botkine1" href = "#note_botkine1">1</a>. Other scholars, if they
+devoted themselves to English at all, studied chiefly the later periods
+of the literature<a class = "tag" name = "tag_botkine2" id =
+"tag_botkine2" href = "#note_botkine2">2</a>. In 1867 the author of the
+article on <i>Beowulf</i> in Larousse’s Dictionary could say, ‘Le poème
+n’est pas connu en France.’ In 1876 Botkine published a historical and
+critical analysis of the poem<a class = "tag" name = "tag_botkine3" id =
+"tag_botkine3" href = "#note_botkine3">3</a>. This was the first
+scholarly attention that the poem received in France. In the following
+year Botkine’s translation appeared.</p>
+
+<p>France has added nothing to our knowledge of <i>Beowulf</i>; there
+has never been another translation, nor even a reprint of Botkine’s.
+There has been no further scholarly work done on the poem; and the
+principal literary notices of it, such as Taine’s and Jusserand’s, have
+been notoriously unsympathetic. The genius of Old English poetry is at
+the furthest possible remove from that of the French.</p>
+
+
+<h5>Aim of the Translation.</h5>
+
+<p>It will be made evident in the section that follows on the nature of
+Botkine’s translation that his work could never
+<span class = "pagenum">76</span>
+have been intended for scholars. Had it been so intended, the translator
+would have rendered more literally. His introduction<a class = "tag"
+name = "tag_botkine4" id = "tag_botkine4" href = "#note_botkine4">4</a>
+proves that the book was addressed to the general reader rather than the
+student of Old English.</p>
+
+<p>The Introduction deals with the nature of Old English poetry, and
+makes historical and critical remarks on the <i>Beowulf</i>. There are
+occasional notes explanatory of the text.</p>
+
+<p>In his critical work the author is chiefly indebted to Grein<a class
+= "tag" name = "tag_botkine5" id = "tag_botkine5" href =
+"#note_botkine5">5</a> and Heyne<a class = "tag" name = "tag_botkine6"
+id = "tag_botkine6" href = "#note_botkine6">6</a>.</p>
+
+
+<h5>Nature of the Translation.</h5>
+
+<p>The translation, which is in prose, is characterized, as the author
+himself admits, by extreme freedom and occasional omission of words and
+phrases. The author’s defence of these may be given here:&mdash;</p>
+
+<blockquote>
+‘Je crois devoir me disculper, en présentant cette première traduction
+française de Beowulf, du double reproche qui pourrait m’être adressé
+d’avoir supprimé des passages du poëme et de n’en avoir pas suffisamment
+respecté la lettre. D’abord je dois dire que les passages que j’ai
+supprimés (il y en a fort peu) sont ou très obscurs ou d’une superfluité
+choquante. Ensuite, il m’a semblé qu’en donnant une certaine liberté à
+ma traduction et en évitant autant que possible d’y mettre les redites
+et les périphrases de l’original anglo-saxon, je la rendrais meilleure
+et plus conforme à l’esprit véritable de l’œuvre. Est-ce sacrifier du
+reste la fidélité d’une traduction que d’épargner au public la lecture
+de détails le plus souvent bizarres et inintelligibles? N’est-il pas
+plus logique d’en finir de suite avec des artifices poétiques inconnus à
+nos littératures modernes, plutôt que de vouloir s’escrimer en vain à
+les reproduire en français? Et alors même qu’on poursuivrait jusqu’au
+bout une tâche si ingrate, pourrait-on se flatter en fin de compte
+d’avoir conservé au poëme son cachet si indiscutable d’originalité? Non
+certes.’ &mdash;Avertissement, p.&nbsp;3.
+</blockquote>
+
+<blockquote>
+‘Il ne faut pas oublier que, la langue française différant complètement
+<span class = "pagenum">77</span>
+par ses racines de l’anglo-saxon, il ne m’a pas été permis d’éluder les
+difficultés de l’original comme on a pu le faire parfois en anglais et
+en allemand.’ &mdash;Note, p.&nbsp;4.
+</blockquote>
+
+<p>It has been customary, in speaking of the work of M. Botkine, to call
+attention to the numerous omissions. This is misleading. The passages
+which the translator has omitted are not the obscure episodes or the
+long digressions, but the metaphors, the parenthetical phrases, and
+especially kennings and similar appositives.</p>
+
+<p>For example, the original has:&mdash;</p>
+
+<div class = "verse">
+<p>Þǣr æt hȳðe stōd hringed-stefna</p>
+<p>īsig ond ūt-fūs. (l. 32 f.)</p>
+</div>
+
+<p>which Botkine renders:&mdash;</p>
+
+<p class = "verse">
+Dans la porte se trouvait une barque bien équipée. (p.&nbsp;29.)</p>
+
+<p>The principal passages which Botkine omits entirely are: 1002b-1008a;
+1057b-1062; 1263&ndash;1276; 1679&ndash;1686.</p>
+
+
+<h5>Text Used.</h5>
+
+<p>The author seems to have been well acquainted with the scholarly work
+done on <i>Beowulf</i> up to his time. He mentions in his Notes the
+interpretations of Grein, Grundtvig<a class = "tag" name =
+"tag_botkine7" id = "tag_botkine7" href = "#note_botkine7">7</a>,
+Ettmüller<a class = "tag" name = "tag_botkine8" id = "tag_botkine8" href
+= "#note_botkine8">8</a>, Thorpe<a class = "tag" name = "tag_botkine9"
+id = "tag_botkine9" href = "#note_botkine9">9</a>, and Kemble<a class =
+"tag" name = "tag_botkine10" id = "tag_botkine10" href =
+"#note_botkine10">10</a>. He appears to follow, in general, the text of
+Heyne, not, however, invariably.</p>
+
+
+<h4>Extract.</h4>
+
+<h5 class = "smallroman">IX.</h5>
+
+<blockquote>
+Hunferth, fils d’Ecglaf, qui était assis aux pieds du prince des
+Scyldingas, parla ainsi (l’expédition de Beowulf<a class = "tag" name =
+"tag_botkine11" id = "tag_botkine11" href = "#note_botkine11">11</a> le
+remplissait de chagrin, parce qu’il ne voulait pas convenir qu’aucun
+homme<a class = "tag" name = "tag_botkine12" id = "tag_botkine12" href =
+"#note_botkine12">12</a> eût plus de gloire<a class = "tag" name =
+"tag_botkine13" id = "tag_botkine13" href = "#note_botkine13">13</a> que
+lui-même):
+</blockquote>
+
+<blockquote>
+‘N’es-tu pas le Beowulf qui essaya ses forces à la nage sur la
+<span class = "pagenum">78</span>
+mer immense avec Breca quand, par bravade, vous avez tenté les flots et
+que vous avez follement hasardé votre vie dans l’eau profonde? Aucun
+homme, qu’il fût ami ou ennemi, ne put vous empêcher d’entreprendre ce
+triste voyage.&mdash;Vous avez nagé alors sur la mer<a class = "tag"
+name = "tag_botkine14" id = "tag_botkine14" href =
+"#note_botkine14">14</a>, vous avez suivi les sentiers de l’océan.
+L’hiver agitait les vagues<a class = "tag" name = "tag_botkine15" id =
+"tag_botkine15" href = "#note_botkine15">15</a>. Vous êtes restés en
+détresse pendant sept nuits sous la puissance des flots, mais il t’a
+vaincu dans la joûte parce qu’il avait plus de force que toi. Le matin,
+le flot le porta sur Heatho-ræmas et il alla visiter sa chère patrie<a
+class = "tag" name = "tag_botkine16" id = "tag_botkine16" href =
+"#note_botkine16">16</a> le pays des Brondingas, où il possédait le
+peuple, une ville et des trésors. Le fils de Beanstan accomplit
+entièrement la promesse qu’il t’avait faite.’
+</blockquote>
+
+
+<h5>Criticism of the Extract and Translation.</h5>
+
+<p>If the translation is compared with the text, the reader will be
+struck by the characteristic beauty of the words omitted. We may agree
+with the translator regarding the difficulty of rendering compound and
+kenning into French, and yet the very absence of an attempt to do this
+jeopardizes the value of the translation more than the omission of many
+episodes, for it brings it dangerously near to paraphrase. ‘Vous avez
+nagé alors sur la mer, vous avez suivi les sentiers de l’océan,’ cannot
+possibly be called a translation&nbsp;of&mdash;</p>
+
+<div class = "verse">
+<p class = "halfline">
+þā git on sund rēon;</p>
+<p>þǣr git ēagor-strēam &nbsp; &nbsp; earmum þehton,</p>
+<p>mǣton mere-strǣta, mundum brugdon,</p>
+<p>glidon ofer gār-secg.</p>
+</div>
+
+<p class = "page">
+ll. 512, ff.</p>
+
+<p>A part of the story has been thrown away with the adjectives. The
+force and beauty of the passage are gone.</p>
+
+<p>But there is another danger in this paraphrastic method. In omitting
+words and phrases, the translator will often misinterpret his original.
+This is especially true of Botkine’s work in the obscure episodes where
+he wishes to make the meaning perfectly clear. In attempting to simplify
+the Old English, he departs from the original
+<span class = "pagenum">79</span>
+sense. Instances of this may be brought forward from the Finn
+episode:</p>
+
+<div class = "verse">
+<p class = "halfline">
+Folcwaldan sunu</p>
+<p>dōgra gehwylce Dene weorþode,</p>
+<p>Hengestes hēap hringum wenede,</p>
+<p>efne swā swīðe sinc-gestrēonum</p>
+<p>fǣttan goldes, swā hē Frēsena cyn</p>
+<p>on bēor-sele byldan wolde.</p>
+</div>
+
+<p class = "page">
+ll. 1089 ff.</p>
+
+<p>The idea is misinterpreted in Botkine’s&mdash;</p>
+
+<blockquote>
+Le fils de Folcwalda (stipulait qu’il) leur ferait chaque jour une
+distribution de trésors. (p.&nbsp;50.)
+</blockquote>
+
+<p>Again, at line 1117 it is said of the lady&mdash;</p>
+
+<p class = "verse">
+earme on eaxle &nbsp; &nbsp; ides gnornode,</p>
+
+<p>meaning that the lady stood by the body (shoulder) of the corpse as
+it lay on the pyre. Botkine makes of this&mdash;</p>
+
+<blockquote>
+‘Elle poussait des lamentations en s’appuyant sur le bras de son fils.’
+(p.&nbsp;50.)
+</blockquote>
+
+<p>The rendering is not without its amusing features, chiefly
+illustrations of the inability of the French language to accommodate
+itself to typically Germanic expressions. Thus when Hrothgar says what
+is the equivalent of ‘Thanks be to God for this blessed sight,’ Botkine
+puts into his mouth the words: ‘Que le Tout-Puissant reçoive mes
+profonds remercîments pour ce spectacle!’ &mdash;which might have been
+taken from a diplomatic note.</p>
+
+<div class = "footnote">
+<p>
+<a name = "note_botkine1" id = "note_botkine1" href =
+"#tag_botkine1">1.</a>
+See infra, <a href = "#para_sandras">p. 123</a>.</p>
+
+<p>
+<a name = "note_botkine2" id = "note_botkine2" href =
+"#tag_botkine2">2.</a>
+Save Michel. An account of his work may be found in Wülker’s
+<i>Grundriss</i>, §&nbsp;102.</p>
+
+<p>
+<a name = "note_botkine3" id = "note_botkine3" href =
+"#tag_botkine3">3.</a>
+<i>Analyse historique et géographique.</i> Paris, Leroux, 1876.</p>
+
+<p>
+<a name = "note_botkine4" id = "note_botkine4" href =
+"#tag_botkine4">4.</a>
+p. 4.</p>
+
+<p>
+<a name = "note_botkine5" id = "note_botkine5" href =
+"#tag_botkine5">5.</a>
+See supra, <a href = "#trans_grein">p. 55</a>.</p>
+
+<p>
+<a name = "note_botkine6" id = "note_botkine6" href =
+"#tag_botkine6">6.</a>
+See supra, <a href = "#trans_heyne">p. 63</a>.</p>
+
+<p>
+<a name = "note_botkine7" id = "note_botkine7" href =
+"#tag_botkine7">7.</a>
+See supra, <a href = "#trans_grundtvig">p. 22</a>.</p>
+
+<p>
+<a name = "note_botkine8" id = "note_botkine8" href =
+"#tag_botkine8">8.</a>
+See supra, <a href = "#trans_ettmuller">p. 37</a>.</p>
+
+<p>
+<a name = "note_botkine9" id = "note_botkine9" href =
+"#tag_botkine9">9.</a>
+See supra, <a href = "#trans_thorpe">p. 49</a>.</p>
+
+<p>
+<a name = "note_botkine10" id = "note_botkine10" href =
+"#tag_botkine10">10.</a>
+See supra, <a href = "#trans_kemble">p. 33</a>.</p>
+
+<p>
+<a name = "note_botkine11" id = "note_botkine11" href =
+"#tag_botkine11">11.</a>
+Omits mōdges mere-faran.</p>
+
+<p>
+<a name = "note_botkine12" id = "note_botkine12" href =
+"#tag_botkine12">12.</a>
+Omits middan-geardes.</p>
+
+<p>
+<a name = "note_botkine13" id = "note_botkine13" href =
+"#tag_botkine13">13.</a>
+Omits under heofonum.</p>
+
+<p>
+<a name = "note_botkine14" id = "note_botkine14" href =
+"#tag_botkine14">14.</a>
+Omits lines 513&ndash;515<sup>a</sup>.</p>
+
+<p>
+<a name = "note_botkine15" id = "note_botkine15" href =
+"#tag_botkine15">15.</a>
+Omits wintrys wylum.</p>
+
+<p>
+<a name = "note_botkine16" id = "note_botkine16" href =
+"#tag_botkine16">16.</a>
+Omits lēof his lēodum.</p>
+</div>
+
+
+<hr class = "mid">
+
+<h3><a name = "trans_lumsden" id = "trans_lumsden">
+LUMSDEN’S TRANSLATION</a></h3>
+
+<p>Beowulf, an Old English Poem, translated into Modern Rhymes, by
+Lieut.-Colonel H. W. Lumsden<a class = "tag" name = "tag_lumsden1" id =
+"tag_lumsden1" href = "#note_lumsden1">1</a>. London: C. Kegan Paul
+&amp; Co., 1881. 8<sup>o</sup>, pp. xx, 114.</p>
+
+<span class = "pagenum">80</span>
+<p>Beowulf, an Old English Poem, translated into Modern Rhymes, by
+Lieut.-Colonel H. W. Lumsden, late Royal Artillery. Second edition,
+revised and corrected. London: Kegan Paul, Trench and Co., 1883.
+8<sup>o</sup>, pp. xxx, 179.</p>
+
+<p class = "space">
+Fifth English Translation. Ballad Measures.</p>
+
+
+<h5>Differences between the two Editions, and Indebtedness to Preceding
+Scholars.</h5>
+
+<p>In the first edition of the translation a number of passages were
+omitted. Some of these omissions were owing to corrupt text, some to
+extreme obscurity of the original, and some merely to the fact that the
+original was deemed uninteresting. The principal omissions were:
+83&ndash;86; 767&ndash;770; 1724&ndash;1758; 1931&ndash;1963;
+2061&ndash;2062; 2214&ndash;2231; 2475; 2930&ndash;2932;
+3150&ndash;3156. These passages were inserted in the second edition.</p>
+
+<blockquote>
+‘In this edition I have endeavoured to remove some of the blunders which
+disfigured its predecessor.&nbsp;.&nbsp;.&nbsp;. Some parts have been
+entirely rewritten, and the passages formerly
+omitted&nbsp;.&nbsp;.&nbsp;. have been inserted.&nbsp;.&nbsp;.&nbsp;.
+A&nbsp;few notes have been added; and the introduction has been
+materially altered and, I&nbsp;hope, improved.’ &mdash;Preface to the
+Second Edition, p.&nbsp;v.
+</blockquote>
+
+
+<h5>Aim and Nature of the Translation.</h5>
+
+<p>Lumsden’s desire was to produce a readable version of the poem. Thus
+his work resembles that of Wackerbarth<a class = "tag" name =
+"tag_lumsden2" id = "tag_lumsden2" href = "#note_lumsden2">2</a>; and,
+like Wackerbarth, he couched his translation in ballad measures. Lumsden
+does not vary his measure, but preserves the iambic heptameter
+throughout. His lines rime in couplets.</p>
+
+<p>No attempt is made to preserve alliteration or archaic diction.</p>
+
+<p>The Introduction and Notes contain popular expositions of the work of
+preceding scholars. Several of the Notes are original and well worth
+while (see Notes A, C, G,&nbsp;M).</p>
+
+
+<span class = "pagenum">81</span>
+<h5>Texts Used.</h5>
+
+<p>The translation is based on Grein’s text of 1857<a class = "tag" name
+= "tag_lumsden3" id = "tag_lumsden3" href = "#note_lumsden3">3</a> and
+Arnold’s text (1876)<a class = "tag" name = "tag_lumsden4" id =
+"tag_lumsden4" href = "#note_lumsden4">4</a>. Garnett has shown<a class
+= "tag" name = "tag_lumsden5" id = "tag_lumsden5" href =
+"#note_lumsden5">5</a> that Lumsden ignored the 1867 text of Grein and
+the editions of Heyne. These defects were remedied to some extent in the
+second edition. Lumsden himself never emends the text.</p>
+
+
+<h4>Extract<a class = "tag" name = "tag_lumsden6" id = "tag_lumsden6"
+href = "#note_lumsden6">6</a>.</h4>
+
+<h5 class = "smallcaps">IV. Hunferd and Beowulf.</h5>
+
+<div class = "verse lines">
+<p>Hunferd the son of Ecglaf spoke&mdash;at Hrothgar’s feet
+sat&nbsp;he&mdash;</p>
+<p>And thus let loose his secret grudge; (for much did him displease</p>
+<p>The coming of Beowulf now&mdash;bold sailor o’er the seas.</p>
+<p>To none on earth would he allow a greater fame ’mong men</p>
+<p>Beneath the heavens than his): ‘Art thou the same Beowulf then,</p>
+<p>Who swam a match with Breca once upon the waters wide,</p>
+<p>When ye vainglorious searched the waves, and risked your lives for
+pride</p>
+<p>Upon the deep? Nor hinder you could any friend or foe</p>
+<p>From that sad venture. Then ye twain did on the waters row;</p>
+<span class = "linenum">10</span>
+<p>Ye stretched your arms upon the flood; the sea-ways ye did mete;</p>
+<p>O’er billows glided&mdash;with your hands them tossed&mdash;though
+fiercely beat</p>
+<p>The rolling tides and wintry waves! Seven nights long toilèd ye</p>
+<p>In waters’ might; but Breca won&mdash;he stronger was than thee!</p>
+<p>And to the Hathoræms at morn washed shoreward by the flood,</p>
+<p>Thence his loved native land he sought&mdash;the Brondings’ country
+good,</p>
+<p>And stronghold fair, where he was lord of folk and burg and
+rings.</p>
+<p>Right well ’gainst thee his vaunt he kept.</p>
+</div>
+
+
+<h5>Criticism of the Translation.</h5>
+
+<p>The extract illustrates the paraphrastic nature of parts of the
+translation. Lumsden frequently seems to feel it necessary to read a
+meaning into the obscure lines and
+<span class = "pagenum">82</span>
+passages that do not easily lend themselves to translation; cf. lines
+11, 12. At line 2258 Lumsden translates:&mdash;</p>
+
+<div class = "verse lines">
+<p class = "halfline">
+The mail that bite of sword</p>
+<p>O’er clashing shield in fight withstood must follow its dead
+lord.</p>
+<p>Never again shall corselet ring as help the warriors bear</p>
+<p>To comrades far.</p>
+</div>
+
+<p>The Old English from which this passage is taken reads:&mdash;</p>
+
+<div class = "verse lines">
+<p>ge swylce sēo here-pād, &nbsp; &nbsp; sīo æt hilde gebād</p>
+<p>ofer borda gebræc &nbsp; &nbsp; bite īrena,</p>
+<span class = "linenum">2260</span>
+<p>brosnað æfter beorne; &nbsp; &nbsp; ne mæg byrnan hring</p>
+<p>æfter wīg-fruman &nbsp; &nbsp; wīde fēran</p>
+<p>hæleðum be healfe.</p>
+</div>
+
+<p>The passage is certainly obscure, and the readings are not all
+undoubted, but the words can never be tortured into meaning what Lumsden
+tries to make them mean.</p>
+
+<p>But it would be manifestly unfair to judge a translation addressed to
+the general reader merely by scholarly tests. The work must make its
+appeal as a literary rendering.</p>
+
+<p>The propriety of adopting a ballad measure may be questioned.
+Probably no measure could be found more unlike the Old English lines.
+Moreover, by reason of its long association with purely popular poetry,
+it constantly suggests the commonplace and the trivial. But above all,
+it is reminiscent of a medievalism wholly different from that of
+<i>Beowulf</i>.</p>
+
+<p>The saving grace of the ballad measure is its readableness. It is
+rather effective in passages not too dignified, calling for action. But
+in passages of elevation the line is found wanting:&mdash;</p>
+
+<div class = "verse">
+<p>They mourned their king and chanted dirge, and much of him they
+said;</p>
+<p>His worthiness they praised, and judged his deeds with tender
+dread.</p>
+</div>
+
+<p>But, like Wackerbarth’s, Lumsden’s translation had the advantage of
+being readable.</p>
+
+<div class = "footnote">
+<p>
+<a name = "note_lumsden1" id = "note_lumsden1" href =
+"#tag_lumsden1">1.</a>
+Col. Lumsden’s translation of the Battle of Maldon, <i>Macmillan’s
+Magazine</i>, 55: 371, has been generally admired.</p>
+
+<p>
+<a name = "note_lumsden2" id = "note_lumsden2" href =
+"#tag_lumsden2">2.</a>
+See supra, <a href = "#trans_wackerbarth">p. 45</a>.</p>
+
+<p>
+<a name = "note_lumsden3" id = "note_lumsden3" href =
+"#tag_lumsden3">3.</a>
+See supra, <a href = "#trans_grein">p. 56</a>.</p>
+
+<p>
+<a name = "note_lumsden4" id = "note_lumsden4" href =
+"#tag_lumsden4">4.</a>
+See supra, <a href = "#trans_arnold_crit">p. 72</a>.</p>
+
+<p>
+<a name = "note_lumsden5" id = "note_lumsden5" href =
+"#tag_lumsden5">5.</a>
+See <i>American Journal of Philology</i>, ii. p.&nbsp;355.</p>
+
+<p>
+<a name = "note_lumsden6" id = "note_lumsden6" href =
+"#tag_lumsden6">6.</a>
+From the second edition.</p>
+</div>
+
+
+<hr class = "mid">
+
+<span class = "pagenum">83</span>
+
+<h3><a name = "trans_garnett" id = "trans_garnett">
+GARNETT’S TRANSLATION</a></h3>
+
+<p>Beowulf: An Anglo-Saxon Poem, and the Fight at Finnsburg, translated
+by James M. Garnett, M.A., LL.D., Boston, U.S.A.: published by Ginn,
+Heath, &amp; Co., 1882. 8<sup>o</sup>, pp. xl, 107.</p>
+
+<p>Second Edition, Ginn, Heath, &amp; Co., 1885. 8<sup>o</sup>, pp.
+xlvi, 110.</p>
+
+<p>Third Edition, Ginn &amp; Co., 1892. Reprinted 1899. 8<sup>o</sup>,
+pp. liii, 110.</p>
+
+<p>Fourth Edition, 1900.</p>
+
+<p class = "space">
+Sixth English Translation. Imitative Measures.</p>
+
+
+<h5>Differences between the Editions.</h5>
+
+<p>In the second edition the translation was collated with the
+Grein-Wülker text, and wherever necessary, with the Zupitza
+<i>Autotypes</i>. Additions were made to the bibliography:&mdash;</p>
+
+<blockquote>
+‘I have revised certain passages with a view to greater accuracy, but I
+have not changed the plan of the work, for that would have necessitated
+the re-writing of the whole translation.’ &mdash;Preface to the second
+edition.
+</blockquote>
+
+<p>The third and fourth editions are simple reprints, with some
+additions to the bibliography.</p>
+
+
+<h5>Circumstances of Publication.</h5>
+
+<p>As has been pointed out above in the sections on Arnold<a class =
+"tag" name = "tag_garnett1" id = "tag_garnett1" href =
+"#note_garnett1">1</a> and Lumsden<a class = "tag" name = "tag_garnett2"
+id = "tag_garnett2" href = "#note_garnett2">2</a>, no satisfactory
+literal translation of <i>Beowulf</i> existed in English. Furthermore,
+an American translation had never appeared. It was with a view to
+presenting the latest German interpretations of the poem
+<span class = "pagenum">84</span>
+that Garnett prepared his literal version of the poem. The original
+draft of the translation was made at St. John’s College, Md., in the
+session of 1878&ndash;79.&mdash;Preface to first edition.</p>
+
+
+<h5>Texts Used.</h5>
+
+<p>The translation is based on Grein’s text of 1867. Notes are added
+showing the variants from Heyne’s text of 1879. In the second edition
+notes are added showing the variants from the Grein-Wülker text of
+1883.</p>
+
+
+<h5>Method of Translation.</h5>
+
+<p>The translation is intended for ‘the general reader’ and for the ‘aid
+of students of the poem.’ &mdash;Preface to second edition.</p>
+
+<p>The translation is a literal line-for-line version. Of this feature
+of his work Professor Garnett says:&mdash;</p>
+
+<blockquote>
+‘This involves naturally much inversion and occasional obscurity, and
+lacks smoothness; but it seemed to me to give the general reader a
+better idea of the poem than a mere prose translation would do, in
+addition to the advantage of literalness. While it would have been easy,
+by means of periphrasis and freer translation, to mend some of the
+defects chargeable to the line-for-line form, the translation would have
+lacked literalness, which I regarded as the most important object.’
+&mdash;Preface to the first edition.
+</blockquote>
+
+
+<h5>Nature of the Verse-form.</h5>
+
+<blockquote>
+<ins class = "correction" title = "open quote invisible">‘In</ins>
+respect to the rhythmical form, I&nbsp;have endeavored to preserve two
+accents to each half-line, with cæsura, and while not seeking
+alliteration, have employed it purposely wherever it readily presented
+itself. I&nbsp;considered that it mattered little whether the feet were
+iambi or trochees, anapæsts or dactyls, the preservation of the two
+accents being the main point, and have freely made use of all the usual
+licences in Early English verse.&nbsp;.&nbsp;.&nbsp;. To attain this
+point I have sometimes found it necessary to place unemphatic words in
+accented positions, and words usually accented in unaccented ones, which
+licence can also be found in Early English verse.&nbsp;.&nbsp;.&nbsp;.
+While the reader of modern English verse may sometimes be offended by
+the ruggedness of the
+<span class = "pagenum">85</span>
+rhythm, it is hoped that the Anglo-Saxon scholar will make allowances
+for the difficulty of reproducing, even approximately, the rhythm of the
+original. The reproduction of the sense as closely as possible had to be
+kept constantly in view, even to the detriment of the smoothness of the
+rhythm.’ &mdash;Preface to the first edition.
+</blockquote>
+
+
+<h4>Extract.</h4>
+
+<h5 class = "smallroman">III.</h5>
+
+<p class = "center">
+Hunferth’s taunt. &nbsp; &nbsp; The swimming-match with Breca. &nbsp;
+&nbsp; Joy in Heorot.</p>
+
+<div class = "verse lines">
+<span class = "linenum">IX.</span>
+<p>Hunferth then spoke, the son of Ecglaf,</p>
+<span class = "linenum">500</span>
+<p>Who at the feet sat of the lord of the Scyldings,</p>
+<p>Unloosed his war-secret (was the coming of Beowulf,</p>
+<p>The proud sea-farer, to him mickle grief,</p>
+<p>For that he granted not that any man else</p>
+<p>Ever more honor of this mid-earth</p>
+<span class = "linenum">505</span>
+<p>Should gain under heavens than he himself):</p>
+<p>‘Art thou that Beowulf who strove with Breca</p>
+<p>On the broad sea in swimming-match,</p>
+<p>When ye two for pride the billows tried</p>
+<p>And for vain boasting in the deep water</p>
+<span class = "linenum">510</span>
+<p>Riskéd your lives. You two no man,</p>
+<p>Nor friend nor foe, might then dissuade</p>
+<p>From sorrowful venture, when ye on the sea swam,</p>
+<p>When ye the sea-waves with your arms covered,</p>
+<p>Measured the sea-ways, struck with your hands,</p>
+<span class = "linenum">515</span>
+<p>Glided o’er ocean; with its great billows</p>
+<p>Welled up winter’s flood. In the power of the waters</p>
+<p>Ye seven nights strove: he in swimming thee conquered,</p>
+<p>He had greater might. Then him in the morning</p>
+<p>On the Heathoremes’ land the ocean bore up,</p>
+<span class = "linenum">520</span>
+<p>Whence he did seek his pleasant home,</p>
+<p>Dear to his people, the land of the Brondings</p>
+<p>His fair strong city, where he had people,</p>
+<p>A city and rings. All his boast against thee</p>
+<p>The son of Beanstan truly fulfilled.’</p>
+</div>
+
+
+<h5>Criticism of the Translation.</h5>
+
+<p>The translation, in its revised form, is throughout a faithful
+version of the original text. The fault of Garnett’s
+<span class = "pagenum">86</span>
+translation is the fault of all merely literal
+translations&mdash;inadequacy to render fully the content of the
+original. The rendering may be word for word, but it will not be idea
+for idea. Examples of this inadequacy may be given from the printed
+extract. ‘Grief’ in line 502 is a very insufficient rendering of
+<i>æf-þunca</i>, a&nbsp;unique word which suggests at once vexation,
+mortification, and jealousy. Had the poet simply meant to express the
+notion of <i>grief</i>, he would have used <i>sorh</i>, <i>cearu</i>, or
+some other common word. In line 508 ‘pride’ hardly gives full expression
+to the idea of <i>wlence,</i> which signifies not only <i>pride</i>, but
+<i>vain pride, of empty end</i>. In line 517 ‘conquered’ is insufficient
+as a translation of <i>oferflāt</i>, which means to <i>overcome in
+swimming, to outswim</i>.</p>
+
+<p>Examples of this sort can be brought forward from any part of the
+poem. At line 2544 Garnett translates&mdash;</p>
+
+<p class = "verse">
+Struggles of battle when warriors contended,</p>
+
+<p>a translation of&mdash;</p>
+
+<p class = "verse">
+Gūða . . . þonne hnitan fēðan</p>
+
+<p>Here ‘hnitan fēðan’ refers to the swift clash in battle of two armed
+hosts, a&nbsp;notion which is ill borne out by the distributive
+‘warriors’ and the vague ‘contended.’</p>
+
+<p>At line 2598 we find&mdash;</p>
+
+<p class = "verse">
+they to wood went</p>
+
+<p>for</p>
+
+<p class = "verse">
+hȳ on holt bugon,</p>
+
+<p>which, whatever be the meaning of ‘bugon,’ is surely a misleading
+translation.</p>
+
+<p>The nature of the verse has been sufficiently illustrated by the
+quotations from the author’s preface. It would seem from the way in
+which the measure is used that it was a kind of second thought, incident
+upon the use of a line-for-line translation. It is hard to read the
+lines as
+<span class = "pagenum">87</span>
+anything but prose, and, if they appeared in any other form upon the
+page, it is to be questioned whether any one would have guessed that
+they were intended to be imitative.</p>
+
+
+<h5>Reception of Garnett’s Translation.</h5>
+
+<p>Garnett’s volume had a flattering reception. The book received long
+and respectful reviews from the Germans. Professor Child and Henry Sweet
+expressed their approbation. The book has passed through four editions.
+This cordial welcome has been due in large measure to the increasing
+attention given the poem in American colleges and secondary schools.
+Being strictly literal, the book has been of value as a means of
+interpreting the poem.</p>
+
+<div class = "footnote">
+<p>
+<a name = "note_garnett1" id = "note_garnett1" href =
+"#tag_garnett1">1.</a>
+See supra, <a href = "#trans_arnold">p. 71</a>.</p>
+
+<p>
+<a name = "note_garnett2" id = "note_garnett2" href =
+"#tag_garnett2">2.</a>
+See supra, <a href = "#trans_lumsden">p. 79</a>.</p>
+</div>
+
+
+<hr class = "mid">
+
+<h3><a name = "trans_grion" id = "trans_grion">
+GRION’S TRANSLATION</a></h3>
+
+<p>Beovulf, poema epico anglosassone del vii secolo, tradotto e
+illustrato dal Dott. Cav. Giusto Grion, Socio Ordinario.</p>
+
+<p><i>In</i> Atti della Reale Accademia Lucchese di Scienze, Lettere ed
+Arti. Tomo XXII. Lucca: Tipografia Giusti, 1883. 8<sup>o</sup>, pp.
+197&ndash;379.</p>
+
+<p class = "space">
+First Italian Translation. Imitative Measures.</p>
+
+<p class = "mynote">
+In the Italian text, all apostrophes are spaced as in the original.</p>
+
+
+<h5>Contents.</h5>
+
+<p>Full discussions of (1) Mito; (2) Storia; (3) Letteratura. The latter
+is a fairly complete bibliography of what had been done on
+<i>Beowulf</i> up to this time.</p>
+
+
+<span class = "pagenum">88</span>
+<h5>Author’s Preliminary Remarks.</h5>
+
+<blockquote>
+‘Il poema consiste di 3183 versi fra cui alcuni in frammenti che noi
+abbiamo cercato di completare senza alterare lettera del testo. Una mano
+recente lo ha diviso in 43 canti, detti in ags. fitte; ne notiamo il
+numero anche nella versione. I&nbsp;versi che il Müllenhoff reputa
+interpolati, sono disposti in linee rientranti; quelli attributi ad A
+portano di più questa lettera nella versione nostra interlineare, che
+segue la parola del testo in maniera da mantenervi anche la sintassi,
+e&nbsp;<ins class = "correction" title = "text reads ‘si’">sì</ins> che
+nessuna parola d’un verso prenda posto in un’&nbsp;altra riga. Le
+parentesi quadre [&nbsp;] segnano nel testo riempiture di lacune. Nella
+versione sono queste segnate per lettere corsive.’ &mdash;Prefazione,
+p.&nbsp;251.
+</blockquote>
+
+
+<h5>Texts Used.</h5>
+
+<p>The translator makes use of all the texts and commentaries that had
+appeared up to his time, and even goes so far as to emend the text for
+himself (cf. lines 65, 665, 1107, 2561, 3150).</p>
+
+<p>The Notes are rather full. They are sometimes merely explanatory;
+sometimes there are discussions of the MS. readings, of proposed
+emendations, of history, myth, &amp;c.</p>
+
+
+<h5>Method of Translation.</h5>
+
+<p>The translation is literal; the medium an imitative measure of four
+principal stresses, varied occasionally by the expanded line. The
+diction is simple.</p>
+
+
+<h4>Extract.</h4>
+
+<h5 class = "smallroman">VIII.</h5>
+
+<div class = "verse lines">
+<p>Hunferd disse, il nato di Eclaf,</p>
+<span class = "linenum">500</span>
+<p>che a’ piedi sedea del prence de’ Schildinghi,</p>
+<p>sbrigliò accenti di contesta&mdash;eragli la gita di Beóvulf,</p>
+<p>del coraggioso navigatore, molto a fastidio,</p>
+<p>perchè non amava, che un altro uomo</p>
+<p>vieppiù di gloria nell’ orbe di mezzo</p>
+<span class = "linenum">505</span>
+<p>avesse sotto il cielo che lui stesso&mdash;:</p>
+<p>‘Sei tu quel Beóvulf, che con Breca nuotò</p>
+<span class = "pagenum">89</span>
+<p>nel vasto pelago per gara marina,</p>
+<p>quando voi per baldanza l’acque provaste,</p>
+<p>e per pazzo vanto nel profondo sale</p>
+<span class = "linenum">510</span>
+<p>la vita arrischiaste? nè voi uomo alcuno,</p>
+<p>nè caro nè discaro, distorre potè</p>
+<p>dalla penosa andata, quando remigaste nell’&nbsp;alto,</p>
+<p>la corrente dell’ oceano colle braccia coprendo</p>
+<p>misuraste le strade del mare, colle mani batteste,</p>
+<span class = "linenum">515</span>
+<p>e scivolaste sopra l’astato. Nelle onde del ghebbo</p>
+<p>vagavano i cavalloni d’inverno: voi nel tenere dell’&nbsp;acqua</p>
+<p>sette notti appenàstevi. Egli nel nuoto ti superò,</p>
+<p>ebbe più forza. E al tempo mattutino lo</p>
+<p>portò suso il flutto verso la marittima Ramia</p>
+<span class = "linenum">520</span>
+<p>donde ei cercò la dolce patria,</p>
+<p>cara a sue genti, la terra dei Brondinghi,</p>
+<p>il vago castel tranquillo, ov’&nbsp;egli popolo avea,</p>
+<p>rocche e gioie. Il vanto intero contro te</p>
+<p>il figlio di Beanstan in verità mantenne.’</p>
+</div>
+
+
+<h5>Criticism of the Translation.</h5>
+
+<p>The present writer cannot attempt a literary criticism of the
+translation.</p>
+
+<p>In purpose and method this version may be compared with that of
+Kemble<a class = "tag" name = "tag_grion1" id = "tag_grion1" href =
+"#note_grion1">1</a> and of Schaldemose<a class = "tag" name =
+"tag_grion2" id = "tag_grion2" href = "#note_grion2">2</a>. In each case
+the translator was introducing the poem to a foreign public, and it was
+therefore well that the translation should be literal in order that it
+might assist in the interpretation of the original. There has been no
+further work done on the poem in Italy<a class = "tag" name =
+"tag_grion3" id = "tag_grion3" href = "#note_grion3">3</a>.</p>
+
+<p>While the verse is not strictly imitative in the sense that it
+preserves exactly the Old English system of versification, it aims to
+maintain the general movement of the original lines. The four stresses
+are kept, save where a fifth is used to avoid monotony. These ‘expanded
+lines’ are much commoner in the Italian than in the Old English.</p>
+
+<div class = "footnote">
+<p>
+<a name = "note_grion1" id = "note_grion1" href = "#tag_grion1">1.</a>
+See supra, <a href = "#trans_kemble">p. 33</a>.</p>
+
+<p>
+<a name = "note_grion2" id = "note_grion2" href = "#tag_grion2">2.</a>
+See supra, <a href = "#trans_schaldemose">p. 41</a>.</p>
+
+<p>
+<a name = "note_grion3" id = "note_grion3" href = "#tag_grion3">3.</a>
+Of a work by G. Schuhmann, mentioned by Wülker in his <i>Grundriss</i>,
+§&nbsp;209, I&nbsp;can ascertain nothing.</p>
+</div>
+
+
+<hr class = "mid">
+
+<span class = "pagenum">90</span>
+
+<h3><a name = "trans_wickberg" id = "trans_wickberg">
+WICKBERG’S TRANSLATION</a></h3>
+
+<p>Beowulf, <ins class = "correction" title = "error for ‘et’?">en</ins>
+fornengelsk hjeltedikt, öfversatt af Rudolf Wickberg. Westervik,
+C.&nbsp;O. Ekblad &amp; Comp., 1889. 4<sup>o</sup>, pp. 48, double
+columns.</p>
+
+<p class = "space">
+First Swedish Translation. Imitative Measures.</p>
+
+
+<h5>Aim of the Volume.</h5>
+
+<p>The translator begins his introduction with a discussion of the
+importance of <i>Beowulf</i> as a historical document. For this reason
+he is especially interested in the episodes:&mdash;</p>
+
+<blockquote>
+‘This important historical interest may then explain the reason for
+translating the poem into Swedish, and also serve as an excuse for the
+fact that in the translation the poetic form has not been considered of
+first importance.’ &mdash;Inledning, p.&nbsp;3.
+</blockquote>
+
+
+<h5>Nature of the Translation.</h5>
+
+<blockquote>
+‘In the translation I have endeavored to make the language readable and
+modern. A&nbsp;translation out of an ancient tongue ought never to
+strive after archaic flavor in point of words and expressions. Since the
+poet wrote in the language of his day, the translation ought also to use
+contemporary language.&nbsp;.&nbsp;.&nbsp;. I&nbsp;have tried to follow
+the original faithfully, but not slavishly. For the sake of clearness
+the half-lines have often been transposed.&nbsp;.&nbsp;.&nbsp;. The
+rhythm is still more irregular than the Old English. Alliteration has
+generally been avoided.’ &mdash;Inledning, p.&nbsp;6.
+</blockquote>
+
+
+<h5>Texts Used.</h5>
+
+<p>The author constructs his own text. He explains (p.&nbsp;6) that he
+has in general taken the MS. as the basis of his text. He has emended by
+making those changes which ‘seemed most necessary or most probable.’ In
+places where this departure from the MS. has been made, he italicizes
+the words of his translation.</p>
+
+
+<span class = "pagenum">91</span>
+<h4>Extract.</h4>
+
+<h5 class = "smallroman">8.</h5>
+
+<div class = "verse">
+<p>Ecglafs son Hunferð talade;</p>
+<p>Vid Scyldingafurstens fötter satt han,</p>
+<p>Löste stridsrunan&mdash;den modige sjöfaranden</p>
+<p>Beovulfs resa förtröt honom mycket,</p>
+<p>Förty han unnade ej, att någon annan man</p>
+<p>Under himlen skulle någonsin vinna</p>
+<p>Större ära på jorden än han sjelf&mdash;:</p>
+<p>‘Är du den Beovulf, som mätte sig med Breca</p>
+<p>I kappsimning öfver det vida hafvet,</p>
+<p>Der I öfvermodigt pröfvaden vågorna</p>
+<p>Och för djerft skryt vågaden lifvet</p>
+<p>I det djupa vattnet? Ej kunde någon man,</p>
+<p>Ljuf eller led, förmå eder att afstå</p>
+<p>Från den sorgfulla färden. Sedan summen I i hafvet,</p>
+<p>Der I med armarna famnaden hafsströmmen,</p>
+<p>Mätten hafsvågorna, svängden händerna,</p>
+<p>Gleden öfver hafsytan; vintersvallet</p>
+<p>Sjöd i vågorna. I sträfvaden sju nätter</p>
+<p>I hafvets våld; han öfvervann dig i simning,</p>
+<p>Hade större styrka. Sedan vid morgontiden</p>
+<p>Bar hafvet upp honom till de krigiska rämerna.</p>
+<p>Derifrån uppsökte han, dyr för de sina,</p>
+<p>Sitt kära odal i brondingarnes land,</p>
+<p>Den fagra fridsborgen, der han hade folk,</p>
+<p>Berg och ringar. Hela sitt vad med dig</p>
+<p>Fullgjorde noga Beanstans son.’</p>
+</div>
+
+
+<hr class = "mid">
+
+<h3><a name = "trans_earle" id = "trans_earle">
+EARLE’S TRANSLATION</a></h3>
+
+<p>The Deeds of Beowulf, an English Epic of the Eighth Century, done
+into Modern Prose, with an Introduction and Notes by John Earle, M.A.,
+rector of Swanswick, Rawlinsonian Professor of Anglo-Saxon in the
+University of Oxford. At the Clarendon Press, 1892 (February).
+8<sup>o</sup>, pp. c, 203.</p>
+
+<p class = "space">
+Seventh English Translation. Prose.</p>
+
+
+<span class = "pagenum">92</span>
+<h5>Circumstances of Publication.</h5>
+
+<p>Sixteen years had elapsed since the publication of a scholarly
+translation in England&mdash;for Lumsden’s<a class = "tag" name =
+"tag_earle1" id = "tag_earle1" href = "#note_earle1">1</a> can hardly be
+said to count as such. In the meantime Heyne’s text<a class = "tag" name
+= "tag_earle2" id = "tag_earle2" href = "#note_earle2">2</a> had passed
+into a fifth edition (1888); Wülker’s revision of Grein’s
+<i>Bibliothek</i> had appeared with a new text of <i>Beowulf</i> (1881);
+Zupitza’s <i>Autotypes</i> of the MS. had appeared 1882, making it
+possible to ascertain exactly what was in the original text of the poem;
+the studies of Sievers<a class = "tag" name = "tag_earle3" id =
+"tag_earle3" href = "#note_earle3">3</a>, Cosijn<a class = "tag" name =
+"tag_earle4" id = "tag_earle4" href = "#note_earle4">4</a>, Kluge<a
+class = "tag" name = "tag_earle5" id = "tag_earle5" href =
+"#note_earle5">5</a>, and Bugge<a class = "tag" name = "tag_earle6" id =
+"tag_earle6" href = "#note_earle6">6</a> had been published, containing
+masterly discussions of text revision. Some of these materials had been
+used by Garnett in his translation, but the majority of them were of
+later date.</p>
+
+
+<h5>Aim of the Translation.</h5>
+
+<p>Nothing is said in the introduction respecting the aim of the
+translation; but it is evident from the Notes that the purpose was
+twofold&mdash;to present the latest interpretation of the text, and to
+afford a literary version of the poem.</p>
+
+
+<h5>Texts Used.</h5>
+
+<blockquote>
+‘This translation was originally made from the Fourth Edition of Moritz
+Heyne’s text. His Fifth Edition came out in 1888, and I think I have
+used it enough to become acquainted with all the changes that Dr. Adolf
+Socin, the new editor, has introduced. Where they have appeared to me to
+be improvements, I&nbsp;have modified my translation accordingly.’
+&mdash;Preface.
+</blockquote>
+
+<p>But the translator does not depend slavishly upon his text. He
+frequently uses emendations suggested by the scholars mentioned above,
+especially those of Professor
+<span class = "pagenum">93</span>
+Sophus Bugge in <i>Studien über das Beowulfsepos</i><a class = "tag"
+name = "tag_earle7" id = "tag_earle7" href = "#note_earle7">7</a>; see
+lines 457, 871, 900, 936, 1875, 2275.</p>
+
+<p>The Introduction presents a new theory of the origin of the poem. The
+notes are especially interesting because of the large body of quotations
+cited for literary comparison and for the light they throw on Old
+Germanic and medieval customs.</p>
+
+
+<h4>Extract.</h4>
+
+<h5 class = "smallroman">VIII.</h5>
+
+<blockquote>
+<i>Unferth the king’s orator is jealous. He baits the young adventurer,
+and in a scoffing speech dares him to a night-watch for Grendel. Beowulf
+is angered, and thus he is drawn out to boast of his youthful feats.</i>
+</blockquote>
+
+<blockquote>
+Unferth made a speech, Ecglaf’s son; he who sate at the feet of the
+Scyldings’ lord, broached a quarrelsome theme&mdash;the adventure of
+Beowulf the high-souled voyager was great despite to him, because he
+grudged that any other man should ever in the world achieve more
+exploits under heaven than he himself:&mdash; ‘Art thou <i>that</i>
+Beowulf, he who strove with Breca on open sea in swimming-match, where
+ye twain out of bravado explored the floods, and foolhardily in deep
+water jeoparded your lives? nor could any man, friend or foe, turn the
+pair of you from the dismal adventure! What time ye twain plied in
+swimming, where ye twain covered with your arms the awful stream, meted
+the sea-streets, buffeted with hands, shot over ocean; the deep boiled
+with waves, a&nbsp;wintry surge. Ye twain in the realm of waters toiled
+a se’nnight; he at swimming outvied thee, had greater force. Then in
+morning hour the swell cast him ashore on the Heathoram people, whence
+he made for his own patrimony, dear to his Leeds he made for the land of
+the Brondings, a&nbsp;fair stronghold, where he was lord of folk, of
+city, and of rings. All his boast to thee-ward, Beanstan’s son soothly
+fulfilled. Wherefore I anticipate for thee worse luck&mdash;though thou
+wert everywhere doughty in battle-shocks, in grim war-tug&mdash;if thou
+darest bide in Grendel’s way a night-long space.’
+</blockquote>
+
+
+<h5>Criticism of the Translation.</h5>
+
+<p>As a whole, the translation may fairly be called faithful. The
+emendations from which Professor Earle sometimes
+<span class = "pagenum">94</span>
+renders are always carefully chosen, and the discussions of obscure
+lines in the poem are of real scholarly interest. But this is not always
+true of the simpler passages of the poem. These are often strained to
+make them square with the translator’s personal notions. Thus, at line
+1723, Earle reads for</p>
+
+<div class = "verse">
+<p><i>Ic þis gid be þē āwraec</i></p>
+<p>It is about thee . . . that I have told this tale,</p>
+</div>
+
+<p>adding in a note, ‘(In this passage) the living poet steps forward
+out of his Hrothgar, and turns his eyes to the prince for whom he made
+it up’ (p.&nbsp;168). Now this is nothing more than an attempt on the
+part of the translator to wring from the Old English lines some scrap of
+proof for the peculiar theory that he holds of the origin of the
+poem.</p>
+
+<p>Similarly, he often reads into a single word more than it can
+possibly bear. At line 371 he translates&mdash;</p>
+
+<div class = "verse">
+<p><i>Hrothgar, helm Scyldinga,</i></p>
+<p>Hrothgar, crown of Scyldings.</p>
+</div>
+
+<p>But ‘crown’ is an impossible rendering of ‘helm,’ which is here used
+figuratively to denote the idea of protection<a class = "tag" name =
+"tag_earle8" id = "tag_earle8" href = "#note_earle8">8</a>, rather than
+the idea of the crowning glory of kingship. Further, in the same
+passage, 375&ndash;6, <i>heard eafora</i> (bold son), is wrenched into
+meaning ‘grown-up son.’ These are but two examples of what is common
+throughout the translation.</p>
+
+
+<h5>Diction.</h5>
+
+<p>The archaic style used by Professor Earle cannot be regarded as
+highly felicitous, since it mixes the diction of various ages. Here are
+Old English archaisms like
+<span class = "pagenum">95</span>
+‘Leeds’ and ‘burnie’; here are expressions like ‘escheat,’ ‘page’
+(attendant), ‘emprize,’ ‘bombard’ (drinking-vessel), ‘chivalry.’ Here
+are such specialized words as ‘harpoon,’ ‘belligerent,’ ‘pocket-money,’
+and combinations like ‘battailous grip’; while throughout the entire
+translation are scattered modern colloquialisms like ‘boss’ (master),
+‘tussle,’ ‘war-tug.’</p>
+
+<p>The reason for these anomalies is evident&mdash;the translator wishes
+to imitate the remoteness of the original style. The style is certainly
+remote&mdash;at times almost as remote from the language of to-day as is
+the style of <i>Beowulf</i> itself.</p>
+
+<div class = "footnote">
+<p>
+<a name = "note_earle1" id = "note_earle1" href = "#tag_earle1">1.</a>
+See supra, <a href = "#trans_lumsden">p. 79</a>.</p>
+
+<p>
+<a name = "note_earle2" id = "note_earle2" href = "#tag_earle2">2.</a>
+See supra, <a href = "#trans_heyne_relation">p. 64</a>.</p>
+
+<p>
+<a name = "note_earle3" id = "note_earle3" href = "#tag_earle3">3.</a>
+Paul und Braune’s <i>Beiträge</i>, XI, 328; Ang. XIV, 133.</p>
+
+<p>
+<a name = "note_earle4" id = "note_earle4" href = "#tag_earle4">4.</a>
+<i>Beiträge</i>, VIII, 568; <i>Aanteekeningen</i>, Leiden 1891.</p>
+
+<p>
+<a name = "note_earle5" id = "note_earle5" href = "#tag_earle5">5.</a>
+<i>Beiträge</i>, IX, 187; VIII, 532.</p>
+
+<p>
+<a name = "note_earle6" id = "note_earle6" href = "#tag_earle6">6.</a>
+<i>Beiträge</i>, XI, 1; <i>Studien über das Beowulfsepos</i>.</p>
+
+<p>
+<a name = "note_earle7" id = "note_earle7" href = "#tag_earle7">7.</a>
+<i>Beiträge</i>, XI, 1 ff.</p>
+
+<p>
+<a name = "note_earle8" id = "note_earle8" href = "#tag_earle8">8.</a>
+See the glossaries of Grein and Wyatt.</p>
+</div>
+
+
+<hr class = "mid">
+
+<h3><a name = "trans_jl_hall" id = "trans_jl_hall">
+J. L. HALL’S TRANSLATION</a></h3>
+
+
+<p>Beowulf, an Anglo-Saxon Epic Poem, translated by John Lesslie Hall.
+Boston: D. C. Heath and Co., 1892 (May&nbsp;7).</p>
+
+<p>Reprinted 1900. 8<sup>o</sup>, pp. xviii, 110.</p>
+
+<p class = "space">
+Eighth English Translation. Imitative Measures.</p>
+
+
+<h5>Circumstances of Publication.</h5>
+
+<p>Presented to the Philosophical Faculty of Johns Hopkins University in
+candidacy for the degree of Doctor of Philosophy by John Lesslie Hall,
+late Professor in the college of William and Mary.</p>
+
+
+<h5>Aim of the Translation.</h5>
+
+<blockquote>
+‘The work is addressed to two classes of readers.&nbsp;.&nbsp;.&nbsp;.
+The Anglo-Saxon scholar he [the translator] 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.’ &mdash;Preface, vii.
+</blockquote>
+
+
+<span class = "pagenum">96</span>
+<h5>Nature of the Translation.</h5>
+
+<p>The translation is in imitative measures and in archaic style.</p>
+
+<blockquote>
+‘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.&nbsp;.&nbsp;.&nbsp;.
+</blockquote>
+
+<blockquote>
+‘The measure used in the present translation is believed to be as near a
+reproduction of the original as modern English
+affords.&nbsp;.&nbsp;.&nbsp;. 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 in
+every line. End-rhyme has been used occasionally; internal rhyme,
+sporadically.&nbsp;.&nbsp;.&nbsp;.
+</blockquote>
+
+<blockquote>
+‘What Gummere 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.&nbsp;.&nbsp;.&nbsp;.
+</blockquote>
+
+<blockquote>
+‘No two accented syllables have been brought together, except
+occasionally after a cæsural pause.&nbsp;.&nbsp;.&nbsp;. Or,
+scientifically speaking, Sievers’s C type has been avoided as not
+consonant with the plan of translation.’ &mdash;Preface, viii,&nbsp;ix.
+</blockquote>
+
+
+<h5>Text.</h5>
+
+<blockquote>
+‘The Heyne-Socin text and glossary have been closely followed.
+Occasionally a deviation has been made.&nbsp;.&nbsp;.&nbsp;. Once in a
+while&nbsp;.&nbsp;.&nbsp;. (the translator) has added a conjecture of
+his own to the emendations quoted from the criticisms of other students
+of the poem.’ &mdash;Preface, vii.
+</blockquote>
+
+<p>The footnotes which contain the conjectural readings are interesting,
+and in one or two cases valuable additions to the suggested emendations
+(cf. p.&nbsp;15; p.&nbsp;103, note&nbsp;3).</p>
+
+
+<span class = "pagenum">97</span>
+<h4>Extract.</h4>
+
+<h5 class = "smallroman">IX.</h5>
+
+<h5 class = "smallcaps">Unferth taunts Beowulf.</h5>
+
+<div class = "verse lines">
+
+<p class = "sidenote">
+Unferth, a thane of Hrothgar, is jealous of Beowulf, and undertakes to
+twit him.</p>
+
+<p>Unferth spoke up, Ecglaf his son,</p>
+<p>Who sat at the feet of the lord of the Scyldings,</p>
+<p>Opened the jousting (the journey of Beowulf,</p>
+<p>Sea-farer doughty, gave sorrow to Unferth</p>
+<span class = "linenum">5</span>
+<p>And greatest chagrin, too, for granted he never</p>
+<p>That any man else on earth should attain to,</p>
+<p>Gain under heaven, more glory than he):</p>
+
+<p class = "sidenote">
+Did you take part in a swimming-match with Breca?</p>
+
+<p>‘Art thou that Beowulf with Breca did struggle,</p>
+<p>On the wide sea-currents at swimming contended,</p>
+<span class = "linenum">10</span>
+<p>Where to humor your pride the ocean ye tried,</p>
+<p>From vainest vaunting adventured your bodies</p>
+
+<p class = "sidenote">
+’Twas mere folly that actuated you both to risk your lives on the
+ocean.</p>
+
+<p>In care of the waters? And no one was able</p>
+<p>Nor lief nor loth one, in the least to dissuade you</p>
+<p>Your difficult voyage; then ye ventured a-swimming,</p>
+<span class = "linenum">15</span>
+<p>Where your arms outstretching the streams ye did cover,</p>
+<p>The mere-ways measured, mixing and stirring them,</p>
+<p>Glided the ocean; angry the waves were,</p>
+<p>With the weltering of winter. In the water’s possession,</p>
+<p>Ye toiled for a seven-night; he at swimming outdid thee,</p>
+<span class = "linenum">20</span>
+<p>In strength excelled thee. Then early at morning</p>
+<p>On the Heathoremes’ shore the holm-currents tossed him,</p>
+<p>Sought he thenceward the home of his fathers,</p>
+<p>Beloved of his liegemen, the land of the Brondings,</p>
+<p>The peace-castle pleasant, where a people he wielded</p>
+<span class = "linenum">25</span>
+
+<p class = "sidenote">
+Breca outdid you entirely. Much more will Grendel outdo you, if you vie
+with him in prowess.</p>
+
+<p>Had borough and jewels. The pledge that he made thee</p>
+<p>The son of Beanstan hath soothly accomplished.</p>
+<p>Then I ween thou wilt find thee less fortunate issue,</p>
+<p>Though ever triumphant in onset of battle,</p>
+<p>A grim grappling, if Grendel thou darest</p>
+<span class = "linenum">30</span>
+<p>For the space of a night near-by to wait for!</p>
+</div>
+
+
+<span class = "pagenum">98</span>
+<h5>Criticism of the Translation.</h5>
+
+<p>The translation is faithful, but not literal. The chief difference,
+for example, between this and the translation by Garnett is that Hall
+makes an attempt to preserve the poetic value of the Old English words.
+He is never satisfied with the dictionary equivalent of an Old English
+expression. Thus, in the extract given above, ‘from vainest vaunting’ is
+given as a translation of <i>dol-gilpe</i>&mdash;a&nbsp;great
+improvement over Garnett’s rendering, ‘for pride.’ Similarly, ‘mixing
+and stirring’ is given as a translation of <i>mundum brugdon</i>. This
+method often leads the translator some distance, perhaps too great a
+distance, from the Old English. The following may serve as examples of
+the heightened color that Hall gives to the Old English
+forms:&mdash;</p>
+
+<table class = "lines" summary = "details of translations">
+<tr><td>
+<p>548, ‘the north-wind whistled, fierce in our faces,’ for
+<i>norþan-wind heaðo-grim ondhwearf</i>.</p>
+
+<p>557, ‘my obedient blade,’ for <i>hilde-bille</i>.</p>
+
+<p>568, ‘foam-dashing currents,’ for <i>brontne ford</i>.</p>
+
+<p>587, ‘with cold-hearted cruelty thou killedst thy brothers,’ for
+<i>ðū þīnum brōðrum tō banan wurde</i>.</p>
+
+<p>606, ‘the sun in its ether robes,’ for <i>sunne swegl-wered</i>.</p>
+
+<p>838, ‘in the mist of the morning,’ for <i>on morgen</i>.</p>
+
+<p>1311, ‘As day was dawning in the dusk of the morning,’ for
+<i>ǣr-dæge</i>.</p>
+</td></tr>
+</table>
+
+<p>Perhaps these paraphrastic renderings are what Dr. Hall is referring
+to when he says in his preface, regarding the nature of the translation,
+‘Occasionally some loss has been sustained; but, on the other hand,
+a&nbsp;gain has here and there been made<ins class = "correction" title
+= "close quote missing">.’&nbsp;</ins></p>
+
+<p>As for the archaism, that is well enough for those who like it. It is
+never so strange as that of Earle, or the marvelous diction of William
+Morris. But it is not, therefore,
+<span class = "pagenum">99</span>
+dignified or clear. How much dignity and clarity a translator has a
+right to introduce into his rendering is a matter of opinion. Mr. Hall
+was quite conscious of what he was doing, and doubtless regarded his
+diction as well suited to convey the original Beowulf spirit.</p>
+
+<p>The chief criticism of the verse is that it is often not verse at
+all. Many passages are indistinguishable from prose. This is a stricture
+that cannot be passed on the Old English, nor on the best modern
+imitations of&nbsp;it.</p>
+
+<div class = "verse">
+<p class = "indent">
+The atheling of Geatmen uttered these words and</p>
+<p>Heroic did hasten. &mdash;Page 51, line 19.</p>
+
+<p class = "stanza indent">
+In war ’neath the water the work with great pains I</p>
+<p>Performed. &mdash;Page 57, line 6.</p>
+
+<p class = "stanza indent">
+Gave me willingly to see on the wall a</p>
+<p>Heavy old hand-sword. &mdash;Page 57, line 11.</p>
+
+<p class = "stanza indent">
+The man was so dear that he failed to suppress the</p>
+<p>Emotions that moved him. &mdash;Page 64, line 59.</p>
+</div>
+
+<p>There might be an excuse for some of this freedom in blank verse, but
+in measures imitative of the Old English it is utterly out of place.
+There is always a pause at the end of a line in Old English; run-on
+lines are uncommon. There is not an example in <i>Beowulf</i> of an
+ending so light as <ins class = "correction" title = "open quote invisible">‘the’</ins> or ‘a’ in the verses quoted above.</p>
+
+
+<hr class = "mid">
+
+<h3><a name = "trans_hoffmann" id = "trans_hoffmann">
+HOFFMANN’S TRANSLATION</a></h3>
+
+<p>Beówulf. Aeltestes deutsches Heldengedicht. Aus dem Angelsächsischen
+übertragen von P. Hoffmann. Züllichau. Verlag von Herm. Liebich (1893?).
+8<sup>o</sup>, pp. iii, 183.</p>
+
+<p>*Zweite Ausgabe, Hannover, Schaper, 1900.</p>
+
+<p class = "space">
+Sixth German Translation. Nibelungen Measures.</p>
+
+
+<span class = "pagenum">100</span>
+<h5>The Translator.</h5>
+
+<p>In <i>Minerva</i> (1902), P. Hoffmann is recorded as ‘Ord. Professor’
+of Philosophy and Pedagogy at Gent.</p>
+
+
+<h5>Aim of the Volume.</h5>
+
+<p>The translator desired to present a rendering of the poem that should
+attract the general reader. He regarded Simrock’s version as too literal
+and archaic<a class = "tag" name = "tag_hoffmann1" id = "tag_hoffmann1"
+href = "#note_hoffmann1">1</a>, the version of von Wolzogen as not
+sufficiently clear and beautiful<a class = "tag" name = "tag_hoffmann2"
+id = "tag_hoffmann2" href = "#note_hoffmann2">2</a>, and the version of
+Heyne as not sufficiently varied in form<a class = "tag" name =
+"tag_hoffmann3" id = "tag_hoffmann3" href = "#note_hoffmann3">3</a>
+(Vorwort,&nbsp;i). He regards the <i>Beowulf</i> as of great importance
+in inspiring patriotism&mdash;he always calls the poem German&mdash;and
+even offers a comparison of <i>Beowulf</i> with Emperor William I. With
+the scholarship of his subject the author hardly seems concerned.</p>
+
+
+<h5>Text, and Relation of Parts.</h5>
+
+<p>The translation is founded on Grein’s text of 1867<a class = "tag"
+name = "tag_hoffmann4" id = "tag_hoffmann4" href =
+"#note_hoffmann4">4</a>.</p>
+
+<p>In addition to the translation, the volume contains articles on the
+history of the text, origin, the Germanic hero-tales, the episodes, the
+esthetic value of the poem. These are decidedly subordinate in interest
+to the translation.</p>
+
+
+<h5>Nature of the Translation.</h5>
+
+<p>The translation is in the so-called Nibelungen measures. Archaisms
+and unnatural compounds are avoided.</p>
+
+<p>The Finnsburg fragment is inserted in the text at line 1068,
+p.&nbsp;44 of the volume. The episode is furnished with a beginning and
+ending original with Hoffmann.</p>
+
+
+<span class = "pagenum">101</span>
+<h4>Extract.</h4>
+
+<h5 class = "smallcaps">Viertes Abenteuer.</h5>
+
+<h5 class = "smallroman">VON BEOWULF’S SCHWIMMFAHRT.</h5>
+
+<div class = "verse lines">
+<p class = "indent">
+Da hub der Sohn der Ecglaf, Hunferd, zu reden&nbsp;an;</p>
+<p>Er sass dem Herrn der Schildinge zu Füssen, und begann</p>
+<p>Kampfworte zu entbieten. Dass her Beowulf kam,</p>
+<p>Der kühne Meerdurchsegler, schuf seinem Herzen bitter’n Gram.</p>
+
+<span class = "linenum">5</span>
+<p class = "stanza indent">
+Dass unter dem Himmel habe ein andrer Recke mehr,</p>
+<p>Denn er, des Ruhms auf Erden, war ihm zu tragen schwer:</p>
+<p>‘Bist <i>der</i> Beówulf Du, der einst sich in der weiten Flut</p>
+<p>Mit Breca mass im Schwimmen? Zu hoch vermass sich da Dein Mut!</p>
+
+<p class = "stanza indent">
+‘Ihr spranget in die Wellen, vermessen wagtet ihr</p>
+<span class = "linenum">10</span>
+<p>Das Leben in die Tiefe, aus Ruhm und Ehrbegier!</p>
+<p>Die Fahrt, die schreckensvolle, nicht Freund noch Feind verleiden</p>
+<p>Euch konnte. Also triebet im Sund dahin ihr Beiden!</p>
+
+<p class = "stanza indent">
+‘Als ihr mit Euren Armen des Meeres Breite decktet,</p>
+<p>Die Meeresstrassen masset, die Hände rudernd recktet</p>
+<span class = "linenum">15</span>
+<p>Durch Brandungswirbel gleitend, vom Wintersturm getrieben</p>
+<p>Hoch auf die Wellen schäumten; ihr mühtet Euch der Nächte sieben!</p>
+
+<p class = "stanza indent">
+‘So rangt ihr mit den Wogen! Da wurde Dir entrafft</p>
+<p>Der Sieg von ihm, im Schwimmen, sein war die gröss’re Kraft,</p>
+<p>Ihn trug der Hochflut Wallen am Morgen an den Strand</p>
+<span class = "linenum">20</span>
+<p>Der Hadurämen, bald er von da die süsse Heimat wiederfand.</p>
+
+<p class = "stanza indent">
+‘Im Lande der Brondinge wie gerne man ihn sah!</p>
+<p>Zu seiner schönen Feste kam er wieder da,</p>
+<p>Wo er zu eigen hatte Mannen, Burg und Ringe,</p>
+<p>Der Sohn Beanstan’s hatte geleistet sein Erbot Dir allerdinge!’</p>
+</div>
+
+
+<h5>Criticism of the Translation.</h5>
+
+<p>Hoffmann’s translation is certainly not a contribution to
+scholarship. It is a sufficient condemnation of the volume to quote the
+words of the Vorwort:&mdash;</p>
+
+<blockquote>
+‘Die Uebersetzungen von Grein, Holder und Möller sind mir nicht
+zugänglich gewesen, auch wie es scheint, nicht sehr bekannt.’
+</blockquote>
+
+<p>It is not surprising that Hoffmann is unacquainted with the
+translations of Holder and Möller, as these works have
+<span class = "pagenum">102</span>
+never been made; but that a German translator should ignore the version
+of Grein is a revelation indeed.</p>
+
+<p>Even though a translator may not care to embody in his work any new
+interpretations, it is nevertheless his duty to base his translation on
+the best text that he can find. But apparently Hoffmann had never heard
+of the Heyne editions of the text, nor of the Grein-Wülker
+<i>Bibliothek</i>. He bases his translation on Grein’s text of 1867. He
+evidently considered it a sufficient recommendation of his work to
+associate with it the name of Grein, not troubling himself to discover
+what advance had been made upon the work of that scholar.</p>
+
+<p>Examples of antiquated renderings may be brought forward:&mdash;</p>
+
+<table class = "lines" summary = "details of translations">
+<tr>
+<td class = "number">P. 1,</td>
+<td>line 1, Wie grosse Ruhmesthaten.</td>
+</tr>
+<tr>
+<td class = "number">2,</td>
+<td><p>line 1, So soll mit Gaben werben im Vaterhause schon.</p></td>
+</tr>
+<tr>
+<td class = "number">21,</td>
+<td><p>line 15 (see Extract), Vom Wintersturm getrieben Hoch auf die
+Wellen schäumten.</p></td>
+</tr>
+<tr>
+<td class = "number">84,</td>
+<td>line 3, Mothrytho.</td>
+</tr>
+</table>
+
+<p>Petty inaccuracies due to the nature of the translation also appear.
+An example of this is seen on page 3, at the opening of the first
+canto&mdash;</p>
+
+<div class = "verse">
+<p class = "indent">
+Ueber Burg und Mannen nun herrschte manches Jahr</p>
+<p>Beówulf der Schilding. Wie hold dem König war</p>
+<p>Sein Volk! in allen Landen seinen Ruhm man pries</p>
+<p>Als lange schon sein Vater von dieser Erde Leben liess.</p>
+</div>
+
+
+<h5>Literary Criticism.</h5>
+
+<p>The translation resembles the work of Lumsden<a class = "tag" name =
+"tag_hoffmann5" id = "tag_hoffmann5" href = "#note_hoffmann5">5</a> and
+Wackerbarth<a class = "tag" name = "tag_hoffmann6" id = "tag_hoffmann6"
+href = "#note_hoffmann6">6</a> in affording a version of the tale easily
+readable. And the same criticism may be passed on the work of Hoffmann
+that was passed on the two Englishmen.
+<span class = "pagenum">103</span>
+The style and medium chosen are not well fitted to render the spirit of
+the poem. The <i>Nibelungenlied</i> is a poem of the late twelfth
+century. The <i>Beowulf</i> at latest belongs to the eighth. To choose
+for the translation of <i>Beowulf</i>, therefore, a&nbsp;medium
+surcharged with reminiscence of a time, place, and style quite different
+from those of the original is certainly an error. It may find an
+audience where another and more faithful rendering would fail; but it
+will never win the esteem of scholars. In his introduction Hoffmann
+calls attention to the lack of variety in blank verse, but surely it
+does not have the monotony inherent in a recurring rime and strophe.</p>
+
+<p>Again, rime and strophe force upon the author the use of words and
+phrases needed to pad out the verse or stanza. Attention must also be
+called to the fact that the original seldom affords a natural pause at
+the exact point demanded by the use of a strophic form. See the close of
+the following stanzas in the Extract: I, III, IV, V. One effect of the
+forced pause is that there is confusion in the use of kennings, which
+often have to do duty as subject in one stanza and as object in another
+stanza.</p>
+
+<p>Commonplace expressions, incident perhaps upon the use of the
+measure, are not unfrequent. Thus</p>
+
+<p class = "verse">
+Gesagt! gethan!</p>
+
+<p>translates</p>
+
+<p class = "verse">
+ond þæt geæfndon swā (line 538).</p>
+
+<p>Traces of this are also found in the extract; see beginning of last
+stanza.</p>
+
+<p>In conclusion, it may be said that Hoffmann’s version marks an
+advance in one way only, readableness; and in this it is hardly superior
+to Heyne’s rendering, which has the advantage of scholarship.</p>
+
+<div class = "footnote">
+<p>
+<a name = "note_hoffmann1" id = "note_hoffmann1" href =
+"#tag_hoffmann1">1.</a>
+See supra, <a href = "#trans_simrock">p. 59</a>.</p>
+
+<p>
+<a name = "note_hoffmann2" id = "note_hoffmann2" href =
+"#tag_hoffmann2">2.</a>
+See supra, <a href = "#trans_wolzogen">p. 68</a>.</p>
+
+<p>
+<a name = "note_hoffmann3" id = "note_hoffmann3" href =
+"#tag_hoffmann3">3.</a>
+See supra, <a href = "#trans_heyne">p. 63</a>.</p>
+
+<p>
+<a name = "note_hoffmann4" id = "note_hoffmann4" href =
+"#tag_hoffmann4">4.</a>
+See supra, <a href = "#trans_grein">p. 56</a>.</p>
+
+<p>
+<a name = "note_hoffmann5" id = "note_hoffmann5" href =
+"#tag_hoffmann5">5.</a>
+See <a href = "#trans_lumsden">p. 79</a>.</p>
+
+<p>
+<a name = "note_hoffmann6" id = "note_hoffmann6" href =
+"#tag_hoffmann6">6.</a>
+See <a href = "#trans_wackerbarth">p. 45</a>.</p>
+</div>
+
+
+<hr class = "mid">
+
+<span class = "pagenum">104</span>
+
+<h3><a name = "trans_morris_wyatt" id = "trans_morris_wyatt">
+MORRIS AND WYATT’S TRANSLATION</a></h3>
+
+<p>Colophon: Here endeth the story of Beowulf done out of the old
+English tongue by William Morris and A. J. Wyatt, and printed by said
+William Morris at the Kelmscott Press, Uppermall, Hammersmith, in the
+county of Middlesex, and finished on the tenth day of January, 1895.
+Large 4<sup>o</sup>, pp. vi, 119.</p>
+
+<p>Troy type. Edition limited to 300 copies on paper and eight on
+vellum.</p>
+
+<p>Second edition. The Tale of Beowulf, Sometime King of the Folk of the
+Weder Geats, translated by William Morris and A. J. Wyatt. London and
+New York: Longmans, Green, &amp; Co., 1895. 8<sup>o</sup>, pp. x,
+191.</p>
+
+<p class = "space">
+Ninth English Translation. Imitative Measures.</p>
+
+
+<h5>Differences between the First and Second Editions.</h5>
+
+<p>In the second edition a title-page is added. The running commentary,
+printed in rubric on the margin of the first edition, is omitted.</p>
+
+
+<h5>Text Used.</h5>
+
+<p>The translation is, in general, conformed to Wyatt’s text of 1894,
+departing from it in only a few unimportant details.</p>
+
+
+<h5>Part Taken in the Work by Morris and Wyatt respectively.</h5>
+
+<p>The matter is fortunately made perfectly clear in Mackail’s <i>Life
+of William Morris</i>, vol. ii. p.&nbsp;284:&mdash;</p>
+
+<blockquote>
+‘(Morris) was not an Anglo-Saxon scholar, and to help him in following
+the original, he used the aid of a prose translation made for him by Mr.
+A. J. Wyatt, of Christ’s College, Cambridge, with whom he had also read
+through the original. The plan of their joint
+<span class = "pagenum">105</span>
+labours had been settled in the autumn of 1892. Mr. Wyatt began to
+supply Morris with his prose paraphrase in February, 1893, and he at
+once began to “rhyme up,” as he said, “very eager to be at it, finding
+it the most delightful work.” He was working at it all through the year,
+and used to read it to Burne-Jones regularly on Sunday mornings in
+summer.’
+</blockquote>
+
+<p>The plan of joining with his own the name of his principal teacher
+was one which Morris had used before when translating from a foreign
+tongue. He published his rendering of the <i>Volsunga Saga</i> as the
+work of ‘Eirikr Magnússon and William Morris.’ There is no evidence that
+Mr. Wyatt had any hand in forming the final draft of the translation. In
+defending it, Morris took all the responsibility for the book upon
+himself, and he always spoke of it as his own work. In writing to a
+German student toward the end of his life Morris spoke of the
+translation as his own without mentioning Mr. Wyatt<a class = "tag" name
+= "tag_morris_wyatt1" id = "tag_morris_wyatt1" href =
+"#note_morris_wyatt1">1</a>. Nor has Mr. Wyatt shown a disposition to
+claim a share in the work. In the preface to his edition of the text of
+<i>Beowulf</i> (Cambridge, 1894), he says:&mdash;</p>
+
+<blockquote>
+‘Mr. William Morris has taken the text of this edition as the basis of
+his modern metrical rendering of the lay.’ &mdash;Page xiii.
+</blockquote>
+
+<p>Finally, it may be added that the specimens of Mr. Wyatt’s
+translation printed in the glossary and notes of his book bear no
+resemblance to the work of Morris.</p>
+
+
+<h5>Morris’s Theory of Translation.</h5>
+
+<p>None despised the merely literal rendering of an epic poem more than
+William Morris. In writing of his version of the <i>Odyssey</i> to
+Ellis, Morris said: ‘My translation is a real one so far, not a mere
+periphrase of the original as <i>all</i> the others are.’ In translating
+an ancient poem, he tried to reproduce the simplicity and remoteness of
+phrase which he found in his original. He believed it possible,
+<span class = "pagenum">106</span>
+e.g., to suggest the archaic flavor of Homer by adopting a diction that
+bore the same relation to modern English that the language of Homer bore
+to that of the age of Pericles. The archaism of the English would
+represent the archaism of the Greek. This method he used in rendering
+Vergil and Homer.</p>
+
+<p>But when he approached the translation of <i>Beowulf</i>, he was
+confronted by a new problem. It was evident that fifteenth-century
+English was ill-adapted to convey any just notion of eighth-century
+English. <i>Beowulf</i> required a diction older than that of Sir Thomas
+Malory or Chaucer. Hence it became necessary to discard the theory
+altogether, or else to produce another style which should in some true
+sense be imitative of <i>Beowulf</i>. This latter Morris tried to
+accomplish by increasing the archaism of his style by every means in his
+power. This feature is discussed in the following section.</p>
+
+
+<h5>Nature of the Translation.</h5>
+
+<p>The translation of <i>Beowulf</i> is written in extremely archaic
+language. An imitative measure of four principal stresses is used.
+Wherever possible, the Old English syntax has been preserved (see line
+1242); the word-order of the original is retained. The archaic language
+is wrought of several different kinds of words. In the first place,
+there is the ‘legitimate archaism,’ such as ‘mickle,’ ‘burg,’ ‘bairn’;
+there are forms which are more closely associated with the translation
+of Old English, such as ‘middle-garth,’ ‘ring-stem.’ There are modern
+words used with the old signification, such as ‘kindly’ (in the sense
+‘of the same kind’), ‘won war’ (in the sense ‘wage war’), ‘fret’ (in the
+sense ‘eat’). Finally, there are forms which are literally translated
+from Old English: ‘the sight seen once only’ from <i>ansȳn</i>, face,
+251; ‘spearman’ from <i>garsecg</i>, ocean (see extract), ‘gift-scat’
+from <i>gif-sceatt</i>, gift of money,
+<span class = "pagenum">107</span>
+378; ‘the Maker’s own making’ from <i>metod-sceaft</i>, doom, 1180.
+Romance words are excluded whenever possible. A&nbsp;glossary of ‘some
+words not commonly used now’ is included in the book, but none of the
+words cited above, save ‘burg,’ is found in&nbsp;it.</p>
+
+
+<h4>Extract.</h4>
+
+<h5 class = "smallcaps">IX. Unferth contendeth in words with
+Beowulf.</h5>
+
+<div class = "verse lines">
+<p class = "indent">
+Spake out then Unferth that bairn was of Ecglaf,</p>
+<span class = "linenum">500</span>
+<p>And he sat at the feet of the lord of the Scyldings,</p>
+<p>He unbound the battle-rune; was Beowulf’s faring,</p>
+<p>Of him the proud mere-farer, mickle unliking,</p>
+<p>Whereas he begrudg’d it of any man other</p>
+<p>That he glories more mighty the middle-garth over</p>
+<p>Should hold under heaven than he himself held:</p>
+<p class = "indent">
+Art thou that Beowulf who won strife with Breca</p>
+<p>On the wide sea contending in swimming,</p>
+<p>When ye two for pride’s sake search’d out the floods</p>
+<p>And for a dolt’s cry into deep water</p>
+<span class = "linenum">510</span>
+<p>Thrust both your life-days? No man the twain of you,</p>
+<p>Lief or loth were he, might lay wyte to stay you</p>
+<p>Your sorrowful journey, when on the sea row’d&nbsp;ye;</p>
+<p>Then when the ocean-stream ye with your arms deck’d,</p>
+<p>Meted the mere-streets, there your hands brandish’d!</p>
+<p>O’er the Spearman ye glided; the sea with waves welter’d,</p>
+<p>The surge of the winter. Ye twain in the waves’ might</p>
+<p>For a seven nights swink’d. He outdid thee in swimming,</p>
+<p>And the more was his might; but him in the morn-tide</p>
+<p>To the Heatho-Remes’ land the holm bore ashore,</p>
+<span class = "linenum">520</span>
+<p>And thence away sought he to his dear land and lovely,</p>
+<p>The lief to his people sought the land of the Brondings,</p>
+<p>The fair burg peace-warding, where he the folk owned,</p>
+<p>The burg and the gold rings. What to theeward he boasted,</p>
+<p>Beanstan’s son, for thee soothly he brought it about.</p>
+</div>
+
+
+<h5>Criticism of the Translation.</h5>
+
+<p>The Morris-Wyatt translation is thoroughly accurate, and is, so to
+speak, an official commentary on the text
+<span class = "pagenum">108</span>
+of Wyatt’s edition. It is therefore of importance to the student of the
+<i>Beowulf</i>.</p>
+
+<p>As a literary rendering the translation is disappointing. In the
+first place, it must be frankly avowed that the diction is frequently so
+strange that it seems to modern readers well-nigh ridiculous. There are
+certain sentences which cannot but evoke a smile. Such are:
+‘(he)&nbsp;spoke a word backward,’ line 315; ‘them that in Scaney dealt
+out the scat,’ line 1686.</p>
+
+<p>Secondly, the translation is unreadable. There is an avalanche of
+archaisms. One example of the extreme obscurity may be given:&mdash;</p>
+
+<div class = "verse">
+<p>‘Then rathe was beroom’d, as the rich one was bidding,</p>
+<p>For the guests a-foot going the floor all withinward.’</p>
+</div>
+
+<p class = "page">
+l. 1975&ndash;76.</p>
+
+<p>It would seem that the burden of ‘rathe,’ ‘beroomed,’ and
+‘withinward,’ were sufficient for any sentence to carry, but we are left
+to discover for ourselves that ‘rich one’ does not mean rich one, but
+ruler, that the ‘floor’ is not a floor but a hall, and that the guests
+are not guests, but the ruler’s own men.</p>
+
+<p>Morris himself was conscious of the obscurity of the work:&mdash;</p>
+
+<blockquote>
+‘For the language of his version Morris once felt it necessary to make
+an apology. Except a few words, he said, the words used in it were such
+as he would not hesitate to use in an original poem of his own. He did
+not add, however, that their effect, if slipped sparingly in amid his
+own pellucid construction and facile narrative method, would be very
+different from their habitual use in a translation.&nbsp;.&nbsp;.&nbsp;.
+As the work advanced, he seems to have felt this himself, and his
+pleasure in the doing of it fell off.’ &mdash;Mackail’s <i>Life</i>, ii.
+284&ndash;5.
+</blockquote>
+
+<p>Finally, the version does not <i>translate</i>. Words like ‘Spearman’
+for <i>Ocean</i>, and combinations like ‘the sight seen once only’ for
+<i>the face</i>, can be understood only by the intimate student of Old
+English poetry, and there is no reason why such a person should not
+peruse <i>Beowulf</i> in
+<span class = "pagenum">109</span>
+the original tongue rather than in a translation occasionally as obscure
+as the poem itself.</p>
+
+<p>If one can peer through the darkness of Morris’s diction, he will
+discover a fairly pleasing use of the so-called imitative measure. The
+verse is not nearly so rough as the original; many of the characteristic
+substitutions are avoided. There is evident a tendency toward the
+‘rising verse’ and the anapestic foot. The feminine ending is frequently
+used. The verse is, therefore, not strictly imitative in that it retains
+the Old English system of versification, but rather in that it attempts
+to suggest the Old English movement by the use of four principal
+stresses and a varying number of unstressed syllables. Morris’s verse is
+the best of all the ‘imitative’ measures.</p>
+
+
+<p class = "footnote">
+<a name = "note_morris_wyatt1" id = "note_morris_wyatt1" href =
+"#tag_morris_wyatt1">1.</a>
+See Mackail’s <i>Life</i>, i. 198.</p>
+
+
+<hr class = "mid">
+
+<h3><a name = "trans_simons" id = "trans_simons">
+SIMONS’S TRANSLATION</a></h3>
+
+<p>Beówulf, Angelsaksisch Volksepos, vertaald in Stafrijm, en met
+Inleiding en Aanteekeningen voorzien door Dr. L. Simons, Briefwisselend
+Lid der Koninklijke Vlaamsche Academie voor Taal- en Letterkunde,
+Leeraar <ins class = "correction" title = "text has ‘aan’t’ without space">aan ’t</ins> koninklijk Athenaeum te Brussel. Gent,
+A.&nbsp;Siffer, 1896. Large 8<sup>o</sup>, pp. 355.</p>
+
+<p>Published for the Koninklijke Vlaamsche Academie voor Taal- en
+Letterkunde.</p>
+
+<p class = "space">
+First Dutch Translation. Iambic Pentameter.</p>
+
+
+<h5>Aim and Contents of the Volume.</h5>
+
+<p>The author’s purpose, as stated in ‘Een Woord Vooraf,’ is to make the
+<i>Beowulf</i> better known to the Dutch public. With this in view he
+adds to his translation copious notes and an exhaustive comment. The
+titles of his various chapters are: De Beschaving in den Beowulf,
+Christendom,
+<span class = "pagenum">110</span>
+Heldensage en Volksepos, <ins class = "correction" title = "text reads ‘Geschiedenis’">Geschiednis</ins>, Mythos, Geatas, Nationaliteit van den
+Beowulf, Tijd van Voltooiing, Het Handschrift, De Versbouw, Epische
+Stijl, Innerlijke Geschiednis. Explanatory and critical comment is given
+in the footnotes, and textual criticism in the Notes at the end of the
+volume.</p>
+
+
+<h5>Text Used.</h5>
+
+<blockquote>
+‘I have followed the text of Socin<a class = "tag" name = "tag_simons1"
+id = "tag_simons1" href = "#note_simons1">1</a>; where I have preferred
+to give another reading I have justified my proceeding in the Notes at
+the end of the work.’ &mdash;Een Woord Vooraf.
+</blockquote>
+
+
+<h5>Nature of the Translation.</h5>
+
+<p>It is a literal translation in iambic pentameter.</p>
+
+<blockquote>
+‘Of the translation nothing in particular needs to be said. I&nbsp;have
+followed my original as closely as possible.’ &mdash;Een Woord Vooraf.
+</blockquote>
+
+<p>He adds that this was no easy task, as Dutch does not afford the same
+variety of simile as the Old English.</p>
+
+<p>A page is then given to the discussion of the nature of his verse. He
+first gives his reasons for preferring iambic pentameter to the
+‘Reinartsvers,’ which some might think best to use.</p>
+
+<blockquote>
+‘Moreover, the iambic pentameter lends itself well to division into
+hemistichs, the principal characteristic of the ancient epic
+versification.’ &mdash;Een Woord Vooraf.
+</blockquote>
+
+<p>He has often preferred the simple alliteration (aa, bb) to the Old
+English system<a class = "tag" name = "tag_simons2" id = "tag_simons2"
+href = "#note_simons2">2</a>.</p>
+
+
+<h4>Extract.</h4>
+
+<h5 class = "smallroman">IX.</h5>
+
+<div class = "verse">
+<p>En Hunferd zeide toen, de zoon van Ecglaf,</p>
+<p>Die aan die voeten zat des Schyldingvorsten,</p>
+<p>Het kampgeheim ontkeetnend: (Beowulfs aankomst,</p>
+<span class = "pagenum">111</span>
+<p>Des koenen golfvaart gaf hem grooten aanstoot,</p>
+<p>Omdat hij geenszins aan een ander gunde</p>
+<p>Der mannen, meerder roem op aard te rapen,</p>
+<p>Beneên de wolken, dan hem was geworden.)</p>
+<p>‘Zijt gij die Beowulf, die met Brecca aanbond</p>
+<p>Den wedstrijd op de wijde zee, in ’t zwemmen</p>
+<p>Met dezen streven dorst, toen boud gij beiden</p>
+<p>Navorschtet in den vloed en gij uit grootspraak</p>
+<p>Uw leven waagdet in het diepe water?</p>
+<p>Geen stervling was in staat, noch vriend noch vijand,</p>
+<p>De roekelooze reis u af te raden.</p>
+<p>Toen braakt gij beiden roeiend door de baren</p>
+<p>En dektet onder uwen arm de deining,</p>
+<p>Gij maat de <ins class = "correction" title = "text reads ‘zeebahn’">zeebahn</ins>, zwaaiend met de handen,</p>
+<p>Doorgleedt de waterwieling, schoon met golven</p>
+<p>De kil opklotste bij des winters branding.</p>
+<p>Op deze wijze wurmdet gij te gader</p>
+<p>Wel zeven nachten in ’t bezit der zeeën.</p>
+<p>Doch gene ging in vaart u ver te boven;</p>
+<p>Hij had toch meerder macht. De strooming stuwde</p>
+<p>Hem met den morgen heen ten Headoraemen,</p>
+<p>Van waar hij wedervond, de volksgevierde,</p>
+<p>Het lieve stambezit, het land der Brondings,</p>
+<p>De schoone schatburg, waar hij wapenlieden</p>
+<p>En goed en goud bezat. De zoon van Beanstan</p>
+<p>Hield tegen u geheel zijn woord in waarheid.’</p>
+</div>
+
+
+<h5>Criticism of the Translation.</h5>
+
+<p>The translation seems to aim chiefly at accuracy, which accounts for
+the rather large number of notes containing readings suggested by
+various commentators. The translator uses freely compounds and metaphors
+similar to those in the original text. This seems occasionally to
+militate against the clearness of the work. Thus, it is doubtful whether
+‘kampgeheim ontkeetnend’ of the extract conveys to the modern Dutch
+reader any notion similar to that of the Old English <i>beadu-runen
+onband</i>.</p>
+
+<p>The present writer is unable to offer any literary criticism of the
+translation.</p>
+
+<div class = "footnote">
+<p>
+<a name = "note_simons1" id = "note_simons1" href =
+"#tag_simons1">1.</a>
+Fifth edition of Heyne’s text, 1888.</p>
+
+<p>
+<a name = "note_simons2" id = "note_simons2" href =
+"#tag_simons2">2.</a>
+At this point Simons speaks as if ab, ab, were the common form of
+alliteration in Old English, whereas it is rather uncommon.</p>
+</div>
+
+
+<hr class = "mid">
+
+<span class = "pagenum">112</span>
+
+<h3><a name = "trans_steineck" id = "trans_steineck">
+STEINECK’S TRANSLATION</a></h3>
+
+<p>Altenglische Dichtungen (Beowulf, Elene, u.a.) in wortgetreuer
+Uebersetzung von H.&nbsp;Steineck. Leipzig, 1898, O.&nbsp;R. Reisland.
+8<sup>o</sup>, Beowulf, pp. 1&ndash;102.</p>
+
+<p class = "space">
+Seventh German Translation. Line for line.</p>
+
+
+<h5>Aim of the Volume, and Nature of the Translation.</h5>
+
+<blockquote>
+‘Die vorliegende Uebersetzung ist aus dem Bedürfnis einer wortgetreuen
+Wiedergabe altenglischer Denkmäler entstanden. Soweit es der Sinn
+zuliess, ist das Bestreben dahin gegangen, für jedes altenglische Wort
+das etymologisch entsprechende neuhochdeutsche, wenn vorhanden,
+einzusetzen. So ist die Uebersetzung zugleich ein sprachgeschichtliches
+Werk.’ &mdash;Vorwort.
+</blockquote>
+
+
+<h5>Text Used.</h5>
+
+<p>The translation is based on Heyne’s text of 1863<a class = "tag" name
+= "tag_steineck1" id = "tag_steineck1" href = "#note_steineck1">1</a>
+(Vorwort). Fragmentary passages are not restored.</p>
+
+
+<h4>Extract.</h4>
+
+<h5 class = "smallroman">IX.</h5>
+
+<div class = "verse lines">
+<span class = "linenum">500</span>
+<p>Hunferd sprach, des Ecglâf Sohn,</p>
+<p>Welcher zu Füssen sass des Herren der Scyldinge;</p>
+<p>Er löste der Streiter Geheimniss&mdash;ihm war Beowulfs Fahrt,</p>
+<p>Des mutigen Meerfahrers, zu grossem Neid,</p>
+<p>Weil er nicht gönnte, dass irgend ein anderer</p>
+<p>Jemals nun mehr Ruhmesthaten</p>
+<p>Unter dem Himmel der Erde erwarb als er selbst:</p>
+<p>‘Bist du Bêowulf, der du mit Breca kämpftest</p>
+<p>Auf weiter See in einem Wettschwimmen,</p>
+<p>Dort durchforschtet ihr beide aus Stolz die Fluten</p>
+<p>Und wagtet aus verwegener Ruhmsucht im tiefen Wasser</p>
+<span class = "linenum">510</span>
+<p>Euer Leben? Euch beiden konnte keiner,</p>
+<p>Weder Freund noch Feind, vorwerfen</p>
+<span class = "pagenum">113</span>
+<p>Die gefahrvolle Reise; da rudertet ihr beide im Wasser,</p>
+<p>Dort überdecktet ihr beide den Wasserstrom mit Armen,</p>
+<p>Ihr masst die Meeresstrassen, mit Händen schwangt ihr,</p>
+<p>Ihr glittet über die Flut; das Meer wallte in Fluten,</p>
+<p>Des Winters Gewoge; ihr mühtet euch in des Wassers Gewalt</p>
+<p>Sieben Nächte ab; er besiegte dich beim Schwimmen,</p>
+<p>Er hatte grössere Kraft. Da warf ihn in der Morgenzeit</p>
+<p>An das Headoræmenland die See,</p>
+<span class = "linenum">520</span>
+<p>Von dort aus suchte er das traute Stammgut auf,</p>
+<p>Der seinen Leuten Teure, das Land der Brondinge,</p>
+<p>Die schöne Friedensburg, wo er Volk besass,</p>
+<p>Burg und Ringe. Alles, wozu er sich dir verpflichtete,</p>
+<p>Leistete der Sohn Bêanstâns wahrhaftig.’</p>
+</div>
+
+
+<h5>Criticism of the Translation.</h5>
+
+<p>It would be manifestly unfair to criticize this translation for its
+want of grace and melody, because it is avowedly a literal rendering,
+and a literal rendering makes no attempt to attain these qualities. But
+there are certain things which are indispensable in a good literal
+translation. It is imperative that such a translation should be based on
+the best text of the original poem. What has Steineck done? He has gone
+back thirty-five years and chosen an early and inaccurate edition of a
+work that has been five times re-edited, Heyne’s text of 1863! It seems
+almost incredible that a German, living in the midst of scholars who
+have done more than any other people to interpret the <i>Beowulf</i>,
+should ignore the fruits of their efforts.</p>
+
+<p>It is unnecessary to enumerate the faults of this translation due to
+dependence upon an antiquated edition of the text. Suffice it to say
+that when the edition of 1863 was printed the text had not yet been
+properly transcribed from the MS.<a class = "tag" name = "tag_steineck2"
+id = "tag_steineck2" href = "#note_steineck2">2</a></p>
+
+<p>But there are evidences of an inaccuracy of a different kind that
+betray a carelessness utterly reprehensible. The
+<span class = "pagenum">114</span>
+author is apparently unable to transliterate properly the Old English
+names. Thus he has Vealhpeon and Vealhpeo (for Wealhtheow), Ecgpeow,
+Halbdaene (for Healfdene), Ermanarich, &amp;c.</p>
+
+<p>In his attempt to produce an etymological document, the translator
+uses many compounds such as even the German language might be better
+without; such are&mdash;Sippenschar (sibbegedriht), 730; Schattenwandler
+(sceadugenga), 704; Wangenpolster (hlēor-bolster), 689; Leibpanzer
+(līc-syrce), 550. As compounds these may not be offensive to a German;
+but the trouble with them is that they do not translate the Old English
+ideas.</p>
+
+<p>Finally, it may be asked why a translation that appeals only as a
+literal rendering should not be strictly literal, noting its every
+variation from the original, italicizing supplied words, holding to the
+original word-order.</p>
+
+<p>Steineck’s translation did not advance the interpretation of
+<i>Beowulf</i> a whit. In point of accuracy the book is not worthy to
+stand with good translations thirty years old.</p>
+
+<div class = "footnote">
+<p>
+<a name = "note_steineck1" id = "note_steineck1" href =
+"#tag_steineck1">1.</a>
+See supra, <a href = "#trans_heyne_relation">p. 64</a>.</p>
+
+<p>
+<a name = "note_steineck2" id = "note_steineck2" href =
+"#tag_steineck2">2.</a>
+See also supra, <a href = "#prelim">p. 8</a>.</p>
+</div>
+
+
+<hr class = "mid">
+
+<h3><a name = "trans_jrc_hall" id = "trans_jrc_hall">
+J. R. C. HALL’S TRANSLATION</a></h3>
+
+
+<p>Beowulf, and the Fight at Finnsburg, a&nbsp;translation into modern
+English prose, with an Introduction and Notes, by John R. Clark Hall,
+M.A., Ph.D. With twelve illustrations<a class = "tag" name =
+"tag_jrc_hall1" id = "tag_jrc_hall1" href = "#note_jrc_hall1">1</a>.
+London: Swan Sonnenschein and Company, Lim., 1901. 8<sup>o</sup>, pp.
+xlv, 203.</p>
+
+<p class = "space">
+Tenth English Translation. Prose.</p>
+
+
+<span class = "pagenum">115</span>
+<h5>Translator, and Circumstances of Publication.</h5>
+
+<p>Hitherto Dr. Hall had been chiefly known to the learned world for his
+excellent <i>Anglo-Saxon Dictionary for Students</i>.</p>
+
+<p>Up to this time no prose translation had appeared in England since
+1876, save Earle’s<a class = "tag" name = "tag_jrc_hall2" id =
+"tag_jrc_hall2" href = "#note_jrc_hall2">2</a>, which for the elementary
+student was practically useless. Moreover, this translation was the
+first to embody the results of various studies on the poem during the
+past decade.</p>
+
+
+<h5>Contents.</h5>
+
+<p>Unlike the preceding works on <i>Beowulf</i>, it may be said that the
+introductory and illustrative matter in this book is of quite as much
+importance as the translation. The author says of his book:&mdash;</p>
+
+<blockquote>
+‘The following pages comprise a short statement of what is actually
+known with respect to the poem of <i>Beowulf</i>, another statement of
+what seems to me most likely to be true amongst the almost innumerable
+matters of conjecture concerning it, and a few words of literary
+appreciation.’ &mdash;Introduction, p.&nbsp;ix.
+</blockquote>
+
+<p>Statements similar to these have been put forth by other translators
+of the poem, but the material of their volume has not always borne them
+out. The studies of the poem in the Introduction are sufficient for a
+school edition of <i>Beowulf</i>&mdash;a&nbsp;similar body of
+information is not found in any of the existing editions&mdash;while
+annotations of some importance to the elementary student are found in
+the notes and running comment. The book contains, beside the
+translation, a&nbsp;discussion of the form, language, geographical
+allusions, date, and composition of the poem, as well as a useful,
+though inaccurate, bibliography<a class = "tag" name = "tag_jrc_hall3"
+id = "tag_jrc_hall3" href = "#note_jrc_hall3">3</a>.</p>
+
+
+<span class = "pagenum">116</span>
+<h5>Text Used.</h5>
+
+<p>The translation is founded on the text of A. J. Wyatt, Cambridge,
+1894. Dr. Hall does not always follow the interpretations given in
+Wyatt’s glossary, nor is the punctuation of the translation conformed to
+that of the Old English text.</p>
+
+
+<h5>Indebtedness to Preceding Scholars.</h5>
+
+<p>In his translation Dr. Hall seems to be most indebted to the work of
+Professor Earle<a class = "tag" name = "tag_jrc_hall4" id =
+"tag_jrc_hall4" href = "#note_jrc_hall4">4</a> (see lines 4, 71, 517,
+852, 870, 926, 996, 1213, 1507, 2021, 3034, &amp;c.).</p>
+
+<p>Frequent reference is also made to the work of Cosijn,
+<i>Aanteekeningen op den Beowulf</i> (1892). The work of other scholars,
+such as Bugge, Heyne, Socin, is also referred&nbsp;to.</p>
+
+
+<h5>Nature of the Translation.</h5>
+
+<p>The translation is a literal prose version. It is constantly
+interrupted by bits of running comment, designed to overcome the
+inherent obscurity of the poem, or to afford an elaborate digest of the
+story if read without the translation (p.&nbsp;7<ins class =
+"correction" title = ") invisible">).</ins></p>
+
+<p>The rendering avoids archaisms.</p>
+
+<p>Bugge’s restoration is used at line 3150; the passage at line 2215 is
+not restored.</p>
+
+
+<h4>Extract.</h4>
+
+<h5 class = "smallroman">VIII.</h5>
+
+<h5 class = "smallcaps">Unferth taunts Beowulf. Beowulf’s Contest with
+Breca.</h5>
+
+<p class = "center smaller">
+(Lines 499&ndash;558.)</p>
+
+<blockquote>
+(499&ndash;505). <i>Now comes a jarring note. Unferth, a&nbsp;Danish
+courtier, is devoured by jealousy, and taunts Beowulf.</i>
+</blockquote>
+
+<blockquote>
+Then Unferth, the son of Ecglaf, who sat at the feet of the lord of the
+Scyldings, spoke, and gave vent to secret thoughts of strife,&mdash;the
+<span class = "pagenum">117</span>
+journey of Beowulf, the brave sea-farer, was a great chagrin to him, for
+he grudged that any other man under heaven should ever obtain more glory
+on this middle-earth than he himself.
+</blockquote>
+
+<blockquote>
+(506&ndash;528). <i>‘Art thou the same Beowulf,’ says he, ‘who ventured
+on a foolhardy swimming match with Breca on the open sea in winter, for
+seven days, and got beaten? A&nbsp;worse fate is in store for thee when
+thou meetest Grendel!’</i>
+</blockquote>
+
+<blockquote>
+‘Art thou that Beowulf who strove with Breca, contested with him on the
+open sea, in a swimming contest, when ye two for vainglory tried the
+floods, and ventured your lives in deep water for idle boasting? Nor
+could any man, friend or foe, dissuade you from your sorry enterprise
+when ye swam on the sea; when ye compassed the flowing stream with your
+arms, meted out the sea-paths, battled with your hands, and glided over
+the ocean; when the sea, the winter’s flood, surged with waves. Ye two
+toiled in the water’s realm seven nights; he overcame you at swimming,
+he had the greater strength. Then, at morning time, the ocean cast him
+up on the Heathoræmas’ land. Thence, dear to his people, he sought his
+beloved fatherland, the land of the Brondings, his fair stronghold-city,
+where he had subjects and treasures and a borough. The son of Beanstan
+performed faithfully all that he had pledged himself to. So I expect for
+thee a worse fatality,&mdash;though thou hast everywhere prevailed in
+rush of battle,&mdash;gruesome war,&mdash;if thou darest await Grendel
+at close quarters for the space of a night.’
+</blockquote>
+
+
+<h5>Criticism of the Translation.</h5>
+
+<p>The extract is typical of all that is best in the translation. It is
+a thoroughly accurate piece of work, failing only where Wyatt’s edition
+of the text is unsatisfactory. Translations like ‘gave vent to secret
+thoughts of strife’ and ‘thou hast prevailed in the rush of battle’ show
+that the work is the outcome of long thought and deep appreciation. At
+times the translation, as here, verges on a literary rendering. But in
+this respect the first part of the poem is vastly superior to the later
+parts, though all three are marred by extreme literalness. Dr. Hall did
+not always escape the strange diction that has so often before
+disfigured the translations of <i>Beowulf</i>:&mdash;</p>
+
+<span class = "pagenum">118</span>
+
+<table class = "lines" summary = "details of translations">
+<tr>
+<td class = "number">Line 2507,</td>
+<td>‘my unfriendly hug finished his bony frame.’</td>
+</tr>
+<tr>
+<td class = "number">„ &nbsp; 2583,</td>
+<td>‘The Geat’s free-handed friend crowed not in pride of victory.’</td>
+</tr>
+<tr>
+<td class = "number">„ &nbsp; 2655,</td>
+<td>‘Fell the foe and shield the Weder-Geat Lord’s life<ins class =
+"correction" title = "close quote missing">.’</ins></td>
+</tr>
+<tr>
+<td class = "number">„ &nbsp; 2688,</td>
+<td>‘the public scourge, the dreadful salamander.’</td>
+</tr>
+<tr>
+<td class = "number">„ &nbsp; 2834,</td>
+<td>‘show his form’ (said of the Dragon).</td>
+</tr>
+<tr>
+<td class = "number">„ &nbsp; 2885,</td>
+<td>‘hopelessly escheated from your breed.’</td>
+</tr>
+</table>
+
+<p>It is also rather surprising to learn from Dr. Hall that Beowulf was
+one of those that ‘advanced home government’ (l.&nbsp;3005).</p>
+
+<p>It should be added that the explanatory comment which constantly
+interrupts the translation, often six or eight times in a section, is
+annoying, both because it distracts the attention and because it is
+often presented in a style wholly inappropriate to the context.</p>
+
+<p>But this absence of ease and dignity does not hinder Dr. Hall’s
+translation from being an excellent rendering of the matter of the poem,
+at once less fanciful than Earle’s<a class = "tag" name =
+"tag_jrc_hall5" id = "tag_jrc_hall5" href = "#note_jrc_hall5">5</a> and
+more modern than Garnett’s<a class = "tag" name = "tag_jrc_hall6" id =
+"tag_jrc_hall6" href = "#note_jrc_hall6">6</a>, its only rivals as a
+literal translation. That it conveys an adequate notion of the style of
+<i>Beowulf</i>, however, it is impossible to affirm.</p>
+
+<div class = "footnote">
+<p>
+<a name = "note_jrc_hall1" id = "note_jrc_hall1" href =
+"#tag_jrc_hall1">1.</a>
+Chiefly of Anglo-Saxon antiquities.</p>
+
+<p>
+<a name = "note_jrc_hall2" id = "note_jrc_hall2" href =
+"#tag_jrc_hall2">2.</a>
+See supra, <a href = "#trans_earle">p. 91</a>.</p>
+
+<p>
+<a name = "note_jrc_hall3" id = "note_jrc_hall3" href =
+"#tag_jrc_hall3">3.</a>
+See my forthcoming review of the book in the <i>Journal of Germanic
+Philology</i>.</p>
+
+<p>
+<a name = "note_jrc_hall4" id = "note_jrc_hall4" href =
+"#tag_jrc_hall4">4.</a>
+See supra, <a href = "#trans_earle">p. 91</a>.</p>
+
+<p>
+<a name = "note_jrc_hall5" id = "note_jrc_hall5" href =
+"#tag_jrc_hall5">5.</a>
+See supra, <a href = "#trans_earle">p. 91</a>.</p>
+
+<p>
+<a name = "note_jrc_hall6" id = "note_jrc_hall6" href =
+"#tag_jrc_hall6">6.</a>
+See supra, <a href = "#trans_garnett">p. 83</a>.</p>
+</div>
+
+
+<hr class = "mid">
+
+<h3><a name = "trans_tinker" id = "trans_tinker">
+TINKER’S TRANSLATION</a></h3>
+
+<p>Beowulf, translated out of the Old English by Chauncey Brewster
+Tinker, M.A. New York: Newson and Co., 1902. 12<sup>o</sup>, pp.
+158.</p>
+
+<p class = "space">
+Eleventh English Translation. Prose.</p>
+
+<p class = "mynote">
+This is the author’s own translation.</p>
+
+<span class = "pagenum">119</span>
+<h5>Aim of the Volume and Nature of the Translation.</h5>
+
+<blockquote>
+‘The present translation of <i>Beowulf</i> is an attempt to make as
+simple and readable a version of the poem as is consistent with the
+character of the original. Archaic forms, which have been much in favor
+with translators of Old English, have been excluded, because it has been
+thought that vigor and variety are not incompatible with simple,
+idiomatic English.&nbsp;.&nbsp;.&nbsp;.
+</blockquote>
+
+<blockquote>
+The principal ways in which the present version differs from a merely
+literal translation are the following: (1)&nbsp;in a rather broad
+interpretation of pregnant words and phrases; (2)&nbsp;in a conception
+of some of the Old English compounds as conventional phrases in which
+the original metaphorical sense is dead; (3)&nbsp;in a free treatment of
+connecting words; (4)&nbsp;in frequent substitution of a proper name for
+an ambiguous pronoun.
+</blockquote>
+
+<blockquote>
+The translation is based on the text of A.&nbsp;J. Wyatt (Cambridge,
+1898); a&nbsp;few departures from his readings are enumerated in the
+Notes.’ &mdash;Preface, pp. 5,&nbsp;6.
+</blockquote>
+
+
+<h4>Extract.</h4>
+
+<h5 class = "smallcaps">VIII and IX.</h5>
+
+<blockquote class = "hanging">
+<i>Unferth, a thane of Hrothgar, grows jealous of Beowulf and taunts
+him, raking up old tales of a swimming-match with Breca. Beowulf is
+angered and boastfully tells the truth touching that adventure, and puts
+Unferth to silence. Queen Wealhtheow passes the cup. Hrothgar commends
+Heorot to the care of Beowulf.</i>
+</blockquote>
+
+<blockquote>
+<span class = "smallcaps">Unferth</span>, the son of Ecglaf, who sat at
+the feet of the lord of the Scyldings, spoke, and stirred up a quarrel;
+the coming of Beowulf, the brave seafarer, vexed him sore, for he would
+not that any other man under heaven should ever win more glories in this
+world than he himself. ‘Art thou that Beowulf who didst strive with
+Breca on the broad sea and didst contend with him in swimming, when ye
+two, foolhardy, made trial of the waves and for a mad boast risked your
+lives in the deep water? None, friend or foe, could turn you from the
+sorry venture when ye two swam out upon the sea. But ye enfolded the
+ocean-streams with your arms, measured the sea-streets, buffeted the
+water with your hands, gliding over the deep. The ocean was tossing with
+waves, a&nbsp;winter’s sea. Seven nights ye toiled in the power of the
+waters; and he overcame thee in the match, for he had the greater
+strength. Then at morning-tide the sea cast him up on
+<span class = "pagenum">120</span>
+the coast of the Heathoræmas, whence he, beloved of his people, went to
+his dear fatherland, the country of the Brondings, and his own fair city
+where he was lord of a stronghold, and of subjects and treasure. Verily,
+the son of Beanstan made good all his boast against thee. Wherefore,
+though thou hast ever been valiant in the rush of battle, I&nbsp;look to
+a grim fight, yea, and a worse issue, for thee, if thou darest for the
+space of one night abide near Grendel.’
+</blockquote>
+
+
+<hr class = "mid">
+
+<span class = "pagenum">121</span>
+
+<h3><a name = "appI" id = "appI">
+APPENDIX I</a></h3>
+
+<h4>INCOMPLETE TRANSLATIONS, AND PARAPHRASES</h4>
+
+
+<h3><a name = "para_leo" id = "para_leo">
+LEO’S DIGEST</a></h3>
+
+<p>Bëówulf, dasz<a class = "tag" name = "tag_leo1" id = "tag_leo1" href
+= "#note_leo1">1</a> älteste deutsche in angelsächsischer mundart
+erhaltene heldengedicht nach seinem inhalte, und nach seinen
+historischen und mythologischen beziehungen betrachtet. Ein beitrag zur
+geschichte alter deutscher geisteszustände. Von H. Leo. Halle, bei
+Eduard Anton, 1839. 8<sup>o</sup>, pp. xx, 120.</p>
+
+<p class = "space">
+Selections Translated into German Prose.</p>
+
+
+<h5>Contents of the Volume, and Nature of the Translation.</h5>
+
+<p>This was the first German book to give any extended account of the
+poem.</p>
+
+<p>The titles of the chapters are: I. Historische Anlehnung; II.
+Mythischer Inhalt; III. Die geographischen Angaben; IV. Genealogische
+Verhältnisse der in dem Liede vorkommenden Helden; V. Uebersicht des
+Inhalts des Gedichtes von Bëówulf. In this fifth chapter are found the
+extracts from <i>Beowulf</i>. It will be seen that the chapter is
+somewhat subordinate to the others, its chief purpose being to furnish a
+kind of digest of the poem, to be used principally as a work of
+reference. A&nbsp;desire to condense leads the translator to omit lines
+that he does not deem essential to
+<span class = "pagenum">122</span>
+an understanding of the events and characters of the poem. Unfortunately
+his omissions are often the most poetical lines of the <i>Beowulf</i>.
+For example, he omits the description of Beowulf’s sea-voyage;
+Hrothgar’s account of the haunt of Grendel and his dam is curtailed; the
+dying words of Beowulf, perhaps the most beautiful lines in the poem,
+are clipped. Further examples may be found in the extract given below.
+This insufficiency is excused by the fact that Leo’s main object in
+preparing the book was to prove certain theories that he held respecting
+the origin and date of the poem.</p>
+
+<p>The text from which he translates is Kemble’s<a class = "tag" name =
+"tag_leo2" id = "tag_leo2" href = "#note_leo2">2</a>.</p>
+
+
+<h4>Extract.</h4>
+
+<h5 class = "smallcaps">Achter Gesang.</h5>
+
+<blockquote>
+Hûnferð Ecglâfs sohn, der zu des scildingenfürsten füssen sasz, began da
+ein streiterregendesz gespräch; denn er wird eifersüchtig auf den rum,
+den Bëówulf sich zu erwerben geht. Er selbst wil der berümteste sein
+unter den wolken. Er sagte: ‘Bistu der Bëówulf, der mit Brëcca ein
+wetschwimmen hielt sieben tage und nächte lang, bis er dich in schwimmen
+besigte, der kräftigere man; dann am achten morgen stig er auf
+Heáðorämes ansz land und gieng heim zu den Brondingen, wo er eine burg
+und edlesz gefolge und reichtum hatte? Bëánstânes sohn hat dir allesz
+geleistet, wasz er gewettet hatte.’
+</blockquote>
+
+<p><i>Omissions</i>:&mdash;</p>
+
+<p>Line 502, mōdges mere-faran.</p>
+
+<p>&nbsp; &nbsp;„ &nbsp; 507&ndash;517 <i>entire</i>.</p>
+
+<p>&nbsp; &nbsp;„ &nbsp; 520, swǣsne ēðel, lēof his lēodum.</p>
+
+
+<h5>Criticism of the Extract.</h5>
+
+<p>As an analysis this is good enough; as a translation of the passage
+it is of course utterly inadequate&mdash;it omits the very best lines in
+the original. The book served, however, as a running digest of the
+story, and as such gave an
+<span class = "pagenum">123</span>
+excellent idea of the contents of the poem. But Ettmüller was justified
+in calling the translation which he published the next year, ‘the first
+German translation<a class = "tag" name = "tag_leo3" id = "tag_leo3"
+href = "#note_leo3">3</a>.’</p>
+
+<div class = "footnote">
+<p>
+<a name = "note_leo1" id = "note_leo1" href = "#tag_leo1">1.</a>
+Leo was a spelling reformer.</p>
+
+<p>
+<a name = "note_leo2" id = "note_leo2" href = "#tag_leo2">2.</a>
+See supra, <a href = "#trans_kemble">p. 33</a>.</p>
+
+<p>
+<a name = "note_leo3" id = "note_leo3" href = "#tag_leo3">3.</a>
+See supra, <a href = "#trans_ettmuller">p. 37</a>.</p>
+</div>
+
+
+<hr class = "mid">
+
+<h3><a name = "para_sandras" id = "para_sandras">
+SANDRAS’S ACCOUNT</a></h3>
+
+<p><span class = "firstword">De</span> carminibus anglo-saxonicis
+Cædmoni adjudicatis Disquisitio. Has theses Parisiensi Litterarum
+Facultati proponebat S. G. Sandras in Lycaeo Claromontensi Professor.
+Parisiis, Apud A. Durand, Bibliopolam, 1859. 8<sup>o</sup>, pp. 87.
+Beowulf described <i>Cap. Primum</i>, §&nbsp;2, De Profana Poesi, pp.
+10&ndash;19.</p>
+
+<p class = "space">
+Extracts Translated into Latin Prose.</p>
+
+
+<p class = "space">
+The only significance of this book is that it contained the first
+information about <i>Beowulf</i> given to the French public. About ten
+lines are literally translated in Cap. I, §&nbsp;1, all under the
+general title, De Poesi Saxonica. In §&nbsp;2 the poem is rather
+carefully sketched, much after the manner of Leo<a class = "tag" name =
+"tag_sandras1" id = "tag_sandras1" href = "#note_sandras1">1</a>, from
+Beowulf’s arrival in the Danish land to the fight with Grendel.</p>
+
+
+<p class = "footnote">
+<a name = "note_sandras1" id = "note_sandras1" href =
+"#tag_sandras1">1.</a>
+See supra, <a href = "#para_leo">p. 122</a>.</p>
+
+
+<hr class = "mid">
+
+<h3><a name = "para_jones" id = "para_jones">
+E. H. JONES’S PARAPHRASE</a></h3>
+
+
+<p>Popular Romances of the Middle Ages. By George W. Cox, M.A., and
+Eustace Hinton Jones. London: Longmans, Green, &amp; Co., 1871.
+8<sup>o</sup>, <i>Beowulf</i> (by E. H. Jones), pp. 382&ndash;398.</p>
+
+<p>*Second edition, in one volume (containing, in addition to the
+romances in the first edition, those formerly published
+<span class = "pagenum">124</span>
+under the title ‘Tales of the Teutonic Lands’). C. Kegan Paul &amp;
+Company: London, 1880 (1879).</p>
+
+<p class = "space">
+A Paraphrase for General Readers.</p>
+
+
+<h5>Aim of the Volume.</h5>
+
+<blockquote>
+‘The thought that these old romances may be presented to Englishmen of
+the present day in a form which shall retain their real vigour without
+the repulsive characteristics impressed on them by a comparatively rude
+and ignorant age may not, perhaps, be regarded as inexcusably
+presumptuous. With greater confidence it may be affirmed that, if we
+turn to these old legends or romances at all, it should be for the
+purpose of learning what they really were, and not with any wish of
+seeing them through a glass which shall reflect chiefly our own thoughts
+about them and throw over them a colouring borrowed from the sentiment
+of the nineteenth century.
+</blockquote>
+
+<blockquote>
+‘These two conditions have, it is hoped, been strictly observed in the
+versions here given of some of the great romances of mediæval Europe.
+While special care has been taken to guard against the introduction even
+of phrases not in harmony with the original narratives, not less pains
+have been bestowed on the task of preserving all that is essential in
+the narrative; and thus it may perhaps be safely said that the readers
+of this volume will obtain from it an adequate knowledge of these
+time-honoured stories, without having their attention and their patience
+overtaxed by a multiplicity of superfluous and therefore utterly irksome
+details.’ &mdash;Preface, pp. vi, vii.
+</blockquote>
+
+
+<h5>Nature of the Paraphrase.</h5>
+
+<p>The poem is relieved of all the episodes except the prolog and King
+Hrothgar’s discourse. Sometimes these omissions seem unnecessary. It is
+certainly a mistake to sacrifice the swimming-match, lively in its
+narrative, dramatic in setting.</p>
+
+<p>On the other hand, the author makes an attempt to preserve as much as
+possible of the original style. So anxious is he to save every
+picturesque word of the original, that he sometimes transfers
+expressions from the passages which he is obliged to drop and inserts
+them in other parts of the story.</p>
+
+
+<span class = "pagenum">125</span>
+<h4>Extract<a class = "tag" name = "tag_jones1" id = "tag_jones1" href =
+"#note_jones1">1</a>.</h4>
+
+<blockquote>
+‘Away to the westward among the people of the Geáts lived a man,
+strongest of his race, tall, mighty-handed, and clean made. He was a
+thane, kinsman to Hygelác the Geátish chief, and nobly born, being son
+of Ecgtheow the Wægmunding, a&nbsp;war-prince who wedded with the
+daughter of Hrethel the Geát. This man heard of Grendel’s deeds, of
+Hrothgár’s sorrow, and the sore distress of the Danes, and having sought
+out fifteen warriors, he entered into a new-pitched ship to seek the
+war-king across the sea. Bird-like the vessel’s swan-necked prow
+breasted the white sea-foam till the warriors reached the windy walls of
+cliff and the steep mountains of the Danish shores. They thanked God
+because the wave-ways had been easy to them; then, sea-wearied, lashed
+their wide-bosomed ship to an anchorage, donned their war-weeds, and
+came to Heorot, the gold and jewelled house. Brightly gleamed their
+armour and merrily sang the ring-iron of their trappings as they marched
+into the palace.’ &mdash;Pages 384&ndash;5.
+</blockquote>
+
+
+<h5>Criticism of the Paraphrase.</h5>
+
+<p>The object of a paraphrase is to present all the essential matter of
+the original, in a style materially simpler than, though not unrelated
+to, the original.</p>
+
+<p>The matter of Mr. Jones’s paraphrase is not above criticism. It is
+full of minor errors. In the extract, for example, the original does not
+say that the heroes ‘donned their war-weeds,’ nor that there were
+mountains on the shores of Denmark.</p>
+
+<p>The style of the work is much better. It is throughout strong and
+clear, not over-sentimental. It is, perhaps, too intimate; it savors
+slightly of the <i>Märchen</i>. This absence of vigor and remoteness may
+be due to the nature of the volume of which this paraphrase is only a
+part.</p>
+
+
+<p class = "footnote">
+<a name = "note_jones1" id = "note_jones1" href = "#tag_jones1">1.</a>
+Swimming-match omitted.</p>
+
+
+<hr class = "mid">
+
+<span class = "pagenum">126</span>
+
+<h3><a name = "para_zinsser" id = "para_zinsser">
+ZINSSER’S SELECTION</a></h3>
+
+<p><span class = "firstword">Jahresbericht</span> über die Realschule zu
+Forbach (Lothringen) für das Schuljahr 1880 bis 1881, mit welchem zu der
+öffentlichen Prüfung am Freitag den 12. August 1881 ergebenst einladet
+der Director A. Knitterscheid.</p>
+
+<p>Voran geht eine Abhandlung des ordentlichen Lehrers G. Zinsser: Der
+‘Kampf Beowulfs mit Grendel,’ als Probe einer metrischen Uebersetzung
+des angelsächsischen Epos ‘Beóvulf.’ Saarbrücken. Druck von Gebrüder
+Hofer. 1881. 4<sup>o</sup>, pp. 18, double columns,
+Schulnachrichten&nbsp;6.</p>
+
+<p class = "space">
+The First 836 Lines translated in Iambic Pentameter.</p>
+
+
+<h5>Aim, Contents, and Method of Translation.</h5>
+
+<blockquote>
+‘Gleichwol wird das Gedicht in deutscher Sprache noch wenig gelesen; und
+es mag darum gerechtfertigt sein, wenn auch ein weniger Berufener ein
+Schärflein zum weiteren Bekanntwerden dieses altehrwürdigen Erzeugnisses
+germanischen Geistes beitragen will. Derselbe hat in seiner
+Uebersetzung, von welcher im Folgenden von 3184 Versen nur die ersten
+826<a class = "tag" name = "tag_zinsser1" id = "tag_zinsser1" href =
+"#note_zinsser1">1</a>, nämlich der Kampf Beowulfs mit Grendel mit
+vorausgehender Genealogie der dänischen Könige, vorgeführt werden, alles
+vermieden, was dem Laien das Verständnis erschweren könnte. Die am
+Schluss beigefügten mythologischen, historischen und geographischen
+Erläuterungen können auch denen willkommen sein, welche sich eingehender
+mit dem Gedicht beschäftigen wollen.’ &mdash;Einleitung,&nbsp;4.
+</blockquote>
+
+
+<h5>Text Used.</h5>
+
+<p>The text used is Heyne’s edition of 1873 (see
+Einleitung,&nbsp;4).</p>
+
+
+<h4>Extract.</h4>
+
+<h5 class = "smallcaps">9.</h5>
+
+<div class = "verse">
+<p>Doch Hunferd, Ecglafs Sohn, der beim Gelage</p>
+<p>Zu Füssen Hrodgars, seines Herren, sass,</p>
+<p>War voll Verdruss, der Ruhm des Beowulf</p>
+<p>Erregte bittren Neid im Busen ihm.</p>
+<span class = "pagenum">127</span>
+<p>Er konnte nicht ertragen, wenn beim Volke</p>
+<p>Ein andrer mehr gepriesen ward, als er.</p>
+<p>Voll Aerger sucht’ er Händel, also sprechend:</p>
+<p>‘Du bist gewiss der Beowulf, der einst</p>
+<p>Im Meer mit Breca um die Wette schwamm?</p>
+<p>Ihr masset damals euch in kühnem Wagen!</p>
+<p>Das mühevolle Werk euch auszureden</p>
+<p>Vermochte niemand, tollkühn setztet ihr</p>
+<p>Das Leben ein und schwammt ins Meer hinaus.</p>
+<p>Zerteiltet mit den Armen kraftgemut</p>
+<p>Des Meeres Wogen, glittet rasch dahin</p>
+<p>In kalter Flut. Ihr mühtet sieben Nächte</p>
+<p>Euch ab, und endlich siegte Brecas Stärke,</p>
+<p>Er war dir doch voran an Heldenkraft.</p>
+<p>Ihn trug die Flut zur Morgenzeit hinauf</p>
+<p>Zum Hadorämenstrand. Von dort gelangt’</p>
+<p>Er dann zu seiner Burg in Brondingland,</p>
+<p>Die, starkbefestigt, funkelndes Geschmied,</p>
+<p>Der Spangen und Juwelen viele birgt.</p>
+<p>Es jubelte sein Volk dem Herren zu,</p>
+<p>Der kühn sein Wort gelöst, nachdem er so</p>
+<p>Im Wettkampf glänzend hatte obgesiegt!’</p>
+</div>
+
+
+<h5>Criticism of the Extract.</h5>
+
+<p>The translation is very free. Lines that are obscure in the original
+are not allowed to be obscure in the translation, even if they have to
+have a meaning read into them. For example, in the extract quoted above,
+<i>beadu-runen onband</i> of the original is rendered ‘sucht’ er
+Händel,’ thoroughly intelligible, but not accurate. There is at times a
+tendency to paraphrase, or even to introduce an original sentence into
+the poem. An example of this may be seen at the close of the first
+canto:&mdash;</p>
+
+<div class = "verse">
+<p class = "halfline">
+‘unerforschlich sind</p>
+<p>Und dunkel oft die Wege des Geschickes<a class = "tag" name =
+"tag_zinsser2" id = "tag_zinsser2" href = "#note_zinsser2">2</a>.’
+&mdash;Page 5, l.&nbsp;54.</p>
+</div>
+
+<span class = "pagenum">128</span>
+<p>Words are occasionally omitted. In the extract above <i>ne lēof nē
+lāð</i> (l.&nbsp;511) and <i>sunu Bēanstānes</i> (l.&nbsp;524) are
+omitted in translation. There are no lines in the original which
+correspond to the last line and a half of the extract.</p>
+
+<p>Of course by adopting this method of translation the writer attains
+his purpose. His poem is readable, but readable at the expense of
+accuracy. As a paraphrase, the version is commendable; but it is hardly
+of importance in any other way.</p>
+
+<div class = "footnote">
+<p>
+<a name = "note_zinsser1" id = "note_zinsser1" href =
+"#tag_zinsser1">1.</a>
+According to the Old English text, 836.</p>
+
+<p>
+<a name = "note_zinsser2" id = "note_zinsser2" href =
+"#tag_zinsser2">2.</a>
+The Old English reads:&mdash;</p>
+
+<div class = "verse">
+<p class = "halfline">
+Men ne cunnon</p>
+<p>secgan tō sōðe, sele-rǣdende</p>
+<p>hæleð under heofenum, hwā þǣm hlæste onfēng. &mdash;Lines
+50&ndash;52. </p>
+</div>
+
+</div>
+
+
+<hr class = "mid">
+
+<h3><a name = "para_gibb" id = "para_gibb">
+GIBB’S PARAPHRASE</a></h3>
+
+<p>*Gudrun and other Stories, from the Epics of the Middle Ages, by John
+Gibb. M. Japp &amp; Company: London: Edinburgh (printed), 1881.</p>
+
+<p>Gudrun, Beowulf, and Roland, with other mediaeval tales by John Gibb,
+with twenty illustrations. Second edition. London: T. Fisher Unwin, 1884
+(1883).</p>
+
+<p>8<sup>o</sup>, <i>Beowulf</i>, pp. 135&ndash;168, with three
+illustrations<a class = "tag" name = "tag_gibb1" id = "tag_gibb1" href =
+"#note_gibb1">1</a>.</p>
+
+<p class = "space">
+A Paraphrase in English Prose.</p>
+
+
+<h5>Aim of the Volume.</h5>
+
+<blockquote>
+‘I have not translated them (the poems) literally, but have told their
+stories faithfully in simple language, with the special design of
+interesting young people, although I am not without hope that they will
+be read by some who can no longer be called young.’ &mdash;Prefatory
+Note.
+</blockquote>
+
+
+<h5>Nature of the Paraphrase.</h5>
+
+<p>The following parts are omitted: (1) All episodes except the Prolog;
+(2)&nbsp;All lines that do not have to do directly
+<span class = "pagenum">129</span>
+with the story; (3)&nbsp;All the descriptive adjectives and kennings of
+the poem.</p>
+
+<p>Gibb seems to care nothing for the beauties of the style. How much he
+has sacrificed may be seen by noting his rendering of the celebrated
+description of Grendel’s haunt:&mdash;</p>
+
+<blockquote>
+‘I know not their home. It is in a dark lake overshadowed by trees. Into
+that lake the stag will not plunge, even although the hounds are close
+upon it, so fearful and unholy is the place.’
+</blockquote>
+
+<p>An illustration of the same thing may be seen by noting the omission
+of phrases from the swimming-match.</p>
+
+
+<h4>Extract.</h4>
+
+<blockquote>
+But Hunferth, the son of Ecglaf, who sat at the feet of King Hrothgar,
+was displeased. He was grieved that any hero should come to the land
+boasting that he could do what no one among the Danes could do. He said
+scornfully to Beowulf&mdash;
+</blockquote>
+
+<blockquote>
+‘Tell me, art thou the Beowulf whom Breca overcame in a swimming match?
+I&nbsp;heard the tale. You both ventured out like foolish men among the
+waves in the days of winter. For seven nights you swam together, but
+Breca was the stronger. Thou wilt have a worse defeat shouldst thou
+venture to meet Grendel in the darkness of the night.’ &mdash;Page 144.
+</blockquote>
+
+
+<h5>Criticism of the Paraphrase.</h5>
+
+<p>In comparison with the work of Mr. Jones<a class = "tag" name =
+"tag_gibb2" id = "tag_gibb2" href = "#note_gibb2">2</a>, it may be said
+that Mr. Gibb’s paraphrase is fuller, reproduces more events, and
+follows more faithfully the original order. He supplies fewer
+explanatory words and sentences. But, on the other hand, Mr. Gibb’s
+work, unlike Mr. Jones’s, has no merits of style&mdash;it is all on a
+dead level of prose. Thus it sins against one of the laws of paraphrase:
+that the writer, in relieving himself of the exacting duties of
+translator, must present the story in a more literary and more truly
+adequate medium. Mr. Gibb’s is one of the poorer paraphrases.</p>
+
+
+<span class = "pagenum">130</span>
+<h5>Indebtedness to Arnold.</h5>
+
+<p>At page 280 of the concluding chapter, the author speaks of the
+history and character of the poem. It will be found on reference to this
+section that the author is a follower of the views set forth in the
+edition of Mr. Thomas Arnold<a class = "tag" name = "tag_gibb3" id =
+"tag_gibb3" href = "#note_gibb3">3</a>. It is probable that Mr. Gibb was
+indebted to this book for much of his paraphrase, but the free character
+of the version prevents any decision on this point.</p>
+
+<div class = "footnote">
+<p>
+<a name = "note_gibb1" id = "note_gibb1" href = "#tag_gibb1">1.</a>
+Woodcuts; two of them are identical with the ones given in the
+Wägner-MacDowall paraphrase: see infra, <a href =
+"#para_wagner_macdowall">p.&nbsp;130</a>.</p>
+
+<p>
+<a name = "note_gibb2" id = "note_gibb2" href = "#tag_gibb2">2.</a>
+See supra, <a href = "#para_jones">p. 123</a>.</p>
+
+<p>
+<a name = "note_gibb3" id = "note_gibb3" href = "#tag_gibb3">3.</a>
+See supra, <a href = "#trans_arnold">p. 71</a>.</p>
+
+</div>
+
+
+<hr class = "mid">
+
+<h3><a name = "para_wagner_macdowall" id = "para_wagner_macdowall">
+THE WÄGNER-MACDOWALL PARAPHRASE</a></h3>
+
+
+<p>Epics and Romances of the Middle Ages. Adapted from the Work of Dr.
+W. Wägner by <ins class = "correction" title = "text reads ‘W. M.’">M.&nbsp;W.</ins>
+MacDowall, and edited by W.&nbsp;S.&nbsp;W. Anson. Philadelphia:
+J.&nbsp;B. Lippincott &amp; Co., London: W.&nbsp;Swan Sonnenschein &amp;
+Co., 1883. 8<sup>o</sup>, <i>Beowulf</i>, pp. 347&ndash;364, with two
+illustrations<a class = "tag" name = "tag_wagner_macdowall1" id =
+"tag_wagner_macdowall1" href = "#note_wagner_macdowall1">1</a>.</p>
+
+<p>Second Edition, Oct. 1883.</p>
+
+<p>Sixth Edition, 1890.</p>
+
+<p>Eighth Edition, 1896.</p>
+
+<p class = "space">
+<i>Beowulf</i> Retold, with Changes and Additions.</p>
+
+<p class = "space">
+The paraphrase is adapted from <i>Deutsche Heldensagen für Schule und
+Haus</i>, by Dr. W. Wägner (Leipzig, 1881).</p>
+
+
+<h5>Aim of the Book.</h5>
+
+<p>From the nature of the changes made in the story, it is evident that
+an appeal is made to younger readers. This is borne out by the statement
+on p.&nbsp;9 of the Introduction.</p>
+
+
+<span class = "pagenum">131</span>
+<h5>Changes in the Story.</h5>
+
+<p>The story does not pretend to do more than follow the most general
+outlines of the original. The most important changes are in the first
+division of the poem, where it would seem that no changes whatever were
+needed. The principal additions are the following:&mdash;</p>
+
+<p>(1) A minstrel flees from plague-stricken Heorot, sails to the
+Geatish land, and sings the terror wrought by Grendel, urging Beowulf to
+come and save the people.</p>
+
+<p>(2) The swimming-match is introduced into the action of the story,
+with the <i>motif</i> radically altered. Breca is represented as winning
+the match.</p>
+
+<p>(3) The incident of Beowulf’s refusal of the crown is amplified and
+introduced into the story at the opening of the third part.</p>
+
+<p>(4) The story differs from the original in a number of minor
+details.</p>
+
+
+<h4>Extract.</h4>
+
+<blockquote>
+The minstrel tuned his harp and sang of Beowulf’s heroic deeds, and
+prophesied that he would conquer and slay the monster of the morass.
+This praise made Hunford, one of the courtiers, angry and jealous. He
+said it was Breka, not Beowulf, that had won the golden chain<a class =
+"tag" name = "tag_wagner_macdowall2" id = "tag_wagner_macdowall2" href =
+"#note_wagner_macdowall2">2</a>; that the Gothic hero was undertaking an
+enterprise that would very likely lead him to his death; and he advised
+him to think twice before attacking Grendel. Upon this, Beowulf
+exclaimed indignantly that he had won a good sword instead of the golden
+chain, and that it was sharp enough both to pierce the hide of the
+monster and to cut out a slanderous tongue.
+</blockquote>
+
+
+<h5>Criticism of the Paraphrase.</h5>
+
+<p>The extract gives a good idea of the author’s sins of omission and
+commission. It will be seen, for example, that the tone of the entire
+passage is altered. The bit of repartee in the last sentence is wholly
+foreign to the Beowulf manner, which is outright and downright&mdash;the
+<span class = "pagenum">132</span>
+very opposite of subtilty. The false manner is evident at once when we
+compare the reply of the hero in the original, ‘Thou art the murderer of
+thine own brethren, and thou shalt be damned in Hell. Wait till
+to-night, and thou shalt see which of us is the stronger.’</p>
+
+<p>The story is, if possible, more garbled than the style. The mission
+of the minstrel and the mangled account of the swimming-match have no
+essential or artistic relation to the context. They are merely inserted
+to add to the action of the piece.</p>
+
+<p>The popularity of the book is attested by the number of editions
+through which it has passed. The volume contains also paraphrases of the
+legends about Arthur, Charlemagne, and Tannhäuser, as well as the story
+of the Nibelungs. These must account for its enduring success; but it is
+unfortunate that this, the poorest of the Beowulf paraphrases, should
+thus have found an audience which it did not deserve and could never
+have commanded for itself.</p>
+
+<div class = "footnote">
+<p>
+<a name = "note_wagner_macdowall1" id = "note_wagner_macdowall1" href =
+"#tag_wagner_macdowall1">1.</a>
+Woodcuts; inaccurate.</p>
+
+<p>
+<a name = "note_wagner_macdowall2" id = "note_wagner_macdowall2" href =
+"#tag_wagner_macdowall2">2.</a>
+A prize offered by King Hygelak for the victor in the match.</p>
+
+</div>
+
+
+<hr class = "mid">
+
+<h3><a name = "para_dahn" id = "para_dahn">
+THERESE DAHN’S PARAPHRASE</a></h3>
+
+<p>Walhall. Germanische Götter- und Heldensagen. Für Alt und Jung am
+deutschen Herd erzählt von Felix Dahn und Therese Dahn, geb. Freiin von
+Droste-Hülshoff. Mit neunundfünfzig Bildertafeln, Textbildern,
+Kopfleisten und Schlussstücken nach Federzeichnungen von Johannes
+Gehrts. Kreuznach, Verlag von R. Voigtländer, 1883.</p>
+
+<p>Seventh Edition, 1885.</p>
+
+<p>Eleventh Edition, 1891.</p>
+
+<p>Twelfth Edition (Leipzig), 1898.</p>
+
+<p>8<sup>o</sup>, <i>Beowulf</i> (by Therese Dahn<a class = "tag" name =
+"tag_dahn1" id = "tag_dahn1" href = "#note_dahn1">1</a>), pp.
+361&ndash;405, with two illustrations.</p>
+
+<p class = "space">
+A Paraphrase in German Prose for General Readers.</p>
+
+
+<span class = "pagenum">133</span>
+<h5>Therese Dahn.</h5>
+
+<p>Therese Dahn, born Freiin von Droste-Hülshoff, was born in 1845, and
+married Felix Dahn in 1873. With him she published in 1873 at Leipzig a
+volume of poems (<i>Gedichte</i>). For certain of her verses in this
+volume she received high praise. She has since continued creative work.
+She resides at Breslau, where Felix Dahn is professor in the University.
+Of the stories in the present volume she wrote, beside <i>Beowulf</i>,
+<i>Die Wölsungen</i>, <i>Kudrun</i>, the story of König Wilkinus,
+&amp;c., <i>Wieland der Schmied</i>, <i>Walther und Hildgund</i>, and
+the stories from the <i>Dietrich</i> saga and the <i>Nibelungen</i>
+saga.</p>
+
+
+<h5>Nature of the Paraphrase.</h5>
+
+<p>The following parts of the story are omitted entirely: the account of
+the first King Beowulf in the Prolog; the Sigemund episode, Hrothgar’s
+Discourse; the Thrytho episode; the Freawaru episode; Beowulf’s account
+of his Fight with Grendel as told to King Hygelac; the Battle of
+Ravenswood.</p>
+
+<p>Other changes in the story are as follows: the sorrows of the Danes
+as told in the Prolog are attributed to the reign of King Heremod; in a
+separate Kapitel (III) are gathered the Sorrows of King Hrethel, the
+account of Ongentheow, the Fall of Hygelac, and the Death of Heardred.
+The Fight at Finnsburg is added and an original beginning provided
+for&nbsp;it.</p>
+
+<p>Obscure words, phrases, and lines are omitted; and explanatory words
+are inserted from time to time.</p>
+
+
+<h5>Indebtedness to Simrock.</h5>
+
+<p>The translation was evidently made with Simrock’s translation<a class
+= "tag" name = "tag_dahn2" id = "tag_dahn2" href = "#note_dahn2">2</a>
+in hand; possibly it may have been made directly
+<span class = "pagenum">134</span>
+from that version. Evidence of the dependence upon Simrock may be found
+at every step. The forms of the proper names invented by Simrock are
+repeated here (e.g., Aeskhere, Hädkynn, Ochthere). His renderings of the
+unique words in the poem (sometimes in a slightly simplified form) are
+used in the paraphrase. Often the original word used by Simrock is added
+in parentheses (cf., e.g., Simrock, p.&nbsp;72.6 with Dahn, p.&nbsp;382,
+and p.&nbsp;73.44 with Dahn, p.&nbsp;383). Further evidence may be found
+by comparing the extracts given in this work.</p>
+
+
+<h4>Extract.</h4>
+
+<blockquote>
+<i>Hunferd</i>, des Königs erster Sänger, hub da ein Streitlied an; ihm
+war Beowulfs Ankunft leid: denn er liebte es nicht, dass ein ihn anderer
+an Ruhm übertreffe.
+</blockquote>
+
+<blockquote>
+‘Bist du der Beowulf, der einst im Wettkampf mit <i>Breka</i> durch die
+See schwamm? Wo ihr tollkühn in vermessenem Mut euer Leben in den tiefen
+Wassern wagtet? Weder Freund noch Feind konnten euch abhalten. Da
+rudertet ihr in den Sund, masset die Meeresstrassen, schlugt die Wasser
+mit den Händen, über die Tiefen gleitend. Die winterkalte See stürmte
+und brauste: sieben Nächte schwammt ihr im Wasser. Breka besiegte dich:
+er hatte mehr Kraft. Die Hochflut warf ihn am nächsten Morgen ans Land,
+von we er in seine Heimat eilte, in das Land der <i>Brondinge</i>, wo er
+über Burg und Volk gebietet.’ &mdash;Page 370.
+</blockquote>
+
+
+<h5>Criticism of the Paraphrase.</h5>
+
+<p>In many places the work is practically a translation, so closely has
+the original been followed. The style is agreeable and simple; but most
+of what is beautiful in the diction belongs to Simrock rather than to
+Frau Dahn.</p>
+
+<p>The omissions are the most sensible that I have found in a
+paraphrase. Nothing of first importance has been lost.</p>
+
+<div class = "footnote">
+<p>
+<a name = "note_dahn1" id = "note_dahn1" href = "#tag_dahn1">1.</a>
+See p. 662.</p>
+
+<p>
+<a name = "note_dahn2" id = "note_dahn2" href = "#tag_dahn2">2.</a>
+See supra, <a href = "#trans_simrock">p. 59</a>.</p>
+
+</div>
+
+
+<hr class = "mid">
+
+<span class = "pagenum">135</span>
+
+<h3><a name = "para_brooke" id = "para_brooke">
+STOPFORD BROOKE’S SELECTIONS</a></h3>
+
+<p>The History of Early English Literature, being the History of English
+Poetry from its Beginnings to the Accession of King Ælfred. By Stopford
+A. Brooke. New York and London: The Macmillan Co., 1892. 8<sup>o</sup>,
+<i>Beowulf</i>, pp. 12&ndash;92.</p>
+
+<p>English Literature from the Beginning to the Norman Conquest. By
+Stopford A. Brooke. New York and London: The Macmillan Co., 1898.
+8<sup>o</sup>, <i>Beowulf</i>, pp. 58&ndash;83.</p>
+
+<p class = "space">
+Digest, Running Comment, and Translation of Copious Extracts into
+Imitative Measures.</p>
+
+
+<h5>Reasons for including this Book.</h5>
+
+<p>This volume is included here because of the great influence it has
+had in forming popular notions regarding the <i>Beowulf</i>. The
+eminence of Mr. Brooke as a critic and as a poet has given him the
+attention of an audience hardly commanded by any other writer included
+in this paper.</p>
+
+<p>Again, the number of lines actually translated by Mr. Brooke is equal
+to that in many of the volumes described in this section.</p>
+
+
+<h5>Difference between the two Editions.</h5>
+
+<p>The account in the second volume is much shorter than that in the
+first; only twelve pages are given to the story of Beowulf, while the
+first volume gives forty-three. The later book omits all discussion of
+the episodes, and, although parts of the older volume are retained, the
+matter is, in general, re-written.</p>
+
+
+<span class = "pagenum">136</span>
+<h5>Method of Translation.</h5>
+
+<p>Translated extracts accompany the story as told by Mr. Brooke.</p>
+
+<p>In his Preface (p. ix), the author speaks of the futility of prose
+translations of poetry, and of the inadequacy of modern English media
+for translating the spirit of the poetry. Finally he adopts a line which
+he hopes will ‘fulfil the needs and follow closely the peculiarities’ of
+Old English.</p>
+
+<blockquote>
+‘I chose after many experiments, the trochaic movement used in this
+book, each half-line consisting of trochees following one another, with
+a syllable at the end, chiefly a long one, to mark the division of the
+line. I&nbsp;varied the line as much as I could, introducing, often
+rashly, metrical changes; for the fault of this movement is its
+monotony. I&nbsp;have sometimes tried an iambic movement, but rarely;
+for this trochaic line with a beat at the end of each half-verse seemed
+to me to get the nearest to the sound of the Anglo-Saxon line, even
+though it is frequently un-similar to that line itself. I&nbsp;used
+alliteration whenever I could, and stressed as much as possible the
+alliterated words, and I changed the length of the line with the changes
+of the original. But when I could not easily alliterate my line or
+stress the alliterated word, I&nbsp;did not try to do&nbsp;so.’
+</blockquote>
+
+<p>The author adopts an archaic diction. The word-order of the Old
+English is followed whenever possible.</p>
+
+
+<h5>Text Used.</h5>
+
+<p>The text appears to be that of Grein-Wülker (1883).</p>
+
+
+<h4>Extract<a class = "tag" name = "tag_brooke1" id = "tag_brooke1" href
+= "#note_brooke1">1</a>.</h4>
+
+<div class = "verse">
+<p>There at haven stood, &nbsp; &nbsp; hung with rings the ship,</p>
+<p>Ice-bright, for the outpath eager, &nbsp; &nbsp; craft of
+Aethelings.</p>
+<p>So their lord, the well-beloved, &nbsp; &nbsp; all at length they
+laid</p>
+<p>In the bosom of the bark, &nbsp; &nbsp; him the
+bracelet-giver,&mdash;</p>
+<p>By the mast the mighty king. &nbsp; &nbsp; Many gifts were there</p>
+<p>Fretted things of fairness &nbsp; &nbsp; brought from far-off
+ways.&mdash;</p>
+<span class = "pagenum">137</span>
+<p>Never heard I of a keel &nbsp; &nbsp; hung more comelily about</p>
+<p>With the weeds of war, &nbsp; &nbsp; with the weapons of the
+battle,</p>
+<p>With the bills and byrnies. &nbsp; &nbsp; On his breast there lay</p>
+<p>A great heap of gems &nbsp; &nbsp; that should go with him,</p>
+<p>Far to fare away &nbsp; &nbsp; in the Flood’s possession<a class =
+"tag" name = "tag_brooke2" id = "tag_brooke2" href =
+"#note_brooke2">2</a>. &mdash;Page&nbsp;26.</p>
+</div>
+
+
+<h5>Criticism of the Translation.</h5>
+
+<p>While the extracts cannot always be praised for their accuracy, they
+are, perhaps, sufficiently faithful for a popular work. When the author
+undertakes to emend the text for himself, or offers an original
+interpretation, his work is not always trustworthy. Emendations in his
+Beowulf selections, however, are rare.</p>
+
+<p>The style of the extracts seems needlessly obscure. This is due in
+part to following too closely the original word-order (see lines 4 and 5
+of the extract), and in part to the free use of archaic language. Mr.
+Brooke does not hesitate to employ such forms as, ‘house-carles,’
+‘grit-wall,’ ‘ness-slopes,’ ‘host-shafts,’ ‘war-wood,’ ‘gold-flakèd
+shields,’ ‘grinning-masked helms,’ which it would seem must be quite
+unintelligible to the majority of Mr. Brooke’s readers.</p>
+
+<p>The verse, which has been fully discussed above, is, perhaps, the
+most satisfactory feature of Mr. Brooke’s work. Of course it is not
+strictly imitative, as he himself explains, but it gives a fairly good
+impression of the movement of the Old English verse.</p>
+
+<div class = "footnote">
+<p>
+<a name = "note_brooke1" id = "note_brooke1" href =
+"#tag_brooke1">1.</a>
+The swimming-match is not available for illustration here.</p>
+
+<p>
+<a name = "note_brooke2" id = "note_brooke2" href =
+"#tag_brooke2">2.</a>
+In the second edition, the penultimate line reads, ‘Jewels great and
+heaped,’ &amp;c.</p>
+
+</div>
+
+
+<hr class = "mid">
+
+<span class = "pagenum">138</span>
+
+<h3><a name = "para_ragozin" id = "para_ragozin">
+MISS RAGOZIN’S PARAPHRASE</a></h3>
+
+<p>Tales of the Heroic Ages. Siegfried, the Hero of the North, and
+Beowulf, the Hero of the Anglo-Saxons, by Zenaïde A. Ragozin. G. P.
+Putnam’s Sons, New York and London, 1898. 8<sup>o</sup>, <i>Beowulf</i>,
+pp. 211&ndash;323, with Note at p.&nbsp;323, and with four illustrations
+by George T. Tobin.</p>
+
+<p>School Edition, New York, W. B. Harison, 1900.</p>
+
+<p class = "space">
+A Paraphrase in English Prose.</p>
+
+
+<h5>The Author, and the Aim of her Book.</h5>
+
+<p>Miss Zenaïde Alexeievna Ragozin, a Russian by birth, an American by
+adoption, has devoted herself to the popularization of history and
+mythology. In the series <i>Stories of the Nations</i>, she has
+published, <i>The Story of Chaldea</i>, <i>The Story of Assyria</i>,
+<i>The Story of Media, Babylon, and Persia</i>, <i>The Story of Vedic
+India</i><ins class = "correction" title = "text has superfluous close quote">. </ins>Of late she has turned her attention to the mythology of
+the various European nations, and has written of Siegfried, Frithjof,
+and Roland.</p>
+
+<p>The object of her work may be given in her own words:&mdash;</p>
+
+<blockquote>
+‘(The series is) intended as parallel reading to history, and planned to
+illustrate history.&nbsp;.&nbsp;.&nbsp;. Great changes are coming over
+the schools,&nbsp;.&nbsp;.&nbsp;. changes in the right direction, which
+may shortly amount to a revolution, when there will be no reason why
+these <i>Tales of the Heroic Ages</i> should not, although addressed to
+young people at large, find a place, if not in the school curriculum, at
+least in the wide margin of so-called ‘Supplementary Reading.’ May they
+prove acceptable, not alone to the young, to whom they are specially
+addressed, but also, as has been felicitously said, to “the old with
+young tastes.”’ &mdash;Pages xx, xxii.
+</blockquote>
+
+
+<span class = "pagenum">139</span>
+<h5>Method of Paraphrase.</h5>
+
+<blockquote>
+‘(The style) should be simple and epical; faithfully following the main
+lines, bringing out also the characteristic details&mdash;the poetical
+beauties, picturesque traits, and original dialogue, as much as may be
+consistent with necessary condensation and, frequently, elimination. It
+should be a consecutive, lively narrative, with the necessary
+elucidating explanations incorporated in the text and with the fewest
+and briefest possible footnotes, while it should contain no critical or
+mythological digressions.&nbsp;.&nbsp;.&nbsp;. What we want in telling
+it to the young, is to take the epic just as it is, condensing and
+expurgating, but not changing; rendering the characters, scenes and
+situations with the faithfulness and reverence due to the masterpiece of
+a race; using as much as possible, especially in the dialogue, the words
+of the original.&nbsp;.&nbsp;.&nbsp;. (The language) should be simple,
+though not untinged with quaintness, and even in places a certain degree
+of archaism.’ &mdash;Pages xvi, xix, xxi.
+</blockquote>
+
+
+<h5>Indebtedness to Earle.</h5>
+
+<blockquote>
+‘Professor Earle’s<a class = "tag" name = "tag_ragozin1" id =
+"tag_ragozin1" href = "#note_ragozin1">1</a> version has been fully
+utilized in the present volume, even to the extent of frequently making
+use of its wording, where it is not too archaic or literal for ordinary
+purposes.’ &mdash;Page 330, footnote.
+</blockquote>
+
+<p>Some notion of the extent of this borrowing may be had by examining
+the extract printed below and the criticism that follows.</p>
+
+
+<h4>Extract.</h4>
+
+<blockquote>
+Yet there was one eye that gleamed not with merriment and goodwill, one
+head that hatched no friendly thoughts, because the heart swelled with
+malice and envy. Unferth it was, the king’s own story-teller, who sat at
+his feet, to be ready at all times to amuse him. He broached a
+quarrelsome theme&mdash;an adventure in Beowulf’s youth, the only
+contest in his record the issue of which, though hard fought, might be
+called doubtful. For this Unferth was an envious wight, whose soul
+grudged that any man should achieve greater things than himself.
+</blockquote>
+
+<blockquote>
+‘Art thou not,’ he began tauntingly, ‘that same Beowulf who strove with
+Breca on open sea in a swimming-match, in which ye both
+<span class = "pagenum">140</span>
+wantonly exposed your lives, and no man, either friend or foe, could
+turn you from the foolish venture? A&nbsp;se’nnight ye twain toiled in
+the realm of the waters, and, if I err not, he outdid thee in swimming,
+for he had greater strength. Wherefore I fear me much that thou mayest
+meet with sorry luck if thou darest to bide here for Grendel for the
+space of a whole night.’
+</blockquote>
+
+
+<h5>Criticism of the Paraphrase.</h5>
+
+<p>It may be inferred from the dependence upon the work of Earle that
+Miss Ragozin’s knowledge of Old English is of the slightest. This
+inference is borne out by frequent misapprehension of the original
+sense, due in large measure to the use of a single translation. Thus on
+page 245, Grendel is called ‘the God-sent scourge,’ and, again, on
+p.&nbsp;322, Beowulf is described as having been ‘most genial to his
+nobles.’ Both of these errors are due to misapprehension of Professor
+Earle’s translation. The list of proper names on p.&nbsp;331 reveals an
+ignorance of some fundamental facts of Old English pronunciation. Of
+course, an intimate knowledge of the Beowulf style and diction is not
+indispensable to the writer of a paraphrase, but the writer who has it
+will naturally be superior to the writer without it. For illustration,
+Miss Thomson<a class = "tag" name = "tag_ragozin2" id = "tag_ragozin2"
+href = "#note_ragozin2">2</a> never misinterprets a passage as does Miss
+Ragozin on page 264, where nearly every sentence is false to the Beowulf
+manner.</p>
+
+<p>The paraphrase is slightly disfigured by the distinctively Romance
+words which disfigure Earle’s translation.</p>
+
+<p>But these slight defects need not blind us to the service done by
+Miss Ragozin in making Beowulf accessible to school children. The style
+is, in general, strong and effective, not without some of the beauty and
+dignity of the Old English, but relieved of the more obscure and
+recondite features of that style.</p>
+
+<div class = "footnote">
+<p>
+<a name = "note_ragozin1" id = "note_ragozin1" href =
+"#tag_ragozin1">1.</a>
+See supra, <a href = "#trans_earle">p. 91</a>.</p>
+
+<p>
+<a name = "note_ragozin2" id = "note_ragozin2" href =
+"#tag_ragozin2">2.</a>
+See infra, <a href = "#para_thomson">p. 143</a>.</p>
+
+</div>
+
+
+<hr class = "mid">
+
+<span class = "pagenum">141</span>
+
+<h3><a name = "para_church" id = "para_church">
+MR. CHURCH’S PARAPHRASE</a></h3>
+
+
+<p>Heroes of Chivalry and Romance. By the Rev. A. J. Church, M.A.
+London: Seeley and Company, 1898. 8<sup>o</sup>, <i>Beowulf</i>, pp.
+3&ndash;60. With two illustrations in colours by George Morrow.</p>
+
+<p class = "space">
+Beowulf Retold.</p>
+
+
+<h5>Contents of the Volume.</h5>
+
+<p>‘The Story of Beowulf,’ ‘King Arthur and the Round Table,’ ‘The
+Treasure of the Nibelungs.’</p>
+
+
+<h5>Indebtedness to Kemble and Earle.</h5>
+
+<blockquote>
+‘In writing the story of Beowulf I have been helped by Kemble’s
+translation and notes<a class = "tag" name = "tag_church1" id =
+"tag_church1" href = "#note_church1">1</a>, and still more by Professor
+Earle’s<a class = "tag" name = "tag_church2" id = "tag_church2" href =
+"#note_church2">2</a> admirable edition.’ &mdash;Author’s Note.
+</blockquote>
+
+
+<h5>Nature of the Paraphrase.</h5>
+
+<p>All obscure words (especially kennings) and lines are dropped. Many
+explanatory remarks are inserted to elucidate the story. All speeches
+are greatly shortened. Beowulf’s tale of the fight is omitted entirely.
+The episodes are omitted, with the exception of the Sigemund episode,
+one-half of which is translated into heroic couplets, and the Finn
+episode, which is referred to in a single stanza which paraphrases the
+story.</p>
+
+
+<h5>Concerning the Author.</h5>
+
+<p>The Rev. Alfred John Church (born 1829) is known chiefly for his
+popularizations of the classics. His best-known works are <i>Stories
+from Homer</i> and <i>Stories from Virgil</i>.
+<span class = "pagenum">142</span>
+The present volume is an attempt to do for some of the Germanic legends
+what had already been done for Homer and Virgil.</p>
+
+
+<h4>Extract.</h4>
+
+<blockquote>
+But while they feasted envy stirred in the heart of Unferth, son of
+Ecglaf. He was the King’s orator, and he took it ill that Beowulf should
+have come to the land of the Danes on this great enterprise, for he was
+one who could not endure that any man under heaven should do greater
+deeds than himself. Therefore he stood up in the hall and spake: ‘Art
+thou that Beowulf who contended with Breca in swimming on the open sea?
+‘Twas, indeed, a&nbsp;foolhardy thing so to put your lives in jeopardy,
+yet no man could turn you from your adventure. Seven days and nights ye
+toiled, one against the other, but he in the end prevailed, for he had
+the greater strength. And on the eighth morning the waves cast him
+ashore on the land of the Heathoram, whence he journeyed back to the
+city of the Bronding, of which he was lord. So did Breca, son of
+Beanstan, make good his boast against thee.’
+</blockquote>
+
+
+<h5>Criticism of the Paraphrase.</h5>
+
+<p>The extract is so much fuller than the other parts of the paraphrase
+that it hardly gives a fair notion of the nature of the work. The author
+has appreciated the dramatic quality of the swimming episode and
+preserved it nearly entire. Other parts of the story are much less
+fortunate.</p>
+
+<p>A little knowledge of Old English would have done the author no harm,
+and would have saved him from some errors. His most evident mistakes are
+in the forms of the proper names. Such forms as these occur in his book:
+Veleda, Hugon, Weopstan (sic), Hrethin, Hrethet.</p>
+
+<p>The diction is unfortunate. The coast-warden becomes a ‘squire’
+(p.&nbsp;7); Heorot is a ‘banqueting hall’ (p.&nbsp;4, showing the
+influence of Kemble’s translation); Beowulf and Breca were ‘pages at the
+King’s court’ (p.&nbsp;13, showing the influence of Earle’s
+translation).</p>
+
+<p>Petty inaccuracies occur throughout, such as, ‘I counsel
+<span class = "pagenum">143</span>
+that thou refuse not’ (p.&nbsp;9); ‘A faithful squire must needs know
+the troubles of his lord’ (p.&nbsp;7). In point of accuracy this version
+is quite inferior to the work of Miss Thomson<a class = "tag" name =
+"tag_church3" id = "tag_church3" href = "#note_church3">3</a>; and in
+point of style and atmosphere to that of Mr. Jones<a class = "tag" name
+= "tag_church4" id = "tag_church4" href = "#note_church4">4</a>, Miss
+Ragozin<a class = "tag" name = "tag_church5" id = "tag_church5" href =
+"#note_church5">5</a>, or Miss Thomson. The book, however, is readable,
+and the author’s name will doubtless serve to give it a certain
+success.</p>
+
+<div class = "footnote">
+<p>
+<a name = "note_church1" id = "note_church1" href =
+"#tag_church1">1.</a>
+See supra, <a href = "#trans_kemble">p. 33</a>.</p>
+
+<p>
+<a name = "note_church2" id = "note_church2" href =
+"#tag_church2">2.</a>
+See supra, <a href = "#trans_earle">p. 91</a>.</p>
+
+<p>
+<a name = "note_church3" id = "note_church3" href =
+"#tag_church3">3.</a>
+See infra, <a href = "#para_thomson">p. 143</a>.</p>
+
+<p>
+<a name = "note_church4" id = "note_church4" href =
+"#tag_church4">4.</a>
+See supra, <a href = "#para_jones">p. 123</a>.</p>
+
+<p>
+<a name = "note_church5" id = "note_church5" href =
+"#tag_church5">5.</a>
+See supra, <a href = "#para_ragozin">p. 138</a>.</p>
+
+</div>
+
+
+<hr class = "mid">
+
+<h3><a name = "para_thomson" id = "para_thomson">
+MISS THOMSON’S PARAPHRASE</a></h3>
+
+<p>The Adventures of Beowulf, translated from the Old English and
+adapted to the Use of Schools by Clara Thomson<a class = "tag" name =
+"tag_thomson1" id = "tag_thomson1" href = "#note_thomson1">1</a>.
+London: Horace Marshall and Son, 1899. 8<sup>o</sup>, pp. 95. In the
+‘New English Series,’ edited by E. E. Speight.</p>
+
+<p class = "space">
+A Paraphrase in English Prose.</p>
+
+
+<h5>Aim of the Volume.</h5>
+
+<blockquote>
+‘It is meant mainly to arouse in children an interest in the beginnings
+of our literature&mdash;a&nbsp;subject that is still terribly neglected
+in schools. It makes no pretension to being an adequate or satisfactory
+version for grown-up readers.’ &mdash;Page&nbsp;6.
+</blockquote>
+
+
+<h5>Method of Paraphrase.</h5>
+
+<blockquote>
+‘[Discrepancies in the poem] I have endeavoured to smooth over by
+omission or by very slight additions; and whenever of two readings of a
+doubtful passage, one is more easily comprehensible than the other,
+I&nbsp;have always adhered to this, even if on philological grounds it
+seems less probable.’...
+<span class = "pagenum">144</span>
+
+<p>‘Many of the episodes in the story have been greatly shortened or
+altogether omitted, since they interrupt the course of the narrative, or
+divert the interest from the main theme.’ &mdash;Pages 5,&nbsp;6.</p>
+</blockquote>
+
+<p>This statement is more modest than need be. It will be found that
+only two of the episodes are passed without mention&mdash;the Prolog and
+the Tale of Thrytho. The Legend of Sigemund and the Tale of Finn are
+rather fully treated, and the Story of Freawaru and the Battle of
+Ravenswood are both referred to. In each case the episodes are carefully
+woven into the story, and that without superfluous words.</p>
+
+<p>The words and sentences which are supplied are very carefully chosen,
+and most of them have a prototype somewhere in the poem.</p>
+
+
+<h4>Extract.</h4>
+
+<blockquote>
+Now, though most of Hrothgar’s men rejoiced to see Beowulf, and honoured
+him for his generous thought in coming to their help, there was one who
+looked on him with dislike and envy, and was jealous of the favour shown
+him by the king. This was Hunferth, who was sitting on the daïs at
+Hrothgar’s feet. And when he heard what this visitor intended to do, he
+grew angry and moody, because he could not bear that any other man on
+earth should obtain greater honour than he himself. So he began to rake
+up old tales that he had heard of Beowulf, and tried to turn them to his
+hurt, saying scornfully:
+
+<p>‘Art thou that Beowulf who once strove on the wide sea in a
+swimming-match with Breca, when ye two in boasting dared to breast the
+wave, and for vainglory risked your lives in the deep water? There was
+no man, friend nor foe, who could dissuade you from that sorrowful
+journey; but ye swam in the surf, stretching out your arms over the
+waves, and stirring up the surge with your hands. So did ye glide across
+the ocean, while the waves weltered in wintry storms, and for seven
+nights ye laboured in the tumult of the seas. But in the end the victory
+was with Breca, for his might was the greater. Then on the morning of
+the eighth day the tide bore him to the shore of Norway, whence he
+visited his beloved home, the fair city of safety, where he ruled over
+many people, over towns and treasure. Truly he did perform all his boast
+against thee.’</p>
+</blockquote>
+
+
+<span class = "pagenum">145</span>
+<h5>Criticism of the Paraphrase.</h5>
+
+<p>In the opinion of the present writer, no better paraphrase of
+<i>Beowulf</i> exists.</p>
+
+<p>It is perhaps unfortunate that the word ‘translated’ is used on the
+title-page, for this is misleading. The proper form is that used on the
+cover of the book, ‘Beowulf, told by Miss Clara Thomson.’</p>
+
+<p>It were sufficient praise to point out that the author has contrived
+to retain practically all of the poem, without ever falsifying its
+spirit by introducing a superabundance of explanatory phrases<a class =
+"tag" name = "tag_thomson2" id = "tag_thomson2" href =
+"#note_thomson2">2</a>. She is always true to the story (as Miss
+Ragozin<a class = "tag" name = "tag_thomson3" id = "tag_thomson3" href =
+"#note_thomson3">3</a> is not, for example, in the first section of her
+work); she is equally true to the spirit of the poem (as Mr. Gibb<a
+class = "tag" name = "tag_thomson4" id = "tag_thomson4" href =
+"#note_thomson4">4</a> is not). The style is both vigorous and simple,
+not unworthy of the story it tells.</p>
+
+<p>It will be surprising if Miss Thomson’s work is not popular in
+England, and the book should be known and used in this country.</p>
+
+<div class = "footnote">
+<p>
+<a name = "note_thomson1" id = "note_thomson1" href =
+"#tag_thomson1">1.</a>
+Miss Thomson is better known as the biographer of Samuel Richardson. See
+<i>Samuel Richardson, a&nbsp;Biographical and Critical Study</i>.
+London, 1900.</p>
+
+<p>
+<a name = "note_thomson2" id = "note_thomson2" href =
+"#tag_thomson2">2.</a>
+The author’s argument against inserting the Prolog is sound enough; but
+the omission of any part of the poem in a paraphrase so good as Miss
+Thomson’s is to be regretted.</p>
+
+<p>
+<a name = "note_thomson3" id = "note_thomson3" href =
+"#tag_thomson3">3.</a>
+See supra, <a href = "#para_ragozin">p. 138</a>.</p>
+
+<p>
+<a name = "note_thomson4" id = "note_thomson4" href =
+"#tag_thomson4">4.</a>
+See supra, <a href = "#para_gibb">p. 128</a>.</p>
+
+</div>
+
+
+<hr class = "mid">
+
+<span class = "pagenum">146</span>
+
+<h3><a name = "biblio" id = "biblio">
+APPENDIX II</a></h3>
+
+<h4>A BIBLIOGRAPHY OF WORKS WHICH CONTAIN SELECTIONS FROM BEOWULF
+TRANSLATED INTO ENGLISH</h4>
+
+
+<p class = "center">
+(<i>Only works which translate at least thirty lines are noted.</i>)</p>
+
+<div class = "hanging">
+
+<p><span class = "smallcaps">ten Brink, Bernhard, and Kennedy,
+Horace</span>, in Early English Literature (to Wiclif). London and New
+York, 1883. Verse.</p>
+
+<p><span class = "smallcaps">Brown, Anna R.</span>, in Poet Lore, II,
+133, 185. Verse, ll. 26&ndash;53, and 1493&ndash;1571.</p>
+
+<p><span class = "smallcaps">Gummere, F. B.</span>, in the American
+Journal of Philology, VII, 77, ll. 1&ndash;52. Verse.</p>
+
+<p>&mdash;&mdash; in Germanic Origins (New York, 1892), pp. 109&nbsp;ff.
+Verse.</p>
+
+<p><span class = "smallcaps">Longfellow, Henry Wadsworth</span>, in
+Poets and Poetry of Europe, lines 18&ndash;40; 53&ndash;83;
+189&ndash;257; 1789&ndash;1803; 2455&ndash;2462. Verse.</p>
+
+<p><span class = "smallcaps">Morley, Henry</span>, in English Writers,
+I, pp. 287&nbsp;ff. (second edition, London, 1887). Verse.</p>
+
+<p><span class = "smallcaps">Robinson, W. Clarke</span>, in Introduction
+to our Early English Literature (London, 1885). Lines 87&ndash;98
+(verse), and 1&ndash;52 (prose).</p>
+
+<p><span class = "smallcaps">Smith, C. Sprague</span>, in the New
+Englander, IV, p.&nbsp;49. Lines 711&ndash;838; Section XII, Section
+XIII, 1493&ndash;1652; Section XXIII, Section XXIV. Verse.</p>
+
+<span class = "pagenum">147</span>
+<p><span class = "smallcaps">Sweet, Henry</span>, in Warton’s History of
+English Poetry, ed. W. Carew Hazlitt (London, 1877). Vol. II, pp.
+11&ndash;12. Prose.</p>
+
+<p><span class = "smallcaps">Tolman, A. H.</span>, in Transactions of
+the Modern Language Association, III, pp. 19&nbsp;ff. In the ‘Style of
+Anglo-Saxon Poetry.’ Prose.</p>
+
+
+<h5>Incomplete Paraphrase.</h5>
+
+<p><span class = "smallcaps">Palmer, Bertha</span>, in Stories from the
+Classic Literature of many Nations (New York, 1898), pp. 262&ndash;263.
+Beowulf’s Fight with Grendel, using J. L. Hall’s translation as a
+basis.</p>
+
+</div>
+
+
+<hr class = "mid">
+
+<span class = "pagenum">148</span>
+
+<h3><a name = "appIII" id = "appIII">
+APPENDIX III</a></h3>
+
+<h4>TWO WORKS NAMED ‘BEOWULF’</h4>
+
+
+<h5 class = "smallcaps"><a name = "appIII_manno" id = "appIII_manno">
+I.</a></h5>
+
+<p>Beowulf, Roman von Karl Manno (pseud. Carl von Lemcke). In
+<i>Deutsche Roman-Zeitung</i>, Jahrg. 19, Bde. 1, 2. Berlin, 1882.</p>
+
+<p class = "space">
+A modern romance, having no relation to the Old English poem.</p>
+
+<p>&nbsp;</p>
+
+<h5 class = "smallcaps"><a name = "appIII_church" id = "appIII_church">
+II.</a></h5>
+
+<h5>Mr. S. H. Church’s ‘Beowulf.’</h5>
+
+<p>Beowulf, a Poem by Samuel Harden Church. New York: Stokes and Co.,
+1901.</p>
+
+<p class = "space">
+An original poem, using some of the Beowulf material.</p>
+
+<p class = "space">
+After speaking of his original intention of translating the
+<i>Beowulf</i>, which he later discarded, the author says:&mdash;</p>
+
+<blockquote>
+‘I have . . . composed an original narrative in which the leading
+characters and some of the incidents of the early work<a class = "tag"
+name = "tag_appIII_church1" id = "tag_appIII_church1" href =
+"#note_appIII_church1">1</a> have been freely used, but as materials
+only. I&nbsp;have transferred to my hero, Beowulf, the picturesque
+history of Sceaf<a class = "tag" name = "tag_appIII_church2" id =
+"tag_appIII_church2" href = "#note_appIII_church2">2</a>; have changed
+the relationship of characters and incidents; have inserted the
+illumination of Beowulf’s soul, and his banishment; and have introduced
+the love motive between Beowulf and Freaware that runs through the poem
+to the end. Indeed the structure, language, style, description,
+elaboration, interpretation, and development of the story are new.
+I&nbsp;have arbitrarily laid the scene in England, under purely
+idealized conditions; and have initiated nearly all that the poem
+contains of womanhood, of love, of religion, of state-policy, and of
+domestic life and manners. It is clear, therefore, that my work must not
+be judged either as a translation, version, or paraphrase of the old
+Beowulf.’
+</blockquote>
+
+<div class = "footnote">
+<p>
+<a name = "note_appIII_church1" id = "note_appIII_church1" href =
+"#tag_appIII_church1">1.</a>
+i.e., the translation.</p>
+
+<p>
+<a name = "note_appIII_church2" id = "note_appIII_church2" href =
+"#tag_appIII_church2">2.</a>
+Scyld</p>
+
+</div>
+
+
+<hr class = "mid">
+
+<span class = "pagenum">149</span>
+
+<h3><a name = "index" id = "index">
+INDEX OF TRANSLATORS</a></h3>
+
+<div class = "index">
+
+<p>Arnold, Thomas, <a href = "#trans_arnold">71&ndash;4</a>.</p>
+
+<p>Botkine, L., <a href = "#trans_botkine">75&ndash;9</a>.</p>
+
+<p>ten Brink, B., and Kennedy, H. M., <a href = "#biblio">146</a>.</p>
+
+<p>Brooke, S. A., <a href = "#para_brooke">135&ndash;7</a>.</p>
+
+<p>Brown, Anna R., <a href = "#biblio">146</a>.</p>
+
+<p>Church, A. J., <a href = "#para_church">141&ndash;3</a>.</p>
+
+<p>Conybeare, J. J., <a href = "#trans_conybeare">28&ndash;32</a>.</p>
+
+<p>Cox and Jones, <i>see</i> Jones.</p>
+
+<p>Dahn, T., <a href = "#para_dahn">132&ndash;4</a>.</p>
+
+<p>Earle, John, <a href = "#trans_earle">91&ndash;5</a>.</p>
+
+<p>Ettmüller, L., <a href = "#trans_ettmuller">37&ndash;41</a>.</p>
+
+<p>Garnett, J. M., <a href = "#trans_garnett">83&ndash;7</a>.</p>
+
+<p>Gibb, J., <a href = "#para_gibb">128&ndash;30</a>.</p>
+
+<p>Grein, C. W. M., <a href = "#trans_grein">55&ndash;9</a>.</p>
+
+<p>Grion, G., <a href = "#trans_grion">87&ndash;9</a>.</p>
+
+<p>Grundtvig, N. F. S., <a href = "#trans_grundtvig">22&ndash;8</a>.</p>
+
+<p>Gummere, F. B., <a href = "#biblio">146</a>.</p>
+
+<p>Hall, John Lesslie, <a href = "#trans_jl_hall">95&ndash;9</a>.</p>
+
+<p>Hall, John R. Clark, <a href = "#trans_jrc_hall">114&ndash;8</a>.</p>
+
+<p>Heyne, M., <a href = "#trans_heyne">63&ndash;7</a>.</p>
+
+<p>Hoffmann, P., <a href = "#trans_hoffmann">99&ndash;103</a>.</p>
+
+<p>Jones, E. H., <a href = "#para_jones">123&ndash;5</a>.</p>
+
+<p>Kemble, J. M., <a href = "#trans_kemble">33&ndash;7</a>.</p>
+
+<p>Kennedy, H. M., <i>see</i> ten Brink.</p>
+
+<p>Lemcke, Carl von, <i>see</i> Manno.</p>
+
+<p>Leo, H., <a href = "#para_leo">121&ndash;3</a>.</p>
+
+<p>Longfellow, H. W., <a href = "#biblio">146</a>.</p>
+
+<p>Lumsden, H. W., <a href = "#trans_lumsden">79&ndash;82</a>.</p>
+
+<p>MacDowall, M. W., <a href =
+"#para_wagner_macdowall">130&ndash;2</a>.</p>
+
+<p>Morley, H., <a href = "#biblio">146</a>.</p>
+
+<p>Morris, W., <a href = "#trans_morris_wyatt">104&ndash;9</a>.</p>
+
+<p>Palmer, B., <a href = "#biblio">147</a>.</p>
+
+<p>Ragozin, Z. A., <a href = "#para_ragozin">138&ndash;40</a>.</p>
+
+<p>Robinson, W. C., <a href = "#biblio">146</a>.</p>
+
+<p>Sandras, G. S., <a href = "#para_sandras">123</a>.</p>
+
+<p>Schaldemose, F., <a href = "#trans_schaldemose">41&ndash;5</a>.</p>
+
+<p>Simons, L., <a href = "#trans_simons">109&ndash;11</a>.</p>
+
+<p>Simrock, K., <a href = "#trans_simrock">59&ndash;63</a>.</p>
+
+<p>Smith, C. S., <a href = "#biblio">146</a>.</p>
+
+<p>Steineck, H., <a href = "#trans_steineck">112&ndash;4</a>.</p>
+
+<p>Sweet, H., <a href = "#biblio">147</a>.</p>
+
+<p>Thomson, C., <a href = "#para_thomson">143&ndash;5</a>.</p>
+
+<p>Thorkelin, G. J., <a href = "#trans_thorkelin">15&ndash;21</a>.</p>
+
+<p>Thorpe, B., <a href = "#trans_thorpe">49&ndash;55</a>.</p>
+
+<p>Tinker, C. B., <a href = "#trans_tinker">118&ndash;20</a>.</p>
+
+<p>Tolman, A. H., <a href = "#biblio">147</a>.</p>
+
+<p>Turner, S., <a href = "#trans_turner">9&ndash;15</a>.</p>
+
+<p>Wackerbarth, A. D., <a href =
+"#trans_wackerbarth">45&ndash;9</a>.</p>
+
+<p>Wägner, W., <a href = "#para_wagner_macdowall">130&ndash;2</a>.</p>
+
+<p>Wickberg, R., <a href = "#trans_wickberg">90, 91</a>.</p>
+
+<p>von Wolzogen, H., <a href = "#trans_wolzogen">68&ndash;71</a>.</p>
+
+<p>Wyatt, A. J., <a href = "#trans_morris_wyatt">104&ndash;9</a>.</p>
+
+<p>Zinsser, G., <a href = "#para_zinsser">126&ndash;8</a>.</p>
+
+</div>
+
+</div> <!-- end div maintext -->
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Translations of Beowulf, by 
+Chauncey Brewster Tinker
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