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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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