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Hello, my name is Finn, and I'm going to help you understand this book.
Here it is, explained like you are 10:
A monster named Grendel is terrorizing the Danish king's great hall, eating warriors by night, until a young hero named Beowulf sails over the sea, fights the monster bare handed, then its mother under a black lake, and finally, as an old king, faces a dragon. It is the oldest long poem in English, a thousand years old, sung in a world of mead halls and funerals.
For twelve winters the monster Grendel has raided Heorot, the Danes' great hall, devouring warriors as they sleep. Beowulf sails from Geatland, waits in the dark, and wrestles the monster barehanded, tearing its arm from the socket. Then he dives into a burning lake to fight Grendel's mother beneath the water. Fifty years later, an old king, he faces a dragon alone because his young men will not.
The poem runs on a heroic economy: gifts for loyalty, fame for courage, and funerals for everyone. Its deepest idea: all human building, halls, dynasties, reputations, is temporary, and worth doing anyway. Beowulf's strength fails when it must, against time, and the poem refuses to call his life a failure for ending.
It survives as the founding epic of English literature, strange and mournful, in a language you need translated. Watch the treasure: cursed gold men keep burying and digging up, the poem's symbol for everything we cannot keep. And notice the poet, a Christian, looking back with love at a pagan world he knows is gone.
Beowulf, a Geatish hero, crosses the sea to save a Danish hall from the monster Grendel, then faces Grendel's mother, and in old age a dragon. The oldest surviving epic in English, in John Lesslie Hall's faithful verse translation.
The first chapter
Hrothgar, king of the Danes, or Scyldings, builds a great mead hall, or palace, in which he hopes to feast his liegemen and to give them presents. The joy of king and retainers is, however, of short duration. Grendel, the monster, is seized with hateful jealousy. He cannot brook the sounds of joyance that reach him down in his fen-dwelling near the hall. Oft and anon he goes to the joyous building, bent on direful mischief. Thane after thane is ruthlessly carried off and devoured, while no one is found strong enough and bold enough to cope with the monster. For twelve years he persecutes Hrothgar and his vassals.
Over sea, a day’s voyage off, Beowulf, of the Geats, nephew of Higelac, king of the Geats, hears of Grendel’s doings and of Hrothgar’s misery. He resolves to crush the fell monster and relieve the aged king. With fourteen chosen companions, he sets sail for Daneland. Reaching that country, he soon persuades Hrothgar of his ability to help him. The hours that elapse before night are spent in beer-drinking and conversation. When Hrothgar’s bedtime comes he leaves the hall in charge of Beowulf, telling him that never before has he given to another the absolute wardship of his palace. All retire to rest, Beowulf, as it were, sleeping upon his arms.
Grendel comes, the great march-stepper, bearing God’s anger. He seizes and kills one of the sleeping warriors. Then he advances towards Beowulf. A fierce and desperate hand-to-hand struggle ensues. No arms are used, both combatants trusting to strength and hand-grip. Beowulf tears Grendel’s shoulder from its socket, and the monster retreats to his den, howling and yelling with agony and fury. The wound is fatal.
The next morning, at early dawn, warriors in numbers flock to the hall Heorot, to hear the news. Joy is boundless. Glee runs high. Hrothgar and his retainers are lavish of gratitude and of gifts.
Grendel’s mother, however, comes the next night to avenge his death. She is furious and raging. While Beowulf is sleeping in a room somewhat apart from the quarters of the other warriors, she seizes one of Hrothgar’s favorite counsellors, and carries him off and devours him. Beowulf is called. Determined to leave Heorot entirely purified, he arms himself, and goes down to look for the female monster. After traveling through the waters many hours, he meets her near the sea bottom. She drags him to her den. There he sees Grendel lying dead. After a desperate and almost fatal struggle with the woman, he slays her, and swims upward in triumph, taking with him Grendel’s head.
Joy is renewed at Heorot. Congratulations crowd upon the victor. Hrothgar literally pours treasures into the lap of Beowulf; and it is agreed among the vassals of the king that Beowulf will be their next liege lord.
Beowulf leaves Daneland. Hrothgar weeps and laments at his departure.
When the hero arrives in his own land, Higelac treats him as a distinguished guest. He is the hero of the hour.
Beowulf subsequently becomes king of his own people, the Geats. After he has been ruling for fifty years, his own neighborhood is woefully harried by a fire-spewing dragon. Beowulf determines to kill him. In the ensuing struggle both Beowulf and the dragon are slain. The grief of the Geats is inexpressible. They determine, however, to leave nothing undone to honor the memory of their lord. A great funeral pyre is built, and his body is burnt. Then a memorial-barrow is made, visible from a great distance, that sailors afar may be constantly reminded of the prowess of the national hero of Geatland.
The poem closes with a glowing tribute to his bravery, his gentleness, his goodness of heart, and his generosity.
It is the devout desire of this translator to hasten the day when the story of Beowulf shall be as familiar to English-speaking peoples as that of the Iliad. Beowulf is our first great epic. It is an epitomized history of the life of the Teutonic races. It brings vividly before us our forefathers of pre-Alfredian eras, in their love of war, of sea, and of adventure.
My special thanks are due to Professors Francis A. March and James A. Harrison, for advice, sympathy, and assistance.
J. L. Hall.
Williamsburg, VA, Nov. 1, 1891.
The present work is a modest effort to reproduce approximately, in modern measures, the venerable epic, Beowulf. Approximately, I repeat; for a very close reproduction of Anglo-Saxon verse would, to a large extent, be prose to a modern ear.
The Heyne-Socin text and glossary have been closely followed. Occasionally a deviation has been made, but always for what seemed good and sufficient reason. The translator does not aim to be an editor. Once in a while, however, he has added a conjecture of his own to the emendations quoted from the criticisms of other students of the poem.
This work is addressed to two classes of readers. From both of these alike the translator begs sympathy and co-operation. The Anglo-Saxon scholar he 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. This is a bold and venturesome undertaking; and yet there must be some students of the Teutonic past willing to follow even a daring guide, if they may read in modern phrases of the sorrows of Hrothgar, of the prowess of Beowulf, and of the feelings that stirred the hearts of our forefathers in their primeval homes.
In order to please the larger class of readers, a regular cadence has been used, a measure which, while retaining the essential characteristics of the original, permits the reader to see ahead of him in reading.
Perhaps every Anglo-Saxon scholar has his own theory as to how Beowulf should be translated. Some have given us prose versions of what we believe to be a great poem. Is it any reflection on our honored Kemble and Arnold to say that their translations fail to show a layman that Beowulf is justly called our first epic? Of those translators who have used verse, several have written from what would seem a mistaken point of view. Is it proper, for instance, that the grave and solemn speeches of Beowulf and Hrothgar be put in ballad measures, tripping lightly and airily along? Or, again, is it fitting that the rough martial music of Anglo-Saxon verse be interpreted to us in the smooth measures of modern blank verse? Do we hear what has been beautifully called “the clanging tread of a warrior in mail”?
Of all English translations of Beowulf, that of Professor Garnett alone gives any adequate idea of the chief characteristics of this great Teutonic epic.
The measure used in the present translation is believed to be as near a reproduction of the original as modern English affords. The cadences closely resemble those used by Browning in some of his most striking poems. 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 on every line. End-rhyme has been used occasionally; internal rhyme, sporadically. Both have some warrant in Anglo-Saxon poetry. (For end-rhyme, see here, see here; for internal rhyme, see here, see here.)
What Gummere1 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. Alternate alliteration is occasionally used as in the original. (See here, see here.)
No two accented syllables have been brought together, except occasionally after a caesural pause. (See here and see here.) Or, scientifically speaking, Sievers’s C type has been avoided as not consonant with the plan of translation. Several of his types, however, constantly occur; e.g. A and a variant (/ × | / ×) (/ × × | / ×); B and a variant (× / | × /) (× × / | × /); a variant of D (/ × | / × ×); E (/ × × | /). Anacrusis gives further variety to the types used in the translation.
The parallelisms of the original have been faithfully preserved. (E.g., see here and see here: “Lord” and “Wielder of Glory”; see here, see here, see here; see here and see here; see here and see here; see here and see here.) Occasionally, some loss has been sustained; but, on the other hand, a gain has here and there been made.
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.
With these preliminary remarks, it will not be amiss to give an outline of the story of the poem.
Source: Standard Ebooks. Old English epic poem, author unknown. John Lesslie Hall translation published 1892. Translator died 1928. Public domain worldwide. Share this book: WhatsApp