Beowulf. The oldest and, arguably, the greatest epic in English literature’s vast history. Beowulf is an epic poem, originally written in Old English, that details the heroic exploits of the warrior, Beowulf, throughout his life. It represents the heroic ideal and the role of fate’s importance to the Old English people, while also addressing politics, war, old-age, kinsmanship, and fantasy. The depth of the poem, in both its poetry and narration, is incredible, and in the original Old English the integration and weaving of meaning throughout the text is virtually unparalleled. Though Beowulf is an obvious masterpiece of English literature, its true importance in history is often understated and misrepresented. This is because the Old English that the poem is written in is very difficult and different from what most readers consider English, or even “old English”. The antiquity of the text limits the poem’s greatness and true understanding to a very small group of scholars, “armed” with their word-hoards and knowledge of Old English; the rest of the “unready” literary world sees a diluted representation through translation. Over time there have been large numbers of translations of Beowulf, in various forms, that have provided the
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Lehmann interprets Grendel as “The creature of evil, / grim and greedy, was gripped at once / by wrath and raging” (H. However, John Earle translates “beorpege” (117) as “carousal” (A. The majority of the translations, albeit to varying degrees, tend to express Grendel in the manner that was intended by the original Old English poem. Over time the translations of Grendel’s approach to the hall (115-120) form a consistent pattern of even distribution in the variations between literal and more narrative interpretations of the text. As Old English becomes “older” English, it may one day fall upon the translations of Beowulf to solely defend the original text’s place as the earliest and greatest epic in English literature’s history. However varied, the majority of the translations studied for this one hundred and ten year period exhibit a pattern in the representation of Grendel that presents him as a warrior, foil, and equal to the hero of the epic; a hero in the darkness. Michael Alexander, in 1973, focuses on the same sense of “beorpege” (117), but takes some narrative liberties in his translation: “the horn had gone round” (G.
Approximate Word count =
2569
Approximate Pages =
10 (250 words per page double spaced)
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