"As Ramey points out, 'modern English has nothing like the Old English poetic vocabulary' from which the poem’s textual world was woven: modernity stands face to face with Beowulf’s verbal art and is, in a certain sense, speechless."
I think this kind of realization is inevitable every time we confront the mentality and languages of the modern world with the poetic vocabulary and vision of classical, ancient worlds. But, at the same time, I think that this is applicable in the case of any translation of a poem. Poetry proves the famous old adage "Traduttore, traditore." Poetic creations are exceptionally conditioned by the outer and inner music of the specific language in which the poem has been written. Essentially, and in most cases unconsciously, every poem is an attempt to rediscover the beauty of the language of Paradise. Of course, all these attempts are destined for failure—and there is no great poet who has not understood this in one way or another. [That is why one of the greatest Romanian poets, Tudor Arghezi (1880–1967; nominated for the Nobel Prize for Literature in 1965), considered himself a perennial debutant until the end of his life.] This does not mean that poetry should not be written or that translations are not worth the effort: on the contrary, they are the most beneficial and significant intellectual and spiritual efforts of a culture.
Therefore, any such effort is worth welcoming and encouraging—and the younger generations must be guided to love and value poetry much more than any other type of creation. Not just poetry in general, but sacred poetry, like the Psalms written by King David, in particular. And then epic and heroic poetry—such as Beowulf—in particular.
Personally, I warmly congratulate both the author of this article, Robert Keim, and the remarkable translator of Beowulf, Peter Ramey. I can’t wait to receive and read this remarkable achievement!
I am a poet, and I agree heartily. Poetry is weaving with words, a melange of music and, to a lesser extent, visual arts. Early in my life I primarily wrote metered, rhymed poems, but Beowulf taught me to love alliteration, and my later work always contains alliteration, though it might or might not contain rhymes. I remember reading a children’s version by Ian Serraillier to my children years ago. Pure magic. I got this book for my birthday, and I look forward to reading it.
The transition from alliteration to rhyme as a fundamental sonic "harmony" is at the heart of English poetic history, and it's interesting to think that alliteration and rhyme are still a source of generative tension for poets of the twenty-first century!
If possible, I would be very glad to read an article that comparatively discusses all the existing translations of Beowulf (and I would also appreciate the mention of all those editions that are bilingual—with parallel texts in Anglo-Saxon and English).
As Lisa said, there are so many editions that it's difficult to know where to start. Another recent bilingual edition is this one: https://a.co/d/5mcFbRo.
If you want a scholarly exploration of Beowulf translations, I highly recommend the book Translating Beowulf: Modern Versions in English Verse (https://a.co/d/2SiR6zf).
Thank you very much, Robert! What do you think about having a whole section of your newsletter titled "For a Perfect Library: Recommended Readings"? This section will include all the existing editions of major literary works - Homer, Pindar, ... , Vergil, Dante etc. - in the following order: first, critical editions (of the original texts); second, bilingual editions (the original text plus the translation); and third, standard translations. It will be a very helpful tool. Of course, it won't be easy work, but if many writers are involved, it can be done.
I have a bi-lingual one by Seamus Heaney, but I’m sure there are others. So many editions! Are you primarily interested in information about the translational philosophy of each book?
If possible, YES! That is what interests me most. Additionally, if possible, I would like to explore the "technical" dimension of every translation, especially from a stylistic perspective. Thank you for this recommendation (Seamus Heaney) - I will try to get all bi-lingual translations in the neat future.
Robert, I have a good number of different Beowulf translations (although I’m sure many fewer than exist). Happy to share bibliographical information when I return to my home library in just over a week !
Is there a simple way of explaining to those new to Beowulf (I've got the Ramey book but alas haven't yet begun it) why it is that some can read a 'thoroughly Christian' B. whereas others can dispute even the 'Christian'? A very simple explanation would be e.g. 'he sees what he wants to see' but I can't think that's an entirely satisfactory response. I'm sure some of it has to do with the fact that large numbers of academic writers (however talented)-- I'm thinking of e.g. Grouchy Medievalist here at Substack, who does the Old English Poetry Project-- are committed to... non-Christian ideologies.
From a strict scholarly standpoint, I don't think there's any justification for seriously questioning the Christian character of the poem. Right now I have on my desk the book Beowulf: A Student Edition, edited by George Jack (a lecturer at the University of St Andrews) and published by Oxford University Press. It is a mainstream academic edition of the Old English text intended for scholars and advanced students. In the introduction, Jack states, "Beowulf is plainly the product of a Christian culture, and more significantly it presupposes an audience well versed in Christianity." Furthermore, he acknowledges that Beowulf probably originated in a monastery: "it is probable that the poet belonged to a religious community." The real issue, then, is whether Christianity is just somewhere in the poem's ideological background or is central to its thematic, narrative, and imaginative qualities. Modern scholarship inclines toward various forms of secularism, and preconceived notions will certainly have an effect on how the poem is understood. However, Ramey is arguing that careful attention to the original Old English text shows conclusively that Christianity is central rather than peripheral. Almost everyone reads Beowulf in translation, and a modern translation (or adaptation) can—to some extent, perhaps to a great extent—shift Christianity from the center to the periphery.
Quote:
"As Ramey points out, 'modern English has nothing like the Old English poetic vocabulary' from which the poem’s textual world was woven: modernity stands face to face with Beowulf’s verbal art and is, in a certain sense, speechless."
I think this kind of realization is inevitable every time we confront the mentality and languages of the modern world with the poetic vocabulary and vision of classical, ancient worlds. But, at the same time, I think that this is applicable in the case of any translation of a poem. Poetry proves the famous old adage "Traduttore, traditore." Poetic creations are exceptionally conditioned by the outer and inner music of the specific language in which the poem has been written. Essentially, and in most cases unconsciously, every poem is an attempt to rediscover the beauty of the language of Paradise. Of course, all these attempts are destined for failure—and there is no great poet who has not understood this in one way or another. [That is why one of the greatest Romanian poets, Tudor Arghezi (1880–1967; nominated for the Nobel Prize for Literature in 1965), considered himself a perennial debutant until the end of his life.] This does not mean that poetry should not be written or that translations are not worth the effort: on the contrary, they are the most beneficial and significant intellectual and spiritual efforts of a culture.
Therefore, any such effort is worth welcoming and encouraging—and the younger generations must be guided to love and value poetry much more than any other type of creation. Not just poetry in general, but sacred poetry, like the Psalms written by King David, in particular. And then epic and heroic poetry—such as Beowulf—in particular.
Personally, I warmly congratulate both the author of this article, Robert Keim, and the remarkable translator of Beowulf, Peter Ramey. I can’t wait to receive and read this remarkable achievement!
Thank you for this lovely and insightful comment!
I am a poet, and I agree heartily. Poetry is weaving with words, a melange of music and, to a lesser extent, visual arts. Early in my life I primarily wrote metered, rhymed poems, but Beowulf taught me to love alliteration, and my later work always contains alliteration, though it might or might not contain rhymes. I remember reading a children’s version by Ian Serraillier to my children years ago. Pure magic. I got this book for my birthday, and I look forward to reading it.
The transition from alliteration to rhyme as a fundamental sonic "harmony" is at the heart of English poetic history, and it's interesting to think that alliteration and rhyme are still a source of generative tension for poets of the twenty-first century!
If possible, I would be very glad to read an article that comparatively discusses all the existing translations of Beowulf (and I would also appreciate the mention of all those editions that are bilingual—with parallel texts in Anglo-Saxon and English).
As Lisa said, there are so many editions that it's difficult to know where to start. Another recent bilingual edition is this one: https://a.co/d/5mcFbRo.
If you want a scholarly exploration of Beowulf translations, I highly recommend the book Translating Beowulf: Modern Versions in English Verse (https://a.co/d/2SiR6zf).
Thank you very much, Robert! What do you think about having a whole section of your newsletter titled "For a Perfect Library: Recommended Readings"? This section will include all the existing editions of major literary works - Homer, Pindar, ... , Vergil, Dante etc. - in the following order: first, critical editions (of the original texts); second, bilingual editions (the original text plus the translation); and third, standard translations. It will be a very helpful tool. Of course, it won't be easy work, but if many writers are involved, it can be done.
That sounds to me like an amazing idea! It would indeed be a lot of work, but the result would be an extremely valuable resource.
I have a bi-lingual one by Seamus Heaney, but I’m sure there are others. So many editions! Are you primarily interested in information about the translational philosophy of each book?
If possible, YES! That is what interests me most. Additionally, if possible, I would like to explore the "technical" dimension of every translation, especially from a stylistic perspective. Thank you for this recommendation (Seamus Heaney) - I will try to get all bi-lingual translations in the neat future.
Robert, I have a good number of different Beowulf translations (although I’m sure many fewer than exist). Happy to share bibliographical information when I return to my home library in just over a week !
Thank you!
Thank you for an insightful review. Just ordered a copy. I think it will go well with Tolkien's Beowulf.
It would be great to hear what you think after you have a chance to read it!
Thank you for the recommendation. I've never read it, sadly, but it seems I've waited for the right version, after all...
Is there a simple way of explaining to those new to Beowulf (I've got the Ramey book but alas haven't yet begun it) why it is that some can read a 'thoroughly Christian' B. whereas others can dispute even the 'Christian'? A very simple explanation would be e.g. 'he sees what he wants to see' but I can't think that's an entirely satisfactory response. I'm sure some of it has to do with the fact that large numbers of academic writers (however talented)-- I'm thinking of e.g. Grouchy Medievalist here at Substack, who does the Old English Poetry Project-- are committed to... non-Christian ideologies.
From a strict scholarly standpoint, I don't think there's any justification for seriously questioning the Christian character of the poem. Right now I have on my desk the book Beowulf: A Student Edition, edited by George Jack (a lecturer at the University of St Andrews) and published by Oxford University Press. It is a mainstream academic edition of the Old English text intended for scholars and advanced students. In the introduction, Jack states, "Beowulf is plainly the product of a Christian culture, and more significantly it presupposes an audience well versed in Christianity." Furthermore, he acknowledges that Beowulf probably originated in a monastery: "it is probable that the poet belonged to a religious community." The real issue, then, is whether Christianity is just somewhere in the poem's ideological background or is central to its thematic, narrative, and imaginative qualities. Modern scholarship inclines toward various forms of secularism, and preconceived notions will certainly have an effect on how the poem is understood. However, Ramey is arguing that careful attention to the original Old English text shows conclusively that Christianity is central rather than peripheral. Almost everyone reads Beowulf in translation, and a modern translation (or adaptation) can—to some extent, perhaps to a great extent—shift Christianity from the center to the periphery.
How inspiring are these comments! You have already provided me with topics for future articles... Thank you Marc, thank you Robert!