þær his eðel wæs: The Dream of the Rood, lines 70-156

Last week, in celebration of the Feast of the Exaltation of the Cross, I shared the first half of the Anglo-Saxon poem known as The Dream of the Rood. Earlier this week, I took a closer look at a few lines from the poem which I find particularly poignant. 

As we come to the conclusion of the afterfeast, here's the rest of the poem, again with translation and some notes for students provided. Going through the second half of this poem again, I am struck by how deftly the author weaves a number of theological themes which feature prominently throughout medieval literature. Indeed, it is not the poets themes which are unusual, but the highly original way in which they are presented.

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Initial from a Breviary (12th c.) for the Feast of the Exaltation of the Cross

70-89

Hwæðere we ðær greotende    gode hwile

stodon on staðole,    syððan stefn up gewat

hilderinca.    Hræw colode,

fæger feorgbold.    Þa us man fyllan ongan

ealle to eorðan.    Þæt wæs egeslic wyrd!

Bedealf us man on deopan seaþe.    Hwæðre me þær dryhtnes þegnas,*

freondas gefrunon,**

gyredon me    golde ond seolfre.

Nu ðu miht gehyran,    hæleð min se leofa,

þæt ic bealuwara weorc    gebiden hæbbe,

sarra sorga.    Is nu sæl cumen

þæt me weorðiað    wide ond side

menn ofer moldan,    ond eall þeos mære gesceaft,

gebiddaþ him to þyssum beacne.    On me bearn godes

þrowode hwile.    Forþan ic þrymfæst nu

hlifige under heofenum,    ond ic hælan mæg***

æghwylcne anra,    þara þe him bið egesa to me.

Iu ic wæs geworden    wita heardost,

leodum laðost,    ærþan ic him lifes weg

rihtne gerymde,    reordberendum.****

[Yet we there weeping a good while stood in place, after the voices of the warriors had departed. The body cooled, fair life-dwelling. Then one began to fell us all to earth. That was an evil fate! One buried us in a deep pit; nevertheless there one of the Lord’s servants,* friends heard,** and adorned me with gold and silver. Now you can hear, my good man, that I the Evil One’s works have endured, painful sorrows. The time is now come that men should honor me far and wide; that men over the earth, and all this glorious creation should pray to this Sign. On me the Son of God suffered for a while; therefore, I rise glorious now under heaven, and I am able to save*** each of those for whom there is fear of me. Long ago I was made of punishments the cruelest, most hateful to the peoples, before I them the true way of life cleared for speech-bearers.****]

*The word I have translated here as “servant” is “thegn,” Modern English thane. This word usually means the aristocratic retainer of a king or chieftain in ancient Germanic society, and by extension, the noble class in general. The reference is to St Helen, who—in an event commemorated every September 14^th—is said to have found the True Cross (along with the other two crosses from Golgotha), which had been buried beneath a temple to Venus built on the site by the Roman Emperor Hadrian.

**We’re missing a half-line here, so it’s hard to say what the actual meaning of this line is.

***The verb is gehælan, “to heal, to comfort, to make whole.” A related word, Hælend, is used in Anglo-Saxon to refer to Christ as Savior.

****reordberend “speech-bearers” is a simple kenning for humans, employed several times in this poem for the sake of alliteration.

A Rood in a church in Gotland, Sweden

90-114

Hwæt, me þa geweorðode    wuldres ealdor

ofer holtwudu,    heofonrices weard,

swylce swa he his modor eac,    Marian sylfe,

ælmihtig god    for ealle menn

geweorðode    ofer eall wifa cynn.

Nu ic þe hate,    hæleð min se leofa,

þæt ðu þas gesyhðe    secge mannum,

onwreoh wordum    þæt hit is wuldres beam,

se ðe ælmihtig god    on þrowode

for mancynnes    manegum synnum

ond Adomes    ealdgewyrhtum.

Deað he þær byrigde,    hwæðere eft dryhten aras

mid his miclan mihte    mannum to helpe.

He ða on heofenas astag.    Hider eft fundaþ

on þysne middangeard    mancynn secan

on domdæge    dryhten sylfa,

ælmihtig god,    ond his englas mid,

þæt he þonne wile deman,    se ah domes geweald,*

anra gehwylcum    swa he him ærur her

on þyssum lænum    life geearnaþ.

Ne mæg þær ænig    unforht wesan

for þam worde    þe se wealdend cwyð.

Frineð he for þære mænige    hwær se man sie,

se ðe for dryhtnes naman    deaðes wolde

biteres onbyrigan,    swa he ær on ðam beame dyde.**

[Behold, the Lord of Glory then honored me over all the wood of the forest, the Heaven-Kingdom’s Ward, in much the same way as he his mother also, Mary herself, the Almighty God for all men exalted above woman-kind. Now I command you, my good man, that you tell this vision to men, reveal with words that it is the Tree of Glory that the Almighty God suffered upon for mankind’s many sins and Adam’s ancient wrongs. Death he there tasted, yet afterwards the Lord arose by his great might, mankind to help. He then to the heavens ascended, and hither afterwards hastens to this Middle-earth, mankind to seek at Doomsday—the Lord Himself, Almighty God, and his angels with him. He will then doom—who has the power of doom—each of them according as he earlier merited in this transitory life. Nor may any be unafraid there, because of the word that the Ruler pronounces. He asks there in the presence of the multitude where the man be who for the Lord’s Name would taste of bitter death, as he [the Lord] did on the Tree.**]

*The word used repeatedly for “to judge” or “judgment” is some version of deman (“to judge, to deem, to praise”) or dom (“judgement, justice majesty, glory, honor”). The reference here is clearly to the Last Judgment as it was understood in medieval Christian theology, however it is important to point out that this is no merely judicial power as we might think of it today in an at least nominally democratic form of government—Christ’s power to judge is directly associated with his glory, majesty, and kingly attributes. There is a certain tendency in modern thinking and storytelling to assume that the idea of glory is inversely proportional to justice. Our poet (along with his audience) is completely comfortable with the idea that Christ’s coming in judgment would not be possible without his also coming in glory.

**Here I think we can most clearly glimpse the theological “goal” of this imaginative poem—to help the listener identify with the sufferings of Christ by considering them from the perspective of the Cross itself. Medieval devotion often employs this strategy, and many comparisons might be here made to the hymnography of the Eastern Orthodox Church as it has come down to us today. The goal of this approach is not (as many Protestant reformers would later think) to create an unnecessary barrier between the devotee and Christ; it is rather to provide yet another avenue of devotional engagement by considering the Lord’s Passion through the perspective of those who witnessed it firsthand—usually the Mother of God or St John the Beloved, or others who stood at the foot of the Cross. In this poem, uniquely, we are given the perspective of the Cross itself.

Another Rood from Gotland, this one over 800 years old. It is significant for portraying Christ triumphantly (as does this poem). Even on the cross, he is already wearing his crown.

115-156

Ac hie þonne forhtiað,    ond fea þencaþ

hwæt hie to Criste    cweðan onginnen.

Ne þearf ðær þonne ænig    anforht† wesan

þe him ær in breostum bereð    beacna selest,

ac ðurh ða rode sceal    rice gesecan

of eorðwege    æghwylc sawl,

seo þe mid wealdende    wunian þenceð."

Gebæd ic me þa to þan beame    bliðe mode,

elne mycle,    þær ic ana wæs

mæte werede.*    Wæs modsefa

afysed on forðwege,**    feala ealra gebad

langunghwila.    Is me nu lifes hyht

þæt ic þone sigebeam    secan mote

ana oftor    þonne ealle men,

well weorþian.    Me is willa to ðam

mycel on mode,    ond min mundbyrd is

geriht to þære rode.***    Nah ic ricra feala

freonda on foldan,    ac hie forð heonon

gewiton of worulde dreamum,    sohton him wuldres cyning,

lifiaþ nu on heofenum    mid heahfædere,

wuniaþ on wuldre,    ond ic wene me

daga gehwylce    hwænne me dryhtnes rod,

þe ic her on eorðan    ær sceawode,

on þysson lænan    life gefetige

ond me þonne gebringe    þær is blis mycel,

dream on heofonum,    þær is dryhtnes folc

geseted to symle,    þær is singal blis,

ond me† þonne asette    þær ic syþþan mot

wunian on wuldre,    well mid þam halgum

dreames brucan.    Si me dryhten freond,

se ðe her on eorþan    ær þrowode

on þam gealgtreowe    for guman synnum.

He us onlysde    ond us lif forgeaf,

heofonlicne ham.    Hiht wæs geniwad

mid bledum ond mid blisse    þam þe þær bryne þolodan.****

Se sunu wæs sigorfæst    on þam siðfate,

mihtig ond spedig,    þa he mid manigeo com,

gasta weorode,    on godes rice,

anwealda ælmihtig,    englum to blisse

ond eallum ðam halgum    þam þe on heofonum ær

wunedon on wuldre,    þa heora wealdend cwom,

ælmihtig god,    þær his eðel wæs.

[But they are afraid, do not even know how to begin to speak to Christ. They do not have any reason to be afraid who before in their breasts bears the Best of Signs, but by means of the Cross wills the Kingdom to seek, from earthly regions—every soul who with the Ruler intends to dwell.” Prayed I then to that Cross, glad at heart, strong in courage, where I was alone with a small company.* Mind was focused on departure;** I endured many times of longing. It is now my life’s hope that I the Tree of Victory may seek alone, to offer it honor above all men. The desire for that is great in my mind, and I look to that Rood for patronage.*** Nor have I many wealthy friends on earth, but they forth hence departed from this world’s joys, sought for themselves the King of Glory, live now in the heavens with the Highfather, dwell in glory; and I expect every day when the Lord’s Rood, who I here on earth before saw, will fetch me from this transitory life, and bring me then to where there is great bliss, joy in the heavens, where the folk of God are set at banquet, where is everlasting bliss, and being set there I afterwards might dwell in glory, well with the saints, enjoying joys. The Lord shall be to me a friend, who here on earth formerly suffered on the gallows-tree for mankind’s sin. He redeemed us and gave us life and a heavenly home. Hope was renewed, with glories and with bliss, for those who there burning suffered.**** The Son was secure in victory on the journey, mighty and successful when he came with a multitude, a troop of spirits, into God’s Kingdom, Almighty Ruler, with angels to bliss, and with all the saints whom in the heavens before lived in glory when their Ruler came, Almighty God, where His homeland was.]

*Compare line 69b.

**That is, departure from this world.

***Literally taken, this line is: “and my mundbyrd is directed to that Rood.” Nearly everyone in Anglo-Saxon society had a mundbora, a patron and protector—ones parent, master, chieftain, earl, or king, depending on the position one held in society. By association, the word came to be used for the protection that God—via His saints and angels—offered to His people. The author or visionary is claiming the Rood as his own particular heavenly patron.

****The poem ends by connecting three themes which seem to have been closely intertwined for the poet (and probably for his audience as well): First, the visionary’s hope that he will gain heaven and the company of the saints by the intercession and patronage of the Cross; second, his expectation that the Lord will prove his “friend” at the day of judgment; third, that all of this—his own hopes for salvation and mankind’s hopes in general—rest upon the victory of Christ in the “Harrowing of Hell” (the Anglo-Saxon name for the Descent into Hades), the events of which are briefly recalled in the final lines of the poem. For the poet, the ideas of heavenly patronage, steadfast devotion, and the sure victory of Christ are not mutually exclusive—rather, they are complementary, woven together into a beautiful tapestry which would begin to unravel if any of the various threads were removed.

Rood screen at Our Lady of Egmanton, Nottinghamshire

Currently reading: The Life in Christ, Nicholas Cabasilas
Current audio book: City of Fortune: How Venice Ruled the Seas, Roger Crowley
Currently translating: The Dream of the Rood

Crist wæs on rode

Saturday's post of the first 69 lines of The Dream of the Rood has already become the most popular post on this blog. I don't have any explanation for this, unless it is that the poem is uniquely beautiful and also too little known. If that's the case, I am happy to have brought it to the attention of so many people. I thought I'd do a quick post this morning just to highlight what I find to be one of the most poignant passages in the whole poem: lines 39-56.

To explain why this passage works so well, one must know a little bit about Anglo-Saxon alliterative meter. To say everything that could be said about this deceptively simple meter would be the study of many lifetimes. At its most basic, however, it goes like this: Each line is made up of two half-lines (the double-space in the middle of each lines in the passage below indicates the break between these half-lines). The first half-line has two "beats" which place the stress on two alliterating sounds (with vowels always alliterating with other vowels). The second half-line has two beats as well, the first of which alliterates with the first half-line, the second of which introduces a new sound.

To give an example of what I mean, here's line 56 of the poem, with the alliterating stresses in bold:

cwiðdon cyninges fyll.  Crist wæs on rode.

There are of course endless variations to this basic line type, based on where the stresses fall and how many "filler words" (which function as extra, unstressed syllables) are allowed. Certain poems, such as Caedmon's Hymn, exhibit an extremely "tight" meter:

Nu sculon herigean         heofonrices weard,
meotodes meahte         and his modgeþanc,
weorc wuldorfæder,         swa he wundra gehwæs,
ece drihten,         or onstealde.
He ærest sceop         eorðan bearnum
heofon to hrofe,         halig scyppend;
þa middangeard         moncynnes weard,
ece drihten,         æfter teode
firum foldan,         frea ælmihtig.

Even if you can't read Anglo-Saxon, it should be easy to tell that these lines keep a fairly steady beat and, for the most part, stick to the alliteration rules I mentioned above. The stereotype that exists about alliterative verse is that the earlier stuff is tighter, the later stuff is looser and more "artsy"; some have drawn parallels between the breakdown of heroic society and the breakdown of heroic verse.

But The Dream of the Rood bucks this stereotype. It features a large number of what are referred to as "hyper-metrical lines"--lines that basically break the metrical rules I listed above. Usually, this is done for the sake of effect. But it almost seems that in the Dream of the Rood, it is metrical lines which are used for effect, and not the other way around. Let's return again to lines 39-56, which recount the crucifixion of Christ:

39-56

Ongyrede hine þa geong hæleð,  (þæt wæs god ælmihtig),                                       
strang ond stiðmod.  Gestah he on gealgan heanne,
modig on manigra gesyhðe,  þa he wolde mancyn lysan.                             
Bifode ic þa me se beorn ymbclypte.  Ne dorste ic hwæðre bugan to eorðan,                                   
feallan to foldan sceatum,  ac ic sceolde fæste standan.                               
Rod wæs ic aræred.  Ahof ic ricne cyning,                                     
heofona hlaford,  hyldan me ne dorste.
þurhdrifan hi me mid deorcan næglum.  On me syndon þa dolg gesiene,                               
opene inwidhlemmas.  Ne dorste ic hira nænigum sceððan.                                       
Bysmeredon hie unc butu ætgædere.  Eall ic wæs mid blode bestemed,                                 
begoten of þæs guman sidan,  siððan he hæfde his gast onsended.                                         
Feala ic on þam beorge  gebiden hæbbe
wraðra wyrda.  Geseah ic weruda god
þearle þenian.  þystro hæfdon                 
bewrigen mid wolcnum  wealdendes hræw,                       
scirne sciman,  sceadu forðeode,                             
wann under wolcnum.  Weop eal gesceaft,
cwiðdon cyninges fyll.  Crist wæs on rode.

[They stripped the Young Warrior—he who was God Almighty—strong and resolute. He mounted on the gallows high, valiant in the sight of many, when he would ransom mankind. I shook when the Warrior embraced me. Nor dared I to bow in any direction towards the ground—I had to stand fast. The Rood was raised. I exalted the Mighty King, Heaven’s Lord. I did not dare to bend. They pierced me with dark nails—scars easily seen in me; evil, open wounds. Nor dared I to harm any one of them. They besmirched both of us together. I was streaming all over with blood, drenched from that man’s sides, since he had his spirit sent forth. Much have I, on that mountain, tasted of an evil wyrd. I saw the warbands of God violently humiliated. Dark clouds closed over the Ruler’s corpse. Over shining splendor shadow went forth, dark under sky. All creation wept, bewailing the King’s fall. Christ was on the Cross.]

I have tried to put the stressed syllables for each line in bold, but for some of the hyper-metrical lines (easily visually identified due to the fact that they are much longer than the last 6 or so lines) it is sometimes difficult to hear exactly where the stress should go. In my opinion, this contributes to the dream-like effect of this mystical poem.

But notice what happens in those last six lines, starting at "wraðra wyrda..." The alliteration becomes perfectly regular, and the lines "tighten," at precisely the moment when the nails would be driven into the hands and feet of Our Lord. The dreamlike vision becomes, for a moment, something concrete. Each beat falls like a hammer-blow. And Crist wæs on rode.

This use of the meter creates an incredible aural effect. It's just one small example of the great genius of this poem, and one reason why it's almost impossible to translate well.

Beama beorhtost: The Dream of the Rood, lines 1-69

Today marks the feast of the "Universal Exaltation of the Precious and Life-Giving Cross," also known as Holy Cross Day, Holy Rood Day, or Roodmas in various traditions. The story behind this feast day, which involves the finding of the True Cross by St Helen (the mother of emperor St Constantine the Great) can be read elsewhere, and I hope to touch more on it in the next post in this series.

The two primary subjects of this blog are Germanic Philology, and the Liturgical Arts & Liturgical Year. Over the last several posts I've been deeply interested in rood-screens and the way they function in sacred architecture, and how medieval literature might itself function as a sort of verbal rood-screen (as Tolkien in fact believed that it could). In the Venn diagram of all of these interests, an Anglo-Saxon poem known as The Dream of the Rood is the almond-shaped overlapping area which connects them all.

Eastern Orthodox icon of the Exaltation of the Cross

I won't give you a lengthy introduction to the poem. The facts are these: It is at least as old as the 8th Century Ruthwell Cross, a beautiful 8th century stone Anglo-Saxon cross, which bears a partial text of the poem as well as quite a bit of beautiful iconography; it was of course destroyed during the rampant iconoclasm of the Protestant Reformation, but we've been able to piece a good bit of it back together. There is a decent chance that the poem is older than this, though, and it's considered to be a good candidate for the title of "oldest work of Old English literature." 

The Ruthwell Cross, 8th c.

There are all kinds of theories about the origins of poem itself. Its content, which seems to blend the heroic ethics of the Anglo-Saxon warrior aristocracy with Christian virtues, and its inclusion on the Ruthwell Cross have led many people to speculate that it was composed as a missionary tool, intended to help pagan Anglo-Saxons understand where their old values could be situated within a Christian context. Other attempts have been made to attribute the poem to known poets such as Cynewulf or Caedmon, though these attributions do not seem to have stuck. 

What can be said about the poem is that it is a beautiful, remarkable work of art. I am staggered just trying to imagine the mind which could compose it. Ever since I first encountered this poem in my first semester of Anglo-Saxon, I have wanted to attempt a verse translation of this poem which would make some effort toward communicating the beauty of the original. I'm not there yet, but I thought over the octave of the present feast I would share a rough prose translation I've been working on along with some notes. There's nothing revolutionary here--just some thoughts and notes I have been putting together for the purpose of teaching the poem to students who have little-to-no ability to read it themselves in Old English.

The idea would be to read each section aloud to the students in Old English, then go through the translation and draw out certain interesting meanings and aural effects which the poem accomplishes. In this way, someone who cannot read Old English would at least be introduced to the poem, and would get some sense of its beauty, and might go on to study it for themselves.

Without further ado, here are some notes on the first 69 lines of the poem. I'll publish the rest in 1-2 more blog posts (which should include some notes about the finding of the Cross by St Helen, since it is briefly mentioned in the poem) over the course of the next eight days.

The Anglo-Saxon Reliquary Cross, 10th c.

1-12

Hwæt! Ic swefna cyst  secgan wylle,                                        

hwæt me gemætte  to midre nihte,                                         

syðþan reordberend  reste wunedon!                                     

þuhte me þæt ic gesawe  syllicre treow                                  

on lyft lædan,  leohte bewunden,                                             

beama beorhtost.*  Eall þæt beacen** wæs                                        

begoten mid golde.  Gimmas stodon                                      

fægere æt foldan sceatum,  swylce þær fife wæron                                          

uppe on þam eaxlegespanne.***  Beheoldon þær engel dryhtnes ealle,                                   

fægere þurh forðgesceaft.  Ne wæs ðær huru fracodes gealga,                   

ac hine þær beheoldon  halige gastas,                                   

men ofer moldan,  ond eall þeos mære gesceaft.                

[Hark! I wish to tell of the best of dreams which came to me in the middle of the night, when speech-bearers seek their rest. It seemed to me that I saw a wondrous Tree suspended on the air, surrounded by light, of beams* the brightest. All that Sign** was covered with gold. Precious jewels shone forth, fair over the surface of the earth, and likewise there were five above the crossbeam***. I beheld there all the angels of the Lord, those fair from the foundation of the world. Nor was that indeed any criminal’s gallows, but there they kept watch: blessed spirits, men over the world, all this famous creation.]

*The word here is actually beama, the GP of beam, which can mean a tree (compare German Baum), a beam of wood, or (as throughout the rest of this poem) the Cross.

**OE beacen, from which we get our word beacon. It means a sign or portent. Throughout this poem it will be used both for the vision itself—the dream—as well as for the Cross. Given that this poem is never far from the legends of Sts. Constantine and Helen (and in fact will reference St Helen’s finding of the Cross later in the poem), I think it’s not unfair to see here an allusion to Constantine’s in hoc signo. Note though that there is already an OE borrowing from Latin signum: segn.

**OE eaxlegespann. I don’t have anything to say about this except that it’s a really cool word and “crossbeam” is a pretty uninteresting way to translate it.

13-23

Syllic wæs se sigebeam,  ond ic synnum fah,                                        

forwunded mid wommum.  Geseah ic wuldres treow,                                      

wædum geweorðode,*  wynnum scinan,

gegyred mid golde;  gimmas hæfdon                                      

bewrigene weorðlice  wealdendes treow.                                             

Hwæðre ic þurh þæt gold  ongytan meahte                                         

earmra ærgewin,  þæt hit ærest ongan                                  

swætan on þa swiðran healfe.  Eall ic wæs mid sorgum gedrefed,                              

forht ic wæs for þære fægran gesyhðe.  Geseah ic þæt fuse beacen                                           

wendan wædum ond bleom;  hwilum hit wæs mid wætan bestemed,                                       

beswyled mid swates gange,  hwilum mid since gegyrwed.

[Rare and marvelous was the Victory-tree—and I guilty with sins, wounded all over with evils! I saw the Tree of Wonder worshipfully vested,* shining with joy, adorned with gold; precious jewels had covered honorably the Ruler’s Tree. Nevertheless, I could see through that gold the evidence of a previous and wretched combat, where it first started to sweat and bleed from its right side. I was all with sorrow afflicted—afraid because of the fair vision. I saw that noble sign changed in garments and colors; at times it was with liquid moistened, drenched with flowing sweat and blood, at other times with treasures adorned.]

*Literally wædum geweorðode. Wǣd can refer to any article or garment of human clothing, but as it is often used to gloss Latin vestīmentum and since geweorþian carries the sense of rendering honor to an object or person, I have rendered it thus.

Anglo-Saxon Rood, or crucifix, Romsey Abbey. 10th c.

24-38

Hwæðre ic þær licgende   lange hwile                                      

beheold hreowcearig  hælendes treow,                  

oððæt ic gehyrde  þæt hit hleoðrode.                                     

Ongan þa word sprecan  wudu selesta:                                  

"þæt wæs geara iu,  (ic þæt gyta geman),                                            

þæt ic wæs aheawen  holtes on ende,                                     

astyred of stefne minum.  Genaman me ðær strange feondas,                    

geworhton him þær to wæfersyne,  heton me heora wergas hebban.                                       

Bæron me ðær beornas on eaxlum,  oððæt hie me on beorg asetton,                                       

gefæstnodon me þær feondas genoge.  Geseah ic þa frean mancynnes                                   

efstan elne mycle  þæt he me wolde on gestigan.                                              

þær ic þa ne dorste  ofer dryhtnes word                

bugan oððe berstan,  þa ic bifian geseah                                              

eorðan sceatas.  Ealle ic mihte                                   

feondas gefyllan,  hwæðre ic fæste stod.                

[Nevertheless I, lying there a long while, beheld sad-minded the Savior’s Tree, until I heard that it spoke. The Best of Woods began to speak these words: “It was long ago (though I remember it still) that I was hewn down at the holt’s end, removed from my stump. Strong enemies took me from there, made me into an awful spectacle, and commanded me to raise up their criminals. They bore me there, men on shoulders, until they set me atop a mountain. Many fiends fastened me there. I saw then the Lord of Mankind hastening with great courage that he might mount up upon me.* There I did not dare to go beyond the Lord’s word, to budge or break—I saw the earth’s surface begin to quake—even though I might have felled all those enemies, nevertheless I stood fast.]

*Throughout this poem, Christ’s action on the cross are seen as willing, with Christ almost always referred to in the terminology (as elsewhere—see the Old Saxon Heliand) of the Germanic warrior aristocracy. Christ is portrayed as totally in command of what takes place on the Cross. Although this takes place within the poet’s own cultural idiom, it is most consonant with the portrayal of the Passion in St John’s Gospel:

And Jesus answered them, saying, The hour is come, that the Son of man should be glorified. Verily, verily, I say unto you, Except a corn of wheat fall into the ground and die, it abideth alone: but if it die, it bringeth forth much fruit. He that loveth his life shall lose it; and he that hateth his life in this world shall keep it unto life eternal. If any man serve me, let him follow me; and where I am, there shall also my servant be: if any man serve me, him will my Father honour. Now is my soul troubled; and what shall I say? Father, save me from this hour: but for this cause came I unto this hour. Father, glorify thy name. Then came there a voice from heaven, saying, I have both glorified it, and will glorify it again. The people therefore, that stood by, and heard it, said that it thundered: others said, An angel spake to him. Jesus answered and said, This voice came not because of me, but for your sakes. Now is the judgment of this world: now shall the prince of this world be cast out. And I, if I be lifted up from the earth, will draw all men unto me. This he said, signifying what death he should die. (John xii)

Byzantine crucifix in the nave of St Seraphim Orthodox Cathedral, Dallas TX. Both Byzantine and Anglo-Saxon art and poetry place the focus on Christ's calm command of his passion, rather than on the suffering or gore. Thus, Christ is portrayed at rest.

39-56

Ongyrede hine þa geong hæleð,*  (þæt wæs god ælmihtig),                                         

strang ond stiðmod.  Gestah he on gealgan heanne,

modig on manigra gesyhðe,  þa he wolde mancyn lysan.                               

Bifode ic þa me se beorn** ymbclypte.  Ne dorste ic hwæðre bugan to eorðan,                                    

feallan to foldan sceatum,  ac ic sceolde fæste standan.                                 

Rod wæs ic aræred.  Ahof ic ricne*** cyning,                                      

heofona hlaford,****  hyldan me ne dorste.

þurhdrifan hi me mid deorcan næglum.  On me syndon þa dolg gesiene,                                 

opene inwidhlemmas.  Ne dorste ic hira nænigum sceððan.                                         

Bysmeredon hie unc butu ætgædere.  Eall ic wæs mid blode bestemed,                                   

begoten of þæs guman sidan,  siððan he hæfde his gast onsended.                                           

Feala ic on þam beorge  gebiden hæbbe

wraðra wyrda.  Geseah ic weruda god

þearle þenian.  þystro hæfdon                   

bewrigen mid wolcnum  wealdendes hræw,                        

scirne sciman,  sceadu forðeode,                              

wann under wolcnum.  Weop eal gesceaft,

cwiðdon cyninges fyll.  Crist wæs on rode.

[They stripped the Young Warrior*—he who was God Almighty—strong and resolute. He mounted on the gallows high, valiant in the sight of many, when he would ransom mankind. I shook when the Warrior** embraced me. Nor dared I to bow in any direction towards the ground—I had to stand fast. The Rood was raised. I exalted*** the Mighty King, Heaven’s Lord.**** I did not dare to bend. They pierced me with dark nails—scars easily seen in me; evil, open wounds. Nor dared I to harm any one of them. They besmirched both of us together. I was streaming all over with blood, drenched from that man’s sides, since he had his spirit sent forth. Much have I, on that mountain, tasted of an evil wyrd. I saw the warbands of God violently humiliated. Dark clouds closed over the Ruler’s corpse. Over shining splendor shadow went forth, dark under sky. All creation wept, bewailing the King’s fall. Christ was on the Cross.]

*geong hæleð

**beorn. As is well known, this particular word is packed with etymological controversy. It has a highly disputed link (which however I consider credible) to ON bjǫrn, a northern variant of the Proto-Germanic root for “brown.” Northern Indo-European languages have a great reticence to refer to bears by name (thus there is no Germanic cognate for Latin ursus), and usually refer to them as “brown one” or “honey-eater.” A warrior who is particularly fierce, hairy, and given to large meals and long naps (one finds many such people in Germanic folklore and legend) might be a “bear” by association, and since most aristocratic males were warriors and since the word is very close to bearn “son [of man]”, it seems to often just function as a poetic word for “man.” As Nelson Goering once told me, we have to understand ALL of the above layers (and probably some that I’m missing) as having been present for the original audience of these poems. In translation, highlighting one sense usually comes at the expense of the others.

***ahof could be translated “raised” or “exalted” and thus seems to be something of a pun, in keeping with the spirit of the Gospel passage cited above.

****Here I have to play around a bit, which I can do because this is a personal blog and not a scholarly publication. There are a few different words in Anglo-Saxon which are translated as “Lord.” This one is hlaford, which developed from earlier OE hlafweard or “loaf-warden,” as in the one who has control over, or gives out, loafs of bread. Over time, OE hlaford > ME louerd, lord > ModE lord. It’s difficult to imagine a more appropriate name for Christ than “loaf-warden,” and certainly Medieval Christians would not have been deaf to the Eucharistic associations of the term.

57-69

Hwæðere þær fuse  feorran cwoman                      

to þam æðelinge.  Ic þæt eall beheold.                   

Sare ic wæs mid sorgum gedrefed,  hnag ic hwæðre þam secgum to handa,                          

eaðmod elne mycle.  Genamon hie þær ælmihtigne god,                

ahofon hine of ðam hefian wite.   Forleton me þa hilderincas                        

standan steame bedrifenne;  eall ic wæs mid strælum* forwundod.                          

Aledon hie ðær limwerigne,  gestodon him æt his lices heafdum,               

beheoldon hie ðær heofenes dryhten,  ond he hine ðær hwile reste,                           

meðe æfter ðam miclan gewinne.  Ongunnon him þa moldern wyrcan     

beornas on banan gesyhðe;  curfon hie ðæt of beorhtan stane,                   

gesetton hie ðæron sigora wealdend.  Ongunnon him þa sorhleoð galan                

earme on þa æfentide,  þa hie woldon eft siðian,               

meðe fram þam mæran þeodne.  Reste he ðær mæte weorode.

[But then noble folk came from afar off to that prince. I beheld it all. I was in pain, with sorry afflicted, nevertheless I bent down to those men, down towards the side of the hill, humble-minded and with great courage. They took there the Almighty God, lifting him up from that heavy torment. I relinquished that Warrior, remained with Moisture covered; I was all with arrows* gravely wounded. There they lay down the weary-limbed one and stood at the head of his corpse. There they looked on Heaven’s Lord, and he with them rested there a while, weary after the great struggle. They began the grave to make, those warriors, within sight of his killer; they carved that grave of bright stone, and set therein The Lord of Victory. They began then a burial hymn to chant on that miserable evening. Then, weary, they would afterwards leave that most excellent Lord. He rested there with a small host.]

*strælum “with arrows” seems to be a reference to the nails embedded in the wood of the cross. Here, we might think of certain iconography of Anglo-Saxon saints, or of St Sebastian, who were tied to a tree and then shot to death with arrows. The below illumination depicts the death of St Edmund, King and Martyr, shot to death by Viking raiders. The point of this and other references to the Cross’s wounds seems to be to transfer the Cross itself from an instrument of torment to a victim who suffered, obediently, along with Christ. The reference in line 60 to elne mycle “with great courage” highlights the Cross’s own courage in obedience. As has often been pointed out elsewhere, the whole poem casts the Cross in the light of the obedient thegn, the servant or bodyguard of his lord who is expected to stand with his lord until the end. The poem puts a particularly Christian twist on this idea, though, since the Cross is not supposed to fight or defend its lord (even though it seems capable of doing so); instead, it (and therefore we) must partake in and therefore identify with the sufferings of Christ. It is the peculiarly Christian understanding that sees this moment of greatest suffering as the moment of greatest exaltation. The double-vision of the cross streaming with gore/arrayed in gold and jewels and costly vestments is a good example of the paradox which the poet so effectively conveys.

Medieval illumination of the death of St Edmund

The Riddles of Gestumblindi: Riddle 10

As usual, here's the answer to the previous riddle:

"Góð er gáta þín, Gestumblindi, getit er þessar. Þar fara svanbrúðir til hreiðrs síns ok verpa eggjum; skurm á eggi er eigi höndum gert né hamri klappat, en svanr er fyrir eyjar utan örðigr, sá er þær gátu eggin við."

"Your riddle is good, Gestumblindi, but I have guessed it. Swan-maids* go to their nests and lay eggs; the shell of the egg is not by hand or hammer forged, and the swan by whom they previously got the eggs sits upright outside the islands."

Riddle 10

Þá mælti Gestumblindi:

"Hverjar eru þær rýgjar
á reginfjalli,
elr við kván kona,
þar til er mög of getr,
ok eigu-t þær varðir vera?
Heiðrekr konungr,
hyggðu at gátu."

Then said Gestumblindi:

"What are those ladies
On the mighty mountain,
Woman begets by wife,
So that she bears a son,
And those women have no husbands?**
Heiðrekr king,
Ponder this riddle."

*Female swans.
**This is an idiomatic rendering of (in literal word-order): and having-not [i.e. marriage] those women be.


Currently reading: Reclaiming the Atonement, Patrick Henry Reardon
Current audio book: Out of the Silent Planet, C.S. Lewis
Currently translating: Hervarar Saga, "The Riddles of Gestumblindi"

The Riddles of Gestumblindi: Riddle 9

First, here's the answer to riddle 8:

Heiðrekr mælti: "Smækkast nú gáturnar, Gestumblindi, hvat þarf lengr yfir þessu at sitja? Þat er hrafntinna, ok skein á hana sólargeisli."

Your riddles grow small, Gestumblindi, what need is there to sit any longer at this? That is obsidian*, when shone on her a sunbeam.

Riddle 9

Þá mælti Gestumblindi:

"Báru brúðir
bleikhaddaðar
ambáttir tvær
öl til skemmu;
var-at þat höndum horfit
né hamri at klappat,
þó var fyrir eyjar utan
örðigr sá, er gerði.
Heiðrekr konungr,
hyggðu at gátu."

Then said Gestumblindi:

"Maidens bore,
Fair-headed,
Serving-maids twain
Ale to the store-house;
Not turned by hands
Nor beaten by hammers,
Though far outside the island
The maker sat upright.**
Heiðrekr king,
Ponder this riddle."

*Literally "raven-flint."
**The thing which was not turned by hands or beaten by hammers must refer to the cask in which the ale was carried, not the ale itself.


Currently reading: For the Life of the World
Current audio book: The Man Who Was Thursday
Currently translating: Hervara saga, "The Riddles of Gestumblindi"

Zombies don't scare Hervor. Hervor doesn't scare Hervor.

I'm largely absent from blogging because I am down to the last several weeks of crunch-time on the Digital Hervararkviða (click here for the genesis of this project). The Facsimile layer is as close to finished as anything can be, and I am now working on punctuation for the diplomatic and normalized layers (as punctuation is essentially wholly absent in the original work), as well as a translation and introduction to the poem. The first draft is due to my advisers in a week or two.

I cannot resist commenting, however, on one of the differences between this version of the poem and the one that most people who have read it are likely to be familiar with: Christopher Tolkien's largely excellent 1958 edition of "The Saga of King Heidrek the Wise" (which you can find freely available online). Christopher Tolkien is mainly working from the R-text whereas I am working from the H-text. Without getting too much into the weeds, the two are quite different.

One of those differences comes in at Hervor's approach to her father's barrow. In Christopher Tolkien's edition it reads like this (translation his):

Now Hervor saw where out upon the island burned the fire of the barrows, and she went towards it without fear, though all the mounds were in her path. She made her way into these fires as if they were no more than mist, until she came to the barrow of the berserks.

Here's how that bit reads in the H-text:

hón sá nú hauga eldana ok haugbúa úti standa ok gengr til hauganna ok hræðisk ekki ok óð hón eldana sem reyk þar til er hón kom at haugi berserkjanna þá kvað hón...

And my translation:

She saw now the barrow-fires, and the cairn-dwellers standing outside, and unfrightened she went to the barrow. She waded through the fires there as if they were smoke, until she came to the barrow of the berserks. Then she said...

The word haugbúi (absent in Christopher Tolkien's text) literally means "howe-dwellers." In other words, the dead. And the dead here appear to be out standing around as the barrow-fires* burn above their graves. Hervor simply ignores them, and in fact walks right past them. Not only is she fearless, she "hræðisk ekki." We would translate this as "frightened not," as in "she is not frightened, she is not afraid."

But -isk is the 3rd person present singular reflexive mediopassive ending. Literally "frightens-herself not." Now, we would correctly understand this as meaning she is not frightened, or perhaps that she does not allow herself to be frightened.

But I am amused by the idea that even Hervor doesn't scare Hervor.


*Barrow-fires refer to the ancient belief, still found up to recent times, that on certain nights of the year fires will hover over places, especially graves, where treasure is buried. There are a surprising number of words in Old Norse for this.


Currently reading: The summa of St John of Damascus
Current audio book: The Two Towers, by JRR Tolkien
Currently translating: The Hervararkviða

Notes on the Grendel Fight

The Grendel Fight is one of the best passages in Beowulf, perhaps in all of English poetry. There are so many things it does well that are only apparent in the original Old English. But there are a lot of things it does well that are apparent even in translation. Here are some of them:

Perspective Shift

"Perspective shift," one might almost call it an "apposition of perspective" is one of the Beowulf poet's main tools for building suspense. Working within an established genre trope (of the "monster goes to hall expecting dinner, monster meets hero instead and over-commits himself, monster and hero engage in wrestling match in which monster drags hero towards door, trying to get away" variety; see Grettis saga), the poet knows his audience knows (and indeed he has liberally foreshadowed) how the fight will end. Instead of creating suspense (and horror, and delight) by keeping them in ignorance about the outcome, he does it by forcing their perspective to shift through the various characters.

Grendel (709-735a)
  Beowulf (735b-748)
    Grendel (749-756)
     Beowulf (757-759)
      Grendel (760-765)
    The Danes (766-787a)
   Beowulf (787b-793a)
  The Geats (793b-802)
Grendel (803-822a)

As we see, Grendel's perspective interweaves and bookends, and is in fact at the center, of the fight. We get Grendel's perspective on his approach to the hall, and then the switch to Beowulf's perspective when Handsco is eaten. It's back and forth, blow by blow like this all the way through the first half of the scene, and then we're taken out of the hall entirely for a fairly lengthy digression on what the Danes are hearing and thinking.

Dramatic Irony

Everyone in this scene is a source of dramatic irony (where the audience knows something the characters do not) except for Beowulf himself:

• Grendel does not know that he is going to die, etc.
• The Danes do not know how the fight is going, and furthermore they are confident that nothing except fire can destroy their hall (whereas the audience knows that this is precisely how Heorot is going to be destroyed, as the poem frequently foreshadows).
• The Geats do not know that Grendel is iron-proof.

Only Beowulf has no surprises here. We are told that he hopes Grendel won't get away, but we're never told he expects one thing to happen while in fact something completely different is going to happen. The effect is that we are put in a narratively superior standing to Grendel, to the Danes, even to the Geats, but never to the poem's hero.

Music

Recall that it was the music (among other things) from Heorot which aroused Grendel's ire at the beginning of the poem. Now, the Danes are the ones on the outside, and they too hear music. Translations that render the noises Grendel makes as merely weeping or screaming miss the literal sense of the Old English, and so I think miss some of the irony the poet intends us to feel. Grendel is often referred to as a hall-chieftain, a warrior, even a king, all in order to emphasize his role as a grim parody of human society. The poet extends that metaphor here: Grendel is doing the thing that you're supposed to do in a Mead-Hall: making music! But Grendel's music is horrifying, because it is really the screams of a monster who is quite literally getting his arm ripped off--though I think some of the anguish must surely be mental, as well as physical. After all, Grendel has never lost a fight before this night. And he does not lose grinning, or laughing, or stoically, or even singing--all of which would be perfectly reasonable ways for a hero to go out. He loses screaming.

Currently reading: Justin Martyr's Dialog with Trypho

Current audio book: Paradisio, by Dante (trans. Longfellow)

Currently translating: Hervarar saga

The Grendel Fight: Beowulf, lines 709-822a

Grendel:

                  Ða com of more    under misthleoþum

                  Then came from the moor  under misty slopes

 710           Grendel gongan,    Godes yrre bær.

                  Grendel came,  God’s wrath bearing.

                   Mynte, se manscaða    manna cynnes,

                  He meant, that man-scather,  of mankind

                   sumne besyrwan    in sele þam hean.

                 someone to ensnare  in that high hall.

                   Wod under wolcnum    to þæs þe he winreced,

                 He stepped under the sky  until he saw that wine-hall,

                   goldsele gumena    gearwost wisse,

                 that gold-hall of men  most clearly recognized,

 715           fættum fahne.    Ne wæs þæt forma sið

                 gold-plated and shining.  Nor was that the first time

                   þæt he Hroþgares    ham gesohte.

                  that he Hrothgar’s  home had sought.

                   Næfre he on aldordagum,    ær ne siþðan,

                 Never he in life-days,  before or since,

                   heardran hæle    healðegnas fand.

                 harder luck  of hall-thanes found.

                   Com þa to recede,    rinc siðian,

                 Came then to the hall,  the warrior to travel,

 720           dreamum bedæled.    Duru sona onarn,

                 from joys deprived.  The door soon ran back

                   fyrbendum fæst,    syþðan he hire folmum æthran.

                 with fire-forged bars fast,  when he it with hands touched.

                   Onbræd þa, bealohydig,    ða he gebolgen wæs,

                 Threw open then, the evil-meaning one,  he that was swollen with rage,

                   recedes muþan.    Raþe æfter þon

                 the hall’s mouth.  Quickly after that

                   on fagne flor    feond treddode,

                 over the flagstoned floor  the fiend trod,

 725           eode yrremod.    Him of eagum stod

                 went angry-hearted.  From his eyes issued

                   ligge gelicost    leoht unfæger.

                 most like to a flame  light unlovely.

                   Geseah he in recede    rinca manige,

                 Saw he in the hall  warriors many,

                   swefan sibbegedriht    samod ætgædere

                 to sleep a host of kinsmen  all together

                   magorinca heap.    Þa his mod ahlog,

                 of young warriors a troop.  Then his spirit laughed,

 730           mynte þæt he gedælde,    ær þon dæg cwome,

                  intended that he would take away,  before the day should come,

                   atol aglæca    anra gehwylces

                 the terrible monster  each one of them

                   lif wið lic,   þa him alumpen wæs

                 life with body,  since to him it happened

                   wistfylle wen.    Ne wæs þæt wyrd þa gen

                 of fill-of-feasting hope.  Nor was that fate still

                   þæt he ma moste    manna cynnes

                 that he more might be allowed  of mankind

 735           ðicgean ofer þa niht.   

                 to partake beyond that night. 

Beowulf:                                          Þryðswyð beheold,

                                                          The mighty one beheld,

                   mæg Higelaces,    hu se manscaða

                 kinsman of Hygelac,  how the sin-scather

                   under færgripum    gefaran wolde.

                 with sudden-snatch  would proceed.

                   Ne þæt se aglæca    yldan þohte,

                  Nor meant  that monster to wait,

                   ac he ge|feng hraðe    forman siðe

                 but he quickly chose  at his first chance 

 740           slæpendne rinc,    slat unwearnum,

                 a sleeping hero,  slew him greedily,

                   bat banlocan,    blod edrum dranc,

                 bit open the bone-locker,  blood-streams drank,

                   synsnædum swealh.    Sona hæfde

                 gorged on gore.  Soon had

                   unlyfigendes    eal gefeormod

                   of the unliving  all consumed

                   fet 7 folma.    Forð near ætstop,

                 feet and hands.  Forward and nearer crept,

 745           nam þa mid handa    higeþihtigne

                 to seize with hands  the strong-hearted one

                   rinc on ræste,    ræhte ongean,

                 the warrior on bench,  began to reach for,

                   feond mid folme.    He onfeng hraþe

                 fiend with hand.  He [Beowulf] quickly clasped [Grendel]

                   inwitþancum    7 wið earm gesæt.

                 with ire  and with his arm sat up.

Grendel:                 Sona þæt onfunde,    fyrena hyrde,

                                Soon he found,  the keeper of crimes,

 750           þæt he ne mette    middangeardes,

                 that he never met  in Middle-earth

                   eorþan sceatta,    on elran men

                 in earth’s regions,  another man

                   mundgripe maran.    He on mode wearð

                 with greater hand-grip.  In mood he became

                   forht on ferhðe.    No þy ær fram meahte.

                 fearful in mind.  Not as before might he get away.

                   Hyge wæs him hinfus,    wolde on heolster fleon,

                 He was fain to flee  forth to his hiding-place,

 755           secan deofla gedræg.    Ne wæs his drohtoð þær

                 to seek the Devil’s companionship.  Nor was his condition

                   swylce he on ealderdagum    ær gemette.

                 such as he in former days  had met.

 Beowulf:                Gemunde þa, se goda    mæg Higelaces,

                                Remembered then, the good  kinsman of Hygelac,

                   æfenspræce.    Uplang astod

                 his evening speech.  Upright he stood

                   7 him fæste wiðfeng.    Fingras burston.

                  and firmly took hold of him.  Fingers burst.

 Grendel: 760        Eoten wæs utweard,    eorl furþur stop.

                 The ogre was eager to be gone,  the earl stepped forward.

                   Mynte se mæra,   hwær he meahte swa,

                  Meant the monster,  howesoever he might,

                   widre gewindan,    7 on weg þanon

                   far to flee,  and from that way thence

                   fleon on fenhopu.    Wiste his fingra geweald

                 flee to his fen-hold.  He knew, with his fingers’ might

                   on grames grapum,    þæt he wæs geocor sið

                   in the grip of the foe,  that it was a sorrowful trip

 765           þæt se hearmscaþa    to Heorute ateah.

                 that the harm-scather  to Heorot took.

The Danes:            Dryhtsele dynede.    Denum eallum wearð,

                                The mead-hall quaked.  To all of the Danes it was,

                   ceasterbuendum,    cenra gehwylcum,

                 to the encampment-dwellers,  to each of the bold,

                   eorlum ealuscerwen.    Yrre wæron begen,

                 to the earls a storm of bitter dregs.  Both were angry, 

                

                   reþe renweardas.    Reced hlynsode.

                 the raging house-guards.  The hall shook.

 770           Þa wæs wundor micel    þæt se winsele

                 That was a great wonder  that the wine-hall

                   wiðhæfde heaþodeorum,    þæt he on hrusan ne feol,

                 withstood the battle,  that it to the earth did not fall,

                   fæger foldbold.    Ac he þæs fæste wæs,

                 fair earth-dwelling.  But it so firm was,

                   innan 7 utan    irenbendum,

                 inside and outside  with iron bands,

                   searoþoncum besmiþod.    Þær fram sylle abeag

                 with such skill strengthened.  There from the floor were ripped

 775           medubenc monig,    mine gefræge,

                  mead-benches many,  so I’ve heard,

                   golde geregnad,    þær þa graman wunnon.

                  with gold adorned,  where the fierce ones fought.

                   Þæs ne wendon ær,    witan Scyldinga,

                 They never thought before,  the wise Scyldings,

                   þæt hit a mid gemete    manna ænig,

                 that by power  of any man,

                   betlic 7 banfag    tobrecan meahte,

                 the splendid and antler-adorned [hall]  might be broken,

 780           listum tolucan,    nymþe liges fæþm

                 destroyed with cunning,  unless the fire’s embrace

                   swulge on swaþule.    Sweg up astag,

                 with flames swallowed.  Music arose,

                   niwe geneahhe:    Norð-Denum stod

                 new and desperate: the North Danes started

                   atelic egesa,    anra gehwylcum

                 in abject horror,  every one of them

                   þara þe of wealle    wop gehyrdon,

                 those who from the wall  wailing heard,

 785           gryreleoð galan    Godes andsacan,

                 singing a terrible song,  God’s adversary,

                   sigeleasne sang,    sar wanigean,

                 the victory-less singing,  bewailing sorrow,

                   helle hæfton.   

                 Hell’s prisoner. 

Beowulf:                                    Heold hine fæste,

                                                    Held him fast,

                   se þe manna wæs    mægene strengest

                 he that of men was  in might strongtest

                   on þæm dæge    þysses lifes.

                 in that time of this life.

 790           Nolde, eorla hleo,    ænige þinga

                 He had no desire, the earls’ protector,   by any means

                   þone cwealmcuman    cwicne forlætan,

                 that deadly guest  to release alive,

                   ne his lifdagas    leoda ænigum

                  nor his lifedays  to any people

                   nytte tealde.   

                  useful considered. 

The Geats:          Þær genehost brægd

                                           There very earnestly brandished

                   eorl Beowulfes,    ealde lafe,

                  warrior of Beowulf,  ancient heirloom,

 795           wolde freadrihtnes    feorh ealgian,

                  wished his lord’s  soul to defend,

                   mæres þeodnes,    ðær hie meahton swa.

                 of famous lord,  however they might.

                   Hie þæt ne wiston,    þa hie gewin drugon,

                 They did not know,  when they joined the fray,

                   heardhicgende    hildemecgas,

                  brave-minded  battle-men,

                   7 on healfa gehwone    heawan þohton,

                 and on each side  thought to hew,

 800           sawle secan:    þone synscaðan

                 soul to seek:  that sin-scather

                   ænig ofer eorþan,    irenna cyst,

                  any on earth,  of irons choice,

                   guðbilla nan    gretan nolde.

                 war-swords,  none would harm him.

Grendel:                 Ac he sigewæpnum   forsworen hæfde,

                 But he against victory-weapons  had cast spells,

                   ecga gehwylcre.    Scolde his aldorgedal,

                 against every edge.  His life-ending must,

 805           on ðæm dæge    þysses lifes,

                 on that day  of this life,

                   earmlic wurðan,    7 se ellorgast

                 wretchedly take place,  and the alien spirit

                   on feonda geweald    feor siðian.

                 with the fiend’s power  go far away.

                   Ða þæt onfunde    se þe fela æror

                 Then he found,  he that often before

                   modes myrðe    manna cynne,

                 mind’s affliction  to mankind

 810           fyrene gefremede,    he fag wið God,

                  crimes committed,  feuding against God,

                   þæt him se lichoma    læstan nolde;

                 that him the life-shell [his body]  would not obey;

                   ac hine se modega    mæg Hygelaces

                 but to him the proud  kinsman of Hygelac

                   hæfde be honda.    Wæs gehwæþer oðrum

                 had by hand.  Was each by the other

                   lifigende lað.    Licsar gebad,

                 loathed while living.  Pain he felt,

 815           atol æglæca.    Him on eaxle wearð

                 the horrible monster.  On his shoulder appeared

                 syndolh sweotol,    seonowe onsprungon,

                 a large wound,  sinews popped apart,

                 burston banlocan.    Beowulfe wearð

                 the bone-locker burst.   It happened that to Beowulf

                 guðhreð gyfeþe.    Scolde Grendel þonan

                 glory in battle was granted.  Grendel was forced from there

                 feorhseoc fleon    under fenhleoðu,

                 life-sick to flee  under the fen-slopes,

 820          secean wynleas wic.    Wiste þe geornor

                 to seek his joyless home.  Knew he surely

                 þæt his aldres wæs    ende gegongen,

                 that his life had reached its end,

                 dogera dægrim.   

                 its allotted span.