Download Beowulf: A New Translation for Oral Delivery by Dick Ringler PDF

By Dick Ringler

Dick Ringler's deceptively uncomplicated translation captures the rhythm, circulate, and gear of the unique outdated English poem whereas using a fluid glossy English sort and a comparatively spare vocabulary. His beneficiant advent, a full of life but masterly consultant to the paintings, with his translations of 3 shorter previous English poems elucidate an incredible English textual content nearly as recognized for its subtlety and intricacy because it is for its monsters and heroes.

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3410–13) And a few lines later, impressed by a particularly subtle speech of Beowulf’s, the king says: 40. Klaeber reckons that this happened when Beowulf was about twenty. But people matured much faster in early medieval times than they do today, and it is well to bear in mind that when Beowulf set out for Denmark he may have been considerably younger than Klaeber supposes. 41. This important observation was first made by R. E. Kaske in “Sapientia et Fortitudo as the Controlling Theme of Beowulf,” Studies in Philology 55 (July 1958), 423–57.

Then they follow the monster’s bloody footprints to the pool into which he has plunged to die. [1705–33] Mounting their horses, they ride back to Heorot, excitedly discussing Beowulf’s triumph. Sometimes they race their horses [1734–47] and sometimes one of the king’s thanes, “a consummate poet / who knew and could sing / numberless tales” (1736–38), composes and sings a poem to celebrate Beowulf’s victory. [1748–1801] The only part of this “poem within the poem” that we ever get to hear are two of its “digressions” (which by itself suggests the importance of the role of digressions in the mind of the Beowulf-poet).

A philosophical position—an interpretation of life—is being articulated here through the use of structure. xxxii Introduction But it is not only the hero who is suddenly old and doomed in the second part of the poem; so, it seems, is almost everyone else. Unlike the first part, with its cast of hopeful young warriors and its evocation of an optimistic world in which evil can be thumpingly defeated and virtue brilliantly rewarded, the second part is filled with old, depressed, doomed individuals: the last survivor of an unidentified tribe (who buries his treasure so that no one else will ever be able to enjoy it), an aged father (who must see his own son hanged on the gallows), old King Hrethel of the Geats (who dies of depression after one of his sons murders another), and the grim old Swedish king Ongentheow (slaughtered in the poem’s bloodiest and most uncompromising scene of human beings fighting and killing each other).

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