The translation following this short introduction reflects a decision made to base this translation strictly on the manuscript facsimile which is now available on the British Library website (http://www.bl.uk/manuscripts/Viewer.aspx?ref=cotton_ms_vitellius_a_xv_f094r), though modern editions will continue to be referred to for help in understanding difficult vocabulary items, of which there are many and for which I have found Noboru Sato's edition to be far better than any other (Sato, Noboru (1988). An Interlinear Beowulf. Tokyo: Language Press). Adhering strictly to the British Library's online facsimile is eye-opening, illustrating more than anything else could, the great leaps of faith made by 19th and 20th century editors of the text and the dangers inherent in following the strictures of Eduard Sievers who based his theory of Old West-Saxon versification on the Old Norse versification found in texts written two to three hundred years later than the last estimate for Beowulf's authorship.
As the pronunciation of Scyld Scefing would cause trouble for a reader without a knowledge of English dialects or of Old West Saxon orthography, it has been modernized to Shild Sheeving, this probably being the closest pronunciation one would have come across in a dialect speaker of the West Saxon dialect as it evolved from its beginnings in southwest England to what it became to rural inhabitants of that area when dialectologists began studying the dialects of England in the late 19th century. Based on the same principle, Beowulf, probably should be transcribed as Bee Wolf, especially as it would seem that the first syllable of the name is not always necessarilly in a sentence position that would demand it being stressed. However, Beowulf is too far entrenched in English to profitably change. For this reason, it will be written as Beo Wulf, to signify that metrically speaking, the original manuscript would seem to indicate that it is two syllables and not three, no matter what the actual pronunciation at any particular point in time might be. Please note that the translation only used Beo Wulf in reference to the hero of the poem. To avoid possible confusion to someone reading the text for the first time, the name of the grandfather of Hrothgar, also Beowulf, is translated as the Wolf.
Unfortunately, from the perspective of a reader of the original manuscript, the structure of Beowulf has always been interpretated in terms of it being an alliterative text. However, it is written in a Germanic language and the basis of poetry in Germanic languages is the creation of pattern of relatively shorter and weaker syllables alternating with relatively longer and stronger syllables to create a sense of rhythm through a fairly consistent use of repetition. Interpreting Beowulf exclusively in terms of alliteration would be the same as interpreting Keats or Shelley or Browning only in terms of rhyme and ignoring the rhythmic patterns they created. As a result, the bias towards alliterative sensitivity has caused serious damage to most students of Beowulf getting an appreciation of its rhythmic qualities, which, regardless of the pronunciation one uses, is what make the poem stunningly beautiful, not merely decoratively interesting. To partially rectify this, I propose, bit by bit, over the course of the next year or two to translate this beautiful poem, from the pre-Norman Conquest West Saxon dialect in which it was composed into modern English, putting primary emphasis on its rhythmic structure rather than its alliteration.
As an editorial apparatus, the poem, in its modern translation is devided into cantos and stanzas. This is meant to be a readers' aid only and, in no way reflects the content of the translation, itself, which seeks to retain faithfulness to the rhythmic structure of the original.
Canto I: Shild Sheeving
Stanza 1: Shild Sheeving's deeds
Yes we Danes in yester ages,
of our kings, their glory, hear it,
what their princely courage gave us.
Much, Shild Sheeving, fought the troops of many nations,
dining benches did destroy and warriors shaming.
Though at first a helpless foundling,
he, in deeds of war, waxed under heaven,
honor gained he, till each one of those of him surrounding
overseas, obedience gave him, tribute yielding.
He, our king, was good.
Stanza 2: Shild's son
He a son did then have after.
Youth he sheltered, that God sent the folk for comfort.
Kings not having, stressed. in
pain, God saw that we once suffered.
Worldly honor, many years, the life-lord,
glory-ruler sent to him, the Wulf cub
famed, the offspring.
Wide was his renown with Danish people,
for the father helping, did the young one,
good achieving, give rich gifts, rewards,
that, adult, when facing war, men would serve him,
stay close by forever, good friends being,
that, by deeds, he would, no matter what the nation, prosper.
Stanza 3: Shild's death
Him! Then Shild departed to his maker,
Wished his going in God's keeping.
They then, valued friends, to seashore brought him,
bore him out, as he himself had bade,
while his words still reigned.
Friend of Danes, dear to his land, long did he rule it.
In the harbor a ring-prowed vessel finding,
icy and ready, a princely ship.
Therein they lay their lord still loving,
treasure giver inside a ship famed in construction.
Many riches, jewels were there of far countries loaded.
Stanza 4: A poetic digression
I never heard a ship the better furnished,
weapons there and battle clothing,
daggers and armour on his bosom lay,
Many treasures with him on the ocean waves,
went far departing.
Stanza 5: Shild's body given to the seas
None, the presents by his men provided,
none were more than those, that they gave him,
who, at his beginning, was alone, adrift at sea abandoned still a baby.
They, afixing there a golden banner high upon the vessel,
let the sea him carry on its waters,
Mourning, theirs were sad their spirits' souls.
They, advisers, warriors under heaven,
none then, who that burden carried,
knew for certain what to utter.
9 July 2016
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