Beowulf

Rating:
Summary: That was one excellent translation!
Review: To paraphrase Seamus Heaney's description of Shield Sheafson to describe his version of "Beowulf," let's put it this way: "That was one great book!" Prior to my reading this version of Beowulf, I just sort of assumed that it was a "classic" that I knew about from school, appreciated for its historical significance, but basically never read with any success (or pleasure). But, as soon as I read the first word of Heaney's translation, I was encouraged! No "los" or "yeas" or "beholds," just the simple, colloquial, but wonderfully effective "So." Nice! Then, I was totally hooked at the end of paragraph two, by the simple, declarative sentence, "That was one good king." Wow - that's one excellent translation!

But, I must say, what I REALLY liked about "Beowulf" was that I am a HUGE J.R.R. Tolkien fan, and it was immensely enjoyable for me finally to read one of Tolkien's main sources for "The Hobbit," "The Lord of the Rings," etc. As the introduction to Heaney's "Beowulf" reminds us, "when it comes to considering Beowulf as a work of literature...one publication stands out," and that is none other than Professor J.R.R. Tolkien's "Beowulf: The Monsters and the Critics," which "changed the way the poem was valued and initiated a new era...of appreciation [for Beowulf]." There are so many parallels between "Beowulf" and "Middle Earth" that I could go on for pages, but here are just a few. First: heroic battles with monsters, including one underwater battle (Beowulf vs. Grendel's mother) which reminded me of Gandalf's vs. the horrible Balrog in "The Lord of the Rings." Second: names, places and things (barrows, meadhalls, mail, shields, desolate fens, Eanmund/Eomund), and animals (wolves, ravens, etc.). Third: swords with special powers and even personalities. Fourth: rings which signify/connote power. Fifth, of course: DRAGONS, one of which of course plays a central role in "The Hobbit." Sixth: craven counselors to elderly but proud kings (Grima "Wormtongue" to Theoden, Unferth to Hrothgar). Seventh: plot lines, such as the theft of a gem-studded cup from the dragon's stash by a "thief" (in "The Hobbit" it's Bilbo the "burglar"), or the abandonment of the hero (Beowulf, Bilbo) by his comrades in the face of the dragon, or the loyalty of one faithful servant (Wiglaf to Beowulf, Samwise to Frodo), allowing the hero to fulfill his task. Eighth: songs. And lots more (i.e., both authors are Christians writing about pre-Christian/pagan worlds).

So, in conclusion, I would say: read Seamus Heaney's wonderful, readable, fantastic, modern translation of Beowulf, and, if you're a Tolkien fan like me, you'll enjoy the added bonus of enhancing your understanding of "The Hobbit" and "Lord of the Rings!"

Rating:
Summary: A classic translation by a master poet
Review: "Beowulf" is justly regarded as a cornerstone of English literature, but those of us who do not read Anglo-Saxon must approach it through a translation. Certainly there is no shortage of translations; I have at least a dozen sitting on my bookshelf. However, I would eliminate half of them as adequate vehicles for really appreciating this grand poem because they are prose versions. While they may accurately convey the literal sense of the Old English words and provide a readily understood storyline, prose can never adequately render the poetic essence of the original.

Verse translation, however, is of necessity an imprecise art; poetry is too tightly bound to the language of its creator for a valid direct transposition to another tongue. Anglo-Saxon verse relied upon strong alliteration and a balance of stressed syllables rather than the use of rhyme and formally patterned meter as in later English poetry. The contemporary translator has a formidable and delicate challenge to transform "Beowulf" into a poem suited for today while remaining loyal to its ancient timbre. Although I greatly admire Ruth P.M. Lehmann's 1988 translation for its steadfast replication of the tone and cadence of the Old English original, there is truth in what another "Alliteration is a key element in Old English metrics ... but long stretches of it in Modern English will stupefy the most ardent reader". At times the beat and alliteration of Lehmann's verse threatens to overwhelm the present-day listener, becoming a deadening drumbeat. Yet, if the translator strays too far from the Anglo-Saxon structure in attempting to create something palatable for present taste, then the result inevitably lacks the bardic flavor at the heart of the poem.

Achieving a fitting balance between the vibrant aural core of the original and the requirements of a contemporary reader is a matter of subtle artistry. It may be that Seamus Heaney is an ideal poet to meet that challenge in this era. He has produced here a work which, in its four-beat line and tempered alliteration, keeps faith with its source, yet avoids excessive archaisms which would alienate a Y2K ear. Still, Heaney allows the voice of the past to emerge here and there to keep us fixed in time, resulting in a blend of contemporary language seasoned with ancient echoes. Beowulf the warrior, virtually a caricature of exaggerated, implausible heroism in some translations, is rescued in this new version to stand revealed as someone credibly human. Heaney's translation is eminently readable, but does not sacrifice the poem's true soul.

The Farrar, Straus and Giroux edition is a markedly handsome volume, a bilingual presentation with the Anglo-Saxon original and Heaney's translation on facing pages. The US publication was delayed a few months, and I would not be surprised to learn that release was intentionally held until after announcement of the Whitbread Award in the UK. Heaney's "Beowulf" beat the latest "Harry Potter" novel for that prestigious honor by a single vote, proving the adolescent wizard to be as formidable an opponent as a grim monster from a mere.

To anybody who has been promising him- or herself to get around to reading this classic poem "one of these days" but has been deterred by vague memories of awkward verse from "Beowulf" may finally be here. Seamus Heaney's translation reads as smoothly as any prose, yet the poetry can always be heard, whispering in your ear.

Rating:
Summary: Great!
Review: The latest translation of the classic Anglo-Saxon epic. Venture back to a time when a mans honor and abilty to live by a warriors code was more important than any temporary comforts or instant gratification, or for that matter his life. Also I loved that along with the modern English on the opposite page was the same text in old English.

Rating:
Summary: Beowulf Rocks!.
Review: As someone who majored in English and who has studied and enjoyed much of the "good old stuff" (pre-19th century literature), this is one of the best translations of the classic Anglo-Saxon poem BEOWULF I have ever read. Seamus Heaney is one of the greatest living poets of the English language and his remarkable skills bring this ancient text to life for many who would otherwise cast it off as "something boring we have/had to read for English." The parrallel paging of the original text next to Heaney's translation is an added bonus that allows the reader to appreciate the development of the English language, display the powerful craft of Heaney, and illustrate the powerful, action-adventure character of Beowulf.

BEOWULF is a classic story told in three acts about a great warrior who competes against unbelievable odds to conquer monsters, becoming one of the first superheroes in recorded. It is a story that ages well and with Heaney's translation it is sure to become familiar with an even larger audience. If you've ever read BEOWULF or are going to be reading it in the future, this is the version to have.

Rating:
Summary: A classic translation by a master poet
Review: "Beowulf" is justly regarded as a cornerstone of English literature, but those of us who do not read Anglo-Saxon must approach it through a translation. Certainly there is no shortage of translations; I have at least a dozen sitting on my bookshelf. However, I would eliminate half of them as adequate vehicles for really appreciating this grand poem because they are prose versions. While they may accurately convey the literal sense of the Old English words and provide a readily understood storyline, prose can never adequately render the poetic essence of the original.

Verse translation, however, is of necessity an imprecise art; poetry is too tightly bound to the language of its creator for a valid direct transposition to another tongue. Anglo-Saxon verse relied upon strong alliteration and a balance of stressed syllables rather than the use of rhyme and formally patterned meter as in later English poetry. The contemporary translator has a formidable and delicate challenge to transform "Beowulf" into a poem suited for today while remaining loyal to its ancient timbre. Although I greatly admire Ruth P.M. Lehmann's 1988 translation for its steadfast replication of the tone and cadence of the Old English original, there is truth in what another "Alliteration is a key element in Old English metrics ... but long stretches of it in Modern English will stupefy the most ardent reader". At times the beat and alliteration of Lehmann's verse threatens to overwhelm the present-day listener, becoming a deadening drumbeat. Yet, if the translator strays too far from the Anglo-Saxon structure in attempting to create something palatable for present taste, then the result inevitably lacks the bardic flavor at the heart of the poem.

Achieving a fitting balance between the vibrant aural core of the original and the requirements of a contemporary reader is a matter of subtle artistry. It may be that Seamus Heaney is an ideal poet to meet that challenge in this era. He has produced here a work which, in its four-beat line and tempered alliteration, keeps faith with its source, yet avoids excessive archaisms which would alienate a Y2K ear. Still, Heaney allows the voice of the past to emerge here and there to keep us fixed in time, resulting in a blend of contemporary language seasoned with ancient echoes. Beowulf the warrior, virtually a caricature of exaggerated, implausible heroism in some translations, is rescued in this new version to stand revealed as someone credibly human. Heaney's translation is eminently readable, but does not sacrifice the poem's true soul.

The Farrar, Straus and Giroux edition is a markedly handsome volume, a bilingual presentation with the Anglo-Saxon original and Heaney's translation on facing pages. The US publication was delayed a few months, and I would not be surprised to learn that release was intentionally held until after announcement of the Whitbread Award in the UK. Heaney's "Beowulf" beat the latest "Harry Potter" novel for that prestigious honor by a single vote, proving the adolescent wizard to be as formidable an opponent as a grim monster from a mere.

To anybody who has been promising him- or herself to get around to reading this classic poem "one of these days" but has been deterred by vague memories of awkward verse from "Beowulf" may finally be here. Seamus Heaney's translation reads as smoothly as any prose, yet the poetry can always be heard, whispering in your ear.

Rating:
Summary: Astonishing lyrical translation
Review: Seamus Heaney's Beowulf is the best translation of a classic work into a modern language that I have seen in years, it may yet be my personal favorite translation of all time (best to let the thrill of the reading wear off before that judgement is made, however). I have done a bit of translation work from modern languages other than English, and am fully aware of how difficult it is to translate a line of prose from one living language to another, while acomplishing the two tasks that are the goal of every translator; 1- convey the meaning of the words, 2-convey the aesthetic "feel" of the words. These two goals are very often in serious conflict with one another- and when one adds in the element of the subject being poetry it makes it even harder, because you have to mediate the first two goals, and then add another; fit it all into a lyrical framework.

Much of the time, translators simply drop the poetry, and represent the story as prose (the Rieus version of the Iliad does this)and this is a choice I usually respect. Trying to force a story into an alien rhyme scheme makes them, very often, unbearably cheesy (viz. most versions of the Aeneid); whereas the Rieus' Iliad is a rollicking good time.

Nevertheless, the loss of lyricism is indeed a loss; especially when the sounds of the words when spoken are particularly beautiful, or the lyrical framework particularly appropriate for conveying the mood of a story. Ironically, the better the poet is in the original language the more difficult it becomes for her voice to survive the translator's work.

And this is why (back to the orginal topic) Heaney's work is so jaw-dropping. The story works as faithful translation, beautiful writing, and poetry as well. It is entirely comprehensible, faithful to the original text, and yet has the distinct ring of an authentic saxon "voice." I would give my right arm to have half the ability with translating modern languages that Heaney has brought to bear on this translation of the classic saxon epic.

Rating:
Summary: A masterwork indeed!
Review: Unfortunately many people read ethnic junk instead of reading the true classics in literature,i.e., Sidney, Chaucer and this work in particular. Beowulf is the most important work of early literature in English language and should be required reading and one should skip the savage writers of lesser cultures.

Rating:
Summary: Middle-England or Middle-Earth?
Review: I read the text of Beowulf in this edition before reading the introduction. I had never read Beowulf before and I wanted to come to it fresh. Taken on its own, as a novice, it is a rollicking good read. First off, it is very short - you could get through it in about one sitting. It gets right into the heart of the matter; the monster Grendel (a cursed descendent of Cain) is about the countryside killing people. The hero Beowulf comes from Sweden to Denmark to fight him.

Of course, this is an Old English fantasy poem so there are times when you have to meet it on its own terms. For instance, either drowning did not exist back then or Beowulf could hold his breath indefinitely because the underwater fight between him and Grendel's mother lasts for nine hours. This is one macho man!

The translation by Seamus Heaney moves along at a brisk pace. The Anglo-Saxon text is on one side of the page and the English is on the other. He provides little chapter headings at the side of the page. There are no annoying footnotes. He provides a long introduction acquainting us with the text and why it is so important and why it should be considered a work of art in itself and not merely interesting for historical reasons. He credits J.R.R. Tolkien's essay as helping people appreciate it in a purely literary way. Indeed, this is one of the prime influences upon Lord of the Rings; the plot is different but the monsters, names, and manner of speaking will ring a bell.

What I enjoy most about Beowulf is the sense of being transported back in time to Anglo-Saxon England. This book is a living piece of history and Heaney's translation makes it remarkably fresh.

Rating:
Summary: Abridged
Review: It's not that long of a poem but large chunks where left out in the reading. I would have liked to hear the old english as well. Seamus Heaney does a great translation and it's is pretty easy to read. I say skip the audio version and read the book.

Rating:
Summary: Great piece of literature
Review: I'm not a scholar of English, so a lot of the fascination with Heaney's translation is more or less lost on me. However, as a fan of Tolkien's works, I found Beowulf a beautifully written and flawlessly progressing story that just about anyone can appreciate. An added advantage of this edition is the side-by-side presence of the original Old English version of the poem on every page.

If you like Tolkien's works, you will enjoy Beowulf -- while the story is much more brief than either the Lord of the Rings series or The Silmarillion, it is no less beautiful or meaningful. The protagonist of the story is a great Geat warrior who slays the monster that is haunting the Danes, as well as the monster's mother. After returning to his home, and ruling the lands for over 50 years, he is fatally wounded in a fight against a dragon, and dies.

If you are familiar with Lord of the Rings (the Rohirrim in particular), try sometimes glossing over the original Old English text. You will notice definite similarities in the way names and words are formed in Old English and the language of Rohan. For example, the "Shieldings" (Danes, descendants of Shield Sheafson) in Old English is written as "Scyldingas" -- this may look familiar if you recall that the warriors of Rohan were often called "Eorlingas" in The LOTR. Additionally, both stories have mention of a warrior named Eomer (they're different characters).

Of course, this is hardly a coincidence -- it's well known that the Rohirrim are based on the Anglo-Saxons, with the language of Rohan being none other than Old English. Tolkien has long studied Beowulf, even before he began work on his Middle Earth epics and reading the poem will enable you to see how it's influenced his works. The main difference you will notice between the two authors is religion - Tolkien's epics had their own gods, while Beowulf is a Christian epic -- Grendel himself being a spawn of blood spilled by Cain in killing of his brother Abel.