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<pre>
The Project Gutenberg EBook of Beowulf
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.net
Title: Beowulf
An Anglo-Saxon Epic Poem, Translated From The Heyne-Socin
Text by Lesslie Hall
Author:
Release Date: July 19, 2005 [EBook #16328]
Language: English
Character set encoding: ISO-8859-1
*** START OF THIS PROJECT GUTENBERG EBOOK BEOWULF ***
Produced by David Starner, Dainis Millers and the Online
Distributed Proofreading Team at http://www.pgdp.net
</pre>
<div class="titlePage">
<div class="title-main">BEOWULF</div>
<div class="title-main" style="font-size: 210%">AN ANGLO-SAXON EPIC POEM</div>
<div class="byline" style="font-style: italic">
TRANSLATED<br />FROM THE HEYNE-SOCIN TEXT
</div>
<div class="byline">
BY
</div>
<div class="byline">
<div class="docAuthor">JNO: LESSLIE HALL, Ph. D. (J.H.U.)</div>
</div>
<div class="byline" style="font-variant:small-caps">
Professor of English and History in The College of William and Mary
</div>
<div class="docImprint">D.C. HEATH & CO., PUBLISHERS<br />
<span class="small">BOSTON NEW YORK CHICAGO</span></div>
<div class="title-LIC">
Entered according to Act of Congress, in the year 1892, by<br />
JNO: LESSLIE HALL,<br />
in the Office of the Librarian of Congress, at Washington.
</div>
<div class="title-dedication">
TO<br />
<span class="gothic">My Wife</span>
</div>
</div>
<div class="contents" id="contents">
<span class="pagenum" id="page_v">[v]</span>
<p class="contents">CONTENTS.</p>
<ul><li><span class="tocpagehdr">page</span></li>
<li><a id="C.PREFACE" href="#PREFACE">Preface </a><a href="#page_vii" class="tocpagenum">vii</a></li>
<li><a id="C.BIBLIOGRAPHY" href="#BIBLIOGRAPHY">Bibliography of Translations </a><a href="#page_xi" class="tocpagenum">xi</a></li>
<li><a id="C.GLOSSARY" href="#GLOSSARY">Glossary of Proper Names </a><a href="#page_xiii" class="tocpagenum">xiii</a></li>
<li><a id="C.LISTOFWORDS" href="#LISTOFWORDS">List of Words and Phrases not in General Use </a><a href="#page_xviii" class="tocpagenum">xviii</a></li>
<li>The Life and Death of Scyld <a id="C.I" href="#I"> (I.)</a><a href="#page_1" class="tocpagenum">1</a></li>
<li>Scyld’s Successors <a id="C.II" href="#II"> (II.)</a><a href="#page_3" class="tocpagenum">3</a></li>
<li>Hrothgar’s Great Mead-Hall</li>
<li>Grendel, the Murderer <a id="C.III" href="#III"> (III.)</a><a href="#page_5" class="tocpagenum">5</a></li>
<li>Beowulf Goes to Hrothgar’s Assistance <a id="C.IV" href="#IV"> (IV.)</a><a href="#page_8" class="tocpagenum">8</a></li>
<li>The Geats Reach Heorot <a id="C.V" href="#V"> (V.)</a><a href="#page_10" class="tocpagenum">10</a></li>
<li>Beowulf Introduces Himself at the Palace <a id="C.VI" href="#VI"> (VI.)</a><a href="#page_12" class="tocpagenum">12</a></li>
<li>Hrothgar and Beowulf <a id="C.VII" href="#VII"> (VII.)</a><a href="#page_14" class="tocpagenum">14</a></li>
<li>Hrothgar and Beowulf (continued) <a id="C.VIII" href="#VIII"> (VIII.)</a><a href="#page_17" class="tocpagenum">17</a></li>
<li>Unferth Taunts Beowulf <a id="C.IX" href="#IX"> (IX.)</a><a href="#page_19" class="tocpagenum">19</a></li>
<li>Beowulf Silences Unferth <a id="C.X" href="#X"> (X.)</a><a href="#page_21" class="tocpagenum">21</a></li>
<li>Glee is High</li>
<li>All Sleep save One <a id="C.XI" href="#XI"> (XI.)</a><a href="#page_24" class="tocpagenum">24</a></li>
<li>Grendel and Beowulf <a id="C.XII" href="#XII"> (XII.)</a><a href="#page_26" class="tocpagenum">26</a></li>
<li>Grendel is Vanquished <a id="C.XIII" href="#XIII"> (XIII.)</a><a href="#page_28" class="tocpagenum">28</a></li>
<li>Rejoicing of the Danes <a id="C.XIV" href="#XIV"> (XIV.)</a><a href="#page_30" class="tocpagenum">30</a></li>
<li>Hrothgar’s Gratitude <a id="C.XV" href="#XV"> (XV.)</a><a href="#page_33" class="tocpagenum">33</a></li>
<li>Hrothgar Lavishes Gifts upon his Deliverer <a id="C.XVI" href="#XVI"> (XVI.)</a><a href="#page_35" class="tocpagenum">35</a></li>
<li>Banquet (continued) <a id="C.XVII" href="#XVII"> (XVII.)</a><a href="#page_37" class="tocpagenum">37</a></li>
<li>The Scop’s Song of Finn and Hnæf</li>
<li>The Finn Episode (continued) <a id="C.XVIII" href="#XVIII"> (XVIII.)</a><a href="#page_39" class="tocpagenum">39</a></li>
<li>The Banquet Continues</li>
<li>Beowulf Receives Further Honor <a id="C.XIX" href="#XIX"> (XIX.)</a><a href="#page_41" class="tocpagenum">41</a></li>
<li>The Mother of Grendel <a id="C.XX" href="#XX"> (XX.)</a><a href="#page_44" class="tocpagenum">44</a></li>
<li>Hrothgar’s Account of the Monsters <a id="C.XXI" href="#XXI"> (XXI.)</a><a href="#page_46" class="tocpagenum">46</a></li>
<li>Beowulf Seeks Grendel’s Mother <a id="C.XXII" href="#XXII"> (XXII.)</a><a href="#page_48" class="tocpagenum">48</a></li>
<li>Beowulf’s Fight with Grendel’s Mother <a id="C.XXIII" href="#XXIII"> (XXIII.)</a><a href="#page_51" class="tocpagenum">51</a></li>
<li>Beowulf is Double-Conqueror <a id="C.XXIV" href="#XXIV"> (XXIV.)</a><a href="#page_53" class="tocpagenum">53</a></li>
<li>
<span class="pagenum" id="page_vi">[vi]</span>
Beowulf Brings his Trophies <a id="C.XXV" href="#XXV"> (XXV.)</a><a href="#page_57" class="tocpagenum">57</a></li>
<li>Hrothgar’s Gratitude</li>
<li>Hrothgar Moralizes <a id="C.XXVI" href="#XXVI"> (XXVI.)</a><a href="#page_60" class="tocpagenum">60</a></li>
<li>Rest after Labor</li>
<li>Sorrow at Parting <a id="C.XXVII" href="#XXVII"> (XXVII.)</a><a href="#page_62" class="tocpagenum">62</a></li>
<li>The Homeward Journey <a id="C.XXVIII" href="#XXVIII"> (XXVIII.)</a><a href="#page_64" class="tocpagenum">64</a></li>
<li>The Two Queens</li>
<li>Beowulf and Higelac <a id="C.XXIX" href="#XXIX"> (XXIX.)</a><a href="#page_67" class="tocpagenum">67</a></li>
<li>Beowulf Narrates his Adventures to Higelac <a id="C.XXX" href="#XXX"> (XXX.)</a><a href="#page_69" class="tocpagenum">69</a></li>
<li>Gift-Giving is Mutual <a id="C.XXXI" href="#XXXI"> (XXXI.)</a><a href="#page_73" class="tocpagenum">73</a></li>
<li>The Hoard and the Dragon <a id="C.XXXII" href="#XXXII"> (XXXII.)</a><a href="#page_75" class="tocpagenum">75</a></li>
<li>Brave Though Aged <a id="C.XXXIII" href="#XXXIII"> (XXXIII.)</a><a href="#page_78" class="tocpagenum">78</a></li>
<li>Reminiscences</li>
<li>Beowulf Seeks the Dragon <a id="C.XXXIV" href="#XXXIV"> (XXXIV.)</a><a href="#page_81" class="tocpagenum">81</a></li>
<li>Beowulf’s Reminiscences</li>
<li>Reminiscences (continued) <a id="C.XXXV" href="#XXXV"> (XXXV.)</a><a href="#page_83" class="tocpagenum">83</a></li>
<li>Beowulf’s Last Battle</li>
<li>Wiglaf the Trusty <a id="C.XXXVI" href="#XXXVI"> (XXXVI.)</a><a href="#page_88" class="tocpagenum">88</a></li>
<li>Beowulf is Deserted by Friends and by Sword</li>
<li>The Fatal Struggle <a id="C.XXXVII" href="#XXXVII"> (XXXVII.)</a><a href="#page_91" class="tocpagenum">91</a></li>
<li>Beowulf’s Last Moments</li>
<li>Wiglaf Plunders the Dragon’s Den <a id="C.XXXVIII" href="#XXXVIII"> (XXXVIII.)</a><a href="#page_93" class="tocpagenum">93</a></li>
<li>Beowulf’s Death</li>
<li>The Dead Foes <a id="C.XXXIX" href="#XXXIX"> (XXXIX.)</a><a href="#page_95" class="tocpagenum">95</a></li>
<li>Wiglaf’s Bitter Taunts</li>
<li>The Messenger of Death <a id="C.XL" href="#XL"> (XL.)</a><a href="#page_97" class="tocpagenum">97</a></li>
<li>The Messenger’s Retrospect <a id="C.XLI" href="#XLI"> (XLI.)</a><a href="#page_99" class="tocpagenum">99</a></li>
<li>Wiglaf’s Sad Story <a id="C.XLII" href="#XLII"> (XLII.)</a><a href="#page_103" class="tocpagenum">103</a></li>
<li>The Hoard Carried Off</li>
<li>The Burning of Beowulf <a id="C.XLIII" href="#XLIII"> (XLIII.)</a><a href="#page_106" class="tocpagenum">106</a></li>
<li><a id="C.ADDENDA" href="#ADDENDA">Addenda </a><a href="#page_109" class="tocpagenum">109</a></li>
</ul>
</div>
<div id="PREFACE" class="div1">
<span class="pagenum" id="page_vii">[vii]</span>
<h2><a href="#C.PREFACE">PREFACE.</a></h2>
<div class="div2">
<p>
<span class="sc">The</span> present work is a modest effort to reproduce approximately, in modern
measures, the venerable epic, Beowulf. <i>Approximately</i>, I repeat; for a very
close reproduction of Anglo-Saxon verse would, to a large extent, be prose to
a modern ear.
</p>
<p>
The Heyne-Socin text and glossary have been closely followed. Occasionally
a deviation has been made, but always for what seemed good and sufficient
reason. The translator does not aim to be an editor. Once in a while, however,
he has added a conjecture of his own to the emendations quoted from
the criticisms of other students of the poem.
</p>
<p>
This work is addressed to two classes of readers. From both of these alike
the translator begs sympathy and co-operation. The Anglo-Saxon scholar he
hopes to please by adhering faithfully to the original. The student of English
literature he aims to interest by giving him, in modern garb, the most ancient
epic of our race. This is a bold and venturesome undertaking; and yet there
must be some students of the Teutonic past willing to follow even a daring
guide, if they may read in modern phrases of the sorrows of Hrothgar, of the
prowess of Beowulf, and of the feelings that stirred the hearts of our forefathers
in their primeval homes.
</p>
<p>
In order to please the larger class of readers, a regular cadence has been
used, a measure which, while retaining the essential characteristics of the original,
permits the reader to see ahead of him in reading.
</p>
<p>
Perhaps every Anglo-Saxon scholar has his own theory as to how Beowulf
should be translated. Some have given us prose versions of what we believe
to be a great poem. Is it any reflection on our honored Kemble and Arnold
to say that their translations fail to show a layman that Beowulf is justly called
our first <i>epic</i>? Of those translators who have used verse, several have written
<span class="pagenum" id="page_viii">[viii]</span>
from what would seem a mistaken point of view. Is it proper, for instance,
that the grave and solemn speeches of Beowulf and Hrothgar be put in ballad
measures, tripping lightly and airily along? Or, again, is it fitting that the
rough martial music of Anglo-Saxon verse be interpreted to us in the smooth
measures of modern blank verse? Do we hear what has been beautifully called
“the clanging tread of a warrior in mail”?
</p>
<p>
Of all English translations of Beowulf, that of Professor Garnett alone
gives any adequate idea of the chief characteristics of this great Teutonic
epic.
</p>
<p>
The measure used in the present translation is believed to be as near a
reproduction of the original as modern English affords. The cadences closely
resemble those used by Browning in some of his most striking poems. The
four stresses of the Anglo-Saxon verse are retained, and as much thesis and
anacrusis is allowed as is consistent with a regular cadence. Alliteration has
been used to a large extent; but it was thought that modern ears would hardly
tolerate it on every line. End-rhyme has been used occasionally; internal
rhyme, sporadically. Both have some warrant in Anglo-Saxon poetry. (For
end-rhyme, see <a href="#L.I.53">1 <span class="smaller">53</span></a>, <a href="#L.I.54">1 <span class="smaller">54</span></a>; for internal rhyme, <a href="#L.II.21">2 <span class="smaller">21</span></a>, <a href="#L.VI.40">6 <span class="smaller">40</span></a>.)
</p>
<p>
What Gummere<sup class="footnoteref"><a href="#PREFACE.FNDEF.1" title="Handbook of Poetics, page 175, 1st edition." id="PREFACE.FNREF.1">1</a></sup> calls the “rime-giver” has been studiously kept; <i>viz.</i>, the
first accented syllable in the second half-verse always carries the alliteration;
and the last accented syllable alliterates only sporadically. Alternate alliteration
is occasionally used as in the original. (See <a href="#L.VII.61">7 <span class="smaller">61</span></a>, <a href="#L.VIII.5">8 <span class="smaller">5</span></a>.)
</p>
<p>
No two accented syllables have been brought together, except occasionally
after a cæsural pause. (See <a href="#L.II.19">2 <span class="smaller">19</span></a> and <a href="#L.XII.1">12 <span class="smaller">1</span></a>.)
Or, scientifically speaking, Sievers’s
C type has been avoided as not consonant with the plan of translation. Several
of his types, however, constantly occur; <i>e.g.</i> A and a variant
(/ x | / x) (/ x x | / x);
B and a variant (x / | x / ) (x x / | x / ); a variant of D (/ x | / x x);
E (/ x x | / ). Anacrusis gives further variety to the types used in the translation.
</p>
<p>
The parallelisms of the original have been faithfully preserved. (<i>E.g.</i>, <a href="#L.I.16">1 <span class="smaller">16</span></a>
and <a href="#L.I.17">1 <span class="smaller">17</span></a>: “Lord” and “Wielder of Glory”; <a href="#L.I.30">1 <span class="smaller">30</span></a>, <a href="#L.I.31">1 <span class="smaller">31</span></a>, <a href="#L.I.32">1 <span class="smaller">32</span></a>; <a href="#L.II.12">2 <span class="smaller">12</span></a> and <a href="#L.II.13">2 <span class="smaller">13</span></a>;
<a href="#L.II.27">2 <span class="smaller">27</span></a> and <a href="#L.II.28">2 <span class="smaller">28</span></a>; <a href="#L.III.5">3 <span class="smaller">5</span></a> and <a href="#L.III.6">3 <span class="smaller">6</span></a>.) Occasionally, some loss has been sustained; but,
on the other hand, a gain has here and there been made.
</p>
<p>
The effort has been made to give a decided flavor of archaism to the translation.
All words not in keeping with the spirit of the poem have been
<span class="pagenum" id="page_ix">[ix]</span>
avoided. Again, though many archaic words have been used, there are none,
it is believed, which are not found in standard modern poetry.
</p>
<p>
With these preliminary remarks, it will not be amiss to give an outline of
the story of the poem.
</p>
</div>
<div class="div2">
<h2><i>THE STORY.</i></h2>
<p>
<i>Hrothgar, king of the Danes, or Scyldings, builds a great mead-hall, or
palace, in which he hopes to feast his liegemen and to give them presents. The
joy of king and retainers is, however, of short duration. Grendel, the monster,
is seized with hateful jealousy. He cannot brook the sounds of joyance that
reach him down in his fen-dwelling near the hall. Oft and anon he goes to
the joyous building, bent on direful mischief. Thane after thane is ruthlessly
carried off and devoured, while no one is found strong enough and bold enough
to cope with the monster. For twelve years he persecutes Hrothgar and his
vassals.</i>
</p>
<p>
<i>Over sea, a day’s voyage off, Beowulf, of the Geats, nephew of Higelac,
king of the Geats, hears of Grendel’s doings and of Hrothgar’s misery. He
resolves to crush the fell monster and relieve the aged king. With fourteen
chosen companions, he sets sail for Dane-land. Reaching that country, he soon
persuades Hrothgar of his ability to help him. The hours that elapse before
night are spent in beer-drinking and conversation. When Hrothgar’s bedtime
comes he leaves the hall in charge of Beowulf, telling him that never before has
he given to another the absolute wardship of his palace. All retire to rest,
Beowulf, as it were, sleeping upon his arms.</i>
</p>
<p>
<i>Grendel comes, the great march-stepper, bearing God’s anger. He seizes
and kills one of the sleeping warriors. Then he advances towards Beowulf.
A fierce and desperate hand-to-hand struggle ensues. No arms are used, both
combatants trusting to strength and hand-grip. Beowulf tears Grendel’s
shoulder from its socket, and the monster retreats to his den, howling and
yelling with agony and fury. The wound is fatal.</i>
</p>
<p>
<i>The next morning, at early dawn, warriors in numbers flock to the hall
Heorot, to hear the news. Joy is boundless. Glee runs high. Hrothgar and
his retainers are lavish of gratitude and of gifts.</i>
</p>
<p>
<i>Grendel’s mother, however, comes the next night to avenge his death. She
is furious and raging. While Beowulf is sleeping in a room somewhat apart
<span class="pagenum" id="page_x">[x]</span>
from the quarters of the other warriors, she seizes one of Hrothgar’s favorite
counsellors, and carries him off and devours him. Beowulf is called. Determined
to leave Heorot entirely purified, he arms himself, and goes down to look
for the female monster. After traveling through the waters many hours, he
meets her near the sea-bottom. She drags him to her den. There he sees
Grendel lying dead. After a desperate and almost fatal struggle with the
woman, he slays her, and swims upward in triumph, taking with him Grendel’s
head.</i>
</p>
<p>
<i>Joy is renewed at Heorot. Congratulations crowd upon the victor.
Hrothgar literally pours treasures into the lap of Beowulf; and it is agreed
among the vassals of the king that Beowulf will be their next liegelord.</i>
</p>
<p>
<i>Beowulf leaves Dane-land. Hrothgar weeps and laments at his departure.</i>
</p>
<p>
<i>When the hero arrives in his own land, Higelac treats him as a distinguished
guest. He is the hero of the hour.</i>
</p>
<p>
<i>Beowulf subsequently becomes king of his own people, the Geats. After he
has been ruling for fifty years, his own neighborhood is wofully harried by a
fire-spewing dragon. Beowulf determines to kill him. In the ensuing struggle
both Beowulf and the dragon are slain. The grief of the Geats is inexpressible.
They determine, however, to leave nothing undone to honor the memory
of their lord. A great funeral-pyre is built, and his body is burnt. Then a
memorial-barrow is made, visible from a great distance, that sailors afar may
be constantly reminded of the prowess of the national hero of Geatland.</i>
</p>
<p>
<i>The poem closes with a glowing tribute to his bravery, his gentleness, his
goodness of heart, and his generosity.</i>
</p>
</div>
<div class="div2">
<hr />
<p>
It is the devout desire of this translator to hasten the day when the story
of Beowulf shall be as familiar to English-speaking peoples as that of the Iliad.
Beowulf is our first great epic. It is an epitomized history of the life of the
Teutonic races. It brings vividly before us our forefathers of pre-Alfredian
eras, in their love of war, of sea, and of adventure.
</p>
<p>
My special thanks are due to Professors Francis A. March and James A.
Harrison, for advice, sympathy, and assistance.
</p>
<p class="signature">
J.L. HALL.
</p>
</div>
<div class="footnotes">
<div class="footnote" id="PREFACE.FNDEF.1">
<a href="#PREFACE.FNREF.1">[1]</a> Handbook of Poetics, page 175, 1st edition.
</div>
</div>
</div>
<div id="ABBREVIATIONS" class="div1">
<span class="pagenum" id="page_xi">[xi]</span>
<h2>ABBREVIATIONS USED IN THE NOTES.</h2>
<p>
B. = Bugge. C. = Cosijn. Gr. = Grein. Grdvtg. = Grundtvig. H. = Heyne. H. and
S. = Harrison and Sharp. H.-So. = Heyne-Socin. K.= Kemble. Kl. = Kluge. M.=
Müllenhoff. R. = Rieger. S. = Sievers. Sw. = Sweet. t.B. = ten Brink. Th. = Thorpe.
W. = Wülcker.
</p>
<hr />
</div>
<div id="BIBLIOGRAPHY" class="div1">
<h2><a href="#C.BIBLIOGRAPHY">BIBLIOGRAPHY OF TRANSLATIONS.</a></h2>
<p>
<b>Arnold, Thomas.</b>—Beowulf. A heroic poem of the eighth century. London, 1876.
With English translation. Prose.
</p>
<p>
<b>Botkine, L.</b>—<span class="fr" lang="fr" xml:lang="fr">Beowulf. Epopée Anglo-Saxonne.</span> Havre, 1877. First French translation.
Passages occasionally omitted.
</p>
<p>
<b>Conybeare, J.J.</b>—Illustrations of Anglo-Saxon Poetry. London, 1826. Full Latin
translation, and some passages translated into English blank-verse.
</p>
<p>
<b>Ettmuller, L.</b>—<span class="de" lang="de" xml:lang="de">Beowulf, stabreimend übersetzt. Zürich, 1840.</span>
</p>
<p>
<b>Garnett, J.M.</b>—Beowulf: an Anglo-Saxon Poem, and the Fight at Finnsburg. Boston,
1882. An accurate line-for-line translation, using alliteration occasionally, and sometimes
assuming a metrical cadence.
</p>
<p>
<b>Grein, C.W.M.</b>—<span class="de" lang="de" xml:lang="de">Dichtungen der Angelsachsen, stabreimend übersetzt. 2 Bde.</span>
Göttingen, 1857-59.
</p>
<p>
<b>Grion, Giusto.</b>—<span class="it" lang="it" xml:lang="it">Beovulf, poema epico anglo-sassone del VII. secolo, tradotto e illustrato.
Lucca, 1883. First Italian translation.</span>
</p>
<p>
<b>Grundtvig, N.F.S.</b>—<span class="da" lang="da" xml:lang="da">Bjowulfs Drape. Copenhagen, 1820.</span>
</p>
<p>
<b>Heyne, M.</b>—A translation in iambic measures. Paderborn, 1863.
</p>
<p>
<b>Kemble, J.M.</b>—The Anglo-Saxon Poems of Beowulf, the Traveller’s Song, and the
Battle of Finnsburg. London, 1833. The second edition contains a prose translation of
Beowulf.
</p>
<p>
<b>Leo, H.</b>—<span class="de" lang="de" xml:lang="de">Ueber Beowulf.</span> Halle, 1839. Translations of extracts.
</p>
<span class="pagenum" id="page_xii">[xii]</span>
<p>
<b>Lumsden, H.W.</b>—Beowulf, translated into modern rhymes. London, 1881. Ballad
measures. Passages occasionally omitted.
</p>
<p>
<b>Sandras, G.S.</b>—<span class="la" lang="la" xml:lang="la">De carminibus Cædmoni adjudicatis.</span> Paris, 1859. An extract from
Beowulf, with Latin translation.
</p>
<p>
<b>Schaldmose, F.</b>—<span class="da" lang="da" xml:lang="da">Beowulf og Scopes Widsith, to Angelsaxiske Digte.</span> Copenhagen,
1847.
</p>
<p>
<b>Simrock, K.</b>—<span class="de" lang="de" xml:lang="de">Beowulf. Uebersetzt und erläutert. Stuttgart und Augsburg, 1859.</span>
Alliterative measures.
</p>
<p>
<b>Thorkelin, G.J.</b>—<span class="la" lang="la" xml:lang="la">De Danorum rebus gestis secul. III. et IV. poema Danicum dialecto
Anglosaxonica. Havniæ, 1815.</span> Latin translation.
</p>
<p>
<b>Thorpe, B.</b>—The Anglo-Saxon Poems of Beowulf, the Scôp or Gleeman’s Tale, and
the Fight at Finnsburg. Oxford, 1855. English translation in short lines, generally containing
two stresses.
</p>
<p>
<b>Wackerbarth, A.D.</b>—Beowulf, translated into English verse. London, 1849.
</p>
<p>
<b>Wickberg, R.</b>—<span class="se" lang="se" xml:lang="se">Beowulf, en <span class="corr" title="original: fornengelek">fornengelsk</span> hjeltedikt, öfersatt. <span class="corr" title="original: Westevvik">Westervik</span>.</span> First Swedish
translation.
</p>
<p>
<b>von Wolzogen, H.</b>—Beowulf, in alliterative measures. Leipzig.
</p>
<p>
<b>Zinsser, G.</b>—<span class="de" lang="de" xml:lang="de">Der Kampf Beowulfs mit Grendel.</span> Jahresbericht of the Realschule at
Forbach, 1881.
</p>
</div>
<div id="GLOSSARY" class="div1">
<span class="pagenum" id="page_xiii">[xiii]</span>
<h2><a href="#C.GLOSSARY">GLOSSARY OF PROPER NAMES.</a></h2>
<hr />
<p style="text-align: center">
[The figures refer to the divisions of the poem in which the respective names occur. The large figures refer
to fitts, the small, to lines in the fitts.]
</p>
<hr />
<p>
<b>Ælfhere</b>.—A kinsman of Wiglaf.—<a href="#L.XXXVI.3">36 <span class="smaller">3</span></a>.
</p>
<p>
<b>Æschere</b>.—Confidential friend of King Hrothgar. Elder brother of Yrmenlaf. Killed by
Grendel.—<a href="#L.XXI.3">21 <span class="smaller">3</span></a>; <a href="#L.XXX.89">30 <span class="smaller">89</span></a>.
</p>
<p>
<b>Beanstan</b>.—Father of Breca.—<a href="#L.IX.26">9 <span class="smaller">26</span></a>.
</p>
<p>
<b>Beowulf</b>.—Son of Scyld, the founder of the dynasty of Scyldings. Father of Healfdene,
and grandfather of Hrothgar.—<a href="#L.I.18">1 <span class="smaller">18</span></a>; <a href="#L.II.1">2 <span class="smaller">1</span></a>.
</p>
<p>
<b>Beowulf</b>.—The hero of the poem. Sprung from the stock of Geats, son of Ecgtheow.
Brought up by his maternal grandfather Hrethel, and figuring in manhood as a
devoted liegeman of his uncle Higelac. A hero from his youth. Has the strength
of thirty men. Engages in a swimming-match with Breca. Goes to the help of
Hrothgar against the monster Grendel. Vanquishes Grendel and his mother.
Afterwards becomes king of the Geats. Late in life attempts to kill a fire-spewing
dragon, and is slain. Is buried with great honors. His memorial mound.—<a href="#L.VI.26">6 <span class="smaller">26</span></a>;
<a href="#L.VII.2">7 <span class="smaller">2</span></a>; <a href="#L.VII.9">7 <span class="smaller">9</span></a>; <a href="#L.IX.3">9 <span class="smaller">3</span></a>; <a href="#L.IX.8">9 <span class="smaller">8</span></a>; <a href="#L.XII.28">12 <span class="smaller">28</span></a>; <a href="#L.XII.43">12 <span class="smaller">43</span></a>; <a href="#L.XXIII.1">23 <span class="smaller">1</span></a>, etc.
</p>
<p>
<b>Breca</b>.—Beowulf’s opponent in the famous swimming-match.—<a href="#L.IX.8">9 <span class="smaller">8</span></a>; <a href="#L.IX.19">9 <span class="smaller">19</span></a>; <a href="#L.IX.21">9 <span class="smaller">21</span></a>; <a href="#L.IX.22">9 <span class="smaller">22</span></a>.
</p>
<p>
<b>Brondings</b>.—A people ruled by Breca.—<a href="#L.IX.23">9 <span class="smaller">23</span></a>.
</p>
<p>
<b>Brosinga mene</b>.—A famous collar once owned by the Brosings.—<a href="#L.XIX.7">19 <span class="smaller">7</span></a>.
</p>
<p>
<b>Cain</b>.—Progenitor of Grendel and other monsters.—<a href="#L.II.56">2 <span class="smaller">56</span></a>; <a href="#L.XX.11">20 <span class="smaller">11</span></a>.
</p>
<p>
<b>Dæghrefn</b>.—A warrior of the Hugs, killed by Beowulf.—<a href="#L.XXXV.40">35 <span class="smaller">40</span></a>.
</p>
<p>
<b>Danes</b>.—Subjects of Scyld and his descendants, and hence often called Scyldings. Other
names for them are Victory-Scyldings, Honor-Scyldings, Armor-Danes, Bright-Danes,
East-Danes, West-Danes, North-Danes, South-Danes, Ingwins, Hrethmen.—<a href="#L.I.1">1 <span class="smaller">1</span></a>;
<a href="#L.II.1">2 <span class="smaller">1</span></a>; <a href="#L.III.2">3 <span class="smaller">2</span></a>; <a href="#L.V.14">5 <span class="smaller">14</span></a>; <a href="#L.VII.1">7 <span class="smaller">1</span></a>, etc.
</p>
<p>
<b>Ecglaf</b>.—Father of Unferth, who taunts Beowulf.—<a href="#L.IX.1">9 <span class="smaller">1</span></a>.
</p>
<p>
<b>Ecgtheow</b>.—Father of Beowulf, the hero of the poem. A widely-known Wægmunding
warrior. Marries Hrethel’s daughter. After slaying Heatholaf, a Wylfing, he flees
his country.—<a href="#L.VII.3">7 <span class="smaller">3</span></a>; <a href="#L.V.6">5 <span class="smaller">6</span></a>; <a href="#L.VIII.4">8 <span class="smaller">4</span></a>.
</p>
<p>
<b>Ecgwela</b>.—A king of the Danes before Scyld.—<a href="#L.XXV.60">25 <span class="smaller">60</span></a>.
</p>
<span class="pagenum" id="page_xiv">[xiv]</span>
<p>
<b>Elan</b>.—Sister of Hrothgar, and probably wife of Ongentheow, king of the Swedes.—<a href="#L.II.10">2 <span class="smaller">10</span></a>.
</p>
<p>
<b>Eagle Cape</b>.—A promontory in Geat-land, under which took place Beowulf’s last encounter.—<a href="#L.XLI.87">41 <span class="smaller">87</span></a>.
</p>
<p>
<b>Eadgils</b>.—Son of Ohthere and brother of Eanmund.—<a href="#L.XXXIV.2">34 <span class="smaller">2</span></a>.
</p>