A similar transposition from a plane of regard which is, as it were, helmeted and hall-bound to one which sees things in a slightly more heavenly light is discernible in the different ways the poet imagines gold. Gold is a constant element, gleaming solidly in underground vaults, on the breasts of queens or the arms and regalia of warriors on the mead-benches. It is loaded into boats as spoil, handed out in bent bars as hall gifts, buried in the earth as treasure, persisting underground as an affirmation of a people’s glorious past and an elegy for it. It pervades the ethos of the poem the way sex pervades consumer culture. And yet the bullion with which Waels’s son, Sigemund, weighs down the hold after an earlier dragon-slaying triumph (in the old days, long before Beowulf’s time) is a more trustworthy substance than that which is secured behind the walls of Beowulf’s barrow. By the end of the poem, gold has suffered a radiation from the Christian vision. It is not that it yet equals riches in the medieval sense of worldly corruption, just that its status as the ore of all value has been put in doubt. It is lǣne, transitory, passing from hand to hand, and its changed status is registered as a symptom of the changed world. Once the dragon is disturbed, the melancholy and sense of displacement which pervade the last movement of the poem enter the hoard as a disabling and ominous light. And the dragon himself, as a genius of the older order, is bathed in this light, so that even as he begins to stir, the reader has a premonition that the days of his empery are numbered.
Nevertheless, the dragon has a wonderful inevitability about him and a unique glamour. It is not that the other monsters are lacking in presence and aura; it is more that they remain, for all their power to terrorize, creatures of the physical world. Grendel comes alive in the reader’s imagination as a kind of dog-breath in the dark, a fear of collision with some hard-boned and immensely strong android frame, a mixture of Caliban and hoplite. And while his mother too has a definite brute-bearing about her, a creature of slouch and lunge on land if seal-swift in the water, she nevertheless retains a certain non-strangeness. As antagonists of a hero being tested, Grendel and his mother possess an appropriate head-on strength. The poet may need them as figures who do the devil’s work, but the poem needs them more as figures who call up and show off Beowulf’s physical might and his superb gifts as a warrior. They are the right enemies for a young glory-hunter, instigators of the formal boast, worthy trophies to be carried back from the grim testing-ground—Grendel’s arm is ripped off and nailed up, his head severed and paraded in Heorot. It is all consonant with the surge of youth and the compulsion to win fame “as wide as the wind’s home, / as the sea around cliffs,” utterly a manifestation of the Germanic heroic code.
Enter then, fifty years later, the dragon. From his dry-stone vault, from a nest where he is heaped in coils around the body-heated gold. Once he is wakened, there is something glorious in the way he manifests himself, a Fourth of July effulgence fire-working its path across the night sky; and yet, because of the centuries he has spent dormant in the tumulus, there is a foundedness as well as a lambency about him. He is at once a stratum of the earth and a streamer in the air, no painted dragon but a figure of real oneiric power, one that can easily survive the prejudice which arises at the very mention of the word “dragon.” Whether in medieval art or in modern Disney cartoons, the dragon can strike us as far less horrific than he is meant to be, but in the final movement of Beowulf, he lodges himself in the imagination as wyrd rather than wyrm, more a destiny than a set of reptilian vertebrae.
Grendel and his mother enter Beowulf’s life from the outside, accidentally, challenges which in other circumstances he might not have taken up, enemies from whom he might have been distracted or deflected. The dragon, on the other hand, is a given of his home ground, abiding in his underearth as in his understanding, waiting for the meeting, the watcher at the ford, the questioner who sits so sly, the “lion-limb,” as Gerard Manley Hopkins might have called him, against whom Beowulf’s body and soul must measure themselves. Dragon equals shadow-line, the psalmist’s valley of the shadow of death, the embodiment of a knowledge deeply ingrained in the species which is the very knowledge of the price to be paid for physical and spiritual survival.
It has often been observed that all the scriptural references in Beowulf are to the Old Testament. The poet is more in sympathy with the tragic, waiting, unredeemed phase of things than with any transcendental promise. Beowulf’s mood as he gets ready to fight the dragon—who could be read as a projection of Beowulf’s own chthonic wisdom refined in the crucible of experience—recalls the mood of other tragic heroes: Oedipus at Colonus, Lear at his “ripeness is all” extremity, Hamlet in the last illuminations of his “prophetic soul”:
no easy bargain
would be made in that place by any man.
The veteran king sat down on the cliff-top.
He wished good luck to the Geats who had shared
his hearth and his gold. He was sad at heart,
unsettled yet ready, sensing his death.
His fate hovered near, unknowable but certain. (ll. 2415–21)
Here the poet attains a level of insight that approaches the visionary. The subjective and the inevitable are in perfect balance, what is solidly established is bathed in an element which is completely sixth-sensed, and indeed the whole slow-motion, constantly self-deferring approach to the hero’s death and funeral continues to be like this. Beowulf’s soul may not yet have fled “to its destined place among the steadfast ones,” but there is already a beyond-the-grave aspect to him, a revenant quality about his resoluteness. This is not just metrical narrative full of anthropological interest and typical heroic-age motifs; it is poetry of a high order, in which passages of great lyric intensity—such as the “Lay of the Last Survivor” (ll. 2247–66) and, even more remarkably, the so-called “Father’s Lament” (ll. 2444–62)—rise like emanations from some fissure in the bedrock of the human capacity to endure:
It was like the misery felt by an old man
who has lived to see his son’s body
swing on the gallows. He begins to keen
and weep for his boy, watching the raven
gloat where he hangs: he can be of no help.
The wisdom of age is worthless to him.
Morning after morning, he wakes to remember
that his child has gone; he has no interest
in living on until another heir
is born in the hall …
……………
Alone with his longing, he lies down on his bed
and sings a lament; everything seems too large,
the steadings and the fields.
Such passages mark an ultimate stage in poetic attainment; they are the imaginative equivalent of Beowulf’s spiritual state at the end, when he tells his men that “doom of battle will bear [their] lord away,” in the same way that the sea-journeys so vividly described in lines 210–28 and 1903–24 are the equivalent of his exultant prime.
At these moments of lyric intensity, the keel of the poetry is deeply set in the element of sensation while the mind’s lookout sways metrically and far-sightedly in the element of pure comprehension. Which is to say that the elevation of Beowulf is always, paradoxically, buoyantly down to earth. And nowhere is this more obviously and memorably the case than in the account of the hero’s funeral with which the poem ends. Here the inexorable and the elegiac combine in a description of the funeral pyre being got ready, the body being burnt, and the barrow being constructed—a scene at once immemorial and oddly contemporary. The Geat woman who cries out in dread as the flames consume the body of her dead lord could come straight from a late-twentieth-century news report, from Rwanda or Kosovo; her keen is a nightmare glimpse into the minds of people who have survived traumatic, even monstrous events and who are now being exposed to a comfortless future. We immediately recognize her predicament and the pitch of her grief and find ourselves the better for having them expressed with such adequacy and dignity and unforgiving truth:
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On a height they kindled the hugest of all
funeral fires; fumes of woodsmoke
billowed darkly up, the blaze roared
and drowned out their weeping, wind died down
and flames wrought havoc in the hot bone-house,
burning it to the core. They were disconsolate
and wailed aloud for their lord’s decease.
A Geat woman too sang out in grief;
with hair bound up, she unburdened herself
of her worst fears, a wild litany
of nightmare and lament: her nation invaded,
enemies on the rampage, bodies in piles,
slavery and abasement. Heaven swallowed the smoke.
(ll. 3143–55)
ABOUT THIS TRANSLATION
When I was an undergraduate at Queen’s University, Belfast, I studied Beowulf and other Anglo-Saxon poems and developed not only a feel for the language but a fondness for the melancholy and fortitude that characterized the poetry. Consequently, when an invitation to translate the poem arrived from the editors of The Norton Anthology of English Literature, I was tempted to try my hand. While I had no great expertise in Old English, I had a strong desire to get back to the first stratum of the language and to “assay the hoard” (l. 2509). This was during the middle years of the 1980s, when I had begun a regular teaching job at Harvard and was opening my ear to the untethered music of some contemporary American poetry. Saying yes to the Beowulf commission would be (I argued with myself) a kind of aural antidote, a way of ensuring that my linguistic anchor would stay lodged on the Anglo-Saxon sea-floor. So I undertook to do it.
Very soon, however, I hesitated. It was labour-intensive work, scriptorium-slow. I worked dutifully, like a sixth-former at homework. I would set myself twenty lines a day, write out my glossary of hard words in longhand, try to pick a way through the syntax, get the run of the meaning established in my head, and then hope that the lines could be turned into metrical shape and raised to the power of verse. Often, however, the whole attempt to turn it into modern English seemed to me like trying to bring down a megalith with a toy hammer. What had been so attractive in the first place, the hand-built, rock-sure feel of the thing, began to defeat me. I turned to other work, the commissioning editors did not pursue me, and the project went into abeyance.
Even so, I had an instinct that it should not be let go. An understanding I had worked out for myself concerning my own linguistic and literary origins made me reluctant to abandon the task. I had noticed, for example, that without any conscious intent on my part certain lines in the first poem in my first book conformed to the requirements of Anglo-Saxon metrics. These lines were made up of two balancing halves, each half containing two stressed syllables—“the spade sinks into gravelly ground: / My father, digging. I look down”—and in the case of the second line, there was alliteration linking “digging” and “down” across the caesura. Part of me, in other words, had been writing Anglo-Saxon from the start.
This was not surprising, given that the poet who had first formed my ear was Gerard Manley Hopkins. Hopkins was a chip off the Old English block, and the earliest lines I published when I was a student were as much pastiche Anglo-Saxon as they were pastiche Hopkins: “Starling thatch-watches and sudden swallow / Straight breaks to mud-nest, home-rest rafter” and so on. I have written about all this elsewhere and about the relation of my Hopkins ventriloquism to the speech patterns of Ulster—especially as these were caricatured by the poet W. R. Rodgers. Ulster people, according to Rodgers, are “an abrupt people / who like the spiky consonants of speech / and think the soft ones cissy” and get a kick out of “anything that gives or takes attack / like Micks, Teagues, tinkers’ gets, Vatican.”
Joseph Brodsky once said that poets’ biographies are present in the sounds they make and I suppose all I am saying is that I consider Beowulf to be part of my voice-right. And yet to persuade myself that I was born into its language and that its language was born into me took a while: for somebody who grew up in the political and cultural conditions of Lord Brookeborough’s Northern Ireland, it could hardly have been otherwise.
Sprung from an Irish nationalist background and educated at a Northern Irish Catholic school, I had learned the Irish language and lived within a cultural and ideological frame that regarded it as the language which I should by rights have been speaking but which I had been robbed of. I have also written, for example, about the thrill I experienced when I stumbled upon the word lachtar in my Irish-English dictionary and found that this word, which my aunt had always used when speaking of a flock of chicks, was in fact an Irish language word, and, more than that, an Irish word associated in particular with County Derry. Yet here it was, surviving in my aunt’s English speech generations after her forebears and mine had ceased to speak Irish. For a long time, therefore, the little word was—to borrow a simile from Joyce—like a rapier point of consciousness pricking me with an awareness of language-loss and cultural dispossession, and tempting me into binary thinking about language. I tended to conceive of English and Irish as adversarial tongues, as either/or conditions rather than both/ands, and this was an attitude which for a long time hampered the development of a more confident and creative way of dealing with the whole vexed question—the question, that is, of the relationship between nationality, language, history, and literary tradition in Ireland.
Luckily, I glimpsed the possibility of release from this kind of cultural determinism early on, in my first arts year at Queen’s University, Belfast, when we were lectured on the history of the English language by Professor John Braidwood. Braidwood could not help informing us, for example, that the word “whiskey” is the same word as the Irish and Scots Gaelic word uisce, meaning water, and that the River Usk in Britain is therefore to some extent the River Uisce (or Whiskey); and so in my mind the stream was suddenly turned into a kind of linguistic river of rivers issuing from a pristine Celto-British Land of Cock-aigne, a riverrun of Finnegans Wakespeak pouring out of the cleft rock of some pre-political, prelapsarian, ur-philological Big Rock Candy Mountain—and all of this had a wonderfully sweetening effect upon me. The Irish/English duality, the Celtic/Saxon antithesis were momentarily collapsed, and in the resulting etymological eddy a gleam of recognition flashed through the synapses and I glimpsed an elsewhere of potential which seemed at the same time to be a somewhere being remembered. The place on the language map where the Usk and the uisce and the whiskey coincided was definitely a place where the spirit might find a loophole, an escape route from what John Montague has called “the partitioned intellect,” away into some unpartitioned linguistic country, a region where one’s language would not be a simple badge of ethnicity or a matter of cultural preference or official imposition, but an entry into further language. And I eventually came upon one of these loopholes in Beowulf itself.
What happened was that I found in the glossary to C. L. Wrenn’s edition of the poem the Old English word meaning “to suffer,” the word þolian; and although at first it looked completely strange with its thorn symbol instead of the familiar th, I gradually realized that it was not strange at all, for it was the word that older and less educated people would have used in the country where I grew up. “They’ll just have to learn to thole,” my aunt would say about some family who had suffered an unforeseen bereavement. And now suddenly here was “thole” in the official textual world, mediated through the apparatus of a scholarly edition, a little bleeper to remind me that my aunt’s language was not just a self-enclosed family possession but an historical heritage, one that involved the journey þolian had made north into Scotland and then across into Ulster with the planters and then across from the planters to the locals who had originally spoken Irish and then farther across again when the Scots Irish emigrated to the American South in the eighteenth century. When I read in John Crowe Ransom the line “Sweet ladies, long may ye bloom, and toughly I hope ye may thole,” my heart lifted again, the world widened, something was furthe
red. The far-flungness of the word, the phenomenological pleasure of finding it variously transformed by Ransom’s modernity and Beowulf’s venerability made me feel vaguely something for which again I only found the words years later. What I was experiencing as I kept meeting up with thole on its multicultural odyssey was the feeling which Osip Mandelstam once defined as a “nostalgia for world culture.” And this was a nostalgia I didn’t even know I suffered until I experienced its fulfilment in this little epiphany. It was as if, on the analogy of baptism by desire, I had undergone something like illumination by philology. And even though I did not know it at the time, I had by then reached the point where I was ready to translate Beowulf. Polian had opened my right-of-way.
So, in a sense, the decision to accept Norton’s invitation was taken thirty-five years before the invitation was actually issued. But between one’s sense of readiness to take on a subject and the actual inscription of the first lines, there is always a problematical hiatus. To put it another way: from the point of view of the writer, words in a poem need what the Polish poet Anna Swir once called “the equivalent of a biological right to life.” The erotics of composition are essential to the process, some prereflective excitation and orientation, some sense that your own little verse-craft can dock safe and sound at the big quay of the language. And this is as true for translators as it is for poets attempting original work.
It is one thing to find lexical meanings for the words and to have some feel for how the metre might go, but it is quite another thing to find the tuning fork that will give you the note and pitch for the overall music of the work. Without some melody sensed or promised, it is simply impossible for a poet to establish the translator’s right-of-way into and through a text. I was therefore lucky to hear this enabling note almost straight away, a familiar local voice, one that had belonged to relatives of my father’s, people whom I had once described in a poem as “big voiced Scullions.”
Beowulf (Bilingual Edition) Page 2
