To those Beowulf enthusiasts, William Morris is not the name that comes to mind when thinking about the best translators of the Old English epic poem. Seamus Heaney, J.R.R. Tolkien certainly. R.M. Liuzza if you are looking for a more academic, classroom version, sure. And even Maria Dahvana Headley's new feminist translation is now commonly recognized amongst the greats. Morris, however, is not. Known for his involvement in the Arts and Crafts Movement, Morris's translation was the product of his Kelmscott Press endevour. Morris's Beowulf, therefore, is not a product of academic scholarship but instead a result of many years fascinated with book art and an attempt to revive gothic stylings. It should be noted that Morris’ translation isn’t even entirely his. Instead, Morris transformed A.J. Wyatt's prose translation into a verse translation, hence why Wyatt is credited in the title. Without Wyatt, Morris would not have been able to create his translation.
Because of Morris's primary interest in the aesthetic of the book and not the scholarship
of translation, few scholars have approached his translation with the same academic
seriousness as other translations have received. This edition is an academic look
at a
portion of Morris's translation: Beowulf's battle with Grendel's mother. The purpose
of
the edition is to do twofold: firstly, to explore the translation decisions made by
Morris (and by extension Wyatt), particularly his overuse of kennings, and secondly,
to investigate how
Morris depicts Grendel's mother in comparison to other translations. For example,
one
of the most important elements of Morris's translation is recognizing his attempt to "foreignize" his translation.
Foreignizing a translation maintains the "otherness" of the source text, hence why
Morris uses an over-abundance of kennings. Foreignized translations remind the reader
that the original text was written in a different place, culture, and time. Instead
of
making the text accessible for the audience, the translation is focused on the "purity"
of the text, on maintaining as much of the essence of the original translation as
possible in the translated language. As Hugh Magennis writes in Translating Beowulf: Modern Versions in English:
Morris's version is unlike any other,
hitting the reader between the eye in suggesting the otherness of
Beowulf.
The reaction to Morris’ translation might be categorized as extreme when looking
at the
immediate responses and even more recent responses. Chris Jones
describes the main criticisms to be that
Morris does not so much translate as transliterate, making
diction obscure and the syntax archaic and affected.
In other words, Morris was so concerned with producing a text that felt
other and foreign that he forgot to ask himself whether that was a good idea to begin
with.
The result is a text that is bloated with kennings, an Old English literary device
that
is a compound expression resulting in a metaphorical meaning and confused by obsolete
language.
Nevertheless, Morris's text still deserves to be treated as a part of the
grand tradition of translating Beowulf and given the same respect that other
translators have received by the academic community in terms of analyzing their translations.
As to why I have chosen to transcribe the fight between Beowulf and Grendel's mother,
the reason is due, in part, to an interest in how men view Grendel's mother and how
that
impression comes through in their translation decisions. With the emergence of Headley's
Beowulf translation from 2020, in which Grendel's mother is described as a
reclusive night-queen, the mighty mere-wife,
I have begun to
ask myself how male translations compare to this female translation of one of the
only
female characters in the entire epic. Headley transforms
Grendel's mother into a warrior-woman who avenges her son, a character that we should
cheer for and feel sorrow over when she is killed. Similarly, Meghan Purvis, in her
not
quite translation but rather disection of Beowulf into smaller poems, describes
Grendel's mother as an avenger and asks the question: and was she less frightening /
for being a woman? -- hardly.
So how does Morris address the queen of the marshland? Is
he in favor of her rights to protect her land and her son? Or is she merely a monster
to
be vanquished as other male translators have depicted her.
In terms of the actual editing process, I have kept the text as close to Morris's original edition as possible. This means that the transcription maintains the language which has now been categorized as archaic and obsolete. In addition, Morris does not mark when the characters are speaking through the use of quotation marks. This transcription has maintained the lack of quotation marks.The most important editing aspect that I have added to Morris's text is addition of my own notes and observations regarding his translation decisions which can be found in the footnotes of each section.
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Amelia Lehosit, Editor, 2022
XX. Grendel's dam breaks into Hart and bears off Aeschere
XXI. Hrothgar laments the slaying of Aeschere, and tells of Grendel's mother and her den
XXII. They follow Grendel's dam to her lair
XXIII. Beowulf reacheth the mere-bottom in a day's while, and contends with Grendel's dam
XXIV. Beowulf slayeth Grendel's dam, smitten off Grendel's head, and cometh back with his thanes to Hart
1. Wreacker means one who takes vengeance; an avenger. Archaic. This is a wise translation of the Old English wrecend which means avenger. (OED)
2. Sithence means then, thereupon; afterwards, subsequently. Obsolete. (OED)
3. In Morris' text, Hereot is referred to as Hart, the translation of the Old English.
4. The choice to translate gifre is not the most accurate choice. A more accurate translation would be to describe Grendel's mother as being eager or desirous which points toward her revenge. She is not greedy in storming Hereot but desirous of revenge.
5. Byrny means a coat of mail. This is a Middle English term.
1. Mickle is a Scottish term for very large
2. Nesses means a promontory, headland, or cape. From the Old English næs(OED)
3. Mere means a sheet of standing water; a lake; a pond; a pool. From the Old English meri(OED)
4. Bairns means children. From the Old English bearn(OED)
5. Welkin means cloud. From the Old English wolcen(OED)
6. Guerdon means to reward, recompense. From the Middle English guerdone(OED)
7. Bewounden is not found in the Oxford English Dictionary so the meaning here can be deduced to speak of Beowulf being given a great amount of gold
1. Behote means a promise. From the Old English behát(OED)
2. Dree means to perform, do, carry out (OED)
3. A hoar-stone or "hoarstone" is a stone used to either mark a boundary or serve as a memorial. Based on context, we can assume this hoar-stone was meant to mark the boundary between the civilized world of the Danes and the uncivilized marshland of Grendel and his mother.
4. Thole means to be subjected to exposed to (something evil); to be afflicted with; to have to bear, suffer, endure, undergo. From the Old English þolian
5. The Old English nicormeans "nixie," a shape-shifting water creature
6. In the original Old English text, this is Unferth, marking a shift in his relationship with Beowulf when compared to their earlier boasting scene.
7. Doughty means characterized by or exhibiting courage and determination. From the Old English dihtig
1. It is unclear as to why Morris decides to translate sædēor which means "sea-beasts" as "sea-deer," especially since the next line references "war-tusks."
2. Here Morris maintains a close translation of the Old English grundwyrgenne which means a wolf of the deep. In contrast, Seamus Heaney translates the word to be "swamp-thing from hell" (1518) and R.M. Liuzza calls her a "water-witch" (1518)
3. Morris offers a literal translation of merewīf. Other translators have used "tarn-hag" (Heaney ln 1519) and other monstrous words to emphasize the monstrocity of Grendel's mother.
4. Fey here means fated to die, doomed to death; at the point of dying. From the Old English fæges(OED)
5. This is an interesting kenning as "guerdon" means reward, requital, or recompense (OED). This kenning suggests Grendel's mother being an equal match to Beowulf's strength, able to return his previous attack through gripping her shoulder.
6. Griped means to grasp or clutch. From the Old English grípan. Here Morris has maintained the Old English as closely as he could.
7. Sax here means a knife, short sword or dagger (OED) but a modern reader cannot also help but think of her sex as she sits on Beowulf and the position of the female over the male.
8. Wreak means to avenge (a person). From the Old English wrecan(OED)
1. Halse means neck. From the Old English hals, heals(OED)
2. Carle means a man of the common people. (OED)
3. Morris's description of Beowulf's championing over the mere-she-wolf relfects the common depiction of Beowulf as triumphant hero. This depiction is shifting with the progress of the academic discourse in which Beowulf is viewed as invader and Grendel's mother--and to an extent Grendel-- is viewed as defender of their lands in a hostile takeover. For further reading, turn to Maria Dahvana Headley's translation and Meghan Purvis's.