Old English literature

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Old English literature refers to poetry and prose written in Old English in early medieval England, from the 7th century to the decades after the Norman Conquest of 1066, a period often termed Anglo-Saxon England. The 7th-century work Cædmon's Hymn is often considered as the oldest surviving poem in English, as it appears in an 8th-century copy of Bede's text, the Ecclesiastical History of the English People. Poetry written in the mid 12th century represents some of the latest post-Norman examples of Old English. Adherence to the grammatical rules of Old English is largely inconsistent in 12th-century work, and by the 13th century the grammar and syntax of Old English had almost completely deteriorated, giving way to the much larger Middle English corpus of literature.

In descending order of quantity, Old English literature consists of: sermons and saints' lives; biblical translations; translated Latin works of the early Church Fathers; chronicles and narrative history works; laws, wills and other legal works; practical works on grammar, medicine, and geography; and poetry. In all, there are over 400 surviving manuscripts from the period, of which about 189 are considered major. In addition, some Old English text survives on stone structures and ornate objects.

The poem Beowulf, which often begins the traditional canon of English literature, is the most famous work of Old English literature. The Anglo-Saxon Chronicle has also proven significant for historical study, preserving a chronology of early English history.

In addition to Old English literature, Anglo-Latin works comprise the largest volume of literature from the Early Middle Ages in England.

Extant manuscripts

The Peterborough Chronicle, in a hand of about 1150, is one of the major sources of the Anglo-Saxon Chronicle; the initial page

Over 400 manuscripts remain from the Anglo-Saxon period, with most written during the 9th to 11th centuries. There were considerable losses of manuscripts as a result of the Dissolution of the Monasteries in the 16th century.

Old English manuscripts have been highly prized by collectors since the 16th century, both for their historic value and for their aesthetic beauty with their uniformly spaced letters and decorative elements.

Paleography and codicology

Manuscripts written in both Latin and the vernacular remain. It is believed that Irish missionaries are responsible for the scripts used in early Anglo-Saxon texts, which include the Insular half-uncial (important Latin texts) and Insular minuscule (both Latin and the vernacular). In the 10th century, the Caroline minuscule was adopted for Latin, however the Insular minuscule continued to be used for Old English texts. Thereafter, it was increasingly influenced by Caroline minuscule, while retaining certain distinctively Insular letter-forms.

Early English manuscripts often contain later annotations in the margins of the texts; it is a rarity to find a completely unannotated manuscript. These include corrections, alterations and expansions of the main text, as well as commentary upon it, and even unrelated texts. The majority of these annotations appear to date to the 13th century and later.

Scriptoria

Seven major scriptoria produced a good deal of Old English manuscripts: Winchester; Exeter; Worcester; Abingdon; Durham; and two Canterbury houses, Christ Church and St. Augustine's Abbey.

Dialects

Regional dialects include Northumbrian; Mercian; Kentish; and West Saxon, leading to the speculation that much of the poetry may have been translated into West Saxon at a later date. An example of the dominance of the West Saxon dialect is a pair of charters, from the Stowe and British Museum collections, which outline grants of land in Kent and Mercia, but are nonetheless written in the West Saxon dialect of the period.

Poetic codices

There are four major poetic manuscripts:

• The Junius manuscript, also known as the Cædmon manuscript, is an illustrated collection of poems on biblical narratives. It is held at the Bodleian Library, with the shelfmark MS. Junius 11.
• The Exeter Book is an anthology which brings together riddles and longer texts. It has been held at the Exeter Cathedral library since it was donated there in the 11th century by Bishop Leofric, and has the shelfmark Exeter Dean and Chapter Manuscript 3501.
• The Vercelli Book contains both poetry and prose; it is not known how it came to be in Vercelli.
• The Beowulf Manuscript (British Library Cotton Vitellius A. xv), sometimes called the Nowell Codex, contains prose and poetry, typically dealing with monstrous themes, including Beowulf.

Poetry

In this illustration from page 46 of the Cædmon (or Junius) manuscript, an angel is shown guarding the gates of paradise.

Form and style

The most distinguishing feature of Old English poetry is its alliterative verse style.

The Anglo-Latin verse tradition in early medieval England was accompanied by discourses on Latin prosody, which were 'rules' or guidance for writers. The rules of Old English verse are understood only through modern analysis of the extant texts.

The first widely accepted theory was constructed by Eduard Sievers (1893), who distinguished five distinct alliterative patterns. His system of alliterative verse is based on accent, alliteration, the quantity of vowels, and patterns of syllabic accentuation. It consists of five permutations on a base verse scheme; any one of the five types can be used in any verse. The system was inherited from and exists in one form or another in all of the older Germanic languages.

Alternative theories have been proposed, such as the theory of John C. Pope (1942), which uses musical notation to track the verse patterns. J. R. R. Tolkien describes and illustrates many of the features of Old English poetry in his 1940 essay "On Translating Beowulf".

Alliteration and assonance

Main article: alliterative verse

Old English poetry alliterates, meaning that a sound (usually the initial stressed consonant sound) is repeated throughout a line. For instance, in the first line of Beowulf, "Hwaet! We Gar-Dena | in gear-dagum", (meaning "Listen! We of the Spear Danes in days of yore..."), the stressed sound in Gar-Dena and gear-dagum alliterate on the consonant "D".

Caesura

Old English poetry, like other Old Germanic alliterative verse, is also commonly marked by the caesura or pause. In addition to setting pace for the line, the caesura also grouped each line into two hemistichs.

Metaphor

Kennings are a key feature of Old English poetry. A kenning is an often formulaic metaphorical phrase that describes one thing in terms of another: for instance, in Beowulf, the sea is called the whale road. Another example of a kenning in The Wanderer is a reference to battle as a "storm of spears".

Old English poetry is marked by the comparative rarity of similes. Beowulf contains at best five similes, and these are of the short variety.

Variation

The Old English poet was particularly fond of describing the same person or object with varied phrases (often appositives) that indicated different qualities of that person or object. For instance, the Beowulf poet refers in three and a half lines to a Danish king as "lord of the Danes" (referring to the people in general), "king of the Scyldings" (the name of the specific Danish tribe), "giver of rings" (one of the king's functions is to distribute treasure), and "famous chief". Such variation, which the modern reader (who likes verbal precision) is not used to, is frequently a difficulty in producing a readable translation.

Litotes

Litotes is a form of dramatic understatement employed by the author for ironic effect.

Oral tradition

Main article: Oral-formulaic theory in Anglo-Saxon poetry

Even though all extant Old English poetry is written and literate, many scholars propose that Old English poetry was an oral craft that was performed by a scop and accompanied by a harp.

The hypotheses of Milman Parry and Albert Lord on the Homeric Question came to be applied (by Parry and Lord, but also by Francis Magoun) to verse written in Old English. That is, the theory proposes that certain features of at least some of the poetry may be explained by positing oral-formulaic composition. While Old English epic poetry may bear some resemblance to Ancient Greek epics such as the Iliad and Odyssey, the question of if and how Anglo-Saxon poetry was passed down through an oral tradition remains a subject of debate, and the question for any particular poem unlikely to be answered with perfect certainty.

Parry and Lord had already demonstrated the density of metrical formulas in Ancient Greek, and observed the same feature in the Old English alliterative line:

Hroþgar maþelode helm Scildinga ("Hrothgar spoke, protector of the Scildings")
Beoƿulf maþelode bearn Ecgþeoƿes ("Beowulf spoke, son of Ecgtheow")

In addition to verbal formulas, many themes have been shown to appear among the various works of Anglo-Saxon literature. The theory suggests a reason for this: the poetry was composed of formulae and themes from a stock common to the poetic profession, as well as literary passages composed by individual artists in a more modern sense. Larry Benson introduced the concept of "written-formulaic" to describe the status of some Anglo-Saxon poetry which, while demonstrably written, contains evidence of oral influences, including heavy reliance on formulas and themes. Frequent oral-formulaic themes in Old English poetry include "Beasts of Battle" and the "Cliff of Death". The former, for example, is characterised by the mention of ravens, eagles, and wolves preceding particularly violent depictions of battle. Among the most thoroughly documented themes is "The Hero on the Beach". D. K. Crowne first proposed this theme, defined by four characteristics:

• A Hero on the Beach.
• Accompanying "Retainers".
• A Flashing Light.
• The Completion or Initiation of a Journey.

One example Crowne cites in his article is that which concludes Beowulf's fight with the monsters during his swimming match with Breca:

Beowulf (562-570a)

Modern English	West Saxon
Those sinful creatures had no fill of rejoicing that they consumed me, assembled at feast at the sea bottom; rather, in the morning, wounded by blades they lay up on the shore, put to sleep by swords, so that never after did they hinder sailors in their course on the sea. The light came from the east, the bright beacon of God.	Næs hie ðære fylle manfordædlan, symbel ymbsæton ac on mergenne be yðlafe sƿeordum asƿefede, ymb brontne lade ne letton. beorht beacen godes; / gefean hæfdon, / þæt hie me þegon, / sægrunde neah; / mecum ƿunde / uppe lægon, / þæt syðþan na / ford brimliðende / Leoht eastan com, / ...

Crowne drew on examples of the theme's appearance in twelve Old English texts, including one occurrence in Beowulf. It was also observed in other works of Germanic origin, Middle English poetry, and even an Icelandic prose saga. John Richardson held that the schema was so general as to apply to virtually any character at some point in the narrative, and thought it an instance of the "threshold" feature of Joseph Campbell's Hero's Journey monomyth. J.A. Dane, in an article (characterised by Foley as "polemics without rigour") claimed that the appearance of the theme in Ancient Greek poetry, a tradition without known connection to the Germanic, invalidated the notion of "an autonomous theme in the baggage of an oral poet." Foley's response was that Dane misunderstood the nature of oral tradition, and that in fact the appearance of the theme in other cultures showed that it was a traditional form.

Poets

Most Old English poems are recorded without authors, and very few names are known with any certainty; the primary three are Cædmon, Aldhelm, and Cynewulf.

Bede

Bede is often thought to be the poet of a five-line poem entitled Bede's Death Song, on account of its appearance in a letter on his death by Cuthbert. This poem exists in a Northumbrian and later version.

Cædmon

Cædmon is considered the first Old English poet whose work still survives. He is a legendary figure, as described in Bede's Ecclesiastical History of the English People. According to Bede, Cædmon was first an illiterate herdsman. Following a vision of a messenger from God, Cædmon received the gift of poetry, and then lived as a monk under Abbess Hild at the abbey of Whitby in Northumbria in the 7th century. Bede's History claims to reproduce Cædmon's first poem, comprising nine lines. Referred to as Cædmon's Hymn, the poem is extant in Northumbrian, West-Saxon and Latin versions that appear in 19 surviving manuscripts:

Cædmon's Hymn in different dialects

Modern English	West Saxon	Northumbrian
Now we must praise the Guardian of heaven, The power and conception of the Lord, And all His works, as He, eternal Lord, Father of glory, started every wonder. First He created heaven as a roof, The holy Maker, for the sons of men. Then the eternal Keeper of mankind Furnished the earth below, the land, for men, Almighty God and everlasting Lord.	Nū wē sculan herian Metodes mihte weorc Wuldorfæder; ēce Dryhten, Hē ǣrest gesceōp heofon tō hrōfe, ða middangeard, ēce Dryhten, fīrum foldan, / heofonrīces Weard, / and his mōdgeþonc, / swā hē wundra gehwæs, / ord onstealde. / eorðan bearnum / hālig Scyppend; / monncynnes Weard, / æfter tēode / Frēa Ælmihtig.	Nū scylun hergan Metudæs mæcti uerc Uuldurfadur, ēci Dryctin, Hē ǣrist scōp heben til hrōfe Thā middungeard ēci Dryctin, fīrum foldu, / hefænrīcaes Uard, / end His mōdgidanc / suē Hē uundra gihuæs, / ōr āstelidæ. / ælda barnum / hāleg Scepen. / moncynnæs Uard, / æfter tīadæ / Frēa allmectig.

Cynewulf

Cynewulf has proven to be a difficult figure to identify, but recent research suggests he was an Anglian poet from the early part of the 9th century. Four poems are attributed to him, signed with a runic acrostic at the end of each poem; these are The Fates of the Apostles and Elene (both found in the Vercelli Book), and Christ II and Juliana (both found in the Exeter Book).

Although William of Malmesbury claims that Aldhelm, bishop of Sherborne (d. 709), performed secular songs while accompanied by a harp, none of these Old English poems survives. Paul G. Remely has recently proposed that the Old English Exodus may have been the work of Aldhelm, or someone closely associated with him.

Alfred

Alfred is said to be the author of some of the metrical prefaces to the Old English translations of Gregory's Pastoral Care and Boethius's Consolation of Philosophy. Alfred is also thought to be the author of 50 metrical psalms, but whether the poems were written by him, under his direction or patronage, or as a general part in his reform efforts is unknown.

Poetic genres and themes

Heroic poetry

Remounted page from Beowulf, British Library Cotton Vitellius A.XV

First page of Beowulf, contained in the damaged Nowell Codex

The Old English poetry which has received the most attention deals with what has been termed the Germanic heroic past. Scholars suggest that Old English heroic poetry was handed down orally from generation to generation. As Christianity began to appear, re-tellers often recast the tales of Christianity into the older heroic stories.

The longest at 3,182 lines, and the most important, is Beowulf, which appears in the damaged Nowell Codex. Beowulf relates the exploits of the hero Beowulf, King of the Weder-Geats or Angles, around the middle of the 5th century. The author is unknown, and no mention of Britain occurs. Scholars are divided over the date of the present text, with hypotheses ranging from the 8th to the 11th centuries. It has achieved much acclaim as well as sustained academic and artistic interest.

Other heroic poems besides Beowulf exist. Two have survived in fragments: The Fight at Finnsburh, controversially interpreted by many to be a retelling of one of the battle scenes in Beowulf, and Waldere, a version of the events of the life of Walter of Aquitaine. Two other poems mention heroic figures: Widsith is believed to be very old in parts, dating back to events in the 4th century concerning Eormanric and the Goths, and contains a catalogue of names and places associated with valiant deeds. Deor is a lyric, in the style of Consolation of Philosophy, applying examples of famous heroes, including Weland and Eormanric, to the narrator's own case.

The Anglo-Saxon Chronicle contains various heroic poems inserted throughout. The earliest from 937 is called The Battle of Brunanburh, which celebrates the victory of King Athelstan over the Scots and Norse. There are five shorter poems: capture of the Five Boroughs (942); coronation of King Edgar (973); death of King Edgar (975); death of Alfred the son of King Æthelred (1036); and death of King Edward the Confessor (1065).

The 325 line poem The Battle of Maldon celebrates Earl Byrhtnoth and his men who fell in battle against the Vikings in 991. It is considered one of the finest, but both the beginning and end are missing and the only manuscript was destroyed in a fire in 1731. A well-known speech is near the end of the poem:

The Battle of Maldon (312-319)

Modern English	West Saxon
Thought shall be the harder, the heart the keener, courage the greater, as our strength lessens. Here lies our leader in the dust, all cut down; always may he mourn who now thinks to turn away from this warplay. I am old, I will not go away, but I plan to lie down by the side of my lord, by the man so dearly loved.	Hige sceal þē heardra, mōd sceal þē māre, Hēr līð ūre ealdor gōd on grēote; se ðe nū fram þis ƿīgplegan Ic eom frōd fēores; ac ic mē be healfe be sƿā lēofan men / heorte þē cēnre, / þē ūre mægen lȳtlað. / eall forhēaƿen, / ā mæg gnornian / ƿendan þenceð. / fram ic ne ƿille, / mīnum hlāforde, / licgan þence.

Elegiac poetry

Related to the heroic tales are a number of short poems from the Exeter Book which have come to be described as "elegies" or "wisdom poetry". They are lyrical and Boethian in their description of the up and down fortunes of life. Gloomy in mood is The Ruin, which tells of the decay of a once glorious city of Roman Britain (cities in Britain fell into decline after the Romans departed in the early 5th century, as the early Celtic Britons continued to live their rural life), and The Wanderer, in which an older man talks about an attack that happened in his youth, when his close friends and kin were all killed; memories of the slaughter have remained with him all his life. He questions the wisdom of the impetuous decision to engage a possibly superior fighting force: the wise man engages in warfare to preserve civil society, and must not rush into battle but should seek out allies when the odds may be against him. This poet finds little glory in bravery for bravery's sake. The Seafarer is the story of a sombre exile from home on the sea, from which the only hope of redemption is the joy of heaven. Other wisdom poems include Wulf and Eadwacer, The Wife's Lament, and The Husband's Message. Alfred the Great wrote a wisdom poem over the course of his reign based loosely on the neoplatonic philosophy of Boethius called the Lays of Boethius.

Translations of classical and Latin poetry

Several Old English poems are adaptations of late classical philosophical texts. The longest is a 10th-century translation of Boethius' Consolation of Philosophy contained in the Cotton manuscript Otho A.vi. Another is The Phoenix in the Exeter Book, an allegorisation of the De ave phoenice by Lactantius.

Other short poems derive from the Latin bestiary tradition. These include The Panther, The Whale and The Partridge.

Riddles

Main article: Anglo-Saxon riddles

The most famous Old English riddles are found in the Exeter Book. They are part of a wider Anglo-Saxon literary tradition of riddling, which includes riddles written in Latin. Riddles are both comical and obscene.

The riddles of the Exeter Book are unnumbered and without titles in the manuscript. For this reason, scholars propose different interpretations of how many riddles there are, with some agreeing 94 riddles, and others proposing closer to 100 riddles in the book. Most scholars believe that the Exeter Book was compiled by a single scribe; however, the works were almost certainly originally composed by poets.

A riddle in Old English, written using runic script, features on the Franks Casket. One possible solution for the riddle is 'whale', evoking the whale-bone from which the casket made.

Saints' lives in verse

The Vercelli Book and Exeter Book contain four long narrative poems of saints' lives, or hagiographies. In Vercelli are Andreas and Elene and in Exeter are Guthlac and Juliana.

Andreas is 1,722 lines long and is the closest of the surviving Old English poems to Beowulf in style and tone. It is the story of Saint Andrew and his journey to rescue Saint Matthew from the Mermedonians. Elene is the story of Saint Helena (mother of Constantine) and her discovery of the True Cross. The cult of the True Cross was popular in Anglo-Saxon England and this poem was instrumental in promoting it.

Guthlac consists of two poems about the English 7th century Saint Guthlac. Juliana describes the life of Saint Juliana, including a discussion with the devil during her imprisonment.

Poetic Biblical paraphrases

There are a number of partial Old English Bible translations and paraphrases surviving. The Junius manuscript contains three paraphrases of Old Testament texts. These were re-wordings of Biblical passages in Old English, not exact translations, but paraphrasing, sometimes into beautiful poetry in its own right. The first and longest is of Genesis (originally presented as one work in the Junius manuscript but now thought to consist of two separate poems, A and B), the second is of Exodus and the third is Daniel. Contained in Daniel are two lyrics, Song of the Three Children and Song of Azarias, the latter also appearing in the Exeter Book after Guthlac. The fourth and last poem, Christ and Satan, which is contained in the second part of the Junius manuscript, does not paraphrase any particular biblical book, but retells a number of episodes from both the Old and New Testament.

The Nowell Codex contains a Biblical poetic paraphrase, which appears right after Beowulf, called Judith, a retelling of the story of Judith. This is not to be confused with Ælfric's homily Judith, which retells the same Biblical story in alliterative prose.

Old English translations of Psalms 51-150 have been preserved, following a prose version of the first 50 Psalms. There are verse translations of the Gloria in Excelsis, the Lord's Prayer, and the Apostles' Creed, as well as some hymns and proverbs.

Original Christian poems

In addition to Biblical paraphrases are a number of original religious poems, mostly lyrical (non-narrative).

The Exeter Book contains a series of poems entitled Christ, sectioned into Christ I, Christ II and Christ III.

Considered one of the most beautiful of all Old English poems is Dream of the Rood, contained in the Vercelli Book. The presence of a portion of the poem (in Northumbrian dialect) carved in runes on an 8th century stone cross found in Ruthwell, Dumfriesshire, verifies the age of at least this portion of the poem. The Dream of the Rood is a dream vision in which the personified cross tells the story of the crucifixion. Christ appears as a young hero-king, confident of victory, while the cross itself feels all the physical pain of the crucifixion, as well as the pain of being forced to kill the young lord.

The Dream of the Rood (50-56)

Modern English	West Saxon
Full many a dire experience on that hill. I saw the God of hosts stretched grimly out. Darkness covered the Ruler's corpse with clouds, A shadow passed across his shining beauty, under the dark sky. All creation wept, bewailed the King's death. Christ was on the cross.	Feala ic on þǣm beorge ƿrāðra ƿyrda. þearle þenian; beƿrigen mid ƿolcnum scīrne scīman ƿann under ƿolcnum. cƿīðdon Cyninges fyll. / gebiden hæbbe / Geseah ic ƿeruda God / þȳstro hæfdon / Ƿealdendes hrǣƿ, / sceadu forðēode, / Ƿēop eal gesceaft, / Crīst ƿæs on rōde.

The dreamer resolves to trust in the cross, and the dream ends with a vision of heaven.

There are a number of religious debate poems. The longest is Christ and Satan in the Junius manuscript, which deals with the conflict between Christ and Satan during the forty days in the desert. Another debate poem is Solomon and Saturn, surviving in a number of textual fragments, Saturn is portrayed as a magician debating with the wise king Solomon.

Other poems

Other poetic forms exist in Old English including short verses, gnomes, and mnemonic poems for remembering long lists of names.

There are short verses found in the margins of manuscripts which offer practical advice, such as remedies against the loss of cattle or how to deal with a delayed birth, often grouped as charms. The longest is called Nine Herbs Charm and is probably of pagan origin. Other similar short verses, or charms, include For a Swarm of Bees, Against a Dwarf, Against a Stabbing Pain, and Against a Wen.

There are a group of mnemonic poems designed to help memorise lists and sequences of names and to keep objects in order. These poems are named Menologium, The Fates of the Apostles, The Rune Poem, The Seasons for Fasting, and the Instructions for Christians.

Prose

The amount of surviving Old English prose is much greater than the amount of poetry. Of the surviving prose, the majority consists of the homilies, saints' lives and biblical translations from Latin. The division of early medieval written prose works into categories of "Christian" and "secular", as below, is for convenience's sake only, for literacy in Anglo-Saxon England was largely the province of monks, nuns, and ecclesiastics (or of those laypeople to whom they had taught the skills of reading and writing Latin and/or Old English). Old English prose first appears in the 9th century, and continues to be recorded through the 12th century as the last generation of scribes, trained as boys in the standardised West Saxon before the Conquest, died as old men.

Christian prose

The most widely known secular author of Old English was King Alfred the Great (849–899), who translated several books, many of them religious, from Latin into Old English. Alfred, wanting to restore English culture, lamented the poor state of Latin education:

So general was [educational] decay in England there were very few on this side of the Humber who could...translate a letter from Latin into English; and I believe that there were not many beyond the Humber

— Pastoral Care, introduction, translated by Kevin Crossley-Holland

Alfred proposed that students be educated in Old English, and those who excelled should go on to learn Latin. Alfred's cultural program aimed to translate "certain books [...] necessary for all men to know" from Latin to Old English. These included: Gregory the Great's Cura Pastoralis, a manual for priests on how to conduct their duties, which became the Hierdeboc ('Shepherd-book') in Old English; Boethius' De Consolatione philosophiae (the Froforboc or 'book of consolation'); and the Soliloquia of Saint Augustine (known in Old English as the Blostman or 'blooms'). In the process, some original content was interweaved through the translations.

Other important Old English translations include: Orosius' Historiae Adversus Paganos, a companion piece for St. Augustine's The City of God; the Dialogues of Gregory the Great; and Bede's Ecclesiastical History of the English People.

Ælfric of Eynsham, who wrote in the late 10th and early 11th centuries, is believed to have been a pupil of Æthelwold. He was the greatest and most prolific writer of sermons, which were copied and adapted for use well into the 13th century. In the translation of the first six books of the Bible (Old English Hexateuch), portions have been assigned to Ælfric on stylistic grounds. He included some lives of the saints in the Catholic Homilies, as well as a cycle of saints' lives to be used in sermons. Ælfric also wrote an Old English work on time-reckoning, and pastoral letters.

In the same category as Ælfric, and a contemporary, was Wulfstan II, archbishop of York. His sermons were highly stylistic. His best known work is Sermo Lupi ad Anglos in which he blames the sins of the English for the Viking invasions. He wrote a number of clerical legal texts: Institutes of Polity and Canons of Edgar.

One of the earliest Old English texts in prose is the Martyrology, information about saints and martyrs according to their anniversaries and feasts in the church calendar. It has survived in six fragments. It is believed to have been written in the 9th century by an anonymous Mercian author.

The oldest collections of church sermons is the Blickling homilies, found in a 10th-century manuscript.

There are a number of saint's lives prose works: beyond those written by Ælfric are the prose life of Saint Guthlac (Vercelli Book), the life of Saint Margaret and the life of Saint Chad. There are four additional lives in the earliest manuscript of the Lives of Saints, the Julius manuscript: Seven Sleepers of Ephesus, Saint Mary of Egypt, Saint Eustace and Saint Euphrosyne.

There are six major manuscripts of the Wessex Gospels, dating from the 11th and 12th centuries. The most popular, Old English Gospel of Nicodemus, is treated in one manuscript as though it were a 5th gospel; other apocryphal gospels in translation include the Gospel of Pseudo-Matthew, Vindicta salvatoris, Vision of Saint Paul and the Apocalypse of Thomas.

Secular prose

The Anglo-Saxon Chronicle was probably started in the time of King Alfred the Great and continued for over 300 years as a historical record of Anglo-Saxon history.

A single example of a Classical romance has survived: a fragment of the story of Apollonius of Tyre was translated in the 11th century from the Gesta Romanorum.

A monk who was writing in Old English at the same time as Ælfric and Wulfstan was Byrhtferth of Ramsey, whose book Handboc was a study of mathematics and rhetoric. He also produced a work entitled Computus, which outlined the practical application of arithmetic to the calculation of calendar days and movable feasts, as well as tide tables.

Ælfric wrote two proto-scientific works, Hexameron and Interrogationes Sigewulfi, dealing with the stories of Creation. He also wrote a grammar and glossary of Latin in Old English, later used by students interested in learning Old French, as inferred from glosses in that language.

In the Nowell Codex is the text of The Wonders of the East which includes a remarkable map of the world, and other illustrations. Also contained in Nowell is Alexander's Letter to Aristotle. Because this is the same manuscript that contains Beowulf, some scholars speculate it may have been a collection of materials on exotic places and creatures.

There are a number of interesting medical works. There is a translation of Apuleius's Herbarium with striking illustrations, found together with Medicina de Quadrupedibus. A second collection of texts is Bald's Leechbook, a 10th-century book containing herbal and even some surgical cures. A third collection, known as the Lacnunga, includes many charms and incantations.

Legal texts are a large and important part of the overall Old English corpus. The Laws of Aethelberht I of Kent, written at the turn of the 7th century, are the earliest surviving English prose work. Other laws wills and charters were written over the following centuries. Towards the end of the 9th, Alfred had compiled the law codes of Aethelberht, Ine, and Offa in a text setting out his own laws, the Domboc. By the 12th century they had been arranged into two large collections (see Textus Roffensis). They include laws of the kings, beginning with those of Aethelbert of Kent and ending with those of Cnut, and texts dealing with specific cases and places in the country. An interesting example is Gerefa, which outlines the duties of a reeve on a large manor estate. There is also a large volume of legal documents related to religious houses. These include many kinds of texts: records of donations by nobles; wills; documents of emancipation; lists of books and relics; court cases; guild rules. All of these texts provide valuable insights into the social history of Anglo-Saxon times, but are also of literary value. For example, some of the court case narratives are interesting for their use of rhetoric.

Writing on objects

James Paz proposes reading objects which feature Old English poems or phrases as part of the literary output of the time, and as "speaking objects". These objects include the Ruthwell monument (which includes a poem similar to the Dream of the Rood preserved in the Vercelli Book), the Frank's Casket, the Alfred Jewel.

Semi-Saxon and post-conquest Old English

The Soul's Address to the Body (c. 1150–1175) found in Worcester Cathedral Library MS F. 174 contains only one word of possible Latinate origin, while also maintaining a corrupt alliterative meter and Old English grammar and syntax, albeit in a degenerative state (hence, early scholars of Old English termed this late form as "Semi-Saxon").

'The Grave' is a poem preserved in a 12th century manuscript, MS Bodleian 343, at fol. 170r: over time, scholars have called it "Anglo-Saxon", "Norman-Saxon", late Old English, and Middle English.

The Peterborough Chronicle can also be considered a late-period text, continuing into the 12th century.

Reception and scholarship

Later medieval glossing and translation

Old English literature did not disappear in 1066 with the Norman Conquest. Many sermons and works continued to be read and used in part or whole up through the 14th century, and were further catalogued and organised. What might be termed the earliest scholarship on Old English literature was done by a 12th or early 13th-century scribe from Worcester known only as The Tremulous Hand – a sobriquet earned for a hand tremor causing characteristically messy handwriting. The Tremulous Hand is known for many Latin glosses of Old English texts, which represent the earliest attempt to translate the language in the post-Norman period. Perhaps his most well known scribal work is that of the Worcester Cathedral Library MS F. 174, which contains part of Ælfric's Grammar and Glossary and a short fragmentary poem often called St. Bede's Lament, in addition to the Body and Soul poem.

Antiquarianism and early scholarship

During the Reformation, when monastic libraries were dispersed, the manuscripts began to be collected by antiquarians and scholars. Some of the earliest collectors and scholars included Laurence Nowell, Matthew Parker, Robert Bruce Cotton and Humfrey Wanley.

Old English dictionaries and references were created from the 17th century. The first was William Somner's Dictionarium Saxonico-Latino-Anglicum (1659). Lexicographer Joseph Bosworth began a dictionary in the 19th century called An Anglo-Saxon Dictionary, which was completed by Thomas Northcote Toller in 1898 and updated by Alistair Campbell in 1972.

19th, 20th, and 21st century scholarship

In the 19th and early 20th centuries the focus was on the Germanic and pagan roots that scholars thought they could detect in Old English literature. Because Old English was one of the first vernacular languages to be written down, 19th-century scholars searching for the roots of European "national culture" took special interest in studying what was then commonly referred to as 'Anglo-Saxon literature', and Old English became a regular part of university curriculum.

After World War II there was increasing interest in the manuscripts themselves, developing new palaeographic approaches from antiquarian approaches. Neil Ker, a paleographer, published the groundbreaking Catalogue of Manuscripts Containing Anglo-Saxon in 1957, and by 1980 nearly all Anglo-Saxon manuscript texts were available as facsimiles or editions.

On account of the work of Bernard F. Huppé, attention to the influence of Augustinian exegesis increased in scholarship.

J.R.R. Tolkien is often credited with creating a movement to look at Old English as a subject of literary theory in his seminal lecture "Beowulf: The Monsters and the Critics" (1936).

Since the 1970s, along with a focus upon paleography and the physical manuscripts themselves more generally, scholars continue to debate such issues as dating, place of origin, authorship, connections between Old English literary culture and global medieval literatures, and the valences of Old English poetry that may be revealed by contemporary theory: for instance, feminist, queer, critical race, and eco-critical theories.

Influence on modern English literature

Prose

Tolkien adapted the subject matter and terminology of heroic poetry for works like The Hobbit and The Lord of the Rings, and John Gardner wrote Grendel, which tells the story of Beowulf's opponent from his own perspective.

Poetry

Old English literature has had some influence on modern literature, and notable poets have translated and incorporated Old English poetry. Well-known early translations include Alfred, Lord Tennyson's translation of The Battle of Brunanburh, William Morris's translation of Beowulf, and Ezra Pound's translation of The Seafarer. The influence of the poetry can be seen in modern poets T. S. Eliot, Ezra Pound and W. H. Auden.

More recently other notable poets such as Paul Muldoon, Seamus Heaney, Denise Levertov and U. A. Fanthorpe have all shown an interest in Old English poetry. In 1987 Denise Levertov published a translation of Cædmon's Hymn under her title "Caedmon" in the collection Breathing the Water. This was followed by Seamus Heaney's version of the poem "Whitby-sur-Moyola" in his The Spirit Level (1996), Paul Muldoon's "Caedmona's Hymn" in his Moy Sand and Gravel (2002) and U. A. Fanthorpe's "Caedmon's Song" in her Queuing for the Sun (2003).

In 2000, Seamus Heaney published his translation of Beowulf. Heaney uses Irish diction across Beowulf to bring what he calls a "special body and force" to the poem, putting forward his own Ulster heritage, "in order to render [the poem] ever more 'willable forward/again and again and again.'"

Editions

The entire corpus of Old English poetry is being edited and annotated to available digital images of manuscript pages and objects, with Modern English translations, in the Old English Poetry in Facsimile Project.

Beowulf

From Wikipedia, the free encyclopedia

https://en.wikipedia.org/wiki/Beowulf 

Beowulf
First page of Beowulf in Cotton Vitellius A. xv. Beginning: HWÆT. WE GARDE / na in geardagum, þeodcyninga / þrym gefrunon... (Translation: What! [=Listen!] We of Spear-Da/nes, in days gone by, of kings / the glory have heard...)
Author(s)	Unknown
Language	West Saxon dialect of Old English
Date	disputed (c. 700–1000 AD)
State of existence	Manuscript suffered damage from fire in 1731
Manuscript(s)	Cotton Vitellius A. xv (c. 975–1025 AD)
First printed edition	Thorkelin (1815)
Genre	Epic heroic writing
Verse form	Alliterative verse
Length	c. 3182 lines
Subject	The battles of Beowulf, the Geatish hero, in youth and old age
Personages	Beowulf, Hygelac, Hrothgar, Wealhtheow, Hrothulf, Æschere, Unferth, Grendel, Grendel's mother, Wiglaf, Hildeburh. Full list of characters.
Text	Beowulf at Wikisource

Beowulf (/ˈbeɪəwʊlf/; Old English: Bēowulf [ˈbeːowuɫf]) is an Old English epic poem in the tradition of Germanic heroic legend consisting of 3,182 alliterative lines. It is one of the most important and most often translated works of Old English literature. The date of composition is a matter of contention among scholars; the only certain dating is for the manuscript, which was produced between 975 and 1025. Scholars call the anonymous author the "Beowulf poet". The story is set in pagan Scandinavia in the 6th century. Beowulf, a hero of the Geats, comes to the aid of Hrothgar, the king of the Danes, whose mead hall in Heorot has been under attack by the monster Grendel. After Beowulf slays him, Grendel's mother attacks the hall and is then defeated. Victorious, Beowulf goes home to Geatland and becomes king of the Geats. Fifty years later, Beowulf defeats a dragon, but is mortally wounded in the battle. After his death, his attendants cremate his body and erect a barrow on a headland in his memory.

Scholars have debated whether Beowulf was transmitted orally, affecting its interpretation: if it was composed early, in pagan times, then the paganism is central and the Christian elements were added later, whereas if it was composed later, in writing, by a Christian, then the pagan elements could be decorative archaising; some scholars also hold an intermediate position. Beowulf is written mostly in the Late West Saxon dialect of Old English, but many other dialectal forms are present, suggesting that the poem may have had a long and complex transmission throughout the dialect areas of England.

There has long been research into similarities with other traditions and accounts, including the Icelandic Grettis saga, the Norse story of Hrolf Kraki and his bear-shapeshifting servant Bodvar Bjarki, the international folktale the Bear's Son Tale, and the Irish folktale of the Hand and the Child. Persistent attempts have been made to link Beowulf to tales from Homer's Odyssey or Virgil's Aeneid. More definite are Biblical parallels, with clear allusions to the books of Genesis, Exodus, and Daniel.

The poem survives in a single copy in the manuscript known as the Nowell Codex. It has no title in the original manuscript, but has become known by the name of the story's protagonist. In 1731, the manuscript was damaged by a fire that swept through Ashburnham House in London, which was housing Sir Robert Cotton's collection of medieval manuscripts. It survived, but the margins were charred, and some readings were lost. The Nowell Codex is housed in the British Library. The poem was first transcribed in 1786; some verses were first translated into modern English in 1805, and nine complete translations were made in the 19th century, including those by John Mitchell Kemble and William Morris. After 1900, hundreds of translations, whether into prose, rhyming verse, or alliterative verse were made, some relatively faithful, some archaising, some attempting to domesticate the work. Among the best-known modern translations are those of Edwin Morgan, Burton Raffel, Michael J. Alexander, Roy Liuzza, and Seamus Heaney. The difficulty of translating Beowulf has been explored by scholars including J. R. R. Tolkien (in his essay "On Translating Beowulf"), who worked on a verse and a prose translation of his own.

Historical background

Tribes mentioned in Beowulf, showing Beowulf's voyage to Heorot and a possible site of the poem's composition in Rendlesham, Suffolk, settled by Angles.^[5] See Scandza for details of Scandinavia's political fragmentation in the 6th century.

The events in the poem take place over most of the 6th century, and feature no English characters. Some suggest that Beowulf was first composed in the 7th century at Rendlesham in East Anglia, as the Sutton Hoo ship-burial shows close connections with Scandinavia, and the East Anglian royal dynasty, the Wuffingas, may have been descendants of the Geatish Wulfings. Others have associated this poem with the court of King Alfred the Great or with the court of King Cnut the Great.

The poem blends fictional, legendary, mythic and historical elements. Although Beowulf himself is not mentioned in any other Anglo-Saxon manuscript, many of the other figures named in Beowulf appear in Scandinavian sources. This concerns not only individuals (e.g., Healfdene, Hroðgar, Halga, Hroðulf, Eadgils and Ohthere), but also clans (e.g., Scyldings, Scylfings and Wulfings) and certain events (e.g., the battle between Eadgils and Onela). The raid by King Hygelac into Frisia is mentioned by Gregory of Tours in his History of the Franks and can be dated to around 521.

The majority view appears to be that figures such as King Hroðgar and the Scyldings in Beowulf are based on historical people from 6th-century Scandinavia. Like the Finnesburg Fragment and several shorter surviving poems, Beowulf has consequently been used as a source of information about Scandinavian figures such as Eadgils and Hygelac, and about continental Germanic figures such as Offa, king of the continental Angles. However, the scholar Roy Liuzza argues that the poem is "frustratingly ambivalent", neither myth nor folktale, but is set "against a complex background of legendary history ... on a roughly recognizable map of Scandinavia", and comments that the Geats of the poem may correspond with the Gautar (of modern Götaland); or perhaps the legendary Getae.

Finds from Gamla Uppsala's western mound, left, excavated in 1874, support Beowulf and the sagas.

19th-century archaeological evidence may confirm elements of the Beowulf story. Eadgils was buried at Uppsala (Gamla Uppsala, Sweden) according to Snorri Sturluson. When the western mound (to the left in the photo) was excavated in 1874, the finds showed that a powerful man was buried in a large barrow, c. 575, on a bear skin with two dogs and rich grave offerings. The eastern mound was excavated in 1854, and contained the remains of a woman, or a woman and a young man. The middle barrow has not been excavated.

In Denmark, recent (1986-88, 2004-05) archaeological excavations at Lejre, where Scandinavian tradition located the seat of the Scyldings, Heorot, have revealed that a hall was built in the mid-6th century, matching the period described in Beowulf, some centuries before the poem was composed. Three halls, each about 50 metres (160 ft) long, were found during the excavation.

Summary

Carrigan's model of Beowulf's design
Key: (a) sections 1–2 (b) 3–7 (c) 8–12 (d) 13–18 (e) 19–23 (f) 24–26 (g) 27–31 (h) 32–33 (i) 34–38 (j) 39–43

The protagonist Beowulf, a hero of the Geats, comes to the aid of Hrothgar, king of the Danes, whose great hall, Heorot, is plagued by the monster Grendel. Beowulf kills Grendel with his bare hands, then kills Grendel's mother with a giant's sword that he found in her lair.

Later in his life, Beowulf becomes king of the Geats, and finds his realm terrorized by a dragon, some of whose treasure had been stolen from his hoard in a burial mound. He attacks the dragon with the help of his thegns or servants, but they do not succeed. Beowulf decides to follow the dragon to its lair at Earnanæs, but only his young Swedish relative Wiglaf, whose name means "remnant of valour", dares to join him. Beowulf finally slays the dragon, but is mortally wounded in the struggle. He is cremated and a burial mound by the sea is erected in his honour.

Beowulf is considered an epic poem in that the main character is a hero who travels great distances to prove his strength at impossible odds against supernatural demons and beasts. The poem begins in medias res or simply, "in the middle of things", a characteristic of the epics of antiquity. Although the poem begins with Beowulf's arrival, Grendel's attacks have been ongoing. An elaborate history of characters and their lineages is spoken of, as well as their interactions with each other, debts owed and repaid, and deeds of valour. The warriors form a brotherhood linked by loyalty to their lord. The poem begins and ends with funerals: at the beginning of the poem for Scyld Scefing and at the end for Beowulf.

The poem is tightly structured. E. Carrigan shows the symmetry of its design in a model of its major components, with for instance the account of the killing of Grendel matching that of the killing of the dragon, the glory of the Danes matching the accounts of the Danish and Geatish courts.

First battle: Grendel

Further information: Grendel

Beowulf begins with the story of Hrothgar, who constructed the great hall, Heorot, for himself and his warriors. In it, he, his wife Wealhtheow, and his warriors spend their time singing and celebrating. Grendel, a troll-like monster said to be descended from the biblical Cain, is pained by the sounds of joy. Grendel attacks the hall and kills and devours many of Hrothgar's warriors while they sleep. Hrothgar and his people, helpless against Grendel, abandon Heorot.

Beowulf, a young warrior from Geatland, hears of Hrothgar's troubles and with his king's permission leaves his homeland to assist Hrothgar.

Beowulf and his men spend the night in Heorot. Beowulf refuses to use any weapon because he holds himself to be Grendel's equal. When Grendel enters the hall, Beowulf, who has been feigning sleep, leaps up to clench Grendel's hand. Grendel and Beowulf battle each other violently. Beowulf's retainers draw their swords and rush to his aid, but their blades cannot pierce Grendel's skin. Finally, Beowulf tears Grendel's arm from his body at the shoulder and Grendel runs to his home in the marshes where he dies. Beowulf displays "the whole of Grendel's shoulder and arm, his awesome grasp" for all to see at Heorot. This display would fuel Grendel's mother's anger in revenge.

Second battle: Grendel's mother

Further information: Grendel's mother

The next night, after celebrating Grendel's defeat, Hrothgar and his men sleep in Heorot. Grendel's mother, angry that her son has been killed, sets out to get revenge. "Beowulf was elsewhere. Earlier, after the award of treasure, The Geat had been given another lodging"; his assistance would be absent in this battle. Grendel's mother violently kills Æschere, who is Hrothgar's most loyal fighter, and escapes.

Hrothgar, Beowulf, and their men track Grendel's mother to her lair under a lake. Unferð, a warrior who had earlier challenged him, presents Beowulf with his sword Hrunting. After stipulating a number of conditions to Hrothgar in case of his death (including the taking in of his kinsmen and the inheritance by Unferth of Beowulf's estate), Beowulf jumps into the lake, and while harassed by water monsters gets to the bottom, where he finds a cavern. Grendel's mother pulls him in, and she and Beowulf engage in fierce combat.

At first, Grendel's mother prevails, and Hrunting proves incapable of hurting her; she throws Beowulf to the ground and, sitting astride him, tries to kill him with a short sword, but Beowulf is saved by his armour. Beowulf spots another sword, hanging on the wall and apparently made for giants, and cuts her head off with it. Travelling further into Grendel's mother's lair, Beowulf discovers Grendel's corpse and severs his head with the sword. Its blade melts because of the monster's "hot blood", leaving only the hilt. Beowulf swims back up to the edge of the lake where his men wait. Carrying the hilt of the sword and Grendel's head, he presents them to Hrothgar upon his return to Heorot. Hrothgar gives Beowulf many gifts, including the sword Nægling, his family's heirloom. The events prompt a long reflection by the king, sometimes referred to as "Hrothgar's sermon", in which he urges Beowulf to be wary of pride and to reward his thegns.

Final battle: The dragon

Main article: The dragon (Beowulf)

Wiglaf is the single warrior to return and witness Beowulf's death. Illustration by J. R. Skelton, 1908

Beowulf returns home and eventually becomes king of his own people. One day, fifty years after Beowulf's battle with Grendel's mother, a slave steals a golden cup from the lair of a dragon at Earnanæs. When the dragon sees that the cup has been stolen, it leaves its cave in a rage, burning everything in sight. Beowulf and his warriors come to fight the dragon, but Beowulf tells his men that he will fight the dragon alone and that they should wait on the barrow. Beowulf descends to do battle with the dragon, but finds himself outmatched. His men, upon seeing this and fearing for their lives, retreat into the woods. One of his men, Wiglaf, however, in great distress at Beowulf's plight, comes to his aid. The two slay the dragon, but Beowulf is mortally wounded. After Beowulf dies, Wiglaf remains by his side, grief-stricken. When the rest of the men finally return, Wiglaf bitterly admonishes them, blaming their cowardice for Beowulf's death. Beowulf is ritually burned on a great pyre in Geatland while his people wail and mourn him, fearing that without him, the Geats are defenceless against attacks from surrounding tribes. Afterwards, a barrow, visible from the sea, is built in his memory.

Digressions

The poem contains many apparent digressions from the main story. These were found troublesome by early Beowulf scholars such as Frederick Klaeber, who wrote that they "interrupt the story", W. W. Lawrence, who stated that they "clog the action and distract attention from it", and W. P. Ker who found some "irrelevant ... possibly ... interpolations". More recent scholars from Adrien Bonjour onwards note that the digressions can all be explained as introductions or comparisons with elements of the main story; for instance, Beowulf's swimming home across the sea from Frisia carrying thirty sets of armour emphasises his heroic strength. The digressions can be divided into four groups, namely the Scyld narrative at the start; many descriptions of the Geats, including the Swedish–Geatish wars, the "Lay of the Last Survivor" in the style of another Old English poem, "The Wanderer", and Beowulf's dealings with the Geats such as his verbal contest with Unferth and his swimming duel with Breca, and the tale of Sigemund and the dragon; history and legend, including the fight at Finnsburg and the tale of Freawaru and Ingeld; and biblical tales such as the creation myth and Cain as ancestor of all monsters. The digressions provide a powerful impression of historical depth, imitated by Tolkien in The Lord of the Rings, a work that embodies many other elements from the poem.

Authorship and date

The dating of Beowulf has attracted considerable scholarly attention; opinion differs as to whether it was first written in the 8th century, whether it was nearly contemporary with its 11th century manuscript, and whether a proto-version (possibly a version of the "Bear's Son Tale") was orally transmitted before being transcribed in its present form. Albert Lord felt strongly that the manuscript represents the transcription of a performance, though likely taken at more than one sitting. J. R. R. Tolkien believed that the poem retains too genuine a memory of Anglo-Saxon paganism to have been composed more than a few generations after the completion of the Christianisation of England around AD 700, and Tolkien's conviction that the poem dates to the 8th century has been defended by scholars including Tom Shippey, Leonard Neidorf, Rafael J. Pascual, and Robert D. Fulk. An analysis of several Old English poems by a team including Neidorf suggests that Beowulf is the work of a single author, though other scholars disagree.

The claim to an early 11th-century date depends in part on scholars who argue that, rather than the transcription of a tale from the oral tradition by an earlier literate monk, Beowulf reflects an original interpretation of an earlier version of the story by the manuscript's two scribes. On the other hand, some scholars argue that linguistic, palaeographical (handwriting), metrical (poetic structure), and onomastic (naming) considerations align to support a date of composition in the first half of the 8th century; in particular, the poem's apparent observation of etymological vowel-length distinctions in unstressed syllables (described by Kaluza's law) has been thought to demonstrate a date of composition prior to the earlier ninth century. However, scholars disagree about whether the metrical phenomena described by Kaluza's law prove an early date of composition or are evidence of a longer prehistory of the Beowulf metre; B.R. Hutcheson, for instance, does not believe Kaluza's law can be used to date the poem, while claiming that "the weight of all the evidence Fulk presents in his book tells strongly in favour of an eighth-century date."

From an analysis of creative genealogy and ethnicity, Craig R. Davis suggests a composition date in the AD 890s, when King Alfred of England had secured the submission of Guthrum, leader of a division of the Great Heathen Army of the Danes, and of Aethelred, ealdorman of Mercia. In this thesis, the trend of appropriating Gothic royal ancestry, established in Francia during Charlemagne's reign, influenced the Anglian kingdoms of Britain to attribute to themselves a Geatish descent. The composition of Beowulf was the fruit of the later adaptation of this trend in Alfred's policy of asserting authority over the Angelcynn, in which Scyldic descent was attributed to the West-Saxon royal pedigree. This date of composition largely agrees with Lapidge's positing of a West-Saxon exemplar c. 900.

The location of the poem's composition is intensely disputed. In 1914, F.W. Moorman, the first professor of English Language at University of Leeds, claimed that Beowulf was composed in Yorkshire, but E. Talbot Donaldson claims that it was probably composed during the first half of the eighth century, and that the writer was a native of what was then called West Mercia, located in the Western Midlands of England. However, the late tenth-century manuscript "which alone preserves the poem" originated in the kingdom of the West Saxons – as it is more commonly known.

Manuscript

Main article: Nowell Codex

Remounted page, British Library Cotton Vitellius A.XV

Beowulf survived to modern times in a single manuscript, written in ink on parchment, later damaged by fire. The manuscript measures 245 × 185 mm.

Provenance

The poem is known only from a single manuscript, estimated to date from around 975–1025, in which it appears with other works. The manuscript therefore dates either to the reign of Æthelred the Unready, characterised by strife with the Danish king Sweyn Forkbeard, or to the beginning of the reign of Sweyn's son Cnut the Great from 1016. The Beowulf manuscript is known as the Nowell Codex, gaining its name from 16th-century scholar Laurence Nowell. The official designation is "British Library, Cotton Vitellius A.XV" because it was one of Sir Robert Bruce Cotton's holdings in the Cotton library in the middle of the 17th century. Many private antiquarians and book collectors, such as Sir Robert Cotton, used their own library classification systems. "Cotton Vitellius A.XV" translates as: the 15th book from the left on shelf A (the top shelf) of the bookcase with the bust of Roman Emperor Vitellius standing on top of it, in Cotton's collection. Kevin Kiernan argues that Nowell most likely acquired it through William Cecil, 1st Baron Burghley, in 1563, when Nowell entered Cecil's household as a tutor to his ward, Edward de Vere, 17th Earl of Oxford.

The earliest extant reference to the first foliation of the Nowell Codex was made sometime between 1628 and 1650 by Franciscus Junius (the younger). The ownership of the codex before Nowell remains a mystery.

The Reverend Thomas Smith (1638–1710) and Humfrey Wanley (1672–1726) both catalogued the Cotton library (in which the Nowell Codex was held). Smith's catalogue appeared in 1696, and Wanley's in 1705. The Beowulf manuscript itself is identified by name for the first time in an exchange of letters in 1700 between George Hickes, Wanley's assistant, and Wanley. In the letter to Wanley, Hickes responds to an apparent charge against Smith, made by Wanley, that Smith had failed to mention the Beowulf script when cataloguing Cotton MS. Vitellius A. XV. Hickes replies to Wanley "I can find nothing yet of Beowulph." Kiernan theorised that Smith failed to mention the Beowulf manuscript because of his reliance on previous catalogues or because either he had no idea how to describe it or because it was temporarily out of the codex.

The manuscript passed to Crown ownership in 1702, on the death of its then owner, Sir John Cotton, who had inherited it from his grandfather, Robert Cotton. It suffered damage in a fire at Ashburnham House in 1731, in which around a quarter of the manuscripts bequeathed by Cotton were destroyed. Since then, parts of the manuscript have crumbled along with many of the letters. Rebinding efforts, though saving the manuscript from much degeneration, have nonetheless covered up other letters of the poem, causing further loss. Kiernan, in preparing his electronic edition of the manuscript, used fibre-optic backlighting and ultraviolet lighting to reveal letters in the manuscript lost from binding, erasure, or ink blotting.

Writing

The Beowulf manuscript was transcribed from an original by two scribes, one of whom wrote the prose at the beginning of the manuscript and the first 1939 lines, before breaking off in mid-sentence. The first scribe made a point of carefully regularizing the spelling of the original document into the common West Saxon, removing any archaic or dialectical features. The second scribe, who wrote the remainder, with a difference in handwriting noticeable after line 1939, seems to have written more vigorously and with less interest. As a result, the second scribe's script retains more archaic dialectic features, which allow modern scholars to ascribe the poem a cultural context. While both scribes appear to have proofread their work, there are nevertheless many errors. The second scribe was ultimately the more conservative copyist as he did not modify the spelling of the text as he wrote, but copied what he saw in front of him. In the way that it is currently bound, the Beowulf manuscript is followed by the Old English poem Judith. Judith was written by the same scribe that completed Beowulf, as evidenced by similar writing style. Wormholes found in the last leaves of the Beowulf manuscript that are absent in the Judith manuscript suggest that at one point Beowulf ended the volume. The rubbed appearance of some leaves suggests that the manuscript stood on a shelf unbound, as was the case with other Old English manuscripts. Knowledge of books held in the library at Malmesbury Abbey and available as source works, as well as the identification of certain words particular to the local dialect found in the text, suggest that the transcription may have taken place there.

Performance

The traditional view is that Beowulf was composed for performance, chanted by a scop (left) to string accompaniment, but modern scholars have suggested its origin as a piece of written literature borrowed from oral traditions. Illustration by J. R. Skelton, c. 1910

Further information: Oral-formulaic composition

The scholar Roy Liuzza notes that the practice of oral poetry is by its nature invisible to history as evidence is in writing. Comparison with other bodies of verse such as Homer's, coupled with ethnographic observation of early 20th century performers, has provided a vision of how an Anglo-Saxon singer-poet or scop may have practised. The resulting model is that performance was based on traditional stories and a repertoire of word formulae that fitted the traditional metre. The scop moved through the scenes, such as putting on armour or crossing the sea, each one improvised at each telling with differing combinations of the stock phrases, while the basic story and style remained the same. Liuzza notes that Beowulf itself describes the technique of a court poet in assembling materials, in lines 867–874 in his translation, "full of grand stories, mindful of songs ... found other words truly bound together; ... to recite with skill the adventure of Beowulf, adeptly tell a tall tale, and (wordum wrixlan) weave his words." The poem further mentions (lines 1065–1068) that "the harp was touched, tales often told, when Hrothgar's scop was set to recite among the mead tables his hall-entertainment".

Debate over oral tradition

The question of whether Beowulf was passed down through oral tradition prior to its present manuscript form has been the subject of much debate, and involves more than simply the issue of its composition. Rather, given the implications of the theory of oral-formulaic composition and oral tradition, the question concerns how the poem is to be understood, and what sorts of interpretations are legitimate. In his landmark 1960 work, The Singer of Tales, Albert Lord, citing the work of Francis Peabody Magoun and others, considered it proven that Beowulf was composed orally. Later scholars have not all been convinced; they agree that "themes" like "arming the hero" or the "hero on the beach" do exist across Germanic works, some scholars conclude that Anglo-Saxon poetry is a mix of oral-formulaic and literate patterns. Larry Benson proposed that Germanic literature contains "kernels of tradition" which Beowulf expands upon. Ann Watts argued against the imperfect application of one theory to two different traditions: traditional, Homeric, oral-formulaic poetry and Anglo-Saxon poetry. Thomas Gardner agreed with Watts, arguing that the Beowulf text is too varied to be completely constructed from set formulae and themes. John Miles Foley wrote that comparative work must observe the particularities of a given tradition; in his view, there was a fluid continuum from traditionality to textuality.

Editions, translations, and adaptations

Editions

Many editions of the Old English text of Beowulf have been published; this section lists the most influential.

The Icelandic scholar Grímur Jónsson Thorkelin made the first transcriptions of the Beowulf-manuscript in 1786, working as part of a Danish government historical research commission. He made one himself, and had another done by a professional copyist who knew no Old English (and was therefore in some ways more likely to make transcription errors, but in other ways more likely to copy exactly what he saw). Since that time, the manuscript has crumbled further, making these transcripts prized witnesses to the text. While the recovery of at least 2000 letters can be attributed to them, their accuracy has been called into question, and the extent to which the manuscript was actually more readable in Thorkelin's time is uncertain. Thorkelin used these transcriptions as the basis for the first complete edition of Beowulf, in Latin.

In 1922, Frederick Klaeber published his edition Beowulf and The Fight at Finnsburg; it became the "central source used by graduate students for the study of the poem and by scholars and teachers as the basis of their translations." The edition included an extensive glossary of Old English terms. His third edition was published in 1936, with the last version in his lifetime being a revised reprint in 1950. Klaeber's text was re-presented with new introductory material, notes, and glosses, in a fourth edition in 2008.

Another widely used edition is Elliott Van Kirk Dobbie's, published in 1953 in the Anglo-Saxon Poetic Records series. The British Library, meanwhile, took a prominent role in supporting Kevin Kiernan's Electronic Beowulf; the first edition appeared in 1999, and the fourth in 2014.

Translations and adaptations

Main articles: Translating Beowulf, List of translations of Beowulf, and List of adaptations of Beowulf

The tightly interwoven structure of Old English poetry makes translating Beowulf a severe technical challenge. Despite this, a great number of translations and adaptations are available, in poetry and prose. Andy Orchard, in A Critical Companion to Beowulf, lists 33 "representative" translations in his bibliography, while the Arizona Center for Medieval and Renaissance Studies published Marijane Osborn's annotated list of over 300 translations and adaptations in 2003. Beowulf has been translated many times in verse and in prose, and adapted for stage and screen. By 2020, the Beowulf's Afterlives Bibliographic Database listed some 688 translations and other versions of the poem. Beowulf has been translated into at least 38 other languages.

In 1805, the historian Sharon Turner translated selected verses into modern English. This was followed in 1814 by John Josias Conybeare who published an edition "in English paraphrase and Latin verse translation." N. F. S. Grundtvig reviewed Thorkelin's edition in 1815 and created the first complete verse translation in Danish in 1820. In 1837, John Mitchell Kemble created an important literal translation in English. In 1895, William Morris and A. J. Wyatt published the ninth English translation.

In 1909, Francis Barton Gummere's full translation in "English imitative metre" was published, and was used as the text of Gareth Hinds's 2007 graphic novel based on Beowulf. In 1975, John Porter published the first complete verse translation of the poem entirely accompanied by facing-page Old English. Seamus Heaney's 1999 translation of the poem (Beowulf: A New Verse Translation, called "Heaneywulf" by the Beowulf translator Howell Chickering and many others) was both praised and criticized. The US publication was commissioned by W. W. Norton & Company, and was included in the Norton Anthology of English Literature. Many retellings of Beowulf for children appeared in the 20th century.

In 2000 (2nd edition 2013), Liuzza published his own version of Beowulf in a parallel text with the Old English, with his analysis of the poem's historical, oral, religious and linguistic contexts. R. D. Fulk, of Indiana University, published a facing-page edition and translation of the entire Nowell Codex manuscript in 2010. Hugh Magennis's 2011 Translating Beowulf: Modern Versions in English Verse discusses the challenges and history of translating the poem, as well as the question of how to approach its poetry, and discusses several post-1950 verse translations, paying special attention to those of Edwin Morgan, Burton Raffel, Michael J. Alexander, and Seamus Heaney. Translating Beowulf is one of the subjects of the 2012 publication Beowulf at Kalamazoo, containing a section with 10 essays on translation, and a section with 22 reviews of Heaney's translation, some of which compare Heaney's work with Liuzza's. Tolkien's long-awaited prose translation (edited by his son Christopher) was published in 2014 as Beowulf: A Translation and Commentary. The book includes Tolkien's own retelling of the story of Beowulf in his tale Sellic Spell, but not his incomplete and unpublished verse translation. The Mere Wife, by Maria Dahvana Headley, was published in 2018. It relocates the action to a wealthy community in 20th century America and is told primarily from the point of view of Grendel's mother. In 2020, Headley published a translation in which the opening "Hwæt!" is rendered "Bro!";^[117] this translation subsequently won the Hugo Award for Best Related Work.

Sources and analogues

Neither identified sources nor analogues for Beowulf can be definitively proven, but many conjectures have been made. These are important in helping historians understand the Beowulf manuscript, as possible source-texts or influences would suggest time-frames of composition, geographic boundaries within which it could be composed, or range (both spatial and temporal) of influence (i.e. when it was "popular" and where its "popularity" took it). The poem has been related to Scandinavian, Celtic, and international folkloric sources.

Scandinavian parallels and sources

19th-century studies proposed that Beowulf was translated from a lost original Scandinavian work; surviving Scandinavian works have continued to be studied as possible sources. In 1886 Gregor Sarrazin suggested that an Old Norse original version of Beowulf must have existed, but in 1914 Carl Wilhelm von Sydow pointed out that Beowulf is fundamentally Christian and was written at a time when any Norse tale would have most likely been pagan. Another proposal was a parallel with the Grettis Saga, but in 1998, Magnús Fjalldal challenged that, stating that tangential similarities were being overemphasized as analogies. The story of Hrolf Kraki and his servant, the legendary bear-shapeshifter Bodvar Bjarki, has also been suggested as a possible parallel; he survives in Hrólfs saga kraka and Saxo's Gesta Danorum, while Hrolf Kraki, one of the Scyldings, appears as "Hrothulf" in Beowulf. New Scandinavian analogues to Beowulf continue to be proposed regularly, with Hrólfs saga Gautrekssonar being the most recently adduced text.

International folktale sources

Friedrich Panzer [de] (1910) wrote a thesis that the first part of Beowulf (the Grendel Story) incorporated preexisting folktale material, and that the folktale in question was of the Bear's Son Tale (Bärensohnmärchen) type, which has surviving examples all over the world. This tale type was later catalogued as international folktale type 301 in the ATU Index, now formally entitled "The Three Stolen Princesses" type in Hans Uther's catalogue, although the "Bear's Son" is still used in Beowulf criticism, if not so much in folkloristic circles. However, although this folkloristic approach was seen as a step in the right direction, "The Bear's Son" tale has later been regarded by many as not a close enough parallel to be a viable choice. Later, Peter A. Jorgensen, looking for a more concise frame of reference, coined a "two-troll tradition" that covers both Beowulf and Grettis saga: "a Norse 'ecotype' in which a hero enters a cave and kills two giants, usually of different sexes"; this has emerged as a more attractive folk tale parallel, according to a 1998 assessment by Andersson.

The epic's similarity to the Irish folktale "The Hand and the Child" was noted in 1899 by Albert S. Cook, and others even earlier. In 1914, the Swedish folklorist Carl Wilhelm von Sydow made a strong argument for parallelism with "The Hand and the Child", because the folktale type demonstrated a "monstrous arm" motif that corresponded with Beowulf's wrenching off Grendel's arm. No such correspondence could be perceived in the Bear's Son Tale or in the Grettis saga. James Carney and Martin Puhvel agree with this "Hand and the Child" contextualisation. Puhvel supported the "Hand and the Child" theory through such motifs as (in Andersson's words) "the more powerful giant mother, the mysterious light in the cave, the melting of the sword in blood, the phenomenon of battle rage, swimming prowess, combat with water monsters, underwater adventures, and the bear-hug style of wrestling." In the Mabinogion, Teyrnon discovers the otherworldly boy child Pryderi, the principal character of the cycle, after cutting off the arm of a monstrous beast which is stealing foals from his stables. The medievalist R. Mark Scowcroft notes that the tearing off of the monster's arm without a weapon is found only in Beowulf and fifteen of the Irish variants of the tale; he identifies twelve parallels between the tale and Beowulf.

Scowcroft's "Hand and Child" parallels in Beowulf

"Hand and Child" Irish tale	Grendel	Grendel's Mother
1 Monster is attacking King each night	86 ff	—
2 Hero brings help from afar	194 ff	—
3 At night, when all but hero are asleep	701–705	1251
4 Monster attacks the hall	702 ff	1255 ff
5 Hero pulls off monster's arm	748 ff	—
6 Monster escapes	819 ff	1294 ff
7 Hero tracks monster to its lair	839–849	1402 ff
8 Monster has female companion	1345 ff	—
9 Hero kills the monster	—	1492 ff
10 Hero returns to King	853 ff	1623 ff
11 Hero is rewarded with gifts	1020 ff	1866 ff
12 Hero returns home	—	1888 ff

Classical sources

Attempts to find classical or Late Latin influence or analogue in Beowulf are almost exclusively linked with Homer's Odyssey or Virgil's Aeneid. In 1926, Albert S. Cook suggested a Homeric connection due to equivalent formulas, metonymies, and analogous voyages. In 1930, James A. Work supported the Homeric influence, stating that encounter between Beowulf and Unferth was parallel to the encounter between Odysseus and Euryalus in Books 7–8 of the Odyssey, even to the point of both characters giving the hero the same gift of a sword upon being proven wrong in their initial assessment of the hero's prowess. This theory of Homer's influence on Beowulf remained very prevalent in the 1920s, but started to die out in the following decade when a handful of critics stated that the two works were merely "comparative literature", although Greek was known in late 7th century England: Bede states that Theodore of Tarsus, a Greek, was appointed Archbishop of Canterbury in 668, and he taught Greek. Several English scholars and churchmen are described by Bede as being fluent in Greek due to being taught by him; Bede claims to be fluent in Greek himself.

Frederick Klaeber, among others, argued for a connection between Beowulf and Virgil near the start of the 20th century, claiming that the very act of writing a secular epic in a Germanic world represents Virgilian influence. Virgil was seen as the pinnacle of Latin literature, and Latin was the dominant literary language of England at the time, therefore making Virgilian influence highly likely. Similarly, in 1971, Alistair Campbell stated that the apologue technique used in Beowulf is so rare in epic poetry aside from Virgil that the poet who composed Beowulf could not have written the poem in such a manner without first coming across Virgil's writings.

Biblical influences

It cannot be denied that Biblical parallels occur in the text, whether seen as a pagan work with "Christian colouring" added by scribes or as a "Christian historical novel, with selected bits of paganism deliberately laid on as 'local colour'", as Margaret E. Goldsmith did in "The Christian Theme of Beowulf". Beowulf channels the Book of Genesis, the Book of Exodus, and the Book of Daniel in its inclusion of references to the Genesis creation narrative, the story of Cain and Abel, Noah and the flood, the Devil, Hell, and the Last Judgment.

Dialect

Beowulf predominantly uses the West Saxon dialect of Old English, like other Old English poems copied at the time. However, it also uses many other linguistic forms; this leads some scholars to believe that it has endured a long and complicated transmission through all the main dialect areas. It retains a complicated mix of Mercian, Northumbrian, Early West Saxon, Anglian, Kentish and Late West Saxon dialectical forms.

Form and metre

An Old English poem such as Beowulf is very different from modern poetry. Anglo-Saxon poets typically used alliterative verse, a form of verse in which the first half of the line (the a-verse) is linked to the second half (the b-verse) through similarity in initial sound. In addition, the two halves are divided by a caesura: Oft Scyld Scefing \\ sceaþena þreatum (l. 4). This verse form maps stressed and unstressed syllables onto abstract entities known as metrical positions. There is no fixed number of beats per line: the first one cited has three (Oft SCYLD SCEF-ING) whereas the second has two (SCEAþena ÞREATum).

The poet had a choice of formulae to assist in fulfilling the alliteration scheme. These were memorised phrases that conveyed a general and commonly-occurring meaning that fitted neatly into a half-line of the chanted poem. Examples are line 8's weox under wolcnum ("waxed under welkin", i.e. "he grew up under the heavens"), line 11's gomban gyldan ("pay tribute"), line 13's geong in geardum ("young in the yards", i.e. "young in the courts"), and line 14's folce to frofre ("as a comfort to his people").

Kennings are a significant technique in Beowulf. They are evocative poetic descriptions of everyday things, often created to fill the alliterative requirements of the metre. For example, a poet might call the sea the "swan's riding"; a king might be called a "ring-giver." The poem contains many kennings, and the device is typical of much of classic poetry in Old English, which is heavily formulaic. The poem, too, makes extensive use of elided metaphors.

Interpretation and criticism

The history of modern Beowulf criticism is often said to begin with Tolkien, author and Merton Professor of Anglo-Saxon at the University of Oxford, who in his 1936 lecture to the British Academy criticised his contemporaries' excessive interest in its historical implications. He noted in Beowulf: The Monsters and the Critics that as a result the poem's literary value had been largely overlooked, and argued that the poem "is in fact so interesting as poetry, in places poetry so powerful, that this quite overshadows the historical content..." Tolkien argued that the poem is not an epic; that, while no conventional term exactly fits, the nearest would be elegy; and that its focus is the concluding dirge.

Paganism and Christianity

In historical terms, the poem's characters were Germanic pagans, yet the poem was recorded by Christian Anglo-Saxons who had mostly converted from their native Anglo-Saxon paganism around the 7th century. Beowulf thus depicts a Germanic warrior society, in which the relationship between the lord of the region and those who served under him was of paramount importance.

In terms of the relationship between characters in Beowulf to God, one might recall the substantial amount of paganism that is present throughout the work. Literary critics such as Fred C. Robinson argue that the Beowulf poet tries to send a message to readers during the Anglo-Saxon time period regarding the state of Christianity in their own time. Robinson argues that the intensified religious aspects of the Anglo-Saxon period inherently shape the way in which the poet alludes to paganism as presented in Beowulf. The poet calls on Anglo-Saxon readers to recognize the imperfect aspects of their supposed Christian lifestyles. In other words, the poet is referencing their "Anglo-Saxon Heathenism." In terms of the characters of the epic itself, Robinson argues that readers are "impressed" by the courageous acts of Beowulf and the speeches of Hrothgar. But one is ultimately left to feel sorry for both men as they are fully detached from supposed "Christian truth". The relationship between the characters of Beowulf, and the overall message of the poet, regarding their relationship with God is debated among readers and literary critics alike.

Richard North argues that the Beowulf poet interpreted "Danish myths in Christian form" (as the poem would have served as a form of entertainment for a Christian audience), and states: "As yet we are no closer to finding out why the first audience of Beowulf liked to hear stories about people routinely classified as damned. This question is pressing, given... that Anglo-Saxons saw the Danes as 'heathens' rather than as foreigners." Donaldson wrote that "the poet who put the materials into their present form was a Christian and ... poem reflects a Christian tradition".

Other scholars disagree as to whether Beowulf is a Christian work set in a Germanic pagan context. The question suggests that the conversion from the Germanic pagan beliefs to Christian ones was a prolonged and gradual process over several centuries, and the poem's message in respect to religious belief at the time it was written remains unclear. Robert F. Yeager describes the basis for these questions:

That the scribes of Cotton Vitellius A.XV were Christian [is] beyond doubt, and it is equally sure that Beowulf was composed in a Christianised England since conversion took place in the sixth and seventh centuries. The only Biblical references in Beowulf are to the Old Testament, and Christ is never mentioned. The poem is set in pagan times, and none of the characters is demonstrably Christian. In fact, when we are told what anyone in the poem believes, we learn that they are pagans. Beowulf's own beliefs are not expressed explicitly. He offers eloquent prayers to a higher power, addressing himself to the "Father Almighty" or the "Wielder of All." Were those the prayers of a pagan who used phrases the Christians subsequently appropriated? Or did the poem's author intend to see Beowulf as a Christian Ur-hero, symbolically refulgent with Christian virtues?

Ursula Schaefer's view is that the poem was created, and is interpretable, within both pagan and Christian horizons. Schaefer's concept of "vocality" offers neither a compromise nor a synthesis of views that see the poem as on the one hand Germanic, pagan, and oral and on the other Latin-derived, Christian, and literate, but, as stated by Monika Otter: "a 'tertium quid', a modality that participates in both oral and literate culture yet also has a logic and aesthetic of its own."

Politics and warfare

Stanley B. Greenfield has suggested that references to the human body throughout Beowulf emphasise the relative position of thanes to their lord. He argues that the term "shoulder-companion" could refer to both a physical arm as well as a thane (Aeschere) who was very valuable to his lord (Hrothgar). With Aeschere's death, Hrothgar turns to Beowulf as his new "arm." Greenfield argues the foot is used for the opposite effect, only appearing four times in the poem. It is used in conjunction with Unferð (a man described by Beowulf as weak, traitorous, and cowardly). Greenfield notes that Unferð is described as "at the king's feet" (line 499). Unferð is a member of the foot troops, who, throughout the story, do nothing and "generally serve as backdrops for more heroic action."

Daniel Podgorski has argued that the work is best understood as an examination of inter-generational vengeance-based conflict, or feuding. In this context, the poem operates as an indictment of feuding conflicts as a function of its conspicuous, circuitous, and lengthy depiction of the Geatish-Swedish wars—coming into contrast with the poem's depiction of the protagonist Beowulf as being disassociated from the ongoing feuds in every way. Francis Leneghan argues that the poem can be understood as a "dynastic drama" in which the hero's fights with the monsters unfold against a backdrop of the rise and fall of royal houses, while the monsters themselves serve as portents of disasters affecting dynasties.