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Beowulf: A Translation and Commentary, together with Sellic Spell
The translation of Beowulf by J.R.R. Tolkien was an early work, very distinctive in its mode, completed in 1926: he returned to it later to make hasty corrections, but seems never to have considered its publication.
This edition is twofold, for there exists an illuminating commentary on the text of the poem by the translator himself, in the written form of a series of lectures given at Oxford in the 1930s; and from these lectures a substantial selection has been made, to form also a commentary on the translation in this book.
From his creative attention to detail in these lectures there arises a sense of the immediacy and clarity of his vision. It is as if he entered into the imagined past: standing beside Beowulf and his men shaking out their mail-shirts as they beached their ship on the coast of Denmark, listening to the rising anger of Beowulf at the taunting of Unferth, or looking up in amazement at Grendel’s terrible hand set under the roof of Heorot.
But the commentary in this book includes also much from those lectures in which, while always anchored in the text, he expressed his wider perceptions. He looks closely at the dragon that would slay Beowulf ‘snuffling in baffled rage and injured greed when he discovers the theft of the cup’; but he rebuts the notion that this is ‘a mere treasure story’, ‘just another dragon tale’. He turns to the lines that tell of the burying of the golden things long ago, and observes that it is ‘the feeling for the treasure itself, this sad history’ that raises it to another level. ‘The whole thing is sombre, tragic, sinister, curiously real. The “treasure” is not just some lucky wealth that will enable the finder to have a good time, or marry the princess. It is laden with history, leading back into the dark heathen ages beyond the memory of song, but not beyond the reach of imagination.’
Sellic Spell, a ‘marvellous tale’, is a story written by Tolkien suggesting what might have been the form and style of an Old English folk-tale of Beowulf, in which there was no association with the ‘historical legends’ of the Northern kingdoms.
This edition is twofold, for there exists an illuminating commentary on the text of the poem by the translator himself, in the written form of a series of lectures given at Oxford in the 1930s; and from these lectures a substantial selection has been made, to form also a commentary on the translation in this book.
From his creative attention to detail in these lectures there arises a sense of the immediacy and clarity of his vision. It is as if he entered into the imagined past: standing beside Beowulf and his men shaking out their mail-shirts as they beached their ship on the coast of Denmark, listening to the rising anger of Beowulf at the taunting of Unferth, or looking up in amazement at Grendel’s terrible hand set under the roof of Heorot.
But the commentary in this book includes also much from those lectures in which, while always anchored in the text, he expressed his wider perceptions. He looks closely at the dragon that would slay Beowulf ‘snuffling in baffled rage and injured greed when he discovers the theft of the cup’; but he rebuts the notion that this is ‘a mere treasure story’, ‘just another dragon tale’. He turns to the lines that tell of the burying of the golden things long ago, and observes that it is ‘the feeling for the treasure itself, this sad history’ that raises it to another level. ‘The whole thing is sombre, tragic, sinister, curiously real. The “treasure” is not just some lucky wealth that will enable the finder to have a good time, or marry the princess. It is laden with history, leading back into the dark heathen ages beyond the memory of song, but not beyond the reach of imagination.’
Sellic Spell, a ‘marvellous tale’, is a story written by Tolkien suggesting what might have been the form and style of an Old English folk-tale of Beowulf, in which there was no association with the ‘historical legends’ of the Northern kingdoms.
448 pages, Paperback
First published May 22, 2014
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Displaying 1 - 30 of 727 reviews
November 10, 2018
The story of Beowulf is a timeless tale full of blood, glory and passion. It’s a fantastic epic and I love reading it. The Seamus Heaney translation is right on the mark.
Tolkien’s version, however, is prose. And I find this a little odd because part of the beauty of an epic is the poetry in which it’s told through. Tolkien’s certainly has a strong rhythm, and it flows forward eloquently, but it’s not divided into lines and the words and sentences merge into paragraphs rather than stanzas.
For me, Beowulf needs to be a song, an ode to a hero and his legendry life, to be sung around mead halls with instruments echoing long into the night. I need to feel the grandness of the story. Prose just doesn’t do it. So right from the start this felt a little different. The story is here, of course, and Tolkien was ever faithful to it but the way in which he has told it is uncomfortable and unbefitting the nature of it.
Towards the end of the book, there are certain sections that Tolkien has translated into poetry, but these are only single scenes and are not told with the rest of the work. The Lay of Beowulf, a short poem depicting the battle between Beowulf and Grendel, is perhaps the best part of the book, but it’s told as an aside and added right at the end behind the extensive commentaries. It’s unimportant to the prose work, despite it being the best piece of writing in here.
Christopher Tolkien offers an explanation for the work: Tolkien translated this when he was only thirty-four years old; he had another twenty years of study ahead of him, so in a way it is a little juvenile when considered against the wealth of knowledge the author would one day gather through his professorship. Christopher believes his father meant to come back to this work one day, to finish it and make it better like he intended to do with so many of his works that were published long after his death.
So this was good, in its own right, I just wanted it to be a little more poetical to capture the grandness of the story.
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Tolkien’s version, however, is prose. And I find this a little odd because part of the beauty of an epic is the poetry in which it’s told through. Tolkien’s certainly has a strong rhythm, and it flows forward eloquently, but it’s not divided into lines and the words and sentences merge into paragraphs rather than stanzas.
For me, Beowulf needs to be a song, an ode to a hero and his legendry life, to be sung around mead halls with instruments echoing long into the night. I need to feel the grandness of the story. Prose just doesn’t do it. So right from the start this felt a little different. The story is here, of course, and Tolkien was ever faithful to it but the way in which he has told it is uncomfortable and unbefitting the nature of it.
Towards the end of the book, there are certain sections that Tolkien has translated into poetry, but these are only single scenes and are not told with the rest of the work. The Lay of Beowulf, a short poem depicting the battle between Beowulf and Grendel, is perhaps the best part of the book, but it’s told as an aside and added right at the end behind the extensive commentaries. It’s unimportant to the prose work, despite it being the best piece of writing in here.
Christopher Tolkien offers an explanation for the work: Tolkien translated this when he was only thirty-four years old; he had another twenty years of study ahead of him, so in a way it is a little juvenile when considered against the wealth of knowledge the author would one day gather through his professorship. Christopher believes his father meant to come back to this work one day, to finish it and make it better like he intended to do with so many of his works that were published long after his death.
So this was good, in its own right, I just wanted it to be a little more poetical to capture the grandness of the story.
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August 13, 2021
No surprise that this is an awesome prose translation by Tolkien of the epic Old English myth that is Beowulf. This is a story that despite being so old, has resonates through the ages, commenting on the ideas of tragedy and heroism, belonging, duty, glory, and so much more. Some of these themes reflect the values of the period that have now been left behind in a modern context, but there is still so much that is thought provoking and wonderfully engaging, even today.
Check it out!
Check it out!
January 5, 2017
This book contains Tolkien's scholarship, comments and literary output inspired by Beowulf, one of the oldest and longest surviving poems in Old English. Many readers know and venerate him as the author of The Hobbit and The Lord of the Rings (LOTR). But this is a timely reminder of the academic side of his life.
In his prose translation, Tolkien strives to reflect something of the rhythm, cadence and beauty of the original. The comments on the technical aspects of the text, taken from lectures delivered over the years at Oxford, show us several things. First, he knew the epic poem and the Old English language very well indeed. Second, he had thought long and hard about it. And third, he was not afraid to criticize the "received text" where he thought it corrupt, providing his own suggestions as to the best possible rendering.
In fact, Tolkien is such a virtuoso that he retro-translates a prose rendering of his own back into Old English. This is not arrogance; it is Tolkien flexing his academic muscles.
One of the most interesting things about this is that it provides fascinating glimpses of where Tolkien derived some of the material for his later works. Hrothgar, the gift-giving, feast-loving lord of Heorot, becomes Theoden, the lord of the Golden Hall at Edoras. Unferth, the devious courtier becomes Grima Wormtongue. The thief stealing the two-handled cup from the hoard of the sleeping dragon becomes Bilbo's first success as a hired burglar. These are just a few examples. But more important is the spirit of the era of Beowulf. It was a time when fearlessness, prowess in battle, generosity, feasting, and storytelling were highly prized. And Tolkien managed to infuse much of this into his own Middle Earth.
In his prose translation, Tolkien strives to reflect something of the rhythm, cadence and beauty of the original. The comments on the technical aspects of the text, taken from lectures delivered over the years at Oxford, show us several things. First, he knew the epic poem and the Old English language very well indeed. Second, he had thought long and hard about it. And third, he was not afraid to criticize the "received text" where he thought it corrupt, providing his own suggestions as to the best possible rendering.
In fact, Tolkien is such a virtuoso that he retro-translates a prose rendering of his own back into Old English. This is not arrogance; it is Tolkien flexing his academic muscles.
One of the most interesting things about this is that it provides fascinating glimpses of where Tolkien derived some of the material for his later works. Hrothgar, the gift-giving, feast-loving lord of Heorot, becomes Theoden, the lord of the Golden Hall at Edoras. Unferth, the devious courtier becomes Grima Wormtongue. The thief stealing the two-handled cup from the hoard of the sleeping dragon becomes Bilbo's first success as a hired burglar. These are just a few examples. But more important is the spirit of the era of Beowulf. It was a time when fearlessness, prowess in battle, generosity, feasting, and storytelling were highly prized. And Tolkien managed to infuse much of this into his own Middle Earth.
February 24, 2017
4.5 stars
I'm already an admirer of the poem Beowulf (and Old English literature in general) and am also a die-hard Tolkien fan so the fact that I loved this book isn’t perhaps a surprise. I certainly expected to like it when I started, but wasn’t prepared for the fact that it would reveal to me a side of Tolkien of which I was always generally aware, but never gave enough thought to. I refer, of course, to his position as a scholar, and specifically one of Old English language and literature. I of course knew that this was his ‘official’ job, but as with many admirers of the Professor, I think I generally took for granted that his ‘real’ life and work was that which produced the Lord of the Rings and the larger mythology of Middle-earth, letting any consideration of his ‘official’ scholarship go by the wayside (especially in light of the fact that Tolkien did not exactly publish a voluminous amount of scholarly work in his lifetime). As I’ve come to believe through following the Mythgard Academy lectures on the History of Middle-earth series, however, it seems more and more obvious that not only did Tolkien’s professional work as a scholar deeply inform his literary endeavours, but in many ways his fictional works can be seen to be the true publications that bore the fruits of his professional research and deep thinking. That being said this glimpse into the ‘purely’ academic side of Tolkien’s life was an illuminating one.
In this book we see Tolkien in his academic element, adroitly tackling the seminal surviving work of Old English literature, the heroic-elegiac poem Beowulf. Tolkien had already made waves in Beowulf scholarship with his groundbreaking essay 'The Monsters and the Critics' in which he both argued for the value of the legendary aspects of the poem and defended the craftsmanship of the poet, both views that were not generally held in esteem by the mainstream scholarship of the day. Now we finally have Tolkien's own version of the great poem along with copious commentary and notes regarding the various historical, linguistic, and literary complexities of the work. In addition in this volume is 'Sellic Spell' (or ‘Wonder Tale’ as it could be translated into modern English) Tolkien's attempt to re-create a version of the folk tale that might have lain behind the legendary elements of the poem.
This book shows in no uncertain terms Tolkien's mastery of his subject and absolute assurance with his materials. While reading one never feels that he hasn't thought long and deeply on the text and the culture that produced it so his conclusions certainly have the ring of conviction and authority (even if one may disagree with them from time to time). Tolkien argues that Beowulf provides us with a unique view of the point of contact between two disparate cultures: the pagan world that was passing away and the Christian one which was becoming predominant. It is also something of a merging between two different genres of literature: the melding of a fairy or folk tale about a hero of legend overcoming monsters and cleansing the land (both his own and a foreign one) with the more historical tales and references of the rise and fall of two great Germanic houses: the Danes and the Geats (with many others making appearances in the background).
Up until the point when Tolkien wrote ‘The Monsters and the Critics’ the reigning consensus was very much that the very existence of the mythical or folk tale elements of Beowulf were ‘problematic’ and took away from the ‘valid’ content of the poem, namely the references to people and events that may have had historical veracity during a time for which we have few, or no, other literary references. Tolkien turns this received criticism of Beowulf on its head when he says: "[the poet told the story well] At any rate in the first part. The second part perhaps less so: in any case it is too much interrupted by the weight of history outside the immediate event." (pg. 271) This is perhaps Tolkien overstating his case in the face of the received wisdom of the day, as it does not ultimately appear that he felt the historical content was ultimately detrimental to the legendary aspects of the poem; Tolkien instead seems to see the melding of the fairy (or folk tale) elements with history as an integral aspect of the poem and eventually argues that they need not be seen as being in contention, but rather work together to successfully build the whole edifice. In essence the Beowulf poet adds a layer of depth and reality to his poem by incorporating the many references and allusions to both other peoples and political events from history with the legends and folktales that live at the centre of his story. This structure allowed him to embody his work with those 'only glimpsed but unattainable vistas' in the distance that Tolkien himself was to use so effectively to add depth and reality to his own sub-creation of Middle-earth. It is not surprising that one can see Beowulf as one of the fundamental models which Tolkien used in building his own literary creation, though this debt would appear to lie not only in the obvious parallels to its legendary and cultural content, but even in the literary and thematic structure of the poem itself.
Even though this is an academic work I would definitely say that it is a far cry from being a dry or tedious one. It’s certainly not ‘light’ reading and one probably ought to have at least some interest in both the content and structure of Beowulf when coming to this text. There are, for example, many in-depth discussions of word use and meaning (in addition to references to long-dead cultures and traditions) to be expected from a professional philologist, but I nearly always found these discussions engaging and quite often amusing. Indeed, seeing Tolkien's sometimes acerbic, though lightly veiled, jabs at the critics and theories of his day (many of them part of the received wisdom of the field) is great fun and gave me a greater appreciation for his extensive learning, thoughtfulness, and wit. He was certainly not afraid to state his opinion clearly and in no uncertain terms against any and all comers. Tolkien's perfectionism and difficulty in getting things ready for final publication aside I wonder whether this may not speak to why this was never published in his lifetime, and why his son even waited many decades after his father's death to consider publishing it at all.
This is definitely a great read that is a must for anyone who wants an erudite and educational look at the poem Beowulf, as well as one that provides an excellent first-hand glimpse at Tolkien the scholar working in his element.
I'm already an admirer of the poem Beowulf (and Old English literature in general) and am also a die-hard Tolkien fan so the fact that I loved this book isn’t perhaps a surprise. I certainly expected to like it when I started, but wasn’t prepared for the fact that it would reveal to me a side of Tolkien of which I was always generally aware, but never gave enough thought to. I refer, of course, to his position as a scholar, and specifically one of Old English language and literature. I of course knew that this was his ‘official’ job, but as with many admirers of the Professor, I think I generally took for granted that his ‘real’ life and work was that which produced the Lord of the Rings and the larger mythology of Middle-earth, letting any consideration of his ‘official’ scholarship go by the wayside (especially in light of the fact that Tolkien did not exactly publish a voluminous amount of scholarly work in his lifetime). As I’ve come to believe through following the Mythgard Academy lectures on the History of Middle-earth series, however, it seems more and more obvious that not only did Tolkien’s professional work as a scholar deeply inform his literary endeavours, but in many ways his fictional works can be seen to be the true publications that bore the fruits of his professional research and deep thinking. That being said this glimpse into the ‘purely’ academic side of Tolkien’s life was an illuminating one.
In this book we see Tolkien in his academic element, adroitly tackling the seminal surviving work of Old English literature, the heroic-elegiac poem Beowulf. Tolkien had already made waves in Beowulf scholarship with his groundbreaking essay 'The Monsters and the Critics' in which he both argued for the value of the legendary aspects of the poem and defended the craftsmanship of the poet, both views that were not generally held in esteem by the mainstream scholarship of the day. Now we finally have Tolkien's own version of the great poem along with copious commentary and notes regarding the various historical, linguistic, and literary complexities of the work. In addition in this volume is 'Sellic Spell' (or ‘Wonder Tale’ as it could be translated into modern English) Tolkien's attempt to re-create a version of the folk tale that might have lain behind the legendary elements of the poem.
This book shows in no uncertain terms Tolkien's mastery of his subject and absolute assurance with his materials. While reading one never feels that he hasn't thought long and deeply on the text and the culture that produced it so his conclusions certainly have the ring of conviction and authority (even if one may disagree with them from time to time). Tolkien argues that Beowulf provides us with a unique view of the point of contact between two disparate cultures: the pagan world that was passing away and the Christian one which was becoming predominant. It is also something of a merging between two different genres of literature: the melding of a fairy or folk tale about a hero of legend overcoming monsters and cleansing the land (both his own and a foreign one) with the more historical tales and references of the rise and fall of two great Germanic houses: the Danes and the Geats (with many others making appearances in the background).
Up until the point when Tolkien wrote ‘The Monsters and the Critics’ the reigning consensus was very much that the very existence of the mythical or folk tale elements of Beowulf were ‘problematic’ and took away from the ‘valid’ content of the poem, namely the references to people and events that may have had historical veracity during a time for which we have few, or no, other literary references. Tolkien turns this received criticism of Beowulf on its head when he says: "[the poet told the story well] At any rate in the first part. The second part perhaps less so: in any case it is too much interrupted by the weight of history outside the immediate event." (pg. 271) This is perhaps Tolkien overstating his case in the face of the received wisdom of the day, as it does not ultimately appear that he felt the historical content was ultimately detrimental to the legendary aspects of the poem; Tolkien instead seems to see the melding of the fairy (or folk tale) elements with history as an integral aspect of the poem and eventually argues that they need not be seen as being in contention, but rather work together to successfully build the whole edifice. In essence the Beowulf poet adds a layer of depth and reality to his poem by incorporating the many references and allusions to both other peoples and political events from history with the legends and folktales that live at the centre of his story. This structure allowed him to embody his work with those 'only glimpsed but unattainable vistas' in the distance that Tolkien himself was to use so effectively to add depth and reality to his own sub-creation of Middle-earth. It is not surprising that one can see Beowulf as one of the fundamental models which Tolkien used in building his own literary creation, though this debt would appear to lie not only in the obvious parallels to its legendary and cultural content, but even in the literary and thematic structure of the poem itself.
Even though this is an academic work I would definitely say that it is a far cry from being a dry or tedious one. It’s certainly not ‘light’ reading and one probably ought to have at least some interest in both the content and structure of Beowulf when coming to this text. There are, for example, many in-depth discussions of word use and meaning (in addition to references to long-dead cultures and traditions) to be expected from a professional philologist, but I nearly always found these discussions engaging and quite often amusing. Indeed, seeing Tolkien's sometimes acerbic, though lightly veiled, jabs at the critics and theories of his day (many of them part of the received wisdom of the field) is great fun and gave me a greater appreciation for his extensive learning, thoughtfulness, and wit. He was certainly not afraid to state his opinion clearly and in no uncertain terms against any and all comers. Tolkien's perfectionism and difficulty in getting things ready for final publication aside I wonder whether this may not speak to why this was never published in his lifetime, and why his son even waited many decades after his father's death to consider publishing it at all.
This is definitely a great read that is a must for anyone who wants an erudite and educational look at the poem Beowulf, as well as one that provides an excellent first-hand glimpse at Tolkien the scholar working in his element.
July 5, 2014
There is a famous quote about poetry translations that says if a translation is faithful then it is not beautiful and if it is beautiful then it is not faithful. Tolkien's translation of Beowulf is extremely faithful.
Tolkien was a scholar of Old English and wrote a paper titled "Beowulf: the Monsters and the Critics" which is considered one of the most significant works in Beowulf scholarship. He was of course also the grandfather of all modern Fantasy fiction. These two factors taken together make his translation of Beowulf all the more disappointing.
The translation was completed in 1926, decades before his famous Fantasy works, and he did not attempt to publish it during his lifetime. The work is a very literal translation that is sometimes an awkward read. Of much more interest is the 200 pages of commentary Tolkien provides, explaining in great detail his translation process and word choices.
For an example, look at the following passage from Tolkien's translation, starting with line 110.
"Thereafter not far to seek was the man who elsewhere more remote sought him his couch and a bed among the lesser chambers, since now was manifested and declared thus truly to him with token plain the hatred of that hall-keeper; thereafter he who escaped the foe kept him more distant and more safe."
The meaning is there, that the survivors of Grendel's first attack sought safer places to sleep than the hall of Hrothgar, but the phrasing is so strange it requires multiple readings to understand.
Here is the same passage from Seamus Heaney's translation:
"It was easy then to meet with a man shifting himself to a safer distance to bed in the bothies, for who could be blind to the evidence of his eyes, the obviousness of that hall-watcher's hate? Whoever escaped kept a weather-eye open and moved away."
Finally from Burton Raffel's translation:
"Then each warrior tried to escape him, searching for rest in different beds, as far from Herot as they could find, seeing how Grendel hunted when they slept. Distance was safety; the only survivors were those who fled him. Hate had triumphed."
Tolkien gives up a near word for word translation, but the resulting structure sounds very strange to modern readers. Raffel coveys the meaning of the passage, but makes no attempt to retain the wording or original structure of the poem. Heaney strikes a fine balance between the two extremes, keeper closer to the wording of the Beowulf poet but conveying it in a clearer manner than Tolkien.
To return to Yevtushenko's quote about translation, Tolkien is faithful but not beautiful while Raffel is beautiful but not faithful. If you want to read an interesting commentary on translating Old English into modern English I would recommend Tolkien's book. If you just want to enjoy reading Beowulf I would recommend Seamus Heaney's translation.
Tolkien was a scholar of Old English and wrote a paper titled "Beowulf: the Monsters and the Critics" which is considered one of the most significant works in Beowulf scholarship. He was of course also the grandfather of all modern Fantasy fiction. These two factors taken together make his translation of Beowulf all the more disappointing.
The translation was completed in 1926, decades before his famous Fantasy works, and he did not attempt to publish it during his lifetime. The work is a very literal translation that is sometimes an awkward read. Of much more interest is the 200 pages of commentary Tolkien provides, explaining in great detail his translation process and word choices.
For an example, look at the following passage from Tolkien's translation, starting with line 110.
"Thereafter not far to seek was the man who elsewhere more remote sought him his couch and a bed among the lesser chambers, since now was manifested and declared thus truly to him with token plain the hatred of that hall-keeper; thereafter he who escaped the foe kept him more distant and more safe."
The meaning is there, that the survivors of Grendel's first attack sought safer places to sleep than the hall of Hrothgar, but the phrasing is so strange it requires multiple readings to understand.
Here is the same passage from Seamus Heaney's translation:
"It was easy then to meet with a man shifting himself to a safer distance to bed in the bothies, for who could be blind to the evidence of his eyes, the obviousness of that hall-watcher's hate? Whoever escaped kept a weather-eye open and moved away."
Finally from Burton Raffel's translation:
"Then each warrior tried to escape him, searching for rest in different beds, as far from Herot as they could find, seeing how Grendel hunted when they slept. Distance was safety; the only survivors were those who fled him. Hate had triumphed."
Tolkien gives up a near word for word translation, but the resulting structure sounds very strange to modern readers. Raffel coveys the meaning of the passage, but makes no attempt to retain the wording or original structure of the poem. Heaney strikes a fine balance between the two extremes, keeper closer to the wording of the Beowulf poet but conveying it in a clearer manner than Tolkien.
To return to Yevtushenko's quote about translation, Tolkien is faithful but not beautiful while Raffel is beautiful but not faithful. If you want to read an interesting commentary on translating Old English into modern English I would recommend Tolkien's book. If you just want to enjoy reading Beowulf I would recommend Seamus Heaney's translation.
February 9, 2017
STRENGTH IS LIFE
For the strong have the right to rule
HONOUR IS LIFE
For with no honour one may as well be dead
LOYALTY IS LIFE
For without one’s clan one has no purpose
DEATH IS LIFE
One should die as they have lived
A hero is someone who steps up when everyone else backs down ..
JRR Tolkien’s distinctive, idiosyncratic translation of the epic, Anglo-Saxon poem shows a simplistic clarity of vision.
You can feel everything as though subconsciously you’re a part of the past. [I.e. standing alongside Beowulf whilst his men attentively listen to the taunts of Unferth!]
Sombre, poignantly tragic, unnervingly sinister and curiously comprehensive this exquisite tale is steeped in history that harkens back to bygone ages – beyond memory of song yet not of imagination.
the three battles; Grendel, Grendel’s mother and the Dragon are so acutely captured within lyrical prose,
*[for instance ‘Hrothgar's sermon’ which conveys caution regarding one’s pride]
you can almost hear the dulcet tones of the tale carried upon the breeze of your thoughts…
Set in Scandinavia, Beowulf’s remarkable deeds of valor and ethical feats are relived with considerate authenticity. This particular translation also includes Tolkien's own retelling of the story of Beowulf in his tale, Sellic Spell.
The most prevalent theme within Beowulf is the importance of the heroic code, which is exemplified through Christian themes and humanistic ideology. It’s the core values of the main protagonist, as he matures from a gallant warrior into a wise leader that truly touches you with candid truism – for, the text is relevant and relatable today as it would have been when written.
The truth is that Heroes are ordinary folk who make themselves extraordinary.
Quote {lines 2666-68} -
Your deeds are famous, so stay resolute, my Lord, defend your life now with the whole of your strength.
I shall stand by you
.. After all that is said and done, the one Question that remains is not who isn’t going to let you but rather who is going to stop you?!
November 22, 2023
Leggendo questo libro, che definirei non solo come un semplicissimo libro, nel senso di libro che assolve ad una causa, ma direi di un libro onnicomprensivo sulle origini della letteratura mitologico/folklorica nordica, mi son soffermato varie volte sul significato della parola influenza.
L'influenza, non quella che sta colpendo migliaia di persone in questi giorni, ma quella concenzione di ascendenza, d'influsso. Perchè Tolkien (padre) lavorò alla traduzione del Beowulf, un'opera che affonda le sue radici a più di mille anni fa, quando era ancora molto giovane. Ricorda Christopher, suo figlio, che a sette/otto anni suo padre gli cantava la canzone di Beowulf, che lui stesso aveva composto sull'onda degli studi che stava facendo su quell'opera che é il Beowulf. Ed ecco che la parola influenza prende forma nel mondo di Tolkien (padre), perché proprio dal Beowulf prenderà spunto, influenzato appunto da quest'opera di un'epicità stratosferica, poi forma tutto il suo bagaglio bibliografico che conosciamo, come ad esempio "Il signore degli anelli".
Quindi l'influenza é un qualcosa di molto nebuloso, non é tangibile, nel senso che non é un oggetto non possiamo toccare come potremmo, per esempio, con un libro, anche se proprio un libro potrebbe esserne il veicolo. Non é minimamente possibile raccontare di come un'influenza possa prendere forma all'interno di ognuno di noi, succede o non succede, te ne accorgi o non te ne accorgi, ne sei sopraffatto o riesci a controllarlo, nel senso che te lo fai proprio per crescere culturalmente e psicologicamente. Penso che questo sia l'essenza di quest'opera, non ho letto il Beowulf che mette le sue radici a più di mille anni fa, caratterizzato da gesta eroiche di tempi ormai perduti, ma ho letto il Beowulf di Tolkien (padre), che ha fatto suo rendendolo appunto una sua opera. Primo perché c'é tanto di quel lavoro dietro, lo testimonia il grande recupero fatto dal figlio Christopher che qui cerca di mettere insieme tutte le varie versioni a cui suo padre stava lavorando e poi la passione permea da ogni commento e la voglia di comprendere ogni passaggio perduto, così come l'averla resa in prosa, forse più comprensibile per un lettore dei suoi tempi.
Secondo perché Tolkien (padre) ha voluto riscrivere l'opera, prima di tutto, in inglese antico, per saggiarne l'autenticità, per sentire sulle dita che imprimono l'inchiostro sulla carta, la dolce brezza dell'antichità che prende forma sul foglio, che l'attimo dopo evapora in una sottile nebbia a ricrear l'atmosfera dei tempi passati, come se fossero lì accanto a lui a portargli compagnia e conoscenza.
Non una lettura semplice e veloce, anzi l'esatto opposto, é un libro che ha bisogno di tempo, ha necessità di spazio, gli occorre tutta una dimensione a cui il lettore deve entrare per poterne carpire l'essenza. Lo dico per esperienza personale, infatti ho riletto le prime 30 pagine quattro volte, perché ci vuole una predisposizione totale ed una dedizione a 360 gradi per non perdere nessuna sfumatura, che io sicuramente avrò perso lo stesso :-D
https://www.youtube.com/watch?v=YF33V...
L'influenza, non quella che sta colpendo migliaia di persone in questi giorni, ma quella concenzione di ascendenza, d'influsso. Perchè Tolkien (padre) lavorò alla traduzione del Beowulf, un'opera che affonda le sue radici a più di mille anni fa, quando era ancora molto giovane. Ricorda Christopher, suo figlio, che a sette/otto anni suo padre gli cantava la canzone di Beowulf, che lui stesso aveva composto sull'onda degli studi che stava facendo su quell'opera che é il Beowulf. Ed ecco che la parola influenza prende forma nel mondo di Tolkien (padre), perché proprio dal Beowulf prenderà spunto, influenzato appunto da quest'opera di un'epicità stratosferica, poi forma tutto il suo bagaglio bibliografico che conosciamo, come ad esempio "Il signore degli anelli".
Quindi l'influenza é un qualcosa di molto nebuloso, non é tangibile, nel senso che non é un oggetto non possiamo toccare come potremmo, per esempio, con un libro, anche se proprio un libro potrebbe esserne il veicolo. Non é minimamente possibile raccontare di come un'influenza possa prendere forma all'interno di ognuno di noi, succede o non succede, te ne accorgi o non te ne accorgi, ne sei sopraffatto o riesci a controllarlo, nel senso che te lo fai proprio per crescere culturalmente e psicologicamente. Penso che questo sia l'essenza di quest'opera, non ho letto il Beowulf che mette le sue radici a più di mille anni fa, caratterizzato da gesta eroiche di tempi ormai perduti, ma ho letto il Beowulf di Tolkien (padre), che ha fatto suo rendendolo appunto una sua opera. Primo perché c'é tanto di quel lavoro dietro, lo testimonia il grande recupero fatto dal figlio Christopher che qui cerca di mettere insieme tutte le varie versioni a cui suo padre stava lavorando e poi la passione permea da ogni commento e la voglia di comprendere ogni passaggio perduto, così come l'averla resa in prosa, forse più comprensibile per un lettore dei suoi tempi.
Secondo perché Tolkien (padre) ha voluto riscrivere l'opera, prima di tutto, in inglese antico, per saggiarne l'autenticità, per sentire sulle dita che imprimono l'inchiostro sulla carta, la dolce brezza dell'antichità che prende forma sul foglio, che l'attimo dopo evapora in una sottile nebbia a ricrear l'atmosfera dei tempi passati, come se fossero lì accanto a lui a portargli compagnia e conoscenza.
Non una lettura semplice e veloce, anzi l'esatto opposto, é un libro che ha bisogno di tempo, ha necessità di spazio, gli occorre tutta una dimensione a cui il lettore deve entrare per poterne carpire l'essenza. Lo dico per esperienza personale, infatti ho riletto le prime 30 pagine quattro volte, perché ci vuole una predisposizione totale ed una dedizione a 360 gradi per non perdere nessuna sfumatura, che io sicuramente avrò perso lo stesso :-D
https://www.youtube.com/watch?v=YF33V...
May 23, 2014
I'm full of wonder right now. Not so much at the translation of Beowulf -- Tolkien was well-versed in the language and knew what he was doing, and the tone is often reminiscent of The Lord of the Rings, which emphasises his attempts to weave his own stories with the old stories of England -- but at all the commentary published together here. Pretty much every issue I considered in my undergraduate class/es on Beowulf is touched on here -- the pagan aspects, the episodes, potential interpolations, mythic and historic origins -- and dealt with in a confident, convincing way. Tolkien's close reading of the text is exemplary. I don't feel like I have the knowledge to criticise his work, but I do know that it's incredibly worth reading.
As with most of the other posthumously published work by Tolkien, though, this isn't really something for the layman. It's not exactly technical, but in delves into the minutiae so much. For a translation of the poem for an interested but not greatly knowledgable layman, I'd still recommend Seamus Heaney's translation as lively, well-considered and interesting. For commentary on the poem, general introductions are still enough. But for anyone who is more deeply interested in Beowulf, then this is an amazing resource. His treatment of the plot of the poem as a short story, 'Sellic Spell', doesn't entirely convince me as a precursor story to Beowulf (it rings very strongly of fairytales, to me, and not so much to a sort of mythic background) but is interesting nonetheless.
In terms of fans of Tolkien's fiction as well as or instead of his academic work, there are gems here for us too. His translation of Beowulf really emphasises the Beowulfian elements in The Hobbit, and the way he phrases things, though slightly more archaic, is definitely familiar. His commentary mentions words you might recognise from his novels -- maþm, OE 'gift', for example, as long as you remember that þ = th...
All in all, this may be because of my personal interests and the fact that I have done some academic work on Tolkien, but I think this is generally more valuable than most of the other work brought out posthumously by Christopher Tolkien, and I found CT's editing most logical and less of a barrier here than ever since The Silmarillion. I got very excited about it, and while I got an ebook to have it right away, I will shortly obtain a hardcover for my collection, and count it worth it.
As with most of the other posthumously published work by Tolkien, though, this isn't really something for the layman. It's not exactly technical, but in delves into the minutiae so much. For a translation of the poem for an interested but not greatly knowledgable layman, I'd still recommend Seamus Heaney's translation as lively, well-considered and interesting. For commentary on the poem, general introductions are still enough. But for anyone who is more deeply interested in Beowulf, then this is an amazing resource. His treatment of the plot of the poem as a short story, 'Sellic Spell', doesn't entirely convince me as a precursor story to Beowulf (it rings very strongly of fairytales, to me, and not so much to a sort of mythic background) but is interesting nonetheless.
In terms of fans of Tolkien's fiction as well as or instead of his academic work, there are gems here for us too. His translation of Beowulf really emphasises the Beowulfian elements in The Hobbit, and the way he phrases things, though slightly more archaic, is definitely familiar. His commentary mentions words you might recognise from his novels -- maþm, OE 'gift', for example, as long as you remember that þ = th...
All in all, this may be because of my personal interests and the fact that I have done some academic work on Tolkien, but I think this is generally more valuable than most of the other work brought out posthumously by Christopher Tolkien, and I found CT's editing most logical and less of a barrier here than ever since The Silmarillion. I got very excited about it, and while I got an ebook to have it right away, I will shortly obtain a hardcover for my collection, and count it worth it.
November 7, 2021
I read "Beowulf" as a child, or perhaps in my early teens, when I found it while staying at my grandparents' house during the summer. I retained some dim memories of the story, mixed up a bit with parts of "Grendel" by John Gardner which I read in high school, but not enough for me to really compare Tolkien's translation to the Burton Raffell version I read, uh, gosh, 35-40 years ago. I can say, however, that reading Tolkien's translation (with notes) is a lot like taking a course in a topic you only kind of like, from a teacher who's so excited about it that their excitement rubs off on you and you start to get excited about it as well.
Less than a quarter of the book is actually JRRT's translation of "Beowulf", the oldest still existing work in the English language (albeit a version of English that is about as foreign to our speech as French or German). There is also a preface where Christopher Tolkien explains why it took this long for him to get around to sharing his father's translation with us; we also get to learn that at age eight his father sang for him a shortened poem of Beowulf that he had written. My daughter doesn't get a lot of that sort of thing from me.
The bulk of the book is Tolkien's examination of the parts of the original text where there is some question as to what exactly is being said. Some words are found nowhere else, some were probably originally proper nouns that the scribe miscopied because they didn't know the reference, and some appear to be Christian updating to try to allow the pagan story of Beowulf to get approval from (or at least avoid banning by) the church of the time.
I also learned for the first time that Beowulf appears (to those who know enough about such things to make an educated guess) to be a fusion of historically based legend with folk tales. JRRT made a reconstruction of the folk tale which Beowulf might have come from, and titled it "Sellic Spell". There were also a lot of other tales of nobles behaving badly towards one another (comparable in many ways to the tales of Camelot) that Beowulf was more or less stuck into, and Tolkien's notes help us to separate and identify these many strands which the original poet wove together (as well as anyone can do it now, with all of the source material gone).
One thing it brought home to me was how the modern appetite for fan fiction and other derivative art forms, is really just a reemergence of an older way of storytelling. The 20th century style, where each author creates their own separate fictional universe, cut off from the others of the time, is a creation of copyright law more than anything. Older story cycles, like Camelot or Arabian Nights or the Ring Cycle that Wagner drew on, were constantly bringing in stories (historical or mythical in their origin), and mashing them together.
Unfortunately for us, Beowulf is nearly all that remains of the many such tales of Old English, and most of what it references (that would have been well known to the originally intended audience) is a mystery to us. Not quite as much of a mystery, though, once you have an expert guide you through it, so that at least all which is known or guessed at, is available to you. There are times, reading this book, when you can almost imagine yourself in the Old English hall, listening to the skald's voice by firelight.
Less than a quarter of the book is actually JRRT's translation of "Beowulf", the oldest still existing work in the English language (albeit a version of English that is about as foreign to our speech as French or German). There is also a preface where Christopher Tolkien explains why it took this long for him to get around to sharing his father's translation with us; we also get to learn that at age eight his father sang for him a shortened poem of Beowulf that he had written. My daughter doesn't get a lot of that sort of thing from me.
The bulk of the book is Tolkien's examination of the parts of the original text where there is some question as to what exactly is being said. Some words are found nowhere else, some were probably originally proper nouns that the scribe miscopied because they didn't know the reference, and some appear to be Christian updating to try to allow the pagan story of Beowulf to get approval from (or at least avoid banning by) the church of the time.
I also learned for the first time that Beowulf appears (to those who know enough about such things to make an educated guess) to be a fusion of historically based legend with folk tales. JRRT made a reconstruction of the folk tale which Beowulf might have come from, and titled it "Sellic Spell". There were also a lot of other tales of nobles behaving badly towards one another (comparable in many ways to the tales of Camelot) that Beowulf was more or less stuck into, and Tolkien's notes help us to separate and identify these many strands which the original poet wove together (as well as anyone can do it now, with all of the source material gone).
One thing it brought home to me was how the modern appetite for fan fiction and other derivative art forms, is really just a reemergence of an older way of storytelling. The 20th century style, where each author creates their own separate fictional universe, cut off from the others of the time, is a creation of copyright law more than anything. Older story cycles, like Camelot or Arabian Nights or the Ring Cycle that Wagner drew on, were constantly bringing in stories (historical or mythical in their origin), and mashing them together.
Unfortunately for us, Beowulf is nearly all that remains of the many such tales of Old English, and most of what it references (that would have been well known to the originally intended audience) is a mystery to us. Not quite as much of a mystery, though, once you have an expert guide you through it, so that at least all which is known or guessed at, is available to you. There are times, reading this book, when you can almost imagine yourself in the Old English hall, listening to the skald's voice by firelight.
September 19, 2014
It's strange that Tolkien is credited with kickstarting modern scholarship on 'Beowulf,' yet, until now, his translation was unpublished.
I've read other translations before, but I don't recall which ones specifically. I followed this reading up directly with the Heaney translation, which is apparently the standard in today's college classes. (It wasn't yet published either, last time I read 'Beowulf.') The Tolkien direct translation is more 'difficult,' but both (I cannot verify, but I got the feeling) more accurate and more lovely to the ear, with evocative and musical language. Tolkien's language and imagery is both vivid and elevated; and gives the reader the feeling of a glimpse into the past.
Reading the accompanying commentary (together with notes from Christopher Tolkien) is great because there's a lot of discussion of what the figures of speech mean and what words not only mean but what their implications are, considering the society using them. (Which kind of rubs it in that, "no, you really don't understand the original like Tolkien does, and very likely no one alive does.")
The 'commentary' is written rather informally, and indeed I could almost imagine myself in a classroom at Oxford,listening to Tolkien lecture. The book, as a whole is *almost* as good as taking a full-semester college seminar on the poem.
In addition to the translation, notes and commentary, this volume also includes two versions of Tolkien telling the story of Beowulf in the style of a folk tale; and two versions of it written as a ballad - which, IMHO, HAS to be recorded by some excellent bands very shortly! Seriously, one of the best pieces of poetry I've ever read. Gorgeous language; you can literally hear the music as you read.
I've read other translations before, but I don't recall which ones specifically. I followed this reading up directly with the Heaney translation, which is apparently the standard in today's college classes. (It wasn't yet published either, last time I read 'Beowulf.') The Tolkien direct translation is more 'difficult,' but both (I cannot verify, but I got the feeling) more accurate and more lovely to the ear, with evocative and musical language. Tolkien's language and imagery is both vivid and elevated; and gives the reader the feeling of a glimpse into the past.
Reading the accompanying commentary (together with notes from Christopher Tolkien) is great because there's a lot of discussion of what the figures of speech mean and what words not only mean but what their implications are, considering the society using them. (Which kind of rubs it in that, "no, you really don't understand the original like Tolkien does, and very likely no one alive does.")
The 'commentary' is written rather informally, and indeed I could almost imagine myself in a classroom at Oxford,listening to Tolkien lecture. The book, as a whole is *almost* as good as taking a full-semester college seminar on the poem.
In addition to the translation, notes and commentary, this volume also includes two versions of Tolkien telling the story of Beowulf in the style of a folk tale; and two versions of it written as a ballad - which, IMHO, HAS to be recorded by some excellent bands very shortly! Seriously, one of the best pieces of poetry I've ever read. Gorgeous language; you can literally hear the music as you read.
January 21, 2024
[ESP/ENG]
Fuerte y aguerrido le replicó así el orgulloso príncipe del Pueblo de los Amantes del Viento, serio bajo su yelmo: «Somos compañeros de la Tabla de Hygelac, mi nombre es Beowulf. Quiero contar mi propósito al hijo de Halfdene, glorioso rey, tu señor, si, en su excelencia, nos permite acercarnos a él».
Este libro es un acercamiento que tuvo El profesor al mito de Beowulf, del cual supo en su juventud y con su querencia por las lenguas quiso traducir del inglés antiguo. Este libro es una recopilación llevada a cabo por su hijo Christopher sobre todo lo que su padre trabajó sobre el mito, y consta de 4 partes: La traducción del relato original al inglés actual, comentario y notas sobre dicha traducción, el Sellic spell, que es un cuento que Tolkien escribió sobre el mito (lo que sería su versión, vamos) y los lays de Beowulf, que son dos textos en verso con una parte de la historia que podría ser cantada en una sala antigua de la época.
La traducción es muy buena, el sellic spell, el cuento propio de Tolkien , también, y los lays del final más de lo mismo, estas secciones las he disfrutado mucho. Los lays vienen además en su versión original en inglés y traducidos al español, un detallazo. Por contra, el comentario a la traducción y las notas se me harán hecho pesadas. Imagino que para gente más versada en temas de filología sea muy interesante pero a mí por desgracia es algo que nunca se me ha dado muy bien y me ha costado pasar esa parte.
Este libro está muy recomendado para gente interesada en el aspecto filológico de los textos principalmente, aunque también si te interesa el tema de Beowulf propiamente dicho, son las partes que más he disfrutado.
🔹🔹🔹🔹🔹🔹🔹🔹
Strong and brave, the proud prince of the People of the Wind Lovers replied, seriously under his helmet: «We are companions of the Table of Hygelac, my name is Beowulf. I want to tell my purpose to the son of Halfdene, glorious king, your lord, if, in his excellency, he will allow us to approach him.
(This translation is frim the spanish version, I couldn't find the original)
This book is an approach that The Professor had to the myth of Beowulf, which he learned about in his youth and with his love for languages he wanted to translate from Old English. This book is a compilation carried out by his son Christopher about everything his father worked on the myth, and consists of 4 parts: The translation of the original story into current English, commentary and notes on said translation, theSellic spell, which is a story that Tolkien wrote about the myth (what would be his version, I mean) and the lays of Beowulf, which are two texts in verse with a part of the story that could be sung in an old room of the time.
The translation is very good, the sellic spell, Tolkien's own story, too, and the lays at the end more of the same, these sections I have enjoyed very much. The lays also come in their original version in English and translated into Spanish, a great detail. On the other hand, the commentary on the translation and the notes were a bit tiresome to me. I imagine that for people more versed in philology it is very interesting, but unfortunately for me it is something that I have never been very good at and it has been kind of difficult for me to pass that part.
This book is highly recommended for people interested in the philological aspect of the texts mainly, although also if you are interested in the topic of Beowulf itself, these are the parts that I enjoyed the most.
Fuerte y aguerrido le replicó así el orgulloso príncipe del Pueblo de los Amantes del Viento, serio bajo su yelmo: «Somos compañeros de la Tabla de Hygelac, mi nombre es Beowulf. Quiero contar mi propósito al hijo de Halfdene, glorioso rey, tu señor, si, en su excelencia, nos permite acercarnos a él».
Este libro es un acercamiento que tuvo El profesor al mito de Beowulf, del cual supo en su juventud y con su querencia por las lenguas quiso traducir del inglés antiguo. Este libro es una recopilación llevada a cabo por su hijo Christopher sobre todo lo que su padre trabajó sobre el mito, y consta de 4 partes: La traducción del relato original al inglés actual, comentario y notas sobre dicha traducción, el Sellic spell, que es un cuento que Tolkien escribió sobre el mito (lo que sería su versión, vamos) y los lays de Beowulf, que son dos textos en verso con una parte de la historia que podría ser cantada en una sala antigua de la época.
La traducción es muy buena, el sellic spell, el cuento propio de Tolkien , también, y los lays del final más de lo mismo, estas secciones las he disfrutado mucho. Los lays vienen además en su versión original en inglés y traducidos al español, un detallazo. Por contra, el comentario a la traducción y las notas se me harán hecho pesadas. Imagino que para gente más versada en temas de filología sea muy interesante pero a mí por desgracia es algo que nunca se me ha dado muy bien y me ha costado pasar esa parte.
Este libro está muy recomendado para gente interesada en el aspecto filológico de los textos principalmente, aunque también si te interesa el tema de Beowulf propiamente dicho, son las partes que más he disfrutado.
🔹🔹🔹🔹🔹🔹🔹🔹
Strong and brave, the proud prince of the People of the Wind Lovers replied, seriously under his helmet: «We are companions of the Table of Hygelac, my name is Beowulf. I want to tell my purpose to the son of Halfdene, glorious king, your lord, if, in his excellency, he will allow us to approach him.
(This translation is frim the spanish version, I couldn't find the original)
This book is an approach that The Professor had to the myth of Beowulf, which he learned about in his youth and with his love for languages he wanted to translate from Old English. This book is a compilation carried out by his son Christopher about everything his father worked on the myth, and consists of 4 parts: The translation of the original story into current English, commentary and notes on said translation, theSellic spell, which is a story that Tolkien wrote about the myth (what would be his version, I mean) and the lays of Beowulf, which are two texts in verse with a part of the story that could be sung in an old room of the time.
The translation is very good, the sellic spell, Tolkien's own story, too, and the lays at the end more of the same, these sections I have enjoyed very much. The lays also come in their original version in English and translated into Spanish, a great detail. On the other hand, the commentary on the translation and the notes were a bit tiresome to me. I imagine that for people more versed in philology it is very interesting, but unfortunately for me it is something that I have never been very good at and it has been kind of difficult for me to pass that part.
This book is highly recommended for people interested in the philological aspect of the texts mainly, although also if you are interested in the topic of Beowulf itself, these are the parts that I enjoyed the most.
March 26, 2017
The Geat Warrior (not a typo, not Great Warrior, but Geat Warrior), Beowulf does battle with the Demon Grendel, Grendel's mother, and a dragon.
Even in translation, this is still a bit challenging to read in spots. Still, it is an exciting tale, and an important piece of literature.
No whit do I account myself in my warlike stature a man more despicable in deeds of battle than Grendel doth himself. Therefore I will not with sword give him the sleep of death, although I well could. Nought doth he know of gentle arms that he should wield weapon against me or hew my shield, fierce though he be in savage dees. Nay, we two shall this night reject the blade, if he dare have recourse to warfare without weapons, and then let the forseeing God, the Holy Lord, adjudge the glory to whichever side him seemeth meet.
This version, translated by J.R.R. Tolkien is published with Sellic Spell: Tolkiens retelling of Beowulf in modern English prose, which of course was much easier to read.
My full review: http://100greatestnovelsofalltimeques...
Even in translation, this is still a bit challenging to read in spots. Still, it is an exciting tale, and an important piece of literature.
No whit do I account myself in my warlike stature a man more despicable in deeds of battle than Grendel doth himself. Therefore I will not with sword give him the sleep of death, although I well could. Nought doth he know of gentle arms that he should wield weapon against me or hew my shield, fierce though he be in savage dees. Nay, we two shall this night reject the blade, if he dare have recourse to warfare without weapons, and then let the forseeing God, the Holy Lord, adjudge the glory to whichever side him seemeth meet.
This version, translated by J.R.R. Tolkien is published with Sellic Spell: Tolkiens retelling of Beowulf in modern English prose, which of course was much easier to read.
My full review: http://100greatestnovelsofalltimeques...
July 24, 2023
Tolkieno išversta poema apie herojų Beowulfą. Vertimas - iš Old English į Modern English, nes senoji anglų kalba be specialaus išsilavinimo nebesuprantama.
Labai įdomu tai, kad poema yra iš esmės apie danus ir aplinkines gentis, nors ir parašyta angliškai. Tai yra, istoriją atsivežė į Britaniją skandinavų tautos, bet jokio ryšio su Britanija pati istorija neturi, ten ji buvo tik užrašyta. Ne mažiau įdomus susipynimas tarp krikščioniškos religijos ir pagoniškų legendų. Beowulfe ne vienoje vietoje gana tiesiogiai referuojama į Senąjį Testamentą, bet taip pat dar nepamiršti pagoniški ritualai. Tai gali kelti nuostabą, bet, kai pagalvoji, Lietuvoje iki šiol nepamiršti Užgavėnių ir Joninių pagoniški papročiai.
Vertimą lydi paties Tolkieno parengtas išsamus komentaras su paaiškinimais apie kūrinio kontekstą ir pasirinkimus atliekant abejotinų vietų vertimą.
Ankstesniems tyrinėtojams smalsumą kėlė visų pirma Beowulfo istorinės detalės, ryšiai su realiai gyvenusiomis asmenybėmis. Tačiau Tolkieną labiausiai domino meninė kūrinio vertė - iki tokio lygio, kad Žiedų valdovo pasaulis nemaža dalimi paremtas Beowulfo autoriaus sukurta atmosfera.
Man poema persiskaitė greitai ir įdomiai. To paties negaliu pasakyti apie vertėjo komentarus. Vietomis, buvo visai įdomu. Bet kai kur patyriau kančią, pavyzdžiui, skaitydamas detalius svarstymus apie senosios anglų kalbos subtilybes ar apie klaidas originaliame manuskripte (aš turiu žalingą įprotį nepraleidinėti knygose neįdomių vietų, gal jau reikia jo pagaliau atsikratyti).
Labai įdomu tai, kad poema yra iš esmės apie danus ir aplinkines gentis, nors ir parašyta angliškai. Tai yra, istoriją atsivežė į Britaniją skandinavų tautos, bet jokio ryšio su Britanija pati istorija neturi, ten ji buvo tik užrašyta. Ne mažiau įdomus susipynimas tarp krikščioniškos religijos ir pagoniškų legendų. Beowulfe ne vienoje vietoje gana tiesiogiai referuojama į Senąjį Testamentą, bet taip pat dar nepamiršti pagoniški ritualai. Tai gali kelti nuostabą, bet, kai pagalvoji, Lietuvoje iki šiol nepamiršti Užgavėnių ir Joninių pagoniški papročiai.
Vertimą lydi paties Tolkieno parengtas išsamus komentaras su paaiškinimais apie kūrinio kontekstą ir pasirinkimus atliekant abejotinų vietų vertimą.
Ankstesniems tyrinėtojams smalsumą kėlė visų pirma Beowulfo istorinės detalės, ryšiai su realiai gyvenusiomis asmenybėmis. Tačiau Tolkieną labiausiai domino meninė kūrinio vertė - iki tokio lygio, kad Žiedų valdovo pasaulis nemaža dalimi paremtas Beowulfo autoriaus sukurta atmosfera.
Man poema persiskaitė greitai ir įdomiai. To paties negaliu pasakyti apie vertėjo komentarus. Vietomis, buvo visai įdomu. Bet kai kur patyriau kančią, pavyzdžiui, skaitydamas detalius svarstymus apie senosios anglų kalbos subtilybes ar apie klaidas originaliame manuskripte (aš turiu žalingą įprotį nepraleidinėti knygose neįdomių vietų, gal jau reikia jo pagaliau atsikratyti).
October 25, 2014
Tolkien made this translation of the most famous extant Anglo Saxon poem early in his career. It's prose which disappointed me when I found out - after purchase! - it is very rhythmical, but I don't suppose it approximates the experience of reading the original very well. Still, I've always liked the story. Flagon thinks the Dragon is hard done by and that everybody (including the Dragon) should have calmed down and discussed the situation properly - that's what he'd have done! Then Beowulf could have had a nice retirement and the Dragon could have had another long nap.
There is a lengthy commentary attached to the translation, taken from Tolkien's notes for lectures and so forth. I'm in no position to weigh in on any of the scholarly arguments raised or how much modern opinion has moved on from where Tolkien stood. Apart from clarifying some obscure points, the main thing I got from reading the commentary was a sense of what issues are faced by editors trying to produce a modern edition or translation of Beowulf and by extension Anglo-Saxon and other Mediaeval literatures and a strong impression of the breadth as well as depth of Tolkien's scholarship and expertise. He demonstrates knowledge not just of Anglo-Saxon literature in toto but of all Mediaeval literature and the history of northern Europe, stretching back into the Dark Ages, including archaeological inferences. Further, he understood all the relevant philology, too. Of course this means I was left way out of my depth at times.
Perhaps (for me) the best part of this book came next - Sellic Spell. This is Tolkien's attempt to write a folk-tale based on the "fairy-story" elements of Beowulf before the historical/legendary elements were merged to produce the story we know. This is delightful. Tolkien's other published fairy stories are very good and this is no exception. His best prose occurs when he is aiming at the folk-tale style and this is no exception.
Finally there are two versions of a verse re-telling of the first part of Beowulf (in a Tolkien-contemporary idiom), which are short but fun.
If you want an accessible translation of Beowulf and a sense of what the associated academic problems are, this is a worthwhile book. If you are an expert in Anglo-Saxon literature this might prove interesting in terms of showing what Tolkien thought in detail about the greatest Anglo-Saxon poem that remains to us. If you want to study the poem seriously this is decidedly not the place to start, though.
There is a lengthy commentary attached to the translation, taken from Tolkien's notes for lectures and so forth. I'm in no position to weigh in on any of the scholarly arguments raised or how much modern opinion has moved on from where Tolkien stood. Apart from clarifying some obscure points, the main thing I got from reading the commentary was a sense of what issues are faced by editors trying to produce a modern edition or translation of Beowulf and by extension Anglo-Saxon and other Mediaeval literatures and a strong impression of the breadth as well as depth of Tolkien's scholarship and expertise. He demonstrates knowledge not just of Anglo-Saxon literature in toto but of all Mediaeval literature and the history of northern Europe, stretching back into the Dark Ages, including archaeological inferences. Further, he understood all the relevant philology, too. Of course this means I was left way out of my depth at times.
Perhaps (for me) the best part of this book came next - Sellic Spell. This is Tolkien's attempt to write a folk-tale based on the "fairy-story" elements of Beowulf before the historical/legendary elements were merged to produce the story we know. This is delightful. Tolkien's other published fairy stories are very good and this is no exception. His best prose occurs when he is aiming at the folk-tale style and this is no exception.
Finally there are two versions of a verse re-telling of the first part of Beowulf (in a Tolkien-contemporary idiom), which are short but fun.
If you want an accessible translation of Beowulf and a sense of what the associated academic problems are, this is a worthwhile book. If you are an expert in Anglo-Saxon literature this might prove interesting in terms of showing what Tolkien thought in detail about the greatest Anglo-Saxon poem that remains to us. If you want to study the poem seriously this is decidedly not the place to start, though.
January 11, 2026
I loved Tolkien’s translation of Beowulf. The commentary is skippable IMO, except you must read pages 272-275, which is Tolkien’s summary of the message that the author of poem was trying to communicate.
If you’re interested in his thoughts on Beowulf, read his legendary essay “The Monsters and the Critics” instead of his commentary, which is mostly just context and explanations of his translation choices.
If you’re interested in his thoughts on Beowulf, read his legendary essay “The Monsters and the Critics” instead of his commentary, which is mostly just context and explanations of his translation choices.
April 3, 2021
Come spesso accade con l'epica antica, per quanto riguarda la storia in sé è più il mito che si è creato intorno al personaggio di Beowulf (e a Grendel) rispetto a quanto non si trovi nel testo.
Però questo libro mette a corredo un'ampia sezione di note relative alla traduzione che evidenzia non solo l'enorme lavoro dietro a questo lavoro di Tolkien, ma anche l'importanza del Beowulf, i riferimenti storici, lo studio e le ipotesi dietro le singole parole.
Le difficoltà incontrate e le cause di queste difficoltà.
Un libro che sicuramente dirà molto di più a linguisti e magari filologi.
(Tra i diversi modi di leggere il libro, io ho optato alla fine per la lettura di Beowulf in italiano, seguita alla fine di ogni paragrafo dal controllo delle note, e dalla lettura delle note alla traduzione relative ai versi appena letti. Non escludo che questo possa avere influito nel giudizio, frammentando e rallentando la lettura.)
Però questo libro mette a corredo un'ampia sezione di note relative alla traduzione che evidenzia non solo l'enorme lavoro dietro a questo lavoro di Tolkien, ma anche l'importanza del Beowulf, i riferimenti storici, lo studio e le ipotesi dietro le singole parole.
Le difficoltà incontrate e le cause di queste difficoltà.
Un libro che sicuramente dirà molto di più a linguisti e magari filologi.
(Tra i diversi modi di leggere il libro, io ho optato alla fine per la lettura di Beowulf in italiano, seguita alla fine di ogni paragrafo dal controllo delle note, e dalla lettura delle note alla traduzione relative ai versi appena letti. Non escludo che questo possa avere influito nel giudizio, frammentando e rallentando la lettura.)
August 29, 2018
To boldly go where monsters are fought
A multi-layered edition that offers different ways to be enjoyed. Be it with the Old English poem competent translation, or with the erudite commentaries to the translation, or with both authorial re-interpretations (in prose or in poem) of the fight with Grendel, the reader will find much to love about this book, about legends, and about the ancient civilisations the legends are made of. To be read with heart, head and guts… thanks professor Tolkien!
A multi-layered edition that offers different ways to be enjoyed. Be it with the Old English poem competent translation, or with the erudite commentaries to the translation, or with both authorial re-interpretations (in prose or in poem) of the fight with Grendel, the reader will find much to love about this book, about legends, and about the ancient civilisations the legends are made of. To be read with heart, head and guts… thanks professor Tolkien!
April 2, 2023
Here is my summary/review on my BookTube channel.
Beowulf In April | Week 1 | J. R. R. Tolkien
https://youtu.be/AaW4FkAZtzQ
Beowulf In April | Week 1 | J. R. R. Tolkien
https://youtu.be/AaW4FkAZtzQ
March 31, 2023
Beowulf is a unique work in the history of English literature. By chance—or providence—this single Old English tale survives, giving moderns a window into a world, and a language, very different from our own. And yet a culture and language which was our direct antecedent. More than you want to know about this epic poem can be found on Wikipedia.
J. R. R. Tolkien undertook this prose translation early (1920s) in his tenure as a professor of Anglo-Saxon at Pembroke College, Oxford. The accompanying commentary was drawn from his later lecture notes. Tolkien did not publish this translation for reasons explained in his 1936 lecture “Beowulf: The Monsters and the Critics” and “On Translating Beowulf” (in the book The Monsters and the Critics and other essays). In short, Tolkien thought that anything short of an alliterative poem lost too much in translation. He also recognized such as an almost impossible feat—to translate an Old English alliterative poem into a modern English alliterative poem. This translation is not, therefore, the latest nor most definitive. It is significant for Tolkien’s notes and its place in his literary heritage.
If you’re new to Beowulf, first read the poem itself—skip the introductions and notes. Yes, it will be hard going, but wade through it slowly. Savor the tone and glean what you do understand. Then read the commentary. Unfortunately, since Tolkien prepared these notes for those studying Old English, there’s a lot of philology mixed in with his ruminations about the back story and meaning of Beowulf. But enough gems hide in those strata to make the reading worthwhile.
Beowulf is important for something else. Here the thoughtful reader finds the bedrock on which Tolkien built Middle Earth. Yes, in this story we find the culture, the heroic people, even the mythology and “history” which inspired Tolkien’s famous works. The great hall, ancient swords of power, the burgled dragon, the old king, even (line 112) “eotenas ond ylfe ond orceas” (If you can’t translate at least two of those for yourself, turn in your copy of The Lord of the Rings.) Yes, it’s all here, except the hobbits. Those were Tolkien’s invention.
How Beowulf connects to Middle Earth is obliquely discussed in “On Fairy-Stories” in The Tolkien Reader.
Included also is “Sellic Spell,” Tolkien’s attempt to deconstruct the greater work, identifying the “fairy” elements. Entertaining. (See also Tolkien’s Finn and Hengest: The Fragment and the Episode for another fragment.)
Even more, here also is the sad feeling—in the final speech of Hrothgar and the death of Beowulf—of a culture trying to reach up through the darkness around it to grasp at the dimly remembered glory, power and riches of empires and emperors long gone. Cultures like Anglo-Saxon England and the men and elves of Middle Earth’s Third Age.
“Here we learn what men of the twilight of time thought of themselves. And, of course, the writings and the elegy are good in themselves, and not misspent – since the ashes of Beowulf himself are now to be laid in a barrow with much the same gold … and pass into the oblivion of the ages – but for the poet, and the chance relenting of time: to spare this one poem out of so many…. Of the others we know not.”
Read and enjoy.
J. R. R. Tolkien undertook this prose translation early (1920s) in his tenure as a professor of Anglo-Saxon at Pembroke College, Oxford. The accompanying commentary was drawn from his later lecture notes. Tolkien did not publish this translation for reasons explained in his 1936 lecture “Beowulf: The Monsters and the Critics” and “On Translating Beowulf” (in the book The Monsters and the Critics and other essays). In short, Tolkien thought that anything short of an alliterative poem lost too much in translation. He also recognized such as an almost impossible feat—to translate an Old English alliterative poem into a modern English alliterative poem. This translation is not, therefore, the latest nor most definitive. It is significant for Tolkien’s notes and its place in his literary heritage.
If you’re new to Beowulf, first read the poem itself—skip the introductions and notes. Yes, it will be hard going, but wade through it slowly. Savor the tone and glean what you do understand. Then read the commentary. Unfortunately, since Tolkien prepared these notes for those studying Old English, there’s a lot of philology mixed in with his ruminations about the back story and meaning of Beowulf. But enough gems hide in those strata to make the reading worthwhile.
Beowulf is important for something else. Here the thoughtful reader finds the bedrock on which Tolkien built Middle Earth. Yes, in this story we find the culture, the heroic people, even the mythology and “history” which inspired Tolkien’s famous works. The great hall, ancient swords of power, the burgled dragon, the old king, even (line 112) “eotenas ond ylfe ond orceas” (If you can’t translate at least two of those for yourself, turn in your copy of The Lord of the Rings.) Yes, it’s all here, except the hobbits. Those were Tolkien’s invention.
How Beowulf connects to Middle Earth is obliquely discussed in “On Fairy-Stories” in The Tolkien Reader.
Included also is “Sellic Spell,” Tolkien’s attempt to deconstruct the greater work, identifying the “fairy” elements. Entertaining. (See also Tolkien’s Finn and Hengest: The Fragment and the Episode for another fragment.)
Even more, here also is the sad feeling—in the final speech of Hrothgar and the death of Beowulf—of a culture trying to reach up through the darkness around it to grasp at the dimly remembered glory, power and riches of empires and emperors long gone. Cultures like Anglo-Saxon England and the men and elves of Middle Earth’s Third Age.
“Here we learn what men of the twilight of time thought of themselves. And, of course, the writings and the elegy are good in themselves, and not misspent – since the ashes of Beowulf himself are now to be laid in a barrow with much the same gold … and pass into the oblivion of the ages – but for the poet, and the chance relenting of time: to spare this one poem out of so many…. Of the others we know not.”
Read and enjoy.
May 27, 2014
An amazing addition to Beowulf scholarship. In his commentary on the poem, Tolkien demonstrates the argument of his seminal Beowulf essay: that the poem is best read as a poem, not either as a purely historic document (as it was in his day) nor as a New-historical document (as it too often is in our day). Tolkien's readings keep the poem from fragmenting into a mass of confusion but instead shows it as a work of a variety of interconnected parts: it pulls from historical knowledge and fable/tale traditions, utilizes poetic diction to a highly aesthetic degree, and is, in the end, just simply a good story. I have rarely come across a better group of readings of this poem and, as a student of Beowulf myself, I find the commentary to be invaluable to both my understanding and enjoyment of the poem. Tolkien's two ventures into creative work (Sellic Spell and the Lay of Beowulf) are also extremely enjoyable and act as their own aesthetic commentaries on the world of the poem.
October 10, 2015
Tolkien's translation is amazing.
I've yet to read the commentaries.
I've yet to read the commentaries.
odustajem
April 11, 2021Možda u nekom drugom životu i pročitam ovo izdanje, ali u ovom teško.
Read
July 29, 2024yes, this is my fourth translation of beowulf. no, i'm not "obsessed," why would you even ask that?
November 6, 2022
“Many foes can give a man but one death”
I am slightly biased due to my adoration of Tolkien, but it was so inspiring to see Tolkien’s passion evident within his translation of Beowulf. As a complete novice when it comes to Anglo-Saxon tales and language, I read Tolkien’s commentary (compiled by Christopher Tolkien) with the awe that comes from appreciating but not fully understanding the knowledge of a master.
Despite not being on the same level as Tolkien (who is really?), I could still access the tale of Beowulf and his own creation titled Sellic Spell. The binary, and blurring thereof, of man versus beast was intriguingly examined.
Perhaps the most entertaining aspect of this collection was recognising the seeds that Tolkien carried from these old tales and planted into his own writings concerning Middle-earth.
I am slightly biased due to my adoration of Tolkien, but it was so inspiring to see Tolkien’s passion evident within his translation of Beowulf. As a complete novice when it comes to Anglo-Saxon tales and language, I read Tolkien’s commentary (compiled by Christopher Tolkien) with the awe that comes from appreciating but not fully understanding the knowledge of a master.
Despite not being on the same level as Tolkien (who is really?), I could still access the tale of Beowulf and his own creation titled Sellic Spell. The binary, and blurring thereof, of man versus beast was intriguingly examined.
Perhaps the most entertaining aspect of this collection was recognising the seeds that Tolkien carried from these old tales and planted into his own writings concerning Middle-earth.
August 27, 2017
I'M SO EXCITED
I JUST CAN'T HIDE IT
*frolics through a meadow of tiny pine trees and dragon scales*
Merged review:
Translation: 3/5 stars - prose, a little archaic, good translation of the gist of the text but loses a lot of the imagery and poetry
Commentary: 5/5 stars - I learned a lot and it is frightening how much Tolkien knows about this subject
Sellic Spell: 4/5 stars - cool retelling, bro
Lay of Beowulf: 3/5 stars - kinda random, leaves a lot out, but a very nice little poem
I JUST CAN'T HIDE IT
*frolics through a meadow of tiny pine trees and dragon scales*
Merged review:
Translation: 3/5 stars - prose, a little archaic, good translation of the gist of the text but loses a lot of the imagery and poetry
Commentary: 5/5 stars - I learned a lot and it is frightening how much Tolkien knows about this subject
Sellic Spell: 4/5 stars - cool retelling, bro
Lay of Beowulf: 3/5 stars - kinda random, leaves a lot out, but a very nice little poem
December 21, 2022
“They had slain their foe—valor had vanquished life; yea, together they had destroyed him, those two princes of the house—of such sort should a man be, a loyal liege at end.” ~ Beowulf, 2274-2277 (Tolkien’s translation)
July 16, 2025
Finalmente riesco a parlare di questa lettura! Ho dato 4 stelle su 5, però vorrei specificare che ho dato questo voto a questo volume, non alla storia dello scrittore anonimo dell’VIII secolo o giù di lì.
Nello specifico, do questo voto quasi solo per i Commenti alla traduzione.
Inizialmente avevo pensato che sarebbero stati la parte sulla quale potevo sorvolare di più, ma poi ogni volta che passavo da un commento all’altro non riuscivo ad abbandonare la lettura. Ovviamente, alcuni commenti che scavano a fondo sulla parola “x” e su tutte le sue varianti dall’inglese antico, al germanico, al celtico, al latino, a chi più ne ha più ne metta, non li ho propriamente assimilati in quanto troppo specifici per me, però davvero si vede la conoscenza profondissima della materia da parte di Tolkien. Trovo incredibilmente affascinante l’evoluzione della lingua e dei significati delle parole e mi rendo conto, allora, di quanto profonda e intensa potrebbe essere la lettura del Signore degli Anelli in lingua originale e di quanto possa esserne stata delicata la sua traduzione da parte di tutti i suoi traduttori.
Detto ciò, a proposito di tutto il resto lascio un po’ di considerazioni sparse
IL POEMA
Ho trovato il poema in se noioso e ripetitivo e l’unico interesse che gli posso attribuire è quello sorto alla luce di tutte le considerazioni finali di Tolkien. Solo grazie ad esse posso smorzare il mio giudizio e dare il beneficio del dubbio al valore di quest’opera. Forse ho sbagliato io a pensare che sarebbe stato un po’ come leggere un’Eneide anglosassone, o che si sarebbe avvicinato alla mia recente lettura “La caduta di Artù”, dalla quale, ahimè, non potremmo essere più distanti. Non ho provato interessante il personaggio di Beowulf né alcuno dei personaggi secondari; non ho trovato accattivante o permeante l’ambientazione; ho trovato al limite dello sbadiglio le gesta che vengono compiute. .
Capisco che all’epoca le persone cogliere i riferimenti dinastici, e capisco che li possano cogliere anche gli studiosi di quel periodo, ma io, povera disgraziata, non ci capivo un fico secco di nomi quasi tutti uguali, popoli sconosciuti, posti non ben definiti e genealogie arcane, quindi mi sono solo sentita sballottata tra vicende di gente che ho boh!-Ma-chi-diavolo-sono?-ato tutto il tempo. A tal proposito, la nota 12 al commento 244 dei commenti alla traduzione era tutto quello che mi serviva nella vita per capire qualcosa di tutta la pappardella finale ma, ovviamente, l’ho letta troppo tardi. È una nota così esaustiva e potenzialmente provvidenziale che potrei tatuarmela su un braccio nel caso volessi mai rileggermi tutta quest’opera.
Però…però ho visto Rohan e la sua sala dorata, ho visto il viscido consigliere del re che ne avvelena la mente con le parole, ho visto un drago avido e una missione di conquista di un tesoro. Ho visto gli embrioni di ciò che amo, ma non per questo li ho trovati interessanti in sé.
IL RACCONTO MERAVIGLIOSO
Questa versione del Beowulf depurata degli infiniti nomi, genealogie, popoli etc. è sicuramente più digeribile, ma il materiale di base è della stessa scarsezza del precedente e il protagonista risulta ancora più banale dell’originale quindi…meraviglioso mica tanto.
LA CANZONE DI BEOWULF
Magari decantata in versi allitterativi ha il suo perché (come d’altronde il Beowulf stesso), ma così è solo la mia terza lettura di una storia che mi ha annoiato già due volte.
È stato impietoso lo so, ma comunque, ribadisco, interessante sotto certi aspetti.
Nello specifico, do questo voto quasi solo per i Commenti alla traduzione.
Inizialmente avevo pensato che sarebbero stati la parte sulla quale potevo sorvolare di più, ma poi ogni volta che passavo da un commento all’altro non riuscivo ad abbandonare la lettura. Ovviamente, alcuni commenti che scavano a fondo sulla parola “x” e su tutte le sue varianti dall’inglese antico, al germanico, al celtico, al latino, a chi più ne ha più ne metta, non li ho propriamente assimilati in quanto troppo specifici per me, però davvero si vede la conoscenza profondissima della materia da parte di Tolkien. Trovo incredibilmente affascinante l’evoluzione della lingua e dei significati delle parole e mi rendo conto, allora, di quanto profonda e intensa potrebbe essere la lettura del Signore degli Anelli in lingua originale e di quanto possa esserne stata delicata la sua traduzione da parte di tutti i suoi traduttori.
Detto ciò, a proposito di tutto il resto lascio un po’ di considerazioni sparse
IL POEMA
Ho trovato il poema in se noioso e ripetitivo e l’unico interesse che gli posso attribuire è quello sorto alla luce di tutte le considerazioni finali di Tolkien. Solo grazie ad esse posso smorzare il mio giudizio e dare il beneficio del dubbio al valore di quest’opera. Forse ho sbagliato io a pensare che sarebbe stato un po’ come leggere un’Eneide anglosassone, o che si sarebbe avvicinato alla mia recente lettura “La caduta di Artù”, dalla quale, ahimè, non potremmo essere più distanti. Non ho provato interessante il personaggio di Beowulf né alcuno dei personaggi secondari; non ho trovato accattivante o permeante l’ambientazione; ho trovato al limite dello sbadiglio le gesta che vengono compiute. .
Capisco che all’epoca le persone cogliere i riferimenti dinastici, e capisco che li possano cogliere anche gli studiosi di quel periodo, ma io, povera disgraziata, non ci capivo un fico secco di nomi quasi tutti uguali, popoli sconosciuti, posti non ben definiti e genealogie arcane, quindi mi sono solo sentita sballottata tra vicende di gente che ho boh!-Ma-chi-diavolo-sono?-ato tutto il tempo. A tal proposito, la nota 12 al commento 244 dei commenti alla traduzione era tutto quello che mi serviva nella vita per capire qualcosa di tutta la pappardella finale ma, ovviamente, l’ho letta troppo tardi. È una nota così esaustiva e potenzialmente provvidenziale che potrei tatuarmela su un braccio nel caso volessi mai rileggermi tutta quest’opera.
Però…però ho visto Rohan e la sua sala dorata, ho visto il viscido consigliere del re che ne avvelena la mente con le parole, ho visto un drago avido e una missione di conquista di un tesoro. Ho visto gli embrioni di ciò che amo, ma non per questo li ho trovati interessanti in sé.
IL RACCONTO MERAVIGLIOSO
Questa versione del Beowulf depurata degli infiniti nomi, genealogie, popoli etc. è sicuramente più digeribile, ma il materiale di base è della stessa scarsezza del precedente e il protagonista risulta ancora più banale dell’originale quindi…meraviglioso mica tanto.
LA CANZONE DI BEOWULF
Magari decantata in versi allitterativi ha il suo perché (come d’altronde il Beowulf stesso), ma così è solo la mia terza lettura di una storia che mi ha annoiato già due volte.
È stato impietoso lo so, ma comunque, ribadisco, interessante sotto certi aspetti.
August 26, 2020
Also available on the WondrousBooks blog.
To begin, when I got this book, I kind of did not see the part after the colon, so I thought this was going to be a Beowulf retelling by Tolkien. In fact, this book is his translation of the Old English text from his early career as a translator, together with the lectures he taught in Oxford on the topic and edited by his son Christopher Tolkien.
When I was reading the book, I felt more drawn to its scholarly merit - the choice of words, the explanation behind their roots and the Old English grammar, the potential misleading/different meanings and Tolkien's reasoning behind the meaning of the text. It was also interesting for me to see Christopher Tolkien's commentary, because it's obvious that he dedicated a tremendous amount of time and research in shaping his father's work so that it's fit for publishing.
That being said, J.R.R. Tolkien probably never meant for this translation to reach the public. It was done in when he was young and more inexperienced as a translator, which can be seen also in Christopher's notes on parts which his father edited later on, or intended to but never quite did. So, from that perspective, perhaps this version of Beowulf was not what it was supposed to be. I would say that the piece was rather hard to read in the sense that a lot of the expressions in it were direct translations of the Old English text which didn't give the intended meaning to a person not familiar with original. I saw some very good comments in other Goodreads reviews from people who had read other translations of Beowulf and could pinpoint the actual meaning of certain verses as opposed to the literal meaning that Tolkien used. I'm obviously not going to into that, as those are not my original observations, but I would recommend to anyone who's curious to go through the top reviews.
Beyond that, in all honesty, without there being anything wrong with the story, I was just not drawn to Beowulf. This is not the first time I've read an old epic and it's also not the first time I've felt a certain amount of story intricacy and a level of epic drama missing for my own preferences.
What I really did enjoy, however, were Tolkien's lectures on Beowulf. In a way, I'd like to think I liked the explanation of Beowulf better than Beowulf. Tolkien's analysis is mesmerizing in the depth of detail and research he encompasses, from the language itself, to the history and folklore of the 6th century Scandinavians. I learned quite a bit about the region in a time which was quite murky in my historical knowledge. Also, it was equally fascinating to see the influence of this text on Tolkien's Middle Earth - from the origin of the orcs, which are referenced in Tolkien's lectures on Beowulf, to the structure of events, places and conversations (like the fact that Meduseld is based on Heorot) and even the names of certain characters, like the guest appearance of Eomer.
To begin, when I got this book, I kind of did not see the part after the colon, so I thought this was going to be a Beowulf retelling by Tolkien. In fact, this book is his translation of the Old English text from his early career as a translator, together with the lectures he taught in Oxford on the topic and edited by his son Christopher Tolkien.
When I was reading the book, I felt more drawn to its scholarly merit - the choice of words, the explanation behind their roots and the Old English grammar, the potential misleading/different meanings and Tolkien's reasoning behind the meaning of the text. It was also interesting for me to see Christopher Tolkien's commentary, because it's obvious that he dedicated a tremendous amount of time and research in shaping his father's work so that it's fit for publishing.
That being said, J.R.R. Tolkien probably never meant for this translation to reach the public. It was done in when he was young and more inexperienced as a translator, which can be seen also in Christopher's notes on parts which his father edited later on, or intended to but never quite did. So, from that perspective, perhaps this version of Beowulf was not what it was supposed to be. I would say that the piece was rather hard to read in the sense that a lot of the expressions in it were direct translations of the Old English text which didn't give the intended meaning to a person not familiar with original. I saw some very good comments in other Goodreads reviews from people who had read other translations of Beowulf and could pinpoint the actual meaning of certain verses as opposed to the literal meaning that Tolkien used. I'm obviously not going to into that, as those are not my original observations, but I would recommend to anyone who's curious to go through the top reviews.
Beyond that, in all honesty, without there being anything wrong with the story, I was just not drawn to Beowulf. This is not the first time I've read an old epic and it's also not the first time I've felt a certain amount of story intricacy and a level of epic drama missing for my own preferences.
What I really did enjoy, however, were Tolkien's lectures on Beowulf. In a way, I'd like to think I liked the explanation of Beowulf better than Beowulf. Tolkien's analysis is mesmerizing in the depth of detail and research he encompasses, from the language itself, to the history and folklore of the 6th century Scandinavians. I learned quite a bit about the region in a time which was quite murky in my historical knowledge. Also, it was equally fascinating to see the influence of this text on Tolkien's Middle Earth - from the origin of the orcs, which are referenced in Tolkien's lectures on Beowulf, to the structure of events, places and conversations (like the fact that Meduseld is based on Heorot) and even the names of certain characters, like the guest appearance of Eomer.
January 29, 2025
I think our culture has lost something when I think about the idea of great stories passed down to generations and told by the hearth. It’s such a pleasant thought. I also really appreciate stories where morality is clear-cut, the good is good and the evil is evil.
Still, it’s hard to read at points and Tolkien’s commentary is honestly kinda boring (did not finish his commentary).
Def don’t regret reading it and probably won’t read it again soon.
Still, it’s hard to read at points and Tolkien’s commentary is honestly kinda boring (did not finish his commentary).
Def don’t regret reading it and probably won’t read it again soon.
April 20, 2025
Thoroughly enjoyed Tolkien’s translation, as well as the shorter and more concise “Sellic Spell” and “The Lay of Beowulf”. His prose, though more modern, still feels connected to the Old English, keeping the flavors of the mythical/historical/legend alive. I’ve never before read any commentaries besides biblical ones, and I was impressed by the technicality of the work, I admire Tolkien that much more for his deep love of language. All the Old English and the historical myths of the North and the gleaming hall of Heorot felt like the building blocks of Rohan.
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