{"id":157,"date":"2009-07-23T09:17:07","date_gmt":"2009-07-23T14:17:07","guid":{"rendered":"http:\/\/www.midterm.us\/blog\/?p=157"},"modified":"2017-11-03T09:23:00","modified_gmt":"2017-11-03T14:23:00","slug":"beowulf-term-paper","status":"publish","type":"post","link":"https:\/\/www.midterm.us\/blog\/sample-term-papers\/beowulf-term-paper.html","title":{"rendered":"Beowulf Term Paper"},"content":{"rendered":"<p><strong>Beowulf<\/strong>. The oldest and, arguably, the greatest epic in English literature\u2019s vast history. Beowulf is an epic poem, originally written in Old English, that details the heroic exploits of the warrior, Beowulf, throughout his life. It represents the heroic ideal and the role of fate\u2019s importance to the Old English people, while also addressing politics, war, old-age, kinsmanship, and fantasy. The depth of the poem, in both its poetry and narration, is incredible, and in the original Old English the integration and weaving of meaning throughout the text is virtually unparalleled. Though Beowulf is an evident masterpiece of English literature, its true importance in history is often understated and misrepresented. This is because the Old English that the poem is written in is very difficult and different from what most readers consider English, or even \u201cold English\u201d. The antiquity of the text limits the poem\u2019s greatness and true understanding to a very small group of scholars, \u201carmed\u201d with their word-hoards and knowledge of Old English; the rest of the \u201cunready\u201d literary world sees a diluted representation through translation. Over time there have been large numbers of translations of Beowulf, in various forms, that have provided the greater literary world with a common perception of the text. <!--more-->It is this paper\u2019s focus to examine a variety of these translations in relation to the meaning evident in the original Old English text. As it would be impossible to examine the entire poem in Old English with multiple translations, due to the depth and complexity present in the text, I have selected the following short passage from Beowulf for the analysis: Gewat da neosian, sypdan niht becom, hean huses, hu hit Hring-Dene aefter beorpege gebun haefdon. Fand pa daer inne aepelinga gedriht swefan aefter symble; sorge ne cudon, wonsceaft wera. Wiht unhaelo, grim ond graedig, gearo sona waes, reoc ond repe, ond on raeste genam pritig pegna; panon eft gewat hude hremig to ham faran, mid paere waelfylle wica neosan. (115-125) This passage, Grendel\u2019s approach and attack on the Dane\u2019s hall, was chosen because it is representative of the poetic and narrative structures that are operating throughout the poem; the recurring diction, narrative movement, internal reference and contrast, and envelope structure that are present in this short passage are echoed in all of Beowulf. Also, this passage is an important and entertaining portion of the story, providing a good reference point for the analysis of the translations. The translations I have selected are varied; from literal word- by-word translations, to more \u201cnarrative\u201d modern verse translations, to transcriptions of the original text with glossings, and even one of my own translations. The chosen translations range fairly evenly from the years 1892 to 2001, and are all from academic sources (except for, possibly, the two Penquin translations, which I have included for added depth in analysis, giving translations that are directed at a more broad audience). This varied range of translations over time provides a good foundation to examine the content of this very important passage in translation. By examining Grendel\u2019s approach to the hall, the representation of Grendel, and the presence (or lack) of recurring diction and narrative movement providing a ring-composition, I will present an analysis of the patterns and variations found in a wide variety of Beowulf translations, spanning the last one hundred and ten years, for the selected Old English Beowulf passage (115-125). Over time the translations of Grendel\u2019s approach to the hall (115-120) form a consistent pattern of even distribution in the variations between literal and more narrative interpretations of the text. The variation within the more literal translations of the poem is based on the translator\u2019s interpretation and understanding of the individual words while trying to retain the Old English form of the text. The variation within the more narrative translations is based less on differences of interpretation between translators that on the direction they chose to represent these events, in current form and language. Both forms seem to be equally consistent over time, providing various levels of understanding of the poem in its depth. In the first line of Grendel\u2019s approach, \u201cGewat da neosian, sypdan niht becom,\u201d (115), half of the examined translations (A,C,E,H and L) represent Grendel as \u201cHe\u201d in their interpretations, while the other half (B,D,F,G and K) actually provide the name \u201cGrendel\u201d in their texts (the transcriptions I and J do not provide any sort of glossing for Grendel). Though the differences separating \u201cHe set out then\u201d (A.115) and \u201cHe departed then seeking\u201d (L.115), from \u201cNow Grendel rose up to look\u201d (D.115) and \u201ccame Grendel also\u201d (G.115) seem to be relatively minor, they represent the different approaches taken by the translators, which are echoed, at a much greater scale, throughout their translations. This \u201che\/Grendel\u201d distinction is representative of the pattern and narrative structures that are operating over time in the translations of Beowulf. The following interpretations of Grendel\u2019s observation of the hall and the Danes is quite consistent among all of the translations, in content and structure, though there is some variation in the actual vocabulary used, somewhat altering the depth of the translations from the Old English text. Most of the translations and glossings, from Clarence Griffin Child\u2019s in 1904 (B), to Gavin Bone\u2019s (D), E. Talbot Donaldson\u2019s (F), George Jack\u2019s (I), and others, over the century, tend to agree that \u201cbeorpege\u201d (117) in Old English translates into \u201cbeer-drinking\u201d in Modern English. However, John Earle translates \u201cbeorpege\u201d (117) as \u201ccarousal\u201d (A.117) in 1892, and Francis B. Gummere, in 1929, translates it as \u201coutrevelled\u201d (C.117). These translations both imply a sense of \u201cbeorpege\u201d (117), but fail to capture the depth and feeling of fellowship that is present in the original quite as well as \u201cbeer-drinking\u201d. Michael Alexander, in 1973, focuses on the same sense of \u201cbeorpege\u201d (117), but takes some narrative liberties in his translation: \u201cthe horn had gone round\u201d (G.117). This translation captures the spirit of the original, but fails to maintain the form of the Old English in favour of a modern narrative metaphor. It must be noted, however, that Michael Alexander later glosses \u201cbeorpege\u201d(117) as \u201cbeer-drinking\u201d in the 1995 transcription of Beowulf. There is a lot more variation present over the last century in the translations of \u201cwonsceaft wera\u201d (120) than in the fairly consistent pattern of \u201cbeorpege\u201d (117). Some of the translation variations include: \u201cdesolation of men\u201d (A.120), \u201cthe evil haps of men\u201d (B.120), \u201cof human hardship\u201d (C.120), \u201cTempest or mortality\u201d (D.120), \u201cmisery of men\u201d (E,F,I,K.120), and \u201cdark-shaft of men\u201d (L.120). Of these translations, \u201cmisery of men\u201d proves to be the most common and accepted interpretation of \u201cwonsceaft wera\u201d (120) in Modern English. However, I believe that my own translation, \u201cdark-shaft of men\u201d (L.120), more accurately represents the intention of the Old English \u201cwonsceaft wera\u201d (120). Much of the poetic and narrative meaning in Beowulf is derived from the association of word structures and symbolism interweaving throughout the Old English text. My translation, \u201cdark-shaft of men\u201d (L.120), expresses the same intent as \u201cmisery of men\u201d, but follows more closely the form and structure of the Old English poet. The \u201cdark-shaft\u201d represents misery in the dark shaft of a bloodied weapon, the dark and mysterious shafts of wells and pits, and the dark shaft that encloses in upon the light as death grips a dying man. This translation echoes the form and meaning of the original, providing a level of depth that is absent in the pattern of modern translations. The general pattern among the translations of Grendel\u2019s approach to the hall seems to be fairly consistent over time, with variation between the literal and narrative approach of the translator, and the degree of depth to which the original Old English text is engaged. The representation of Grendel (120-125) in the various translations over time, of the selected Beowulf passage (115-125), presents a fairly consistent pattern of Grendel represented as more than a simple monster, mirroring and contrasting the heroic warrior characteristics of Beowulf himself. The original poet provides his representation of Grendel in the Old English: \u201cWiht unhaelo, \/ grim ond graedig, gearo sona waes, \/ reoc ond repe,\u201d (120-22). Often when transferring this into Modern English, the translator will represent Grendel simply as \u201cthe monster\u201d, thereby denying Grendel\u2019s importance as a character, warrior, and contrast as anti-hero to the hero, Beowulf. By denying or misstating the importance of Grendel, such a translator would be lessening the accomplishment of the hero, Beowulf, and ultimately diminishing the greatness of the epic. Gavin Bone\u2019s translation is the only one of those selected that actually represents Grendel in this manner. The 1943 translation states Grendel as \u201cThe bad creature&#8230; Cruel and hungry,&#8230; is away happy&#8230; With his fill of meat\u201d (D.120- 125). The impression provided by this translation of Grendel is not one of a fierce and mighty opponent for a hero to battle, but of a simple \u201cbad\u201d and \u201chungry\u201d animal, comparable to a dingo stealing babies in the night in the Outback. This is not an accurate representation of the depth present in the Old English form and the might of Grendel. Providing variation are the translations by Francis B. Gummere and Ruth P.M. Lehmann, which sit somewhere in the middle. They do not present Grendel as a simple beast, but they also leave out heroic characteristics in their translations of the representation of Grendel from Old English. Francis B. Gummere translates Grendel as \u201cUnhallowed wight, \/ grim and greedy, he grasped betimes, \/ wrathful, reckless,\u201d (C.120-22), while Ruth P.M. Lehmann interprets Grendel as \u201cThe creature of evil, \/ grim and greedy, was gripped at once \/ by wrath and raging\u201d (H.120-22). Both representations present Grendel as a creature with human traits, but they make no mention of the Old English heroic ideal of \u201creadiness for battle\u201d. It is this recognition, in the translation of the representation of Grendel from Old English, that provides the depth in the character of Grendel in comparison to Beowulf, and emphasizes his warrior traits. Most of the translations for \u201cgearo sona waes,\u201d (121) are as follows: \u201cwas ready straight\u201d (A.121), \u201cwas soon alert\u201d (B.121), \u201che was soon ready\u201d (E.243), \u201cwas quickly ready\u201d (F,K.121), and \u201cready soon he was\u201d (L.121). These form a general pattern over time in translation that does recognize the importance of Grendel as a warrior figure and anti-hero to Beowulf. Grendel\u2019s \u201creadiness for battle\u201d is translated, drawing on the Old English ideal of heroic combat, which emphasizes the human traits and emotions that are provided in the representation of Grendel in each of the translations. The majority of the translations, albeit to varying degrees, tend to express Grendel in the manner that was intended by the original Old English poem. Of the translations selected, I found that my own was the most representative of the original text. While most of the translations expressed \u201cWiht unhaelo\u201d (120) as \u201cthe creature of evil\u201d, my own translation expresses this as \u201cWarrior creature of unsalvation\u201d (L.120). I find that, in keeping with the depth and metaphors present in the poetic and narrative language of the original, the translation can maintain the heroic resonances that make the Old English epic of Beowulf great. \u201cWarrior creature of unsalvation\u201d suggests a strength in the force that is Grendel, and draws immediate comparison to the counter-force, Beowulf. As Beowulf is fated to be the warrior of salvation for Hrothgar\u2019s court, so is Grendel fated to be the warrior of unsalvation; this is expressed by Grendel\u2019s ancestry and lineage to Cain, and in the contrast to Beowulf as a warrior of light and salvation. However varied, the majority of the translations studied for this one hundred and ten year period exhibit a pattern in the representation of Grendel that presents him as a warrior, foil, and equal to the hero of the epic; a hero in the darkness. The representation of the translations for the selected passage from Beowulf suggests a general pattern in translations over time, in the lack of expressing the recurring diction and narrative movement providing a ring-composition, which is evident in the original Old English text. This is not to say that there is no recognition in translation of the ring-composition, or envelope structure, which is operating throughout the text of Beowulf, forever adding to the depth of the epic verse. It appears that most of the earlier translations of the selected passage were unaware of the envelope structure operating within the text. In the original Old English, the passage of Grendel\u2019s attack on the hall opens on line 115 with \u201cneosian\u201d, and then closes on line 125, again with \u201cneosan\u201d. This was not done by the poet because of a limited vocabulary or inability to find a more suitable word. This was done intentionally to provide recurring diction and a ring-composition in the text of the poem. Either the early translators were unaware of this structure\u2019s presence in the text, or they made a conscious effort in their translations to remove the \u201cbad form\u201d of repetition. Whichever is the case, early translations of the \u201cneosian&#8230; neosan\u201d (115-125) recurring diction are as follows: \u201cto explore&#8230; to go\u201d (A.115-125), \u201cto spy&#8230; sought\u201d (B.115-125), \u201cto find&#8230; to seek\u201d (C.115-125), and \u201cto look&#8230; is away\u201d (D.115-125). It is not until the 1962 translation by Vincent F. Hopper, in those examined, that the presence of the envelope structure is recognized in translation. He translates \u201cneosian&#8230; neosan\u201d (115-125) as \u201cto visit&#8230; to visit\u201d (E.230-251) in his translation of the selected passage. After this, the structure is present in Michael Alexander\u2019s 1973 translation, \u201csought&#8230; sought\u201d (G.116-125), Ruth P.M. Lehmann\u2019s 1988 translation, \u201cseeking&#8230; seeking\u201d (H.115-125), and my own translation, \u201cseeking&#8230; seeking\u201d (L.115-125), as well as in the glossing of the two transcriptions (I and J). However, recent translations, such as Alfred David\u2019s 1996 translation of Beowulf in The Norton Anthology of English Literature, still do not include the recognition of the recurring diction that is present in the original poem. Overall, the majority of translations of Beowulf do not include the recurring diction and narrative movement that forms the ring-compositions within the text. The ring- composition is an important aspect of the Old English poetic form, serving to link the text together and further add depth to the characters, symbols, and relationships within the epic of Beowulf. Still, over the last one hundred and ten years, the general pattern observed in the translations of the selected passage is one of a lack of recognition in translation of the recurring diction and envelope structure present within the Old English text. As opposed to the representation of Grendel in the previous section, here, in the expression of the ring-composition, recognition seems to be the variation instead of the pattern. Through the examination of Grendel\u2019s approach to the hall, the representation of Grendel, and the presence or absence of ring-compositions, I have provided an analysis over time of a variety of Beowulf translations, concerning the patterns and variations of the various translations, associated with the original Old English poetry. The overall pattern that is observed from this analysis of translations over a one hundred and ten year period, is a fairly consistent one of many different forms of translation present, containing a generally consistent base of content and depth in its presentation of the Old English epic. The analysis of patterns and variations over time in translations is important for texts such as Beowulf, which, in its original Old English, has a very limited realm of influence. Translations allow for the epic to be distributed more widely amongst the modern literary world. Analysis of these translations allows for the greater recognition of the depth that weaves and resonates throughout the Old English text of Beowulf. Through analysis of translations, the cumulative understanding of the earliest English epic, Beowulf, can only increase, even in a base with little-to-no Old English experience. As Old English becomes \u201colder\u201d English, it may one day fall upon the translations of Beowulf to solely defend the original text\u2019s place as the earliest and greatest epic in English literature\u2019s history.<\/p>\n<p>________________________<\/p>\n<p><em>Warning! This is a free term paper example on <strong>Beowulf<\/strong> cannot be used as your own term paper research. This sample term paper can be easily detected as plagiarism by any plagiarism detection tool. <\/em><\/p>\n<p><em>Our online term paper writing service<strong> <\/strong>MidTerm.us can provide college and university students with non-plagiarized custom written term papers on any topic. All custom term papers are written from scratch by qualified writers. High quality, fast delivery and professional term paper help are guaranteed.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Beowulf. The oldest and, arguably, the greatest epic in English literature\u2019s vast history. Beowulf is an epic poem, originally written in Old English, that details the heroic exploits of the warrior, Beowulf, throughout his life. It represents the heroic ideal &hellip; <a  class=\"more\" href=\"https:\/\/www.midterm.us\/blog\/sample-term-papers\/beowulf-term-paper.html\">Continue reading <span class=\"meta-nav\">&nbsp;<\/span><\/a><\/p>\n","protected":false},"author":12,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[411,407,410,406,405,190,409,408],"class_list":["post-157","post","type-post","status-publish","format-standard","hentry","category-sample-term-papers","tag-beowulf-term-paper-essay","tag-beowulf-term-paper-example","tag-beowulf-term-paper-help","tag-beowulf-term-paper-topics","tag-beowulf-term-papers","tag-english-term-paper","tag-free-beowulf-term-papers","tag-sample-beowulf-term-paper"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.midterm.us\/blog\/wp-json\/wp\/v2\/posts\/157","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.midterm.us\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.midterm.us\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.midterm.us\/blog\/wp-json\/wp\/v2\/users\/12"}],"replies":[{"embeddable":true,"href":"https:\/\/www.midterm.us\/blog\/wp-json\/wp\/v2\/comments?post=157"}],"version-history":[{"count":4,"href":"https:\/\/www.midterm.us\/blog\/wp-json\/wp\/v2\/posts\/157\/revisions"}],"predecessor-version":[{"id":923,"href":"https:\/\/www.midterm.us\/blog\/wp-json\/wp\/v2\/posts\/157\/revisions\/923"}],"wp:attachment":[{"href":"https:\/\/www.midterm.us\/blog\/wp-json\/wp\/v2\/media?parent=157"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.midterm.us\/blog\/wp-json\/wp\/v2\/categories?post=157"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.midterm.us\/blog\/wp-json\/wp\/v2\/tags?post=157"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}