Blogging Beowulf: Fit XXXVII, Lines 2694–751

11 May 2009

The battle with the dragon continues. Wiglaf stabs the beast nioðor hwēne, or somewhat lower down, presumably in the genitals. Beowulf draws his seax, a short stabbing sword, a word that gives us the Saxon in Anglo-Saxon, and cuts through the dragon’s belly. The dragon finally gives up the ghost. But Beowulf feels the dragon’s poison in his veins and knows his wounds are mortal and commands Wiglaf to go into the dragon’s barrow and bring out the treasure so he can look at it before he dies.

So far, I’ve included most of the verses dealing with the dragon fight, so I might as well continue and give the last few lines, 2769–2709a:

Þæt hē þone nīðgæst      nioðor hwēne sloh,
secg on searwum,      þæt ðæt sweord ġedēaf
fāh ond fæted,      þæt ðæt fyr ongon
sweðrian syððan.      Þā ġēn sylf cyning
ġewēold his ġewitte,      wællseaxe ġebræd
biter ond beaduscearp,      þæt hē on byrnan wæġ;
forwrāt Wedra helm      wyrm on middan.
Fēond ġefyldan      —ferh ellen wræc—
ond hī hyne þā bēġen      ābroten hæfdon,
sibæðelingas;      swylċ sceolde secg wesan,
þeġn æt ðearfe!

([Wiglaf] the beast       somewhat lower down struck,
the man in armor,      so that the sword plunged in
hostile and ornamented,      so that the fire began
to subside afterward.      The king himself still
possessed his wits,      and drew his battle-seax
bitter and battle-sharp,      that he carried in his byrnie;
the protector of the Weders cut through      the worm in the middle.
They felled the fiend      —their courage drove out its life—
and they both then      had cut it down,
the noble kinsmen;      such should a man be,
a thane at need!)

The poet tells us of Beowulf’s knowledge of his coming death, lines 2724–28

Bīowulf maþelode—      hē ofer benne spræc,
wunde wælblēate;       wisse hē ġearwe
þæt hē dæġhwīla      ġedrogen hæfde,
eorðan wyn(ne);      ðā wæs eall sceacen
dōgorġerīmes,      dēað unġemete nēah.)

(Beowulf spoke—      he despite his would spoke,
the mortal wound;      he knew for certain
that he his space of days      had passed through,
of the joys of the earth;      that all was gone
of his number of days,      death was immeasurably near.)

Beowulf expresses an odd, at least to the modern ear, sentiment when he tells Wiglaf to fetch the treasure, lines 2747–51:

Bīo nū on ofoste,      þæt iċ ærwelan,
goldæht onġite,      ġearo scēawiġe
sweġle searoġimmas,      þæt iċ ðy sēft mæġe
æfter māððumwelan      mīn ālætan
līf ond lēodscipe,      þone iċ longe hēold.

(Be now in haste,      that I the ancient wealth,
the golden treasure might see,      surely [I] might look
at the bright precious gems,       that I might softly
after the wealth of treasure      give up my
life and lordship,      that I [have] long held.)

Beowulf’s need to see the earthly treasure he has won at his hour of his death seems odd to us. We would think that someone about to die would be less concern with earthly rewards. But his sentiment is in keeping with the Germanic warrior culture, where gifts and rewards were symbolic of great deeds and a life well lived. In seeing the treasure, he knows he has done well and can peacefully depart this world.

Blogging Beowulf: Fit XXXVI, Lines 2602-93

10 May 2009

We are introduced to Wiglaf, the only one of Beowulf’s men who does not flee. He is not a Geat, but a Wægmunding, a distant kinsman of Beowulf. His father, Weohstan, fought on the side of the Swedes in the earlier wars of Swedish succession, and his sword was won by his father when he killed a Swedish prince in battle. We are told that this is the first time that Wiglaf, a very young man, has ever had to fight alongside Beowulf. Wiglaf gives a speech to the other men, attempting unsuccessfully to rally them to Beowulf’s side. He then goes on, alone, to aid Beowulf. Right away, the dragon fire destroys Wiglaf’s linden shield and the young warrior has to take shelter behind Beowulf’s iron one. Beowulf takes a mighty swing at the dragon’s head, but his sword, Nægling, shatters. The dragon then bites and seizes Beowulf by the neck, mortally wounding our hero.

There is a lot of emphasis on inheritance of weapons in this fit. The poem spends some time describing the lineage of Wiglaf’s sword and armor—the noble background of the weapons is imparted to the warrior. Wiglaf’s speech is also a fine example of rhetoric. Wiglaf connects the gifts of weapons the warriors have received from Beowulf with their obligation to him. He shifts back and forth between the abstract obligations and the cold, hard reality of the weapons and armor they have on their bodies.

The battle description is quite vivid, lines 2669-93:

Æfter ðām wordum      wyrm yrre cwōm,
atol inwitgæst      ōðre sīðe
fyrwylmum fah      fīonda nīos(i)an,
laðra manna;      līġ yðum fōr;
born bord wið rond.      Byrne ne meahte
ġeongum gārwigan      ġēoce ġefremman,
ac se maga ġeonga      under his mæġes scyld
elne ġeēode,      þā his āgen wæs
glēdum forgrunden.      Þā ġēn gūðcyning
m(ōd) ġemunde,      mæġenstrenġo slōh
hildebille,      þæt hyt on heafolan stōd
nīþe ġenyded;      Næġling forbærst,
ġeswāc æt sæċċe      sweord Bīowulfes,
gomol ond græġmæl.      Him þæt ġifeðe ne wæs
þæt him īrenna      ecge mihton
helpan æt hilde;      wæs sīo hond tō strong,
sē ðe mēċa ġehwane      mine ġefræġe
swenġe ofersōhte,      þonne hē tō sæċċe bær
wæpen wundum heard;      næs him wihte ðē sēl.
Þā wæs þēodsceaða      þriddan sīðe,
frēcne fyrdraca      fæhða ġemyndiġ,
ræsde on ðone rofan,      þā him rūm āġeald,
hāt ond heaðogrim,      heals ealne ymbefēng
biteran banum.      He ġeblodegod wearð
sāwuldrīore;      swāt yðum wēoll.

(After those words      the worm came angrily,
the terrible malicious stranger      for a second time
with surges of hostile fire      to seek out its enemies,
the hated men;      it came forth with waves of flame;
it burned the shield to the boss. His mail-shirt could not
to the young spear-warrior      deliver help,
but the young man      under his kinsman’s shield
valiantly went,      when his own was
destroyed by fires.      Then the war-king yet
remembered his courage,      and with great strength struck
with his battle-sword,      so that it stuck in the head
forced with violence;      Nægling burst apart,
failed at battle      the sword of Beowulf,
ancient and gray.      To him was not granted by fate
that him the iron      edge might
help in battle;      his hand was too strong,
he who each sword      as I have heard said
overtaxed with the swing,      when he bore to battle
a wondrously hard weapon;      it was no good to him at all.
Then was the people’s enemy      for a third time,
the fearsome fire-dragon      mindful of feuds,
rushed the brave one,   when opportunity permitted it,
hot and battle-grim,      he clasped all by the neck
with bitter teeth.      He became bloodied
with life-blood;      blood welled in waves.)

Some notes on this passage. I’ve translated wæpen wundum heard as wondrously hard, but it can also be translated as wound-hardened weapons, the idea that it has been made sharp through the infliction of many wounds, that an old and trusted weapon is the best.

I’ve also translated þā him rūm āġeald as when opportunity permitted it, but it literally is when room permitted it. This construction, physical space for opportunity, appears several times in the poem.

Note also that the dragon’s teeth are referred to as bones, banum.

Blogging Beowulf: Fit XXXV, Lines 2460-601

9 May 2009

The fit starts with Beowulf telling of the death of Hrethel, who had been depressed and despondent over the death of his son. Beowulf continues the story by telling of the war between the Geats and the Swedes in which Hæthcyn, Hrethel’s son and successor, is killed. The next day, Ongentheow, the king of the Swedes is killed in battle. Beowulf then tells of his own feats in battle against the Franks—apparently jumping forward a generation. Then he goes to fight the dragon alone. In the fight, Beowulf’s shield and armor protect him somewhat, but his sword fails him (again). All but one of his men flee in terror into the nearby woods.

Beowulf tells of how he defeated Dæghrefn, the champion of the Franks, lines 2506b-2508a:

                        Ne wæs ecg bona,
ac him hildegrap      heortan wylmas,
bānhūs ġebræc.

                        (Nor was an edge his slayer,
but battle-grasp      the beating of his heart,
his bone-house broke.)

Ecg, literally edge, is commonly used in the poem to denote a sword. And banhus is a person’s body. Beowulf follows this tale with the statement that he would prefer to grapple with the dragon, but knows he must use a sword to kill it.

Beotword is in line 2510. It is often translated as boasting-word, but pledge is probably a better choice as it carries the modern valence better. A beotword is a vow by a warrior saying that he will perform a deed. Anglo-Saxons weren’t infected with the modesty that we moderns have. It was not considered unseemly to boast of the deeds you plan to perform, so long as you carry them out, that is.

In line 2528 Beowulf says:

Þæt iċ wið þone gūðflogan      ġylp ofersitte.

(That I against this war-flier      a vow forego.)

Beowulf is not making a beotword about his upcoming battle with the dragon, indicating that he does not expect to survive and that he may even lose.

The description of the battle with the dragon is epic, lines 2559-91:

Biorn under beorge      bordrand onswāf
wið ðām gryreġieste,      Ġēata dryhten;
ðā wæs hrinġbogan      heorte ġefysed
sæċċe tō sēċeanne.      Sweord ær gebræd
gōd gūðcyning,      gomele lāfe,
ecgum unslāw;      æġhwæðrum wæs
bealohycgendra      brōga fram ōðrum.
Stīðmōd ġestōd      wi(ð) stēapne rond
winia bealdor,      ðā se wyrm ġebēah
snūde tōsomne;      hē on searwum bād.
Ġewāt ðā byrnende      ġebogen scrīðan,
tō ġescipe scyndan.      Scyld wēl ġebearg
līfe ond līce      læssan hwīle
mærum þēodne      þonne his myne sōhte,
ðær hē þy fyrste,      forman dōgore
wealdan moste      swā him wyrd ne ġescrāf
hrēð æt hilde.      Hond up ābræd
Ġēata dryhten,      gryrefāhne slōh
inċġelāfe,      þæt sīo ecg ġewāc
brūn on bāne,      bāt unswīðor
þonne his ðīodcyning      þearfe hæfde,
bysigum ġebæded.      Þā wæs beorges weard
æfter heaðuswenġe      on hrēoum mōde,
wearp wælfyre;      wīde sprungon
hildelēoman.      Hrēðsigora ne ġealp
goldwine Ġēata;      gūðbill ġeswāc,
nacod æt niðe,      swā hyt nō sceolde,
īren ærgōd.      Ne wæs þæt ēðe sīð,
þæt se mæra      maga Ecgðeowes
grundwong þone      ofġyfan wolde;
sceolde [ofer] willan      wīc eardian
elles hwerġen,      swā sceal æġhwylċ mon
ālætan lændagas.

(The warrior in the barrow      swung his shield
against the dreadful stranger,      the lord of the Geats;
then the coiled creature was      ready in its heart
to seek battle.      He had drawn his sword
the good war-king,      the old heirloom,
its edges unblunt;      each of the two
of the hostile ones were      in horror of the other.
The stout-hearted one stood      behind his towering shield
the protector of friends,      when the worm coiled itself
quickly together;      he waited in his armor.
Then it came burning      coiled slithering
advancing to its fate.      The shield protected well
the life and body      for less time
the famous king      than his mind had sought,
there he for the first time,      on that day
must perform      so that fate granted him not
triumph in battle.*      He raised up his hand
the lord of the Geats,      and struck the mottled horror
with the ancient sword,**      so that the edge failed
bright against bone,      it bit less strongly
than the people’s king      had need of,
hard-pressed by troubles.      Then was the protector of the barrow
after the battle-stroke      in a savage mood,
it threw out deadly fire;      widely sprang
the battle-lights.      Boasted not of glorious victories
the prince of the Geats;      his war-sword failed,
when unsheathed*** in battle,      as it never should
ancient and good iron.      Nor was it an easy venture,
for the famous      kinsman of Ecgtheow
the earthly plain      to give up;
he must against his will****      a home to dwell
somewhere else,      as must every one of men
give up these loan-days.)

* This is a difficult passage. Wealden moste is literally must rule/possess. The gist is that Beowulf must face, for the first time, the fact that he is going to lose in battle.
**Incgelafe appears nowhere else in the Old English corpus and its exact meaning is obscure. Laf is heirloom (literally a leaving), in particular an heirloom sword. So the word means something like ancient sword, mighty sword, etc.
***Nacod is literally naked. In the context of a sword, it is unsheathed.
****Willan is an infinitive verb, to wish, to desire.

Blogging Beowulf: Fit XXXIV, Lines 2391-459

8 May 2009

The fit starts with the concluding lines of the history of the feud between the Swedes and the Geats (another example of how the fit divisions are senseless). Beowulf indirectly avenges the death of Heardred by supporting the Swedish exile Eadgils wigum ond wæpnum (with warriors and weapons) in his fight to gain the Swedish throne. Action then cuts back to the dragon, where Beowulf takes twelve men with him to fight the beast. They are led to the dragon by the thief who stole the cup, the thirteenth man in the company. Beowulf, knowing his end is near, starts another flashback, telling his men of his growing up in the Geatish court. He was raised by Hrethel the king as if he were a son. Hrethel had three natural sons, Herebeald, Hæthcyn, and Hygelac. Hæthcyn killed Herebeald in an archery accident, devasting Hrethel and sending the king into a deep depression and decline.

There’s a great passage about Beowulf’s state of mind prior to the fight with the dragon, lines 2419a-24:

                        Him wæs ġeōmor sefa,
wæfre ond wælfūs,      wyrd unġemete nēah,
sē ðone gomelan      grētan sceolde,
sēċean sāwle hord,      sundur ġedælan
līf wið līċe;      nō þon lange wæs
feorh æþelinges      flæsce bewunden.

(                        He was mournful of spirit,
restless and ready for death,      his fate immeasurably near,
[a fate] which should greet      the old man,
to seek the hoard of his soul,      to divide asunder
life from the body;      not for long was
the prince’s life      bound to the flesh.)

There is some confusion over the killing of Herebeald, not over the facts but how it is treated in the text. In line 2441 the text calls the accident a feohlēas ġefeoht (inexpiable fight). It is an action that cannot be compensated or atoned for, an accident. Yet lines 2444-46a contain this gnomic statement:

Swā bið ġeōmorlīċ      gomelum ċeorle
to ġebīdanne,      þæt his byre rīde
ġiong on galgan.

(So it is sad      for an old man
to live to see,      his son ride
young on the gallows.)

Normally Hæthcyn would not be executed for such an accident. Is the old man a generic figure, or is he Hrethel the king? The lines may reference an old practice of the cult of Odin in which a warrior who dies, but not in battle is posthumously hanged on a gallows, a great shame.

The hanging corpse is described in line 2448 as hrefne tō hrōðre (for the enjoyment of ravens), a rather macabre image.

Hrethel is also criticized for not seeking to create another heir, although he still has a son to inherit the throne. This is fairly significant in that inheritance and the passing on of a legacy is a major theme of the poem. Beowulf dies without an heir, and his death signals the end of an era. Lines 2451b-54:

                        ōðres ne ġymeð
tō ġebīdanne      burgum in innan
yrfeweardas,      þonne se ān hafað
þurh dēaðes nyd      dæda ġefondad.

(                        he cares not another
to live to see      inside the fortress
an heir,      when that one has
through the necessity of death      come the end of his deeds.)

This entire fit is very dark and elegiac, and concludes with these wonderfully evocative lines, 2455-59:

Ġesyhð sorhċeariġ      on his suna būre
wīnsele wēstne,      windġe reste,
rēot[ġ]e berofene;      rīdend swefað,
hæleð in hoðman;      nis þær hearpan swēġ,
gomen in ġeardum,      swylċe ðær iū wæron.

(The sorrowful one looks      on his son’s chamber
the deserted wine-hall,   the windswept resting place,
mournful bereft;      the riders sleep,
the heroes in their graves;      there is no harp music,
or amusement in the enclosure,   as there was of old.)