Beowulf Quotes

There's life for you. Spend the best years of your life studying penmanship and rhetoric and syntax and Beowulf and George Eliot, and then somebody steals your pencil.

It is always better to avenge dear ones than to indulge in mourning. For every one of us, living in this world means waiting for our end. Let whoever can win glory before death. When a warrior is gone, that will be his best and only bulwark.

Behaviour that's admired is the path to power among people everywhere.

Anyone with gumption and a sharp mind will take the measure of two things: what's said and what's done.

Just don't take any class where you have to read BEOWULF.

She always did like tales of adventure-stories full of brightness and darkness. She could tell you the names of all King Arthur's knights, and she knew everything about Beowulf and Grendel, the ancient gods and the not-quite-so-ancient heroes. She liked pirate stories, too, but most of all she loved books that had at least a knight or a dragon or a fairy in them. She was always on the dragon's side by the way.

I shall gain glory or die.

Fate will unwind as it must!

Quickly, the dragon came at him, encouraged As Beowulf fell back; its breath flared, And he suffered, wrapped around in swirling Flames -- a king, before, but now A beaten warrior. None of his comrades Came to him, helped him, his brave and noble Followers; they ran for their lives, fled Deep in a wood. And only one of them Remained, stood there, miserable, remembering, As a good man must, what kinship should mean.

Then, Beowulf says wistfully, "Your beauty is nuanced and labyrinthine like a sentence by Proust.

That was their way, their heathenish hope; deep in their hearts they remembered hell.

Fate goes ever as fate must.

In off the moors, down through the mist beams, god-cursed Grendel came greedily loping.

And a young prince must be prudent like that, giving freely while his father lives so that afterwards, in age when fighting starts steadfast companions will stand by him and hold the line.

By the way, don't 'weep inwardly' and get a sore throat. If you must weep, weep: a good honest howl! I suspect we - and especially, my sex - don't cry enough now-a-days. Aeneas and Hector and Beowulf, Roland and Lancelot blubbered like schoolgirls, so why shouldn't we?

The most frightening monsters are monsters’ mothers. Just ask Beowulf.

Beloved Beowulf, remember how you boasted, Once, that nothing in the world would ever Destroy your fame; fight to keep it, Now, be strong and brave, my noble King, protecting life and fame Together. My sword will fight at your side!

It's patterns," he said. "If they think you're a hero, they're wrong. After you die, you don't get to be Beowulf or Perseus or Rama anymore. Whole different set of rules. Chess, not checkers. Go, not chess. You understand?

I’ve never known fear; as a youth I fought/ In endless battles. I am old, now,/ But I will fight again, seek fame still,/ If the dragon hiding in his tower dares/ To face me

Stars, spattered out through lifeless night from end to end, like jewels scattered in a dead king's grave, tease, torment my wits toward meaningful patterns that do not exist.

Beowulf survives: for a time, for as long as learning keeps any honor in its land. And how long will that be? God ána wát. (Tolkien on the life and relevance of the Beowulf poem)

A man inherited a field in which was an accumulation of old stone, part of an older hall. Of the old stone some had already been used in building the house in which he actually lived, not far from the old house of his fathers. Of the rest he took some and built a tower. But his friends coming perceived at once (without troubling to climb the steps) that these stones had formerly belonged to a more ancient building. So they pushed the tower over, with no little labour, and in order to look for hidden carvings and inscriptions, or to discover whence the man's distant forefathers had obtained their building material. Some suspecting a deposit of coal under the soil began to dig for it, and forgot even the stones. They all said: 'This tower is most interesting.' But they also said (after pushing it over): 'What a muddle it is in!' And even the man's own descendants, who might have been expected to consider what he had been about, were heard to murmur: 'He is such an odd fellow! Imagine using these old stones just to build a nonsensical tower! Why did not he restore the old house? he had no sense of proportion.' But from the top of that tower the man had been able to look out upon the sea.

Meanwhile, the sword began to wilt into gory icicles, to slather and thaw. It was a wonderful thing, the way it all melted as ice melts when the Father eases the fetters off the frost and unravels the water-ropes. He who wields power over time and tide: He is the true Lord.

Death is not easily escaped, try it who will; but every living soul among the children of men dwelling upon the earth goeth of necessity unto his destined place, where the body, fast in its narrow bed, sleepeth after feast.

Monsters are getting more uppity, too (...) I heard where this guy, he killed this monster in this lake, no problem, stuck its arm up over the door (...) and you know what? Its mum come and complained. Its actual mum come right down to the hall next day and complained. Actually complained. That's the respect you get.

Poem Written in a Copy of Beowulf At various times, I have asked myself what reasons moved me to study, while my night came down, without particular hope of satisfaction, the language of the blunt-tongued Anglo-Saxons. Used up by the years, my memory loses its grip on words that I have vainly repeated and repeated. My life in the same way weaves and unweaves its weary history. Then I tell myself: it must be that the soul has some secret, sufficient way of knowing that it is immortal, that its vast, encompassing circle can take in all, can accomplish all. Beyond my anxiety, beyond this writing, the universe waits, inexhaustible, inviting.

Many a man has a treasure in his hoard that he knows not the worth of. (Sellic Spell)

O: You’re quite a writer. You’ve a gift for language, you’re a deft hand at plotting, and your books seem to have an enormous amount of attention to detail put into them. You’re so good you could write anything. Why write fantasy? Pratchett: I had a decent lunch, and I’m feeling quite amiable. That’s why you’re still alive. I think you’d have to explain to me why you’ve asked that question. O: It’s a rather ghettoized genre. P: This is true. I cannot speak for the US, where I merely sort of sell okay. But in the UK I think every book— I think I’ve done twenty in the series— since the fourth book, every one has been one the top ten national bestsellers, either as hardcover or paperback, and quite often as both. Twelve or thirteen have been number one. I’ve done six juveniles, all of those have nevertheless crossed over to the adult bestseller list. On one occasion I had the adult best seller, the paperback best-seller in a different title, and a third book on the juvenile bestseller list. Now tell me again that this is a ghettoized genre. O: It’s certainly regarded as less than serious fiction. P: (Sighs) Without a shadow of a doubt, the first fiction ever recounted was fantasy. Guys sitting around the campfire— Was it you who wrote the review? I thought I recognized it— Guys sitting around the campfire telling each other stories about the gods who made lightning, and stuff like that. They did not tell one another literary stories. They did not complain about difficulties of male menopause while being a junior lecturer on some midwestern college campus. Fantasy is without a shadow of a doubt the ur-literature, the spring from which all other literature has flown. Up to a few hundred years ago no one would have disagreed with this, because most stories were, in some sense, fantasy. Back in the middle ages, people wouldn’t have thought twice about bringing in Death as a character who would have a role to play in the story. Echoes of this can be seen in Pilgrim’s Progress, for example, which hark back to a much earlier type of storytelling. The epic of Gilgamesh is one of the earliest works of literature, and by the standard we would apply now— a big muscular guys with swords and certain godlike connections— That’s fantasy. The national literature of Finland, the Kalevala. Beowulf in England. I cannot pronounce Bahaghvad-Gita but the Indian one, you know what I mean. The national literature, the one that underpins everything else, is by the standards that we apply now, a work of fantasy. Now I don’t know what you’d consider the national literature of America, but if the words Moby Dick are inching their way towards this conversation, whatever else it was, it was also a work of fantasy. Fantasy is kind of a plasma in which other things can be carried. I don’t think this is a ghetto. This is, fantasy is, almost a sea in which other genres swim. Now it may be that there has developed in the last couple of hundred years a subset of fantasy which merely uses a different icongraphy, and that is, if you like, the serious literature, the Booker Prize contender. Fantasy can be serious literature. Fantasy has often been serious literature. You have to fairly dense to think that Gulliver’s Travels is only a story about a guy having a real fun time among big people and little people and horses and stuff like that. What the book was about was something else. Fantasy can carry quite a serious burden, and so can humor. So what you’re saying is, strip away the trolls and the dwarves and things and put everyone into modern dress, get them to agonize a bit, mention Virginia Woolf a few times, and there! Hey! I’ve got a serious novel. But you don’t actually have to do that. (Pauses) That was a bloody good answer, though I say it myself.

His poem is like a play in a room through the windows of which a distant view can be seen over a large part of the English traditions about the world of their original home. (Tolkien on the author of Beowulf)

Hwæt! Wē Gār-Dena in geār-dagum þēod-cyninga þrym gefrūnon, hū þā æðelingas ellen fremedon. Oft Scyld Scēfing sceaðena þrēatum, monegum mǣgðum meodo-setla oftēah. Egsode eorlas, syððan ǣrest wearð fēasceaft funden: hē þæs frōfre gebād, wēox under wolcnum, weorð-myndum ðāh, oð þæt him ǣghwylc þāra ymb-sittendra ofer hron-rāde hȳran scolde, gomban gyldan. Þæt wæs gōd cyning!

Over the waves, with the wind behind her and foam at her neck, she flew like a bird until her curved prow had covered the distance...

That struggle was too strong, hateful and long-lasting, which had come on the people, dire wrack and ruin - the greatest of night-evils.

Free Trader Beowulf—you had to be at least forty and a recovering pen-and-paper role-playing-gamer to get the reference, but it was apt. Google it.

To be allowed, no, invited into the private lives of strangers, and to share their joys and fears, was a chance to exchange the Southern bitter wormwood for a cup of mead with Beowulf or a hot cup of tea and milk with Oliver Twist.

You're the modern versions of Beowulf, of St. George, of Odysseus. You're Van Helsing with firepower. You're Jack and the Beanstalk with automatic weapons. We're walking in the valley of the shadow of death, but we shall fear no evil! Because evil is about to get a stake put through its black heart because we are the baddest mother-fuckers to ever set foot in the valley!

Dude--she's your wife." He pointed to the locker where the Bible lay concealed. "God first, family second, country third.

Bro! Tell me we still know how to speak of kings! In the old days,   everyone knew what men were: brave, bold, glory-bound. Only   stories now, but I’ll sound the Spear-Danes’ song, hoarded for hungry times.

We know this much is true,   and it’s true for all souls: each of us will one day   find the feast finished and, fattened or famished,   step slowly backward into their own dark hall   for that final night of sleep.

The hall towered, gold-shingled and gabled, and the guest slept in it until the black raven with raucous glee announced heaven's joy, and a hurry of brightness overran the shadows.

Let whoever can win glory before death.

Wyrd oft nered unfaegne, eorl, ponne his ellen deah. Often, for undaunted courage, fate spares the man it has not already marked.

Sometimes at pagan shrines they vowed offerings to idols, swore oaths that the killer of souls might come to their aid and save the people. That was their way, their heathenish hope; deep in their hearts they remembered hell.

There are no true enemies, only potential allies — hearts and minds yet to be won, “peaceful people” being deprived of their natural right to fast food, wall-to-wall carpet and high definition pornography. There are no more statues of heroes because no true villains can be acknowledged. There is no Beowulf because there are no monsters or dragons — only outsiders who are disenfranchised and misunderstood. Monuments can only be raised to mythic martyred unifiers like Jesus Christ or Martin Luther King or Abraham Lincoln. This

For it is now to us itself ancient; and yet its maker was telling of things already old and weighted with regret, and he expended his art in making keen that touch upon the heart which sorrows have that are both poignant and remote.

Sometimes I think that the biggest difference between men and women is that more men need to seek out some terrible lurking thing in existence and hurl themselves upon it like Ahab with the White Whale. Women know where it lives but they can let it alone. Even in matriarchal societies I doubt that there were ever female Beowulfs. Women lie with gods and demons but they don’t go looking for monsters to fight with. Ariadne gave Theseus a clew but the Minotaur was his business.

This fight was old, Shadow thought, older than even Mr. Alice knew, and he was thinking that even as the creature's talons raked his chest. It was the fight of man against monster, and it was old as time: it was Theseus battling the Minotaur, it was Beowulf and Grendel, it was the fight of every hero who had ever stood between the firelight and the darkness and wiped the blood of something inhuman from his sword.

For every one of us, living in this world means waiting for our end.

Each of them, living, was intolerable to the other, and in fury, they fell to it.

Grendel hurt, and so he hunted.

The sword sweated red; the swordsman regretted nothing.

We all know a boy can't daddy until his daddy's dead.

Do not worry, Lumawoo.” Beowulf sniffed deeply. “We will follow the smell of chickens.” “He means baby dodos,” Cassiopeia corrected.

I wasn’t sure what Sun Tzu or Beowulf would say about flirting with cute guys. Maybe share the skulls of your enemies with them, as a gesture of affection?

They knew that if, as a child, you do pluck up the courage to hit a bully, it is an act of true heroism--as great as that of Beowulf in his old age.

Bebeorh þé ðone bealo-níð, Béowulf léofa, secg betsta, ond þé þæt sélre gecéos, éce rǽdas; ofer-hýda ne gým, mǽre cempa! Nú is þines mægnes blǽd áne hwíle; eft sóna bið þæt þec ádl oððe ecg eafoþes getwǽfeð, oððe fýres feng oððe flódes wylm oððe gripe méces oððe gáres fliht oððe atol yldo, oððe éagena bearhtm forsiteð ond forsworceð; semninga bið, þæt ðec, dryht-guma, déað oferswýðeð. O flower of warriors, beware of that trap. Choose, dear Béowulf, the better part, eternal rewards. Do not give way to pride. For a brief while your strength is in bloom but it fades quickly; and soon there will follow illness or the sword to lay you low, or a sudden fire or a surge of water or jabbing blade or javelin from the air or repellent age. Your piercing eye will dim and darken; and death will arrive, dear warrior, to sweep you away.

But to elude death is not easy: attempt it who will, he shall go to the place prepared for each of the sons of men, the soul-bearers dwelling on earth, ordained them by fate: laid fast in that bed, the body shall sleep when the feast is done.

Sentences that begin with 'You' are probably not true. For instance, when I write: "You are a pet human named Morlock being disciplined by your master, a Beowulf cluster of FreeBSD 22.0 servers in the year 2052. Last week you tried to escape by digging a hole under the perimeter, which means this week you may be put to sleep for being a renegade human." That's not true, at least not yet.

A ring-whorled prow rode in the harbour, ice-clad, outbound, a craft for a prince. They stretched their beloved lord in his boat, laid out by the mast, amidships, the great ring-giver. Far fetched treasures were piled upon him, and precious gear. I have never heard before of a ship so well furbished with battle tackle, bladed weapons and coats of mail. The massed treasure was loaded on top of him: it would travel far on out into the ocean's sway. They decked his body no less bountifully with offerings than those first ones did who cast him away when he was a child and launched him alone over the waves. And they set a gold standard up high above his head and let him drift to wind and tide, bewailing him and mourning their loss. No man can tell, no wise man in hall or weathered veteran knows for certain who salvaged that load.

Yes, every evening. Your mother enjoyed it. That evening she chose Inkheart. She always did like tales of adventure – stories full of brightness and darkness. She could tell you the names of all King Arthur's knights, and she knew everything about Beowulf and Grendel, the ancient gods and the not-quite-so-ancient heroes. She liked pirate stories, too, but most of all she loved books that had at least a knight or a dragon or a fairy in them. She was always on the dragon's side, by the way. There didn't seem to be any of them in Inkheart, but there was any amount of brightness and darkness, fairies and goblins. Your mother liked goblins as well: hobgoblins, bugaboos, the Fenoderee, the folletti with their butterfly wings, she knew them all. So we gave you a pile of picture books, sat down on the rug beside you, and I began to read.

Maybe in the motto grotto?” Alexander suggested. No doubt he was still thinking of the Spooky Grotto of Tygers. Beowulf shook his head. “Not even a spotto of a motto.” “Motto, notto,” Cassiopeia concluded sadly.

It happened that I had just finished co-writing a screen adaptation of Beowulf, the old English narrative poem, and was mildly surprised by the number of people who, mishearing me, seemed to think I had just written an episode of “Baywatch.” So I began retelling Beowulf as a futuristic episode of “Baywatch” for an anthology of detective stories. It seemed to be the only sensible thing to do. Look, I don’t give you grief over where you get your ideas from.

A queen should weave peace, not punish the innocent with loss of life for imagined insults.

Cwædon þæt he wære wyruld-cyninga, manna mildust ond mon-ðwærust, leodum liðost ond lof-geornost.

Privilege is the way men prime power, the world over.

Any season / is a season for blood, if you look at it in the right light.

We’re all going to die, but most of us won’t go out in glory. Here’s what matters, though, for men: not living, but living on in legend.

A wonderful thing one learns when one writes about imaginary kingdoms for a living is that, in fact, anyone can imagine anything, and if the writer is good, they can do it persuasively.

Words should not be used merely because they are 'old' or obsolete. The words chosen, however remote they may be from colloquial speech or ephemeral suggestions, must be words that remain in literary use, especially in the use of verse, among educated people. (To such Beowulf was addressed, into whatever hands it may since have fallen.) They must need no gloss. The fact that a word was still used by Chaucer, or by Shakespeare, or even later, gives it no claim, if it has in our time perished from literary use.

El hecho es que la participación de un dragón en la epopeya de Beowulf parece disminuirla a nuestro ojos. Creemos en el león como realidad y como símbolo; creemos en el minotauro como símbolo, ya que no como realidad; pero el dragón se el menos afortunado de los animales fabulosos.

4. The whole Icarus-flying-too-near-the-sun-and-plummeting-out-of-the-sky thing? That's real. Same with the Sirens who lure you to death with their irresistible song, and the odalisque so beautiful anyone who looks at her dies. And remember: as badass as Grendel was, Beowulf hadn't seen anything until he went up against Grendel's mother. I know, I know - I thought they were just myths too. But the fact is, sometimes, if you don't want to meet a tragic end, your only option is to avert your gaze, tie yourself to the mast with cotton in your ears, or ascend a little less close to the Vault of Heaven.

Except in the life of a hero, the whole world's meaningless. The hero sees the value beyond what's possible. That's the nature of a hero. It kills him of course, ultimately. But it makes the whole struggle of humanity worthwhile. (p.77)

For Tolkien’s taste there were too few dragons in ancient literature, indeed by his count only three – the Miðgarðsorm or ‘Worm of Middle-earth’ which was to destroy the god Thor at Ragnarök, the Norse Doomsday; the dragon which Beowulf fights and kills at the cost of his own life; and Fafnir, who is killed by the Norse hero Sigurd.

back then, fairy tales were for adults. Children listened to them and enjoyed them, but children were not the primary audience, no more than they were the intended audience of Beowulf, or The Odyssey. J. R. R. Tolkien said, in a robust and fusty analogy, that fairy tales were like the furniture in the nursery – it was not that the furniture had originally been made for children: it had once been for adults and was consigned to the nursery only when the adults grew tired of it and it became unfashionable.

So do you guys go to Warren?” I ask, downing the rest of my punch. They look at each other. One of them, Lars I think, coughs in my face. Then, Beowulf says wistfully, “Your beauty is nuanced and labyrinthine like a sentence by Proust.” I laugh, but Beowulf looks dead serious. He raises his glass to me. I notice his punch is in a plastic sippy cup. That he’s wearing black leather gloves. “Melanie Shingler is a whore compared to you,” says the boy next to him. Blake. “Pigeon-toed. Bad eyeliner. I couldn’t see it then because I was a fool but I have since developed my perception.” He too solemnly raises his sippy cup to me. He’s also wearing black leather gloves, I see. They all are.

Whoever remains for long here in this earthly life will enjoy and endure more than enough.

The fault was lying on its' back...

What are the deeds of heroes, except a few frightened people doing the best they can in the circumstances?

If you keep things simple, and look to the end, not the problems in the way, most things turn out to be possible.

A powerful monster, living down In the darkness, growled in pain, impatient

A hellion’s home is anywhere good men fear to tread; who knows the dread this marauder mapped?

And so he mourned as he moved about the world, deserted and alone, lamenting his unhappiness day and night, until death's flood brimmed up in his heart.

finally the end arrives when the body he was lent collapses and falls prey to its death; ancestral possessions and the goods he hoarded are inherited by another who lets them go with a liberal hand.

Oh, cursed is he who in time of trouble has to thrust his soul in the fire’s embrace, forfeiting help; he has nowhere to turn. But blessed is he who after death can approach the Lord and find friendship in the Father’s embrace.

Since I am unaware of any translation of Beowulf that makes a serious attempt to imitate the original, I have tried in this translation to accomplish three things—to adhere strictly to the rules of alliteration, to imitate as closely as is practical the stress patterns of Old English half-lines, and to choose Modern English words and compounds that give at least some idea of the strength and radiance of the original while also reflecting the tone of the poem.

Last, but not least, Unferth, Hrothgar's left-handed man, unexpectedly stanned for Beowulf, and handed him his heirloom, Hrunting, an ancient hilted sword, written with runes of ruin, iron blade emblazoned with poison shoots, each bud reddened with enemy blood. In war, it never failed to score flesh, had never been wrested from the fist of him who held it. It was a sublime solider's sword, meant to limb enemies, and this wasn't the first time it urged a hero to perform a feat.

Beowulf’s picture was far more elaborate than those of his siblings, and it did need a bit more work coloring in the background, but the gist of it was on full, frightening view. In the sky: a full moon, its eerie glow partially obscured by dark, swirling clouds. In the foreground: the dense, ferny undergrowth of a forest, bordered by a few gnarled tree trunks rising upward. In the center of the page: an old woman, wrapped in a cloak. Her mouth hung open in a leering smile, and her teeth were large and razor sharp, with a prominent set of gleaming white incisors. From the back of her shroudlike garments poked a long, wolfish tail. Cassiopeia and Alexander clapped and barked with admiration, but Penelope’s skin went cold.

The simple fact is that people who achieve excellence in their fields didn’t just have a dream. They got up at 4:00 am to practice on parallel bars or had to forgo other desirable activities and paths in order to get in six hours of violin practice a day, or stayed off several million absurd writing advice blogs with their overheated little cliques that dispense useless regurgitated maxims and empty praise and decide to actually confront their own thoughts on a page. Or they read Beowulf and Dante carefully and deeply when they didn’t see any point, since all they were interested in was Sylvia Plath, because someone of more experience and wisdom told them to do so. I don’t know whether we’re overly lazy, stupid, or childish these days. But the idea of preparing oneself for excellence has somehow disappeared. So – my advice to dreamers: Don’t just follow your dreams. Earn them. Do what it takes to achieve it. Work for it. Don’t just sit there and dream because if you do, it will never, ever be yours.

Beowulf stands out as a poem which makes extensive use of this kind of figurative language. There are over one thousand compounds in the poem, totalling one-third of all the words in the text. Many of these compounds are kennings. The word 'to ken' is still used in many Scottish and Northern English dialects, meaning 'to know'. Such language is a way of knowing and of expressing meanings in striking and memorable ways; it has continuities with the kinds of poetic compounding found in nearly all later poetry but especially in the Modernist texts of Gerard Manley Hopkins and James Joyce.

Then another dirge rose, woven uninvited by a Geatish woman, louder than the rest. She tore her hair and screamed her horror at the hell that was to come: more of the same. Reaping raping, feasts of blood, iron fortunes marching across her country claiming her body. The sky sipped the smoke and smiled.

Old English poetry has no stanzaic form and no rhyme (with the exception of a few later poems) except by accident. It consists of lines which run on to form sentences, each line composed of two half-lines, or verses, with a natural pause between them, so that the sentences may conclude at line-end or between half-lines. There is no set number of syllables per line—in Beowulf a normal line contains between eight and twelve. The half-lines are tied together by alliteration of consonants or vowels, any vowel alliterating with any other vowel through an emphatic pronunciation of stressed words that causes a sharp release of breath approximating a consonantal sound.

The ruinous deeds of the ravaging foe (Beowulf) The best-known long text in Old English is the epic poem Beowulf. Beowulf himself is a classic hero, who comes from afar. He has defeated the mortal enemy of the area - the monster Grendel - and has thus made the territory safe for its people. The people and the setting are both Germanic. The poem recalls a shared heroic past, somewhere in the general consciousness of the audience who would hear it. It starts with a mention of 'olden days', looking back, as many stories do, to an indefinite past ('once upon a time'), in which fact blends with fiction to make the tale. But the hero is a mortal man, and images of foreboding and doom prepare the way for a tragic outcome. He will be betrayed, and civil war will follow. Contrasts between splendour and destruction, success and failure, honour and betrayal, emerge in a story which contains a great many of the elements of future literature. Power, and the battles to achieve and hold on to power, are a main theme of literature in every culture - as is the theme of transience and mortality. ................ Beowulf can be read in many ways: as myth; as territorial history of the Baltic kingdoms in which it is set; as forward-looking reassurance. Questions of history, time and humanity are at the heart of it: it moves between past, present, and hope for the future, and shows its origins in oral tradition. It is full of human speech and sonorous images, and of the need to resolve and bring to fruition a proper human order, against the enemy - whatever it be - here symbolised by a monster and a dragon, among literature's earliest 'outsiders'. ....... Beowulf has always attracted readers, and perhaps never more than in the 1990s when at least two major poets, the Scot Edwin Morgan and the Irishman Seamus Heaney, retranslated it into modern English. Heaney's version became a worldwide bestseller, and won many awards, taking one of the earliest texts of English literature to a vast new audience.

It is a great wonder How Almighty God in his magnificence Favors our race with rank and scope And the gift of wisdom; His sway is wide. Sometimes He allows the mind of a man Of distinguished birth to follow its bent, Grants him fulfillment and felicity on earth And forts to command in his own country. He permits him to lord it in many lands Until the man in his unthinkingness Forgets that it will ever end for him. He indulges his desires; illness and old age Mean nothing to him; his mind is untroubled By envy or malice or thought of enemies With their hate-honed swords. The whole world Conforms to his will, he is kept from the worst Until an element of overweening Enters him and takes hold While the soul’s guard, its sentry, drowses, Grown too distracted. A killer stalks him, An archer who draws a deadly bow. And then the man is hit in the heart, The arrow flies beneath his defenses, The devious promptings of the demon start. His old possessions seem paltry to him now. He covets and resents; dishonors custom And bestows no gold; and because of good things That the Heavenly powers gave him in the past He ignores the shape of things to come. Then finally the end arrives When the body he was lent collapses and falls Prey to its death; ancestral possessions And the goods he hoarded and inherited by another Who lets them go with a liberal hand. “O flower of warriors, beware of that trap. Choose, dear Beowulf, the better part, Eternal rewards. Do not give way to pride. For a brief while your strength is in bloom But it fades quickly; and soon there will follow Illness or the sword to lay you low, Or a sudden fire or surge of water Or jabbing blade or javelin from the air Or repellent age. Your piercing eye Will dim and darken; and death will arrive, Dear warrior, to sweep you away.

Professional wrestling is simply the most modern interpretation of an ancient tradition of stylized verbal battles between enemies.  From the time that Homer recorded the Iliad, the emergence of what Scottish scholars call ‘flyting’—” “That would be a verbal battle preceding a physical one, but considered equally as important to the overall outcome,” Carwyn interjected.   “Exactly.  Throughout world myth, warriors have engaged in a verbal struggle that is as symbolically important as the battle itself.  You can see examples in early Anglo-Saxon literature—” “You’ve read Beowulf, haven’t you, English major?” Giovanni glanced at the priest, but continued in his most academic voice.  “Beowulf is only one example, of course.  The concept is also prevalent in various Nordic, Celtic, and Germanic epic traditions.  Even Japanese and Arabic literature are rife with examples.”  “Exactly.”  Carwyn nodded along.  “See, modern professional wrestling is following in a grand epic tradition.  Doesn’t matter if it’s staged, and it doesn’t matter who wins, really—” “Well, I don’t know about—” “What matters,” Carwyn shot his friend a look before he continued, “is that the warriors impress the audience as

Warriors all rose uneagerly shuffled under Earnanaes lagging with sorrow to look upon death. They found on the sand their soulless gift-lord still and wordless there who served and ruled them for fifty winters—the final life-day had come for the good one—the Geats’ hall-master dear warrior-king died a wonder-death. There they discovered that cooling fire-snake stretched upon the earth, seething no more 3040 with foul flame-death flying no longer with burning bellows, blackened with death. Fifty long feet was his full length-measure stretched on the fire-field. He flew in hate-joy seared through the nights then soared at daybreak to his grayrock den—now death stilled him ended his slumber in that stony barrow. By him were heaped bracelets and gem-cups jeweled gold-dishes great treasure-swords darkened with rust from their deep earth-home 3050 a thousand winters walled against light. Those ancient heirlooms earned much curse-power old gold-treasure gripped in a spell— no one might touch them those nameless stone-riches no good or bad man unless God himself the great Glory-King might give to someone to open that hoard that heap of treasures, a certain warrior as seemed meet to him. They found no happiness who first buried there wealth in the ground—again it was hidden 3060 by an only survivor till an angered serpent singed for a cup till swords cooled him sent him deathwards. Strange are the ways how the king of a country will come to the end of his loaned life-span when at last he vanishes gone from the meadhall his gold and his kin. So it was with Beowulf when he bore his shield to that roaring night-flyer.

These half-lines, or verses, with their clearly defined rhythmic forms, are the primary building blocks of Old English poetry and derive from a strictly oral tradition of pagan Germanic poetry at a time when there were no manuscripts, when minstrels carried tales in their heads and recited long poems, partly from memory and partly through the use of an oral-formulaic system which permitted them to compose as they went along, drawing upon a large store of “prefabricated” half-lines or entire lines and mixing them with fresh inventions. Some entire lines are pale clichés, adding nothing to the poem, like “on that day of this life” (which occurs three times in Beowulf ), but they give the minstrel time to think ahead. This is not peculiar to Germanic poetry—such lines are more frequent in the Odyssey, another poem derived from an ancient oral tradition, than in Beowulf.

The Count of Monte Cristo, Edgar Allan Poe, Robinson Crusoe, Ivanhoe, Gogol, The Last of the Mohicans, Dickens, Twain, Austen, Billy Budd…By the time I was twelve, I was picking them out myself, and my brother Suman was sending me the books he had read in college: The Prince, Don Quixote, Candide, Le Morte D’Arthur, Beowulf, Thoreau, Sartre, Camus. Some left more of a mark than others. Brave New World founded my nascent moral philosophy and became the subject of my college admissions essay, in which I argued that happiness was not the point of life. Hamlet bore me a thousand times through the usual adolescent crises. “To His Coy Mistress” and other romantic poems led me and my friends on various joyful misadventures throughout high school—we often sneaked out at night to, for example, sing “American Pie” beneath the window of the captain of the cheerleading team. (Her father was a local minister and so, we reasoned, less likely to shoot.) After I was caught returning at dawn from one such late-night escapade, my worried mother thoroughly interrogated me regarding every drug teenagers take, never suspecting that the most intoxicating thing I’d experienced, by far, was the volume of romantic poetry she’d handed me the previous week. Books became my closest confidants, finely ground lenses providing new views of the world.

She'd surrendered son and brother here, her home-hall become a brutal battlefield. Innocent of crime, yet cursed, captured, speared, worse. Hoc's daughter was savaged by sorrow, grief-gutted. Who wouldn't weep, as dawn drove feud-daggers deeper, the sun scoring her son's wounds, day breaking upon her dearest dead? They'd been her heart, her happiness, her hopes. War had wrung them ragged, dragged them to death across a court of sword-crossed kin.

Each half-line has two strong stresses. Alliteration occurs only on stressed syllables. The first stress of the second half-line, called the “head-stave,” cannot alliterate with the second stress of that half-line, but it must alliterate with one or both stressed syllables of the first half-line. Recitations of Old English poetry were accompanied in some way by a harplike instrument—indeed, it is called a hearpe in Old English—which may have been used to accentuate stresses, possibly to “fill in” for a missing stress in a defective half-line, but there is no way of knowing just how this was done.

we will pay those proud survivors 3000 for slaughter of kin killed in their homeland when young Swede-warriors strike once again learn that Beowulf our beloved warleader lies lifeless now his last breath-moment vanished into time a tale for mead-benches songs for a king who crushed hell-monsters stepped up to a throne served his people there held high his promise. Now haste will be best that we go to find him guide him at last from that fire-black field where he fell deathwards 3010 to his final bedrest. Those fine gold-treasures will melt with his heart that mighty dragon-hoard shall all go with him grimly purchased with his own lifeblood—for the last time now he has paid for goldrings. Pyre-flames shall eat them flame-roof shall thatch them no thane shall wear them treasures so dear no dressed hall-maidens shall wear on their bosoms wound-gold necklaces but grief will adorn them of gold-love bereft as they wander in exile through alien domains 3020 now that our lord has laid down his laughter songs and hall-joys. Now spears will be lifted grim and morning-cold gripped in anguish with frost-numbing hands. No harp’s sweet sounding will waken bench-warriors but the black-gleaming raven circling with fate will say many things describe to the eagle ample corpse-banquets how he shared with the wolf wondrous slaughter-meals.” So that grim messenger gave his report his unfrivolous news nor did he lie much 3030 in words or warnings.

― Ce se întîmplă cu tine, băiete? mă întrebă. Vorbea destul de aspru pentru felul lui de a fi. Cîte materii ai urmat în trimestrul ăsta? ― Cinci, domnule profesor. ― Cinci? Şi la cîte ai căzut? ― La patru. Îmi amorţise fundul stînd pe pat. În viaţa mea nu stătusem pe un pat atît de tare. ― La engleză am trecut, i-am spus, fiindcă poveştile cu Beowulf şi cu Lord Randal, fiul meu le-am învăţat încă de pe vremea cînd eram la Whooton. Şi, de fapt, la engleză nu trebuia să fac mai nimic, decît să scriu din cînd în cînd cîte o compunere. Bătrînul nici nu mă asculta. N-asculta niciodată cînd îi vorbeai. ― Eu unul te-am trîntit la istorie fiindcă n-ai ştiut absolut nimic. ― Ştiu, domnule profesor, vă înţeleg. Ce era să faceţi? ― Absolut nimic, repetă el. Tare mă înfurie cînd oamenii repetă de două ori un lucru pe care tu l-ai recunoscut de prima dată. Şi pe urmă a mai spus-o şi a treia oară. ― Dar absolut nimic. Ai deschis cartea măcar o dată, în trimestrul ăsta? Eu mă îndoiesc. Spune drept! ― Păi, ştiţi, am răsfoit-o... de vreo două ori, am spus. Nu voiam să-l jignesc. Îi plăcea istoria la nebunie! ― A, ai răsfoit-o! spuse el foarte ironic. Uite, hm, teza ta e acolo sus pe raft, deasupra teancului de caiete. Ad-o, te rog, încoace. Era o figură urîtă din partea lui. Dar n-am avut încotro, m-am dus şi i-am adus-o. Pe urmă, m-am aşezat din nou pe patul lui de ciment. Mamă, nici nu ştiţi ce rău începuse să-mi pară că venisem să-mi iau rămas bun. Ţinea lucrarea mea de parc-ar fi fost o bucată de rahat sau mai ştiu eu ce. ― Am studiat cu voi egiptenii de la 4 noiembrie la 2 de¬cembrie, îmi zise. Singur ai ales să scrii despre ei la lucrarea facultativă de control. Vrei să auzi ce-ai scris? ― Nu, domnule profesor, nu face, i-am răspuns. Cu toate astea, începu să citească. Nu poţi opri niciodată un profesor să facă un anumit lucru, dacă s-a hotărît să-l facă. Oricum, face tot ce vrea el! Egiptenii sînt o rasă veche de caucazieni care locuiesc într-una din regiunile din nordul Africii. Africa, după cum ştim cu toţii, e cel mai mare continent în emisfera răsăriteană. Şi eu eram obligat să stau şi s-ascult toate tîmpeniile astea! Zău că era urît din partea lui. Pe noi, astăzi, egiptenii ne interesează din mai multe motive. Ştiinţa modernă n-a descoperit nici pînă azi ce substanţe misterioase întrebuinţau cînd îmbălsămau morţii, pentru ca feţele lor să nu putrezească secole la rînd. Această enigmă interesantă continuă să constituie o sfidare pentru ştiinţa modernă a secolului XX. Se opri şi puse jos lucrarea. Începusem să-l urăsc! ― Eseul tău, ca să-i zicem aşa, se opreşte aici, spuse cît se poate de ironic. N-ai crede că un tip atît de bătrîn poate fi atît de ironic şi aşa mai departe. Apoi adăugă: Şi în josul paginii mi-ai scris şi mie cîteva cuvinte. ― Ştiu, ştiu, i-am răspuns precipitat, ca să-l opresc înainte de a-ncepe să citească. Dar parcă mai putea cineva să-l oprească?! Ardea ca un fitil de dinamită. Dragă domnule Spencer (citi el cu glas tare), asta e tot ce ştiu eu despre egipteni. Nu reuşesc să mă intereseze, cu toate că dumneavoastră predaţi foarte frumos. Să ştiţi totuşi că nu mă supăr dacă mă trîntiţi ― că în afară de engleză tot am picat la toate materiile. Cu stimă, al dumnea¬voastră, Holden Caulfield. În sfîrşit, a pus jos lucrarea mea nenorocită şi mi-a arun¬cat o privire de parcă m-ar fi bătut măr la ping-pong sau mai ştiu eu ce. Cît oi trăi nu cred c-am să-l iert c-a citit cu glas tare toate rahaturile alea. Dacă le-ar fi scris el, eu unul nu i le-aş fi citit niciodată. Zău că nu. Şi, de fapt, nu-i scrisesem notiţa aia nenorocită decît ca să nu-i pară prea rău că mă trînteşte. ― Mă condamni că te-am trîntit, băiete? m-a întrebat el. ― Nu, domnule profesor, zău că nu! i-am răspuns eu. Numai de-ar fi încetat naibii să-mi mai zică "băiete"!