Posted on 08/30/2020 9:46:16 PM PDT by nickcarraway
Beowulf: A New Translation
The first thing I need to tell you is that you have to read it now. No, I don't care if you've read Beowulf (the original) before. No, I don't care if you loved it/hated it, if it traumatized you, if it ruined and/or energized the English language for you, or ruined you for translations or whatever. I don't care what you think of when you think of Beowulf in any of its hundreds of other translations because this — this — version, Headley's version, is an entirely different thing. It is its own thing. A remarkable thing that probably shouldn't even exist, except that it does.
It is Beowulf, mostly. Beowulf, kinda. It is Beowulf down to the line numbers, and tells the story of Beowulf and Hrothgar and Grendel and Grendel's mom and the dragon and Wiglaf and everything.
Except ...
Except that Headley has made it modern, not in form or style or content, but in temperament. In language. "Language is a living thing," she writes in her introduction. "And when it dies, it leaves bones. I dropped some fossils here, next to some newborns. I'm as interested in contemporary idiom and slang as I am in the archaic. There are other translations if you're looking for the courtly romance and knights."
Truth: Beowulf would've been a vanity project if it wasn't written by Headley, and if Headley hadn't made a splash back in 2018 with The Mere Wife which was, in itself, a retelling of Beowulf set in 21st century suburbia and focusing (largely, but not exclusively) on Grendel's mother. It would've been a thesis. An academic passion project read by no one but Beowulf nerds, loved or hated almost in a vacuum.
Instead, Headley's Beowulf is a big release — discussed, debated, talked about (as it should be) because it has everything: Love, sex, murder, magic, dungeons, dragons, giants, monsters. It spills blood by the bucket and gore by the gallon, makes heroes, slays villains and serves as an instruction manual for toxic masculinity, circa 700 AD.
Bro! Tell me we still know how to
talk about 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.
Yeah, she starts it all with "Bro."
Bro.
Bro!
I mean, that's ridiculous. And brilliant. And genius-level washed-up barstool-hero trolling all at the same time. "Bro" to take the place of Behold! and Lo! and What ho! because Behold! and Lo! and (especially) What ho! are all silly and stilted and stupid and do not — not a single one of them — have the social heft and emotional dwarfism and Bud Light swagger of "Bro," because "Bro" is the braggart's call, the throat-clearing of someone who wasn't, you know, there, but heard about it from some dude who totally was.
It is thousand-year-old slam poetry, 'Hamilton' for the Geats and Skyldings — full of blood and honor, inside jokes and historical digressions.
And THAT is the emotional level at which Beowulf works. Has always worked, really, but absolutely works in Headley's newest version. It is bragging. It is urban legend. It is that guy who once threw three touchdowns against State telling the story again — five beers deep on a Tuesday night — before hey-buddy-ing the bartender for his sixth.
That's what Beowulf always was. An epic poem made to be shouted over the howls of mead-drunk Spear-Danes as they toast the fallen and lovingly punch each other to sleep. It is thousand-year-old slam poetry, Hamilton for the Geats and Skyldings — full of blood and honor, inside jokes and historical digressions.
Headley takes liberties. She has reasons (and explains them in an extensive intro) and she has the right (having studied Beowulf as closely as anyone), and so she tinkers with focus and with the weight given to smaller characters (Unferth going toe-to-toe with Beowulf, trying to put the lie to the tales already told of him, becomes one of the poem's most memorable scenes — an epic mead-hall rap battle), and re-humanizes Grendel's mother into a grief-stricken mom demanding a blood-debt for her murdered son. Monstrous, yes. But no longer a monster.
It rolls. It demands to be spoken, to be shouted and spat. To be taught as the thing that it is — the Marvel movie of its time.
Which is all fine. Which is all as it should be. Because there is no real Beowulf. Not anymore. It has been translated and re-translated. Academics have tussled with the language for ages. Even the original (not the original-original, but the original document upon which all other translations are based) was a group project. Two scribes, working through the 3,182 lines together, fighting each other in the margins, crossing out each other's words and replacing them.
So Headley's version (translation? transcription?) is just as real and twice as vital right now as any other. It sings straight through, the alliteration and temper of it invigorating (as it should be) and roaring (as it should be), like Beowulf, introducing himself to Hrothgar:
I'm the strongest and the boldest,
and the bravest and the best.
Yes: I mean — I may have bathed in
the blood of beasts,
netted five foul ogres at once,
smashed my way into a troll den
and come out swinging, gone
skinny-dipping in a sleeping sea
and made sashimi of some sea monsters.
Anyone who f***s with the Geats? Bro,
they have to f*** with me.
It rolls. It demands to be spoken, to be shouted and spat. To be taught as the thing that it is — the Marvel movie of its time.
I always liked Beowulf a little for what it was: history, foundational myth, epic poem of swords and dragons, source material for paintings on the sides of vans. But Maria Headley's Beowulf I love for exactly what it is: a psychotic song of gold and blood, stylish as hell, nasty and brutish and funny all at once, mad and bad and sad and alive now in a way that these words simply haven't been for more than a thousand years.
Jason Sheehan knows stuff about food, video games, books and Starblazers. He is currently the restaurant critic at Philadelphia magazine, but when no one is looking, he spends his time writing books about giant robots and ray guns. Tales From the Radiation Age is his latest book.
Bishop Bullwinkle Hell To Da Naw,Naw
https://www.youtube.com/watch?v=8QxIIz1yEsA
LOL! And a crunked-up mead mug!
Ha!
That was great!
[and he has a lot of dogs, too]
Purple mead?
This doesn’t sound that good. However, a classic guy named Rousse redid the Iliad and the Odyssey several years ago in Novel format. He dropped most the rhyme that is forced in English and just told the tale as an adventure novel.
It was actually quite good.
I did not watch that.
Not a diCaprio fan.
Loved Gangs Of New York but every time that little beady-eyed pipsqueak came into the scene, I kept hoping Bill would fling a cleaver in him.
(language alert)
I imagine it’d sound something like Iceberg Slim
The Fall (part 1)
https://www.youtube.com/watch?v=Rfmt34p03m8
The Fall (part 2)
https://www.youtube.com/watch?v=3yLwYnSJ2wo
Or maybe Rudy Ray Moore
The Signifying Monkey
https://www.youtube.com/watch?v=co42in3vWIY
Everyone who has NOT seen Nicol Williamson’s “Hamlet” is missing out on life.
It was filmed during the cast’s off-time while on Broadway and it is stark, gritty, austere black and white with Nicol chewing the scenery as only he could do.
Best. Hamlet. Ever.
The Beowulf I know best is of .50 Caliber.
(And the Grendel I know best is 6.5mm).
;-)
“ninja sound like vincent price on courvoisier and newport 100s”
Epic comment.
Just say NO BRO!
Best modern “Beowulf”: https://www.youtube.com/watch?v=bpn1QtMoL7E
Never going to click on that!
I’m sure it rates right up there with that old black-sploitation movie “Blackula” as a work of literary art.
Cannot unsee such trash so better to never look.
Ooooh... I like that!
The Gangs of New York was a terrible movie, if one has read the book first, which I had. Herbert Asbury actually wrote a series of books about gangs/criminals, which I own and read long ago. They are fascinating books! New York was later book, first he had written about Chicago and San Fransisco gangs/criminals.
Di Caprio has never been able to act his way out of a wet paper bag and ruins every movie he's ever been in; not to mention the fact that he's creepy looking.
Fly Guy
https://www.youtube.com/watch?v=7S6vk9K2Cwo
Dolomite
https://www.youtube.com/watch?v=Voxp3ckwJZ0
True...Olivier’s Hamlet was a bit light in the loafers, and I couldn’t shake the fact that David Tennant had been DOCTOR WHO, when I saw him do it.
“fighting each other in the margins, crossing out each other’s words and replacing them.
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