III.

Darauf sprach Hunferd, Ecglafs Sohn, der zu den Füssen sass dem Fürst der Skildinge, 500 entband Streitrunen, (ihm war Beowulfs Reise des mutigen Seefahrers sehr zum Aerger, da er durchaus nicht gönnte, dass ein anderer Mann je mehr des Ruhmes in dem Mittelkreise besässe unterm Himmel, denn er selber hatte): 505 ‘Bist du der Beowulf, der einst mit Breka schwamm im Wettkampfe durch die weite See, wo in Verwegenheit ihr die Gewässer prüftet und aus tollem Prahlen in die tiefen Fluten wagtet euer Leben? Nicht wehren konnt’ euch beiden 510 weder Lieb noch Leid der Leute einer die sorgenvolle Fahrt, als in den Sund ihr rudertet, wo ihr den Oceansstrom mit euren Armen decktet, die Holmstrassen masset, mit den Händen schluget und über den Ocean glittet: der Eisgang des Winters 515 wallete in Wogen; in des Wassers Gebiet plagtet ihr euch sieben Nächte. Im Schwimmspiel überwand er dich: er hatte mehr der Macht; zur Morgenzeit trug ihn der Holm da zu den Headorämen. Von dannen suchte er die süsse Heimat 520 lieb seinen Leuten, das Land der Brondinge, die liebliche Friedeburg, wo er sein Volk hatte, Burg und Bauge. Da hatte all sein Erbot wider dich vollbracht in Wahrheit Beanstans Sohn[4].’

_Criticism of the Translation._

The translation is a literal line-for-line version. Its superiority to its predecessors is, therefore, one with the superiority of the text on which it is founded.

The translation became at once the standard commentary on _Beowulf_, and this position it retained for many years. It is still the standard literal translation in Germany, none of the later versions having equaled it in point of accuracy.

[Footnote 1: For biographical facts see Grein-Wülker, _Bibliothek_, Band III, 2te Hälfte, p. vii.]

[Footnote 2: See Grein-Wülker, _Bibliothek_, Vorrede.]

[Footnote 3: See supra, p. 52.] [[Thorpe: Criticism of Text]]

[Footnote 4: The second edition presents no variation from this save the omission of the comma in line 501.]

SIMROCK’S TRANSLATION

Beowulf. Das älteste deutsche Epos. Uebersetzt und erläutert von Dr. Karl Simrock. Stuttgart und Augsburg: J. G. Cotta’scher Verlag, 1859. 8vo, pp. iv, 203.

Third German Translation. Imitative Measures.

_Simrock._

Dr. Karl Simrock (1802-1876) brought to the translation of _Beowulf_ the thorough knowledge of a scholar, the fine feeling and technique of a poet, and an enviable reputation as a translator of Old German poetry. At the time when he made his translation of _Beowulf_, he was Professor of Old German Literature at Bonn, whither he had been called because of his contributions to the study of Old German mythology. His title to remembrance rests, however, on his metrical rendering of the _Nibelungenlied_, a work which, in 1892, had passed into its fifty-second edition. As an original poet, Simrock is remembered for his _Wieland der Schmied_ (1835), and _Gedichte_ (1844).

_Object of the Translation._

Simrock wished to do for _Beowulf_ what he had done for the _Nibelungenlied_, _Walther von der Vogelweide_, and _Der arme Heinrich_. He objected to the too literal work of Ettmüller[1] and Grein[2], hoping in his own work to make the poem readable and to dispense with a ‘note for every third word’:

‘Geist und Stimmung einer fernen Heldenzeit anklingen zu lassen, und doch dem Ausdruck die frische Farbe des Lebens zu verleihen.’ --Vorrede, iii.

In this ambition he was justified by his success as a translator of Old German poetry.

_Nature of the Translation._

The diction of the version is, on the whole, characterized by simplicity and ease. Yet the author, like many another translator of Old English, tries to give his style an archaic tinge by preserving the compound forms characteristic of that language, such as Lustholz, Aelgelage, Kampfrunen, a fault that Ettmüller had carried to excess. These forms he sometimes used to the exclusion of simpler, or even more literal, words. The nature of the German language, however, keeps these from being as repulsive as they are in English, but they are sufficiently strange to mystify and annoy the reader.

The feature of his translation for which Simrock was most concerned was the measure:

‘Vor Allem aber den Wohllaut, der echter Poesie unzertrennlich verbunden ist, das schien mir die erste Bedingung, damit der Leser ... den Sinn ahne und von der Schönheit des Gedichts ergriffen von Blatt zu Blatt getragen werde. Nur so glaubte ich eine tausendjährige Kluft überbrücken und dieser mit Angeln und Sachsen ausgewanderten Dichtung neues Heimatsrecht bei uns erwerben zu können.’ --Vorrede, iii, iv.

He also preserved alliteration, believing that a fondness for that poetic adornment may be easily acquired, and that it is by no means inconsistent with the genius of modern tongues.

_Relation of Translation and other Parts of the Book._

The notes to the translation contain discussions of the episodes and of the mythological personages of the poem. There is a discussion of the poetic worth of _Beowulf_, and an argument for the German origin of the poem. But the translation is the _raison d’être_ of the volume, and other parts are strictly subordinated to it. The Finnsburg fragment is inserted at the end of section 16. As the author does not wish to disturb the order of _Beowulf_, he is obliged to place the poem at the end of the Finnsburg episode (in _Beowulf_), a very ill-chosen position, where it can only confuse the general reader more than the obscure lines to which it is related. This practice of inserting the Finnsburg fragment, lately revived by Hoffmann[3], has been generally repudiated.

_Text, and Indebtedness to Preceding Scholars._

The text followed is Grein’s (1857)[4]. The translator acknowledges his indebtedness to the versions of Ettmüller and Grein.

EXTRACT.

8. HUNFERD.

Da begann Hunferd, Ecglafs Sohn, Der zu Füssen sass dem Fürsten der Schildinge, Kampfrunen zu entbinden: ihm war Beowulfs Kunft, Des kühnen Seeseglers, schrecklich zuwider. Allzu ungern sah er, dass ein anderer Mann In diesem Mittelkreiss mehr des Ruhmes Unterm Himmel hätte als Hunferd selbst:

‘Bist du der Beowulf, der mit _Breka_ schwamm Im Wettkampf einst durch die weite See? Wo ihr tollkühn Untiefen prüftet, Mit vermessnem Muth in den Meeresschlünden Das Leben wagtet? Vergebens wehrten euch Die Lieben und Leiden, die Leute zumal So sorgvolle Reise, als ihr zum Sunde rudertet, Das angstreiche Weltmeer mit Armen decktet, Die Meerstrassen masset, mit den Händen schlugt Durch die Brandung gleitend; aufbrauste die Tiefe Wider des Winters Wuth. Im Wasser mühtet ihr Euch sieben Nächte: da besiegt’ er dich im Schwimmen. Seiner Macht war mehr: in des Morgens Frühe Hob ihn die Hochflut zu den _Headorämen_. Von dannen sucht’ er die süsse Heimat, Das Leutenliebe, das Land der _Brondinge_, Die feste Friedensburg, wo er Volk besass, Burg und Bauge. Sein Erbieten hatte dir Da _Beanstans_ Geborner vollbracht und geleistet.’

_Criticism of the Translation._

Simrock’s translation is commendable for its faithfulness. It is, moreover, a simple and readable version, though in these respects it is not equal to Heyne’s rendering which was to follow it; but it was easily superior to Grein’s. Yet, in spite of this, the book is not well known among German translations, and has never passed into a second edition. This is surprising when we consider the success of Simrock’s previous translations. The partial failure is accounted for by two facts: (1) Simrock’s reputation as a scholar was not equal to that of Grein or Heyne, nor had he the advantage of editing the text; (2) the measure which the translation employed has never been popular among readers. No German translation in imitative measures, with the single exception of Grein’s (which has made its appeal as a scholarly work and not as a piece of literature), has ever passed into a second edition; while versions couched in iambic lines or Nibelungen meters have been reprinted.

[Footnote 1: See supra, p. 37.] [[Ettmüller]]

[Footnote 2: See supra, p. 55.] [[Grein]]

[Footnote 3: See infra, p. 99.] [[Hoffmann]]

[Footnote 4: See supra, p. 56.] [[Grein’s Texts]]

HEYNE’S TRANSLATION

Beowulf. Angelsächsisches Heldengedicht übersetzt von Moritz Heyne. Paderborn: Druck und Verlag von Ferd. Schöningh, 1863. 12mo, pp. viii, 127.

Zweite Auflage. Paderborn: Schöningh, 1898. 8vo, pp. viii, 134.

Fourth German Translation. Iambic Pentameter.

_Heyne._

The name of Moritz Heyne is one of the most illustrious in the history of Beowulf scholarship. The Heyne editions of the text[1] have been standard for nearly forty years, while the translation has been recently reprinted (1898). Beside his work on the _Beowulf_, this scholar was to become prominent as editor of the _Heliand_ and of _Ulfilas_, and as one of the staff appointed to complete Grimm’s Dictionary.

At the time when he printed his edition of the _Beowulf,_ Heyne was a student at Halle, and but twenty-six years of age (born 1837)[2]. In his work he had some assistance from Professor Leo[3] of Halle.

_Relation of Text and Translation._

The translation was founded on the text of 1863. At the time it was by far the best edition that had yet appeared. It was furnished with an excellent glossary. The text had the advantage of the valuable work done by Grundtvig[4] in collating the two transcripts made by Thorkelin[5]. It thus came a stage nearer the MS. readings than any other existing edition, while it avoided the unnecessary conjectures of the Danish editor.

Heyne’s text having been five times re-edited, the first edition of the translation often fails to conform to readings which have been introduced into the text in later editions; but the free nature of the translation makes this of no great importance.

_Differences between the First and Second Editions of the Translation._

The differences between the two editions are not of much importance. The translation is in general, though not always, brought up to the late editions of the text, and some changes are made for the improvement of the meter.

The first edition contains 3201 lines; the second 3207. The theory and aim of the translation are not changed at all.

_Aim of Heyne’s Translation._

In this translation of the _Beowulf_, Heyne attempts to popularize what he considers the most beautiful of the Old English poems. He says of it--

‘Es ist nicht die erste, die ich biete; gleichwol hoffe ich es werde die erste sein, die auch einem grössern Publicum, das noch nicht Gelegenheit hatte, sich mit den ältern Dialecten unserer Sprache zu beschäftigen, verständlich ist. Die ältern deutschen Uebersetzer haben, bei allen Verdiensten ihrer Arbeit, unserer neuhochdeutschen Muttersprache teilweise übel mitgespielt.’ --Vorwort, iii.

With this in view, Heyne put his translation out in a form that would make it accessible to all. This was in itself an innovation. The works of Ettmüller[6] and Simrock[7] had been in a more elaborate _format_, while Grein’s translation[8] was not only expensive, but encumbered with other work, and intended primarily for the scholar.

_Nature of the Translation._

Heyne chose a new medium for his version, the unrimed iambic line. His aim being to get his book read, he avoided a literal translation, and rendered with commendable freedom, though not with inaccuracy. He used no strange compounds, and shunned an unnatural verse. Thus he produced the most readable translation that has ever appeared in Germany. Of his own attempt he says--

‘Die vorliegende Uebertragung ist so frei, dass sie das für uns schwer oder gar nicht genau nachzubildende allitterierende Versmass des Originals gegen fünffüssige Jamben aufgibt, und zu Gunsten des Sinnes sich der angelsächsischen Wort- und Satzstellung nicht zu ängstlich anschmiegt; dagegen auch wieder so genau, dass sie hoffentlich ein Scherflein zum vollkommenern Verständniss des Textes beitragen wird.’ --Vorwort, iii.

Heyne’s theory of translation is one that has been very little in vogue in Germany. He has been criticized on all sides for his freedom. Yet the criticism is undeserved. Heyne is never paraphrastic--he never adds anything foreign to the poem. He merely believes in translating the obscure as well as the simple ideas of his text. His ‘freedom’ seldom amounts to more than this--

Hē bēot ne āleh, l. 80 (he belied not his promise) Was er gelobt, erfüllt er.

He occasionally inserts a word for metrical reasons, and sometimes, in the interests of clearness, a demonstrative or personal pronoun, or even a proper name (cf. l. 500 of the extract).

EXTRACT.