Old English Poems - Anonymous

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feast on the fated; now flew on their track

      The deadly devourer, the dewy-winged eagle,

      Singing his war song, the swart-coated bird,

      The horned of beak.

      Judith, vv. 199-212.

      Besides the distinctive meter in which the Old English poems are written, there are several qualities of style for which they are peculiar. No one can read a page of these poems without being struck by the parallel structure that permeates the whole body of Old English verse. Expressions are changed slightly and repeated from a new point of view, sometimes with a good effect but quite as often to the detriment of the lines. These parallelisms have been retained in the translation in so far as it has been possible, but sometimes the lack of inflectional endings in English has prevented their literal translation.

      Accompanying these parallelisms, and often a part of them, are the frequent synonyms so characteristic of Old English poetry. These synonymous expressions are known as “kennings.” They are not to be thought of as occasional metaphors employed at the whim of the poet; they had, in most cases, already received a conventional meaning. Thus the king was always spoken of as “ring giver,” “protector of earls,” or “bracelet bestower.” The queen was the “weaver of peace”; the sea the “ship road,” or “whale path,” or “gannet’s bath.”

      Old English poetry is conventionalized to a remarkable degree. Even those aspects of nature that the poets evidently enjoyed are often described in the most conventional of words and phrases. More than half of so fine a poem as The Battle of Brunnanburg is taken bodily from other poems. No description of a battle was complete without a picture of the birds of prey hovering over the field. Heroes were always assembling for banquets and receiving rewards of rings at the hand of the king. These conventional phrases and situations, added to a thorough knowledge of a large number of old Germanic myths, constituted a great part of the equipment of the typical Old English minstrel or scop, such as one finds described in Widsith or Deor’s Lament.

      It would be a mistake, however, to conclude that the poems are convention and nothing more. A sympathetic reading will undoubtedly show many high poetic qualities. Serious and grave these poems always are, but they do express certain of the darker moods with a sincerity and power that is far from commonplace. At times they give vivid glimpses of the spirit of man under the blighting influence of the “dark ages.” After reading these poems, we come to understand better the pessimistic mood of the author of The Wanderer when he says,

      All on earth is irksome to man.

      And we see how the winsome meadows of the land of the Phœnix must by their contrast have delighted the souls of men who were harassed on every side as our ancestors were.

      All of these distinguishing features of Old English poetry—the regular alliterative meter, the frequent parallelisms, the “kennings,” and the general dark outlook on life will be found illustrated in the poems selected in this book. They cover the entire period of Old English literature and embrace every “school.”

      The order in which the poems are printed is in no sense original, but is that followed in most standard textbooks. Naturally such artificial divisions as “Pagan” and “Christian” are inexact. The “pagan” poems are only largely pagan; the “Christian” predominatingly Christian. On the whole, the grouping is perhaps accurate enough for practical purposes, and the conformity to existing textbooks makes the volume convenient for those who wish to use it to supplement these books.

      In addition to the poems, four short prose passages referred to by most historians of the literature have been included so as to add to the usefulness of the volume.

      In the translation of the poems the original meaning and word-order has been kept as nearly as modern English idiom and the exigencies of the meter would allow. Nowhere, we believe, has the possibility of an attractive alliteration caused violence to be done to the sense of the poem.

      The best diction to be used in such a translation is difficult to determine. The temptation is ever present to use the modern English descendant of the Anglo-Saxon word, even when it is very archaic in flavor. This tendency has been resisted, for it was desired to reproduce the effect of the original; and, though Old English poetry was conventional, it was probably not archaic: it was not out of date at the time it was written. Since the diction of these poems was usually very simple, it has been the policy of the translators to exclude all sophisticated expressions, and to retain words of Germanic origin or simple words of Latin derivation that do not suggest subtleties foreign to the mind of the Old English poet.

      The texts used as a standard for translation are indicated in the introductory notes to the different poems. Whenever a good critical edition of a poem has been available, it has been followed. Variations from the readings used in these texts are usually indicated where they are of any importance. In the punctuation and paragraphing of the poems, the varying usage of the different editors has been disregarded and a uniform practice adopted throughout.

      Following these principles, the translators have attempted to reproduce for modern English readers the meaning and movement of the Old English originals. It is their earnest hope that something of the fine spirit that breathes through much of this poetry will be found to remain in the translation.

      Cosette Faust.

       Stith Thompson.

      March, 1918.

      [1]The Oldest English Epic, New York, 1909.

       Table of Contents

       Table of Contents

      WIDSITH

      [Critical edition: R. W. Chambers, Widsith: a Study in Old English Heroic Legend. Cambridge, 1912.

      Date: Probably late sixth or early seventh century.

      Alliterative translation: Gummere, Oldest English Epic (1910), p. 191.

      “Widsith—‘Farway’—the ideal wandering minstrel, tells of all the tribes among whom he has sojourned, of all the chieftains he has known. The first English students of the poem regarded it as autobiographical, as the actual record of his wanderings written by a scop; and were inclined to dismiss as interpolations passages mentioning princes whom it was chronologically impossible for a man who had met Ermanric to have known. This view was reduced to an absurdity by Haigh.

      . . . . . . . . . . . . . . . . . . . . . . . .

      “The more we study the growth of German heroic tradition, the more clear does it become that Widsith and Deor reflect that tradition. They are not the actual outpourings of actual poets at the court of Ermanric or the Heodenings. What the poems sung in the court of Ermanric were like we shall never know: but we can safely say that they were unlike Widsith.... The Traveller’s tale is a fantasy of some man, keenly interested in the old stories, who depicts an ideal wandering singer, and makes him move hither and thither among the tribes and the heroes whose stories he loves. In the names of its chiefs, in the names of its tribes, and above all in its spirit, Widsith reflects the heroic age of the migrations, an age which had hardly begun in the days of Ermanric.”—Chambers, p. 4.

      Lines 75, 82-84 are almost certainly interpolated. With these rejected “the poem leaves upon us,” says Chambers, “a very definite impression. It is a catalogue of the tribes and heroes of Germany, and many of these heroes, though they may have been half legendary already to the writer of the poem, are historic characters who can be dated with accuracy.”]

      Note.—In the footnotes, no attempt

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