The dragon settles in (and still no Beowulf)

Recap
Synopsis
The Original Old English
My Translation
A Quick Interpretation
Closing

The kind of dragon perfectly at home in Beowulf.

An Anglo-Saxon dragon, complete with treasure hoard. Image from http://brer-powerofbabel.blogspot.ca/2011_09_01_archive.html


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Recap

In last week’s post we heard about the last survivor and the treasure he hid.


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Synopsis

The dragon finds the ancient hoard. Jump back to the present, where the man who stole the cup shows his lord and the hoard is dug up. They wake the dragon.


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The Original Old English

               “Hordwynne fond
eald uhtsceaða opene standan,
se ðe byrnende biorgas seceð,
nacod niðdraca, nihtes fleogeð
fyre befangen; hyne foldbuend
swiðe ondrædað. He gesecean sceall
hord on hrusan, þær he hæðen gold
warað wintrum frod, ne byð him wihte ðy sel.
Swa se ðeodsceaða þreo hund wintra
heold on hrusan hordærna sum,
eacencræftig, oððæt hyne an abealch
mon on mode; mandryhtne bær
fæted wæge, frioðowære bæd
hlaford sinne. ða wæs hord rasod,
onboren beaga hord, bene getiðad
feasceaftum men. Frea sceawode
fira fyrngeweorc forman siðe.”
(Beowulf ll.2270b – 2286)


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My Translation

               “The old ravager by night
later found that delightful hoard left open,
the burning one who seeks out barrows,
the slick, malicious dragon, flew into it by night,
enveloped in flame. The dwellers on the land thereabouts
greatly feared that drake. It delved deep
searching the earth for the depths of that hoard, which it guarded
through countless winters, kept watch over heathen gold,
useless treasure. That ravager of the people occupied the earth
hidden in the barricaded treasure house for three hundred years.
But then a man enraged that fire wyrm, stoked the fury of its heart.
To his lord the thief bore a gold-plated cup,
that man also offered a plea for peace with his lord —
a plea the lord heard as certainly as he saw the cup’s glint.
Then the hoard was ransacked, the piles of rings and trinkets was diminished,
that wretched man’s request was granted. His lord leered at
the ancient work of long dead men for the first time.”
(Beowulf ll.2270b – 2286)


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A Quick Interpretation

I’m short on time this week and busy over the weekend, so it’s just the poem this week. But I will leave you all with a question:

The dragon in Beowulf is just one of many versions of the mythical creature. What’s your favourite dragon from fiction, video games, or TV/Movies?

Mine would have to be Naydra from the Legend of Zelda: Breath of the Wild. She’s just a coolly beautiful creature:

The dragon Naydra from Legend of Zelda Breath of the Wild: not quite like the dragon in Beowulf.

Link stands before the dragon Naydra. Image from http://www.letswitch.eu/en/2017/03/07/botw-journal-5/

Share your favourite dragon in the comments! And give this post a like if you enjoyed the translation.


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Closing

Next week, the dragon gets all het up.

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Forget Beowulf — what’s the Last Survivor’s story?

Introduction
Recap & Synopsis
The Original Old English
My Translation
A Quick Interpretation
Closing

A long barrow from the time of Beowulf and the Lay of the Last Survivor found in Oxfordshire.

A barrow known as Wayland’s Smithy. Perhaps the Last Survivor stowed his people’s treasures in a similar place. Image from https://commons.wikimedia.org/wiki/File:Wayland_Smithy_Long_barrow.jpg


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Recap & Synopsis

Last week we heard about how the dragon was terrorizing the Geats. Why? Because a cup was stolen from its hoard of treasures.

This week, we hear the Lay of the Last Survivor. These are the final words of the last living member of the tribe who lived where the Geats now live and hid their treasures there.


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The Original Old English

             “Beorh eallgearo
wunode on wonge wæteryðum neah,
niwe be næsse, nearocræftum fæst.
þær on innan bær eorlgestreona
hringa hyrde hordwyrðne dæl,
fættan goldes, fea worda cwæð:
‘Heald þu nu, hruse, nu hæleð ne moston,
eorla æhte! Hwæt, hyt ær on ðe
gode begeaton. Guðdeað fornam,
feorhbealo frecne, fyra gehwylcne
leoda minra, þara ðe þis lif ofgeaf,
gesawon seledream. Ic nah hwa sweord wege
oððe feormie fæted wæge,
dryncfæt deore; duguð ellor sceoc.
Sceal se hearda helm hyrsted golde
fætum befeallen; feormynd swefað,
þa ðe beadogriman bywan sceoldon,
ge swylce seo herepad, sio æt hilde gebad
ofer borda gebræc bite irena,
brosnað æfter beorne. Ne mæg byrnan hring
æfter wigfruman wide feran,
hæleðum be healfe. Næs hearpan wyn,
gomen gleobeames, ne god hafoc
geond sæl swingeð, ne se swifta mearh
burhstede beateð. Bealocwealm hafað
fela feorhcynna forð onsended!’
Swa giomormod giohðo mænde
an æfter eallum, unbliðe hwearf
dæges ond nihtes, oððæt deaðes wylm
hran æt heortan.”
(Beowulf ll.2241b-2270a)


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My Translation

        ”The barrow stood ready
in open ground near the sea-waves.
It was newly made at the headland, made secure with the art of secrecy.
Within there the keeper of the ancient earls’ ringed treasure
carried that share of worthy treasures,
the hoard of plated gold; these few words he spoke:
‘Hold you now, oh earth, that which men and women cannot,
enjoy these warriors’ possessions! Indeed it was
obtained from you at the first, dug up
by worthy men. But death in battle bore those delvers away.
Now that terrible mortal harm has carried off each and every one of my people.
They have left this life where they knew and looked back longingly
at the joy had in the hall. I now have no-one to bear the sword
or bring the plated cup, that precious drinking vessel.
That group of tried warriors has since passed elsewhere.
Their hard helmets with gold adornment shall be bereft of their gold plate;
the burnishers sleep the sleep of death, those who should polish the battle mask.
So too the battle garbs, that had endured in battle
through the clash of shields and cut of swords,
they now decay upon the warriors’ husks; nor may the mailcoats of rings
go with the war-leader on his long journey,
they may not be kept at their bloodied sides. No harp joy,
no delight of musical instruments, nor any good hawk
flies through the hall, nor any swift mare
stops in the flowered courtyard. Destructive death
has sent forth all others of my race, as it has with countless others.’
Just so, sad at heart, this one followed his kin.
He expressed his sorrow, he moved about joyless,
for unlit days and for fevered nights, until death’s surging
reached his heart.”
(Beowulf ll.2241b-2270a)


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A Quick Interpretation

This is one of the big deal parts of the poem. Much like Hrothgar’s speeches to Beowulf about being a good king, it delivers the other of the poem’s major messages: riches are useless without others to enjoy them with.

I mean, this Twilight Zone-esque last survivor has no hope of enjoying or using all this treasure. He can’t strum the harp while polishing helmets and swinging a sword as he waits for his hawk to come to rest on his hand. Not because he doesn’t have those things, but because he has no one to do those things in tandem with.

Though it’s kind of strange. I really wonder about this last survivor and the sort of society that he comes from.

How did they amass all these treasures? It doesn’t sound like they were won necessarily. Instead it sounds more like his people dug up the raw materials, and then created the helmets and cups and mail and swords themselves.

So is this some sort of advanced ancient society situation?

Or, since the Geats, this sea-faring people, are anchored in their homeland, is this situation the fantasy of finding a land completely bereft of settlers but still home to their treasures?

Is this a metaphor for the Anglo-Saxons coming to Britain and then just kind of sweeping the Britons under the rug?

And why is this one guy the lone survivor? Did some sort of disease sweep through his group and he was the only one with immunities against it?

Was he the only one who was out hunting when a wild band of raiders slaughtered everyone else?

There aren’t really any answers to these questions unfortunately.

But that’s just what seems to happen when you try to logic through Beowulf.

What’s more important to the poet or their audience is that the theme of this passage fits with the rest of the poem. It has a melancholic tone and really emphasizes the idea that possessions are both incredible and incredibly useless without others to enjoy them with.

Unless, of course, you’re a dragon. But we’ll see more of that in coming weeks.

Tabletop games were big throughout the middle ages, and the Last Survivor reminds me of The Lost Tribes from the game Small World. What’s your favourite tabletop game?

Mine would have to be Time Stories. (I still haven’t played the Beowulf game, after all 😉 )

Share your favourite board game in the comments!


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Closing

Next week, we learn what happened to the thief who stole the cup and kicked all this off.

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The stories embodied in the Beowulf manuscript

Introduction
Synopsis
The Original Old English
My Translation
A Quick Interpretation
Closing

Beowulf is protected from dragon fire by his shield while treasure awaits.

An illustration of Beowulf fighting the dragon that appears at the end of the epic poem. Illustration in the children’s book Stories of Beowulf (H. E. Marshall). Published in New York in 1908 by E. P. Dutton & Company. Image found at https://commons.wikimedia.org/wiki/File:Beowulf_and_the_dragon.jpg


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Synopsis

The dragon appears and we hear its story.


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The Original Old English

          “he geheold tela
fiftig wintra (wæs ða frod cyning,
eald eþelweard), oððæt an ongan
deorcum nihtum draca ricsian,
se ðe on heaum hofe hord beweotode,
stanbeorh steapne; stig under læg,
eldum uncuð. þær on innan giong
niða nathwylc, se ðe neh gefeng
hæðnum horde, hond ……,
since fahne. He þæt syððan ……,
þeah ðe he slæpende besyred wurde
þeofes cræfte; þæt sie ðiod onfand,
bufolc beorna, þæt he gebolgen wæs.
Nealles mid gewealdum wyrmhord abræc
sylfes willum, se ðe him sare gesceod,
ac for þreanedlan þeow nathwylces
hæleða bearna heteswengeas fleah,
ærnes þearfa, ond ðær inne fealh,
secg synbysig, sona onfunde
þæt þær ðam gyste gryrebroga stod;
hwæðre earmsceapen
…sceapen
þa hyne se fær begeat.
Sincfæt ……; þær wæs swylcra fela
in ðam eorðhuse ærgestreona,
swa hy on geardagum gumena nathwylc,
eormenlafe æþelan cynnes,
þanchycgende þær gehydde,
deore maðmas. Ealle hie deað fornam
ærran mælum, ond se an ða gen
leoda duguðe, se ðær lengest hwearf,
weard winegeomor, wende þæs ylcan,
þæt he lytel fæc longgestreona
brucan moste.”
(Beowulf ll.2209-2241a)


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My Translation

“He ruled them well for fifty winters,
indeed Beowulf became a wise king,
an aged lord of the realm — until one began to trouble them;
in the dark of night a prowling dragon appeared.
The wyrm held a treasure in his high hall,
all beneath a steep stone roof, led to by a narrow footpath
unknown to men. There into the abyss stumbled
someone or other … who seized by hand from that heathen hoard …
a gleaming treasure that he afterward …
though the dragon slept he had outwitted
it with a thief’s wiles. Soon the people thereabouts,
those under the shield of the local lord, discovered
that the thief’s act unlocked the serpent’s rage. Though
not at all with evil intent did the thief break into the dragon’s hoard,
it was not for his own greedy desire, he had been sorely opressed.
For three nights that slave turned thief
had fled the blows of a prince of men,
he delved into the dragon’s den by need, then entering in
as a man ridden with guilt. Shortly he discovered
that … the man stood terror struck,
which the miserable …
… made … that fed his own fear, treasure piece
… there were many such pieces
of ancient heirlooms in that earthen house.
For there in earlier times some man or other,
had left a huge legacy of noble kin,
thoughtfully buried the treasures there,
those precious pieces of their story. He and all his kin
had since been carried off by death in former times.
But the last one left of that noble people, he who was the eldest,
a barrow guard grieving for lost friends buried them, knowing indeed
that he would little enjoy those grand and
beautiful treasures apart from all his kin.”
(Beowulf ll.2209-2241a)


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A Quick Interpretation

Once the dragon comes front and center, the poem itself takes a beating. Every one of the ellipses seen in this week’s passage represents an illegible part of the original text of Beowulf.

I’m not sure what exactly caused this crop of ellipses, but there are a few possibilities. As with all old books, it’s possible that these pages are worm-eaten. Or they may have just decayed because the Nowell Codex was sometimes kept in damp conditions. Or, since the Nowell Codex survived a fire, those missing bits of the poem may have been, appropriately, burned up.

Even setting aside everything that happened to it, it’s impressive that the Nowell Codex (and the copy of Beowulf within) survived for so long. It would be incredible to be able to go see the thing in person, but living on the other side of the Atlantic makes that kind of hard.

Though, what would make seeing the Beowulf manuscript in person special would be the chance to interact with the story’s physical embodiment. I mean, the Beowulf manuscript is a physical copy of a story that’s proliferated like its own species of animal. Going to see it manuscript in person would be like meeting with the first primate that walked upright (though with much less growling, I’d think).

Plus it would give me a new appreciation of all the work that went into bringing the Nowell Codex together.

After all, the poet didn’t just get lucky and find someone willing to publish them, give a fat advance, and send them out on a book tour.

The Beowulf poet got lucky enough to have their work written down on material that would last centuries. And that material came from several sheep and could take days, maybe weeks, to prepare. Beowulf was committed to bound paper at a time when books were truly treasured. So, to see that kind of labour of love up close would be fascinating.

And who knows. Maybe, even through the white gloves I’d need to wear to be in the room with it, contact with the pages of the Nowell Codex would trigger a psychic link to one of its scribes. And through that link I’d gain a greater understanding of why Beowulf was bunched together with letters about far away places and a homily on St. Christopher.

But that fan-fic is for another time. (Is there even such a thing as fanfiction about books?)

I guess for now I’ll just have to check out the digital version on the British Library’s site.

What’s your favourite old book? If you’re a book collector, do you have any first editions? What makes them special to you?

Feel free to share your answers in the comments.


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Closing

Next week, the grieving barrow guard gives a speech.

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Twin Peaks and Beowulf!?

Bobby Briggs from Twin Peaks stunned by Beowulf.

We can all share in Bobby’s shock. Image from http://www.gramunion.com/robotbeowulf.tumblr.com/155345786712

Spoilers abound below. If you’re not done with Twin Peaks The Return (or the entire series) just yet, read on at your own risk.

Introduction

It’s human nature to see patterns where there might not be any. It’s also human nature to want to combine the things you love even if they don’t seem likely to mix. That’s where today’s post is coming from.

Having seen and mostly digested Twin Peaks The Return, and being quite familiar with Beowulf, I noticed a few similarities. Especially when it comes to the monsters featured in both works.

Now, I don’t think that these similarities point to any answers in the Twin Peaks universe. Nor do I think that David Lynch is a secret Beowulf fan who wanted to work through the poem’s themes and motifs in his own art. I just noticed that there are some similarities between the oldest piece of English literature and the newest piece of television art.

And I want to share them with my readers.

This comparison will go through the monsters of Beowulf since that’s where the meat of this is. Though a case could be made that Lynch’s at times directionless-seeming storytelling is quite similar to Beowulf‘s asides and loosely related side stories.

There is one Twin Peaks theory at work in this comparison. This is the idea that the ancient evil force that Gordon Cole calls Judy in part 17 of The Return is the same as The Experiment that we see in parts 1 and 8.

Now, let’s get right into those monsters!

The Monsters in General

Beowulf fights Grendel as depicted by Santiago Garcia and David Rubin's graphic novel adaptation of Beowulf.

Beowulf battles Grendel in Santiago Garcia and David Rubin’s Beowulf. Image from http://bit.ly/2jVrgOn.

Beowulf features some sort of unidentified troll-like monster, its mother, and a dragon. Twin Peaks has two monsters, essentially: Killer BOB and Judy (Jao De). I’m not sure how evil spirits from other dimensions or outside of time trace their lineage, but I think it’s safe to say that Judy is Killer BOB’s mother. So there’s one parallel.

But there’s more to the BeowulfTwin Peaks monster connection than mere surface similarity.

Like Grendel and his mother, BOB and Judy are encouraged by human action. In the case of the Grendels, the construction of Heorot disturbs them and provokes Grendel to attack. Heorot, however, is no military barracks but a place meant for peaceful gatherings and where new friendships could be forged or old ones strengthened. For BOB and Judy, the human action that gets them into action is the nuclear testing at the Hanford site. A nuclear bomb is not really much like a drinking hall, though it is interesting to think about it in terms of its ultimate goal: to ensure, through either use or mere presence, the continuation of peace. As part of this comparison,

I think it’s also neat to think of the hall, a place of peace, inciting the Grendels in a world rife with everyday conflict, whereas the bomb is a weapon of destruction in a world that enjoys everyday peace.

Grendel/Killer BOB

Beowulf, Grendel, Old English, Anglo-Saxon

An illustration of Grendel by J.R. Skelton from Stories of Beowulf. Grendel is described as “Very terrible to look upon.” From: https://commons.wikimedia.org/wiki/File:Stories_of_beowulf_grendel.jpg

Moving on from that rabbit hole, though, we come to Grendel as an agent of terror. Likewise, BOB terrorizes those he inhabits and the lives of those around his hosts. Also, how Grendel and how Killer BOB are defeated is similar.

In Beowulf, the poem’s hero wrestles Grendel into submission with his bare hands. He even goes so far as to tear off the monster’s arm with just his hands since his grip has the strength of 30 men. In Twin Peaks something similar happens: Through a strange sequence of events Freddie ends up buying and putting on a green gardening glove that lets him punch with the power of a pile driver. This strength overcomes Killer BOB when he’s in his ball form, shattering him to pieces.

Freddie's Beowulf-like gardening gloved hand, Killer BOB Killer in Twin Peaks.

The arm.

Those pieces, like Grendel in the poem, then run away. And it seems likely that after the events of part 17 of The Return, BOB is as dead as Grendel is by the end of Beowulf.

The BOB Bubble that Freddie beats, Beowulf-like, in Twin Peaks.

The BOB bubble that Freddie bursts.

Grendel’s Mother/Judy

Grendel's mother menaces the pinned Beowulf with a knife.

By J. R. Skelton – Marshall, Henrietta Elizabeth (1908) Stories of Beowulf, T.C. & E.C. Jack, Public Domain, https://commons.wikimedia.org/w/index.php?curid=11001837

Grendel’s mother also shares general traits with how Judy operates. When Grendel is killed Grendel’s mother shows a level of calculated intelligence when she only kills and carries off one of Hrothgar’s men. Not only does this action show that she has a concept of “an eye for an eye”, it suggests that she is aware of the nature of feuds.

Judy, a being of supreme evil, operates with similar careful calculation. She does not just let Cooper walk Laura to the white lodge when he plucks her from death in the original timeline/dimension of the series. Instead she plucks her away from him and brings her to another timeline/dimension entirely. But Judy doesn’t just hide Laura anyway. She brings the girl to a place where she holds sway (and runs a coffee shop apparently).

Judys Cafe in Twin Peaks The Return, no parallel in Beowulf.

Judy’s has it all — breakfast, homestyle cooking, and a slick white horse ride.

Cooper ventures into the place that Judy has made, where she seems to have some sort of dominion in an effort to get Laura back. Similarly, Beowulf dives into a lake to get to the Grendel’s underwater hall where Grendel’s mother holds power.

Heroes’ journeys to strange places to face powerful foes isn’t anything all that new or rare in stories. But I find it fascinating that both heroes venture into what is essentially enemy territory in similar ways. Beowulf dives until the currents pull him into a strangely lit cavern. Cooper travels down a road until he passes under electrical lines and ends up in this strange, yet familiar, new place.

Further, Beowulf goes into his trial with the sword of the enemy-turned friend Unferth. Cooper goes into it with a friend whom we’ve seen as being untrustworthy and manipulated throughout the season in Diane. In both cases, these helps prove useless in the confrontation with the power that they are fighting. Unferth’s sword does no damage to Grendel’s mother, and Diane forgets who she was as she settles into her new role as Linda in this new timeline/dimension.

Twin Peaks' Cooper reads a note - a missing page of Beowulf.

Cooper reads Linda’s weird note.

The Dragon/The Experiment/Judy

A dragon and its hoard like the one in Beowulf.

A dragon and its hoard.

Now, there is no dragon in Twin Peaks. Something so blatant or obvious just isn’t David Lynch and Marc Frost’s style. But. I think that there are more similarities between Beowulf‘s story and Twin Peaks The Return‘s main conflict. Though they require some mental squinting to see.

Up until the end of The Return, what exactly the vaguely female creature credited as “Experiment” was was unclear. I think it’s fair that this creature fits the role of Grendel’s mother quite perfectly. But. I also think that this creature fills the role of the dragon as well. She doesn’t transform into some sort of giant scaly creature for Cooper to shoot at or anything like that, but what the Experiment comes to be by the end of The Return is on the same level as the dragon in Beowulf.

In the poem, the dragon is not just the final foe that Beowulf faces. It is an ancient thing, greedy and prideful, that starts to terrorize Beowulf’s lands when one of its treasures is stolen. Of course, this dragon doesn’t spend any of its treasures, it merely hoards them. It is the inspiration for the vain and greedy Smaug from the Hobbit. Likewise, Judy seems to hoard whatever those bubbles that she and The Fireman sent out around the mid point of The Return. Once she wins them over to her pile that is. As she does with Laura.

I think that Judy is much more than the vaguely female shape we see in parts 1 and 8. The Experiment, with its ability to blend people’s faces faster than a Blendtec mashes diamonds, is just an embodiment, just a shell. It could be argued that that isn’t even correct, and the Experiment as Judy is merely a perception of the kind of evil force that simply cannot be embodied.

In short, Judy is bad news.

In Beowulf the dragon is bad news.

It burns down Beowulf’s meeting hall, terrorizes his people, and threatens their very existence. Just like Judy.

But, just like the dragon, I think that Judy only flexes its true muscle, shows off its true power as an evil force, when its most prized possession is stolen away from it. When Coop saves Laura from ending up in plastic on the beach in Twin Peaks, it’s like someone just stole something from the dragon’s hoard. From that moment on in The Return, I think that Judy transcends (if that makes sense) into its true self and is able to create all new realities (timelines/dimensions) in which to hide Laura.

Meanwhile, having passed through the lodge twice now, Cooper is somehow older, perhaps more wizened. This comes across in the diner scene where he takes down the three cowboys. Yet, he warns the fry cook that the oil he just dropped the cowboys’ guns into may be hot enough to set them off. Like Beowulf when the dragon attacks, this is an older, more tired hero that we’re looking at. Yet he is certain of himself and confident enough to find Carrie Paige (Laura), bring her back to Twin Peaks, and try to remind her of who she really is. Just as Beowulf is confident enough in his own abilities to fight the dragon.

Both stories then end.

Twin Peaks' experiment, much like Grendel's mother in Beowulf.

The eerie Experiment from the glass box.

Conclusion

With Beowulf, the dragon is defeated but Beowulf is mortally wounded. And the future of the Geatish people, and the whole way of life that the poem portrays, is unclear.

With Twin Peaks, Carrie Paige remembers who she is, and Cooper seems to wake up — which should be a victory. But instead we hear the same scream that filled the woods when Laura was swept away from Cooper earlier in the episode. We then hear a faint ethereal “Laura” and the electricity flickers. The house where Laura lives goes dark. Then the entire screen goes dark.

Thematically, these endings have much in common. Both are bittersweet, yes. But more than that both endings demonstrate the ending of something incredible. Whether the Geats survive without their king, or whether Cooper and Laura triumphed over that wave of evil they were up against are unclear. Both are unwritten. But both are certainly art.

Twin Peaks' Palmer house has its lights go out, like Beowulf's punching Grendel's lights out.

The dimmed Palmer (?) house.

And that’s my attempt to bring these two disparate bits of media together. An early medieval epic poem and a surreal detective/supernatural television show. To me it all makes some kind of sense.

But what do you think about this comparison? Is it even possible to compare two things that are so different in time and place and content? What are your own pet theories about the ending of Twin Peaks?

Share your thoughts in the comments!