Fortune Bemoaned ["O Fortuna," Second Stanza] (Latin)

Posted on 2012/08/08 by NSCZach

Abstract
Translation
Quick Notes
Fortuna’s Subtlety
Translating Poetry can be Torturous
Closing

{Another of Fortune’s wheels? Image found on Wikipedia.}

The speaker further builds on his complaint against Fortune.

“Ah, Fortune, vast and void,
On your spinning wheel idle health ay turns to bad standing;
Both ever dissoluble, viewed but darkly,
Yet always to me seeming vainly lovely
As you bring your laughing, desecrating lash
To my naked back.”
(“O Fortuna”, 2nd stanza)

If you look at the translation offered on Wikipedia, and then at the one that I present here you’ll probably notice some differences. Once more, they’ve been made to keep the medieval flavor of the poem more or less intact.

Line 4 might be going a bit too far with its phrasing, but nothing was ever said about the poem’s original flavor being mild.

In fact, torture is clearly at play here. The wheel as a torture device was used in the middle ages, and the poem was written right in the middle of this period, sometime in the thirteenth century. But even then, there’re the final two lines of the stanza that explicitly mention a “laughing, desecrating lash” (ludum, ) that is brought to the speaker’s “naked back.”

There’s really no question that torture imagery is at play here. This might even be building on the subtle dominance of women peeked at in the first stanza of the poem.

Though they lacked prominence in places of power, their influence, however subtle and unseen in history books, cannot be overlooked. Even through to today, women who are villains (and even heroines) more often than not work their schemes through wit and wiles rather that brawn and brawling.

The binary stereotype that men are strong and women are smart (though usually not book smart) has persisted for a long time, and “O Fortuna” definitely looks like a medieval manifestation.

Although it might be a unique variation, what does it mean for the sort of torture imagery here (variably the breaking wheel, and fortune’s laughingly lashing a person’s back or taking her “pleasure” (“ludum”) on a naked back (“dorsum nudum”))?

The Latin word used for “laughter” or “pleasure” is “ludum.” This word refers to things like laughter, play, jests, or just a generally fun, interactive time. So how does that relate to being whipped?

On the one hand it could be a bit of the repressed seeping through. In the middle ages those who could write and had the means to do so were trained by the Church. So, it could be that the whip is “laughing” as well as “desecrating” because it injures the body that god created while also relieving the pent up desires that that body has through taking on pain: a feeling as extreme as pleasure.

On the other hand, the above translation does take some license in coming out with “As you bring your laughing, desecrating lash/to my naked back.” The poem in Latin reads “…ludum dorsum nudum…,” all three of those words are together, but it’s not entirely clear what’s doing what.

If they all create a single direct object phrase (since they are in the accusative case), then any order could be used. “Laughing naked back,” “back laughing naked,” “naked back laughing.” Even if any of these are used, the element of fun remains in the act of torture.

The only real change in meaning that results from these variations is that the laughter’s moved from the whip to the speaker’s back: the gashes opened by the whip being likened to the open mouth of someone laughing.

In either case, this is definitely a poem that has more going on than another, more pious piece translated earlier.

Check back here on Thursday when Wiglaf views the hoard for the first time, helped by the luminescence of a battle standard.

On Requests and Namelessness [ll.2743b-2755] (Old English)

Posted on 2012/08/03 by NSCZach

Abstract
Translation
Recordings
Digging Deeper into Beowulf’s Request
Going Nameless
Closing

{J.R.R. Tolkien: Believer in *Beowulf*‘s being an elegy. Image found on *The-HobbitMovie.com*.}

Beowulf instructs Wiglaf to get some gold from the hoard to show him what he fought for, and Wiglaf runs off to oblige him.

&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp”Now go you quickly
to see the hoard under the grey stone,
dear Wiglaf, now the serpent lay dead,
sleeping in death sorely wounded, deprived of treasure.
Be now in haste that I ancient riches,
the store of gold may see, clearly look at
the bright finely worked jewels, so that I may the more
peacefully after the wealth of treasure leave my
life and lordship; that which I have long held.’
I have heard that then the son of Weohstan quickly obeyed
after the spoken word of his lord in wounds and
in war weariness, bearing mailcoat
the broad ring-shirt, under the barrow’s roof.”
(Beowulf ll.2743b-2755)

Old English:

{Forthcoming}

Modern English:

{Forthcoming}

On the surface, Beowulf’s request seems simple enough. ‘Go and grab some gold, that I may be able to see it,’ but there’s more to it then a validation of his final battle. Within this request lay the very stuff of revenge.

Beowulf acknowledges that now the serpent is dead and thus “deprived of treasure” (“since bereafod” (l.2746)). Thus, were he to die without seeing what he had fought for then, he would, in a way, not have won at all.

For Beowulf would then not have been able to say that he had laid eyes on that for which he fought, while the dragon enjoyed the sight of it constantly. Further, he also wouldn’t have experienced it, and wouldn’t therefore have fulifilled the treasure’s basic purpose: to be used by being enjoyed through sight (just as a grammatical object is used simply by being linked to a grammatical subject).

However, the act of seeing it, of using it, also puts Beowulf on par with the dragon on the level of greed, since he is not able to dole out the treasure to his people, as any good king must, in person.

But, what’s curious about this passage is Wiglaf’s lacking reference by name. First he is the “son of Weohstan” and then he is referred to with a bit of metonymy when the poet simply says that he bore a mailcoat into the barrow (“hringnet beran/…under beorges hrof” (ll.2754-2755)).

So why does Wiglaf, the one who was instrumental in Beowulf’s victory, suddenly lose his name? Perhaps to keep the focus on Beowulf, rather than Wiglaf so that it truly does become an elegy rather than a story of succession, of hope.

It’s also possible that this is merely poetic license, but the fact is that Wiglaf is not referred to by name again until line 2852. That’s over one hundred lines later, and the point at which his fellow Geats recognize him as the new leader for the first time.

That Wiglaf is named for the occasion of recognition as the new authority strongly suggests that indeed he is occluded for the next 100 lines to keep Beowulf in the spotlight. Going out at Beowulf’s behest, Wiglaf isn’t really Wiglaf anymore, but he is made into Beowulf’s double, at least for the brief time that he scrambles out to the hoard, through it, and back.

It could even be argued, that Wiglaf’s washing Beowulf clean and then undoing his helmet are both acts that signify a complete rescindment of the will, perhaps as an acknowledgement of the end of a life. In doing these things Wiglaf drops his own desires and takes up Beowulf’s request entirely so that he can be a comfort to the old lord in his final moments.

Next week, the second stanza of “O Fortuna” will be posted, and Wiglaf, though nameless, finds himself immersed in a fabulous treasure room.

You can find the next part of Beowulf here.

Silent Sorrow Following Frabjous Joy [ll.2706-2719] (Old English)

Posted on 2012/07/13 by NSCZach

Abstract
Translation
Recordings
Strengthened by Juxtaposition
Who’s Heart-Wise?
Closing

{Wiglaf tends to Beowulf. Image found on *Wikipedia*.}

The poet revels over the victory of Beowulf and Wiglaf, but their joy is short lived as Beowulf’s wound is shown to be dire.

“The fiend had fallen – courage punished his life –
and those two both had killed it,
brother nobles. So should every man be,
loyal thanes ready for the need! Yet for that king it was
the final hour of victory for his own deeds,
his works in the world. Then that wound began,
the one the earth-drake had earlier dealt him,
to sear and swell; soon he discovered that
poison welled forth from within the wickedness that
marred his chest. Then the prince went
to him that was by the wall, wise at heart,
he sat on the stone; looked upon the work of giants,
how the stone arches were secured with columns,
beheld what the cave-dwelling held within.”
(Beowulf ll.2706-2719)

Old English:

{Forthcoming}

Modern English:

{Forthcoming}

The juxtaposition of the opening lines of this passage is perfectly suited to Anglo-Saxon thought.

Placing a bit of gnomic wisdom aside the revelation that Beowulf is indeed dying only strengthens that wisdom. After all, Wiglaf now proves himself to truly be one of the “loyal thanes” (“þegn” l.2709).

Within this passage we see him run over to his dying liege lord and take a seat beside him. For now, there is no dialogue, but instead Wiglaf looks over what they’ve won together. Without words of any sort he takes up the role of world interpreter for Beowulf as he lies against the wall, his wound festering in fast forward.

In the above translation the person being desribed as “wise at heart” (“wīs-hycgende” l.2716) is unclear, and so too is it in the original: “Ðā se æðeling giong/þæt hē bī wealle wīs-hycgende/gesæt on sesse” (ll.2715-2717).

This ambiguity shows not only the shared wisdom of these two, but it also works to further the idea that Beowulf has successfully passed on the role of Geatish ruler to the best candidate. Though his death and the cowardice of the other 11 thanes does prophesy that tribe’s beginning decline.

Turning to what either case might mean more specifically, if the phrase refers to Wiglaf, then it simply means that he is doing what he feels is right and the poet is validating this.

On the other hand, if this phrase refers to Beowulf, then it may be a bit of foreshadowing of a phrase that comes up in a passage nearly 100 lines away, or it may simply refer to the inborn wisdom that a fifty winters as a successful king brings.

Next week, Isidore writes of the ways in which animals are manipulated while conceiving, and Beowulf finally comes to terms with his end.

You can find the next part of Beowulf here.

A Chatty Wiglaf and an Encouraged Beowulf [ll.2661-2672a] (Old English)

Posted on 2012/06/15 by NSCZach

Abstract
Translation
Recordings
Wiglaf: The Chatty Youth
An Early Ascension Speech?
Closing

{Just what the dragon’s doing while Wiglaf stages his dramatic entrance. Image from Quest for Glory V concept art at RPGamer.com}

Wiglaf rushes over to Beowulf, and reassures him that his glory will not falter for this difficulty. But, just as Wiglaf finishes his short speech, the dragon starts back towards the pair.

“Advanced he then through that deadly smoke, in helmet
he bore to the lord his help, few words he spoke:
‘Dear Beowulf, perform all well,
just as you in youth long ago said
that you would not allow while you are alive
your glory to decline; You shall now in deed be famous,
resolute prince, all strength
your life to defend; I you shall help.’
After that word the serpent angry came,
the terrible malicious alien from another time
glowing in surging fire attacked his enemy,
hateful of men.”
(Beowulf ll.2661-2672a)

Old English:

Modern English:

Wiglaf is a very strange character. It’s not that his name is odd (aside from what’s been said before, what could naming someone “war heirloom” mean, anyway?), or that his introduction is hastily foisted onto an explanation of his equipment, but that he gets so many lines of dialog.

After all, considering the length of this poem, there really isn’t that much dialog.

Hrothgar and Beowulf have some long speeches, but they’re both in the poem for a substantial amount of time, while Wiglaf is only prominently featured in the last 500 lines or so.

So, why does Wiglaf have such a major speaking role relative to the length of his presence in the poem?

It could be that speech is shorthand for the kind of thing that his generation of Geats excels in. That the rest of his fellow thanes ran away when Beowulf’s distress became clear is a clear mark of this. Or it could be that Wiglaf, as someone who hasn’t yet seen real battle and killed with his own sword, primarily interacts with the world through speech rather than weaponry.

But then, one thing still stands out.

In almost every instance of Beowulf, the poem’s other major hero, talking, he does it in response to other characters’ actions. He answers Unferth’s challenge to his valor (ll.529-606), he boasts to Wealhtheow when she presents him with a drinking cup (ll.628-638), and he retells his exploits in Daneland when Hygelac asks for a tale of his adventures (ll.1900-2162).

Otherwise, Beowulf is mostly a silent protagonist. The only major instance where he speaks unbidden is before his thanes, when he gives them his lengthy autobiography and assures them that this dragon fight will be tough, but he’ll handle it himself.

With that in mind, is it possible that the poet/scribe behind the poem is setting Wiglaf up as the next Geatish king?

Since Beowulf’s speech to his thanes is the product of his office as well as his emotional state at the time, the only thing that marks Wiglaf as different is his lack of a title. Perhaps his outburst is meant to stand as a kind of shorthand for youthful vigor, a vigor that he tries to impart to or revive in Beowulf through his words of encouragement – themselves completely unbidden.

Going back to the idea that Wiglaf’s speeches are the result of his inexperience in the field of war (a man’s proving grounds in the poem), maybe he is an early case study in the idea behind the phrase “fake it before you make it.”

Having no past battle experience, Wiglaf can only put on a brave face, something expressed through words, but he can’t put on a brave show aside from his apparently impulsive rush from the band of thanes to his lord’s side.

Of course, if all of this is true, then the depiction of Wiglaf speaking to his fellow thanes and rushing to his lord’s side is a great portrayal of a young thane bound for great things.

Next week, Isidore runs through three of the colors from this week’s guide to good horses. And, in Beowulf, another hardship befalls the rallied lord of the Geats.

You can find the next part of Beowulf here.

The Second Half of Wiglaf’s Speech to the Thanes: Rhetoric [ll.2646b-2660] (Old English)

Posted on 2012/06/08 by NSCZach

Abstract
Translation
Recordings
Anglo-Saxon Understatement
On Fate and Rhetoric
Closing

{The sort of sheild that Wiglaf brings to the fight – hopefully his sword proves sturdier! Image from the blog *Beowulfian*, hosted by wikimedia.org.}

Wiglaf completes his speech, and in doing so presents himself as the shining example that the other thanes should follow.

Now is the day come
that our liege lord strength needs
good warriors. Let us go to,
to help the leader in battle while it is possible,
against the fierce terror from fire. God knows
that it is much dearer to me that my body
be with my gold-giving lord while fire should enfold him.
Nor does it seem to me fitting that we shields
bear back to home unless we first may
the foe kill, by life defend
the Weder’s prince. I know well
that it is not merited by past deeds, that he alone must
without the Geatish host affliction suffer,
fall at the battle; both of us shall sword and helm,
mail coat and battle garment together share.”
(Beowulf ll.2646b-2660)

Old English:

Modern English:

Wiglaf really gives it to his fellow thanes in this part of his speech. How can you tell such a thing? Because he uses token Anglo-Saxon sense of understatement. Not very liberally, but in such a way that it remains obvious even to this day.

So, we hear Wiglaf start a sentence with “God knows,” (“God wāt” (l.2650)), and it’s quite clear that he’s either being incredibly genuine or relying on a higher power to embolden himself. The understatement comes next when he moves from citing god to state that it wouldn’t be fitting to go home as warriors if they didn’t even fight.

The understatement in this sentence is clear from Wiglaf’s beginning it with “nor” (“ne”(l.2653)). This negative start undercuts his own position (“…seem to me…” ( “…þynceð me…”(l.2653))) and puts it squarely in contrast with his previous reference to god. And so the young warrior cunningly sets himself up for a verbal finger wagging as he calls his fellow warriors on even thinking about calling themselves warriors without even fighting the dragon.

Wiglaf’s statement “I know well/that it is not merited by past deeds” (“Ic wāt geare,/þæt nǣron eald-gewyrht”(ll.2656-2657)) that Beowulf should suffer alone sets human knowledge and the unknowable power of fate at an incredible contrast.

Earlier in the poem we’ve been told that fate has left Beowulf’s side (ll.2574-2575), that it is indeed his fate to die, but Wiglaf, because of his dedication to kin, is not deterred by this, however obvious it might be given the state of the fight.

As the one who is set up to succeed Beowulf as king of the Geats, it seems that Wiglaf has an uncanny way of seeing how to make the best of fate, since he does indirectly acknowledge the fact that Beowulf is doomed while at the same time he calls for all the Geats to rally around him so that Beowulf will not be alone when he falls. It’s a nice emphasis of the importance of community to Anglo-Saxon life and culture.

However, where all of Wiglaf’s rhetoric falls flat is in his final sentence. Old English pronouns included some that were just for two people, but the one used here, “bām,” is definitely of the dual sense. So, just as Wiglaf is acutely aware of the fact that Beowulf should be attended because of his great stature as a warrior, it also seems that by the speech’s end he’s acutely aware of the fact that he is the only one about to rush off to help.

Next week, St. Isidore starts to wrap up coverage of horses, and concludes the overview of the last two characteristics of a great horse. In Beowulf, Wiglaf rushes to Beowulf and says some more words before we’re all reminded that the dragon’s still about.

You can find the next part of Beowulf here.

Wiglaf Speaks – But Will The Others Listen? [ll.2631-2646a] (Old English)

Posted on 2012/06/01 by NSCZach

{An ideal warrior, indeed. Image from Geograph.co.uk.}

Abstract
Translation
Recordings
Getting Grammatical
Geatland’s Next Top Warrior
Closing

Wiglaf speaks to his fellow thanes, making his intentions to fulfill their pledges to Beowulf made in the mead hall and trying – indirectly – to stir his fellows to do the same.

“Wiglaf spoke, many true words were
said by the companion (though at heart he was sad):
“I that time remember, when we mead drank,
when we pledged ourselves to our lord
in the beer hall, he who to us these rings gave,
promised that we the war-equipment would repay
if such need to him befell, [fend for him] with
helms and hard swords. For that reason he us from
the army chose, for this expedition by his own will,
considered us worthy for glory, and to me this
treasure gave, because he us good spear-fighters
judged,valiant warriors in helmets — though the
lord this courageous deed alone intended to
perform, herder of the people, because he
among men a glorious deed would accomplish,
do that deed audaciously.”
(Beowulf ll.2631-2646a)

Old English:

Modern English:

The most characteristic thing about this passage of Beowulf is the placement of its pronouns. Clauses like “he who to us these rings gave” (“ðe ūs ðās bēagas geaf” l.2635) sound pretty unnatural to modern ears since. It sounds off since in modern English this statement would be written “he who gave these rings to us.” Yet, throughout this passage the pronouns for the Subject and Direct Object (the thing directly acted on by the Subject) are constantly side by side (or closer than they are in Modern English).

This placement definitely emphasizes the connection between Beowulf and the thanes on the level of straightforward meaning, but it also works on a grammatical level. For there is almost no verbal distance between the Subject and the Direct Object, and this close proximity shows just how closely related the two are. Each one of Wiglaf’s statements underlines this fact, and it is this idea of their closeness that he uses to try to rouse his fellow thanes so that they all go and help Beowulf together.

However, at first glance there is something in this passage that works against Wiglaf’s rhetorical emphasis of his and the other thanes’ reliance on Beowulf.

The last five lines of this section of the poem are entirely about Beowulf’s desire to fight the dragon alone.

The line “though the lord/this courageous deed alone intended to perform” (“þēah ðe hlāford ūs/þis ellen-weorc āna āðōhte/tō gefremmanne”) sounds like it could be referring to Beowulf’s telling the thanes to stay out of the fight because he wanted to handle it himself, but it also suggests that Beowulf intended to fight alone from the start – which makes you wonder why he bothered to bring along the twelve thanes in the first place.

Whether fighting solo was something premeditated or not, bringing along the best of the best for this fight might have been Beowulf’s way of finding a successor.

The dragon is indeed the ultimate foe, and Beowulf may’ve guessed that even most of the cream of the martial crop would fear it. If that’s the case, then bringing this cream along would make it easy to find out who could possibly rule the Geats after his death – Beowulf was, after all, having dark premonitions after the dragon came and before the fight.

Though, this raises the question of why Beowulf never had any children. Whether he married Hygd after Hygelac’s death or not, fifty years is a long time to go without fathering any children. It stretches the belief, though maybe remaining unwedded and childless are characteristics of the hero that the scops were aiming for when Beowulf was being told and retold, molded into what was written down and what we have today.

Some bits of the manuscript were eaten by rats, or destroyed by a fire, but even those that remain still hold much mystery.

Next week, come back for more early medieval thoughts on horses with St. Isidore of Seville, and to get the second half of Wiglaf’s stirring speech.

You can find the next part of Beowulf here.

On Wiglaf’s Weapons (Pt. 2) [ll.2620-2630] (Old English)

Posted on 2012/05/25 by NSCZach

Abstract
Translation
Recordings
Two Possibilities for “mid Geatum”
Medieval Shorthand?
A Curious Word
Closing

The story of Weohstan and the arms winds down here, and things move back to Wiglaf, as he is on the verge of breaking from the host to go help Beowulf.

“He kept those adornments for many half-years,
sword and mail shirt, until his son could
perform heroic deeds as his late father did;
then he gave to him among the Geats war garbs
in countless number, when he departed from life,
old and on his way forth. Then was the first time
for the young warrior, to himself advance into
the battle onslaught with his noble lord. His spirit
did not melt away then, nor did his kinsman’s
heirloom fail in the conflict; this the serpent
discovered, after they had come together.”
(Beowulf ll.2620-2630)

Old English:

Modern English:

Just as with so many other sets of equipment in Beowulf, Wiglaf’s arms were passed onto him by his father. However, the poet/scribe also sees fit to add that these things were passed onto Wiglaf when father and son were “among the Geats,” (“mid Geatum” (l.2623)).

Since Weohstan had previously been in exile (as the poem made plain when describing his slaying of Eanmunde), this added detail is rather significant for one reason or another.

On the one hand, this detail suggests the importance of community. Possibly, even, this small prepositional phrase implies an underlying belief of the poet’s/scribe’s that communal memory is better than individual memory. At the least, with the constant references to friendship, kin ties, and the sound of the raucous joy of groups in halls, a community is regarded as being better than being alone.

On the other hand, it might just be another detail. Something to add to the colour of the story and not really a thread that’s woven around or with something else in the poem as so many things are.

Actually, It’s easy to wonder then if the phrase “among the Geats” is shorthand for a more detailed setting. But the marker of community might just be setting enough for the sort of transitional act that passing on war garb is in Anglo-Saxon culture.

For there was a firm belief among the Anglo-Saxons that a person’s belongings carried a part of his or her essence even after he or she died. So, passing these things on is as much a passing on of the physical objects as it is of the memory held within them, the things they used to make their mark on the world.

To pass these weapons, these memories, on, within the structures of a community, to make it an event within that community and thus set it into that community’s memory, would ensure that it definitely becomes entrenched there. It becomes as much a community act as a family act.

The other highlight of the passage is the original Old English verb used on line 2628: “gemealt.”

According to the Clark Hall & Merritt dictionary of Old English, the verb can be translated as “to consume by fire,” “melt,” “burn up,” “dissolve,” or “digest.” Since it’s referring to Wiglaf’s spirit, it seems most appropriate to go with melt. That way the words invoke an image of the young warrior envisioning his attack on the dragon and the aid that he’ll give his lord and having this vision stand firm rather than melting away (like a Jello mold in the heat of the sun).

{Possibly how Wiglaf imagines himself fighting the dragon. Image from Lady, That’s My Skull}

That’s all for this week, but check back next for Isidore’s continuing look at horses, and for Wiglaf’s stirring speech to his fellow thanes.

On Wiglaf’s Weapons (Pt.1) [ll.2606-2619] (Old English)

Posted on 2012/05/18 by NSCZach

{What Weohstan may as well have done in returning Eanmunde’s armor to his kin. Image from the National Library of the Netherlands Medieval Illuminated Manuscripts Collection.}

Abstract
Translation
Recordings
Wound Around Vague Pronouns
No Fuel for a Feud?
Closing

Wiglaf remembers all the things that Beowulf has done for him. While Wiglaf wanders the corridors of memory, the narrator tells us the origin of the young warrior’s equipment.

“Then he remembered that property which Beowulf had
earlier given, the rich dwelling place of the
Waegmundings, how he granted each the common rights,
as his father possessed. Then he could not restrain
himself, he grasped his shield in hand, a yellow shield;
the ancient sword he drew, that was, according to men,
Eanmunde’s heirloom, son of Ohthere. It came to Weohstan
while he was exiled, friendless, the slayer by blade’s
edge of Ohthere’s son, yet he still bore to his kinsman
the spoils of a shiny helm, a ringed mail shirt,
the ancient sword of giant’s craft. Onela gave
them to him, his kinsman’s war garments,
the war-ready garb; no feud was there to speak of,
though Weohstan had slain Onela’s nephew.”
(Beowulf ll.2606-2619)

Old English:

Modern English:

Although it’s mostly been cleared up, this passage is lousy with vague pronouns.

Lines 2606, 2614, and 2619 originally contain no proper names. Even so, it might seem that there are a few too many pronouns in this section of the poem, possibly because of the intense weaving that the poet/scribe is attempting. In fact, this use of vague pronouns could be a way of verbally showing how the characters involved in this digression are connected to each other.

Actually, if ever a case was to be made that Beowulf really is the product of a long oral tradition finally being written down by someone, this passage should be used as a prime piece of evidence.

Medieval writing is littered with abbreviations, but it’s usually not skimpy on clear pronouns – even if it’s common for some Old English to have been written with the remnants of grammatical gender in effect, meaning that inanimate objects are referred to as “he” and “she” rather than “it.”

Matters of poetry and writing aside, this section presents a curious case.

In Anglo-Saxon culture, the feud was the central means to conflict resolution before there was any kind of central authority figure (ie: a king). Since the events of Beowulf happened before there were really tightly controlled kingdoms (think Charlemagne’s or Alfred the Great’s) feuds were still common and are often at the middle of ballads and poems and stories from the early medieval era (c.400 – c.1066).

So what happened with Weohstan and Eanmunde’s family? Why is it that Weohstan doesn’t get an axe lodged in his skull when he returns Eanmunde’s sword, helmet, and chainmail to his uncle?

Is it possible that Eanmunde’s family took pity on Weohstan because he was an exile? That is, could there have been some sense that a feud against a man without a country is pointless and therefore not worth taking up? Or, is it possible that the act of returning the arms to his family erases any kind of bad blood between that family and Weohstan?

We’re only told that Weohstan kills Eanmunde “at battle” (“æt sæcce” l.2612). Since he is also in exile at the time (“wræccan wine-lēasum” l.2613), maybe Weohstan is fighting as a mercenary and therefore as someone without connections. Or, maybe he and Eanmunde just fought in single combat; they met up while Weohstan wandered, fought, and Eanmunde was killed.

Given what’s present in this part of the poem, it seems that they must have met on the battle field. The strongest piece of evidence for this is the echo of Beowulf’s asking Hrothgar to send his armor back to Hygelac if he gets eaten by Grendel (ll.450-55) in Weohstan’s returning Eanmunde’s equipment to his kin.

Further, Eanmunde’s father (Ohthere) and uncle (Onela) both being referred to must mean that this family was quite famed. So, maybe, as one currently in exile, Weohstan’s beating Eanmunde was viewed by his family not as something that couldn’t be properly repaid with a feud. Why? Perhaps feuding against just one man for the murder of someone from a family of people who are famous or worth many men could make the family appear petty.

Such an appearance might make them seem overly wrathful – something that might not be so bad in strictly Anglo-Saxon terms, but having already told stories of cruel Heremod (ll.1709-1722) and wicked Modthryth (ll.1931-1943), one of the poet/scribe’s purposes in telling/writing Beowulf must be to show that cruelty and wickedness are not good qualities. It’s not a stretch to add wrathfulness to that list of qualities frowned upon in the work.

Possibly, then, Eanmunde’s family’s not taking up a feud with Weohstan to wreak vengeance for their lost kinsman could be the result of that aim to teach.

This part of Beowulf definitely lays down some mysterious circumstances, but at the least it also shows that there’s more to Beowulf than a bunch of guys clubbing each other with pointy sticks.

Check back next week for Isidore’s take on various horses, and for part two of the history of Wiglaf’s equipment.

Why is the origin of his equipment so long in the telling? Well, in old oral traditions, you’ve got to build up to that sword with +3 attack and chain mail with +2 resistance to dragon’s fire.

A Blogger's Beowulf

An Old English enthusiast's translation of Beowulf. Plus a little bit about Beowulf's impact on modern culture.

Tag Archives: Wiglaf

Fortune Bemoaned ["O Fortuna," Second Stanza] (Latin)

On Requests and Namelessness [ll.2743b-2755] (Old English)

Silent Sorrow Following Frabjous Joy [ll.2706-2719] (Old English)

A Chatty Wiglaf and an Encouraged Beowulf [ll.2661-2672a] (Old English)

The Second Half of Wiglaf’s Speech to the Thanes: Rhetoric [ll.2646b-2660] (Old English)

Wiglaf Speaks – But Will The Others Listen? [ll.2631-2646a] (Old English)

On Wiglaf’s Weapons (Pt. 2) [ll.2620-2630] (Old English)

On Wiglaf’s Weapons (Pt.1) [ll.2606-2619] (Old English)