[Footnote 6: Ibid., p. 259.]

[Footnote 7: See Thorkelin, p. 40.]

GRUNDTVIG'S TRANSLATION

*Bjowulf's Draape. Et Gothisk Helte-digt fra forrige Aar-tusinde af Angel-Saxisk paa Danske Riim ved Nic. Fred. Sev. Grundtvig, Praest.

Kjbenhavn, 1820[1]. 8vo, pp. lxxiv, 325.

Bjovulvs-Draapen, et Hinordisk Heltedigt, fra Anguls-Tungen fordansket af Nik. Fred. Sev. Grundtvig. Anden forbedrede Udgave. Kibenhavn. Karl Schnbergs Forlag. 1865. 8vo, pp. xvi, 224.

First Danish Translation. Ballad Measures.

_Grundtvig._

Nicolas Frederic Severin Grundtvig (1783-1872) was especially noted as a student of Old Germanic literature. He began his career in 1806 by his studies on the _Edda_. This was followed by a book on Northern Mythology (1810), and by various creative works in verse and prose, the subjects of which were usually drawn from old Danish history. An account of his labors on the _Beowulf_ will be found in the following section. His interest in Old English literature continued through his long life, and he was well and favorably known among the scholars of his day.

_Circ.u.mstances of Publication._

In _Beowulfs Beorh_ (Copenhagen, 1861), Grundtvig tells the story of his early translation of the poem. He had always had a pa.s.sionate interest in Danish antiquities, and was much excited upon the appearance of Thorkelin's text[2]. At that time, however, he knew no Old English, and his friend Rask, the famous scholar in Germanic philology, being absent from Denmark, he resolved to do what he could with the poem himself. He began by committing the entire poem to memory. In this way he detected many of the outlines which had been obscured by Thorkelin. The results of this study he published in the _Copenhagen Sketch-Book_ (_Kjbenhavns Skilderie_), 1815. When Thorkelin saw the studies he was furious, and p.r.o.nounced the discoveries mere fabrications.

But Rask, upon his return, thought differently, and proposed to Grundtvig that they edit the poem together. They began the work, but when they reached line 925 the edition was interrupted by Rask's journey into Russia and Asia. With the help of Rask's _Anglo-Saxon Grammar_ (Stockholm, 1817), Grundtvig proceeded with his translation. By the munificence of Bulow, who had also given a.s.sistance to Thorkelin, Grundtvig was relieved of the expense of publication.

_Progress of the Interpretation of the Poem._

Grundtvig was the first to understand the story of _Beowulf_. With no other materials than Thorkelin's edition of the text and his own knowledge of Germanic mythology, he discovered the sea-burial of King Scyld, the swimming-match, and the Finn episode. He identified Breca, Hnaef, Hengest, King Hrethel, and other characters whose names Thorkelin had filched from them.

_Text Used._

Rask borrowed the original transcripts which Thorkelin had brought from the British Museum, and copied and corrected them. This was the basis of Grundtvig's translation.

_Differences between the First and Second Editions._

The princ.i.p.al difference is in the introduction; but of the nature and extent of changes in the second edition I can give no notion. All my information respecting the first volume is derived from transcripts of certain parts of it sent me from the British Museum. These copies do not reveal any differences between the two translations.

_Aim of the Volume, and Nature of the Translation._

We begin by quoting the author's words:--

'I have studied the poem as if I were going to translate it word for word ... but I will not and have not translated it in that way, and I will venture to maintain that my translation is a faithful one, historically faithful, inasmuch as I have never wilfully altered or interpolated anything, and poetically faithful inasmuch as I have tried with all my might vividly to express what I saw in the poem.... Whoever understands both languages and possesses a poetical sense will see what I mean, and whoever is deficient in knowledge or sense, or both, may stick to his own view, if he will only let me stick to mine, which may be weak enough, but is not so utterly devoid of style and poetry as little pettifoggers in the intellectual world maintain because they can see very well that my method is not theirs. "I have," said Cicero, "translated Demosthenes, not as a grammarian but as an orator, and therefore have striven not so much to convince as to persuade my readers of the truth of his words": methinks I need no other defence as regards connoisseurs and just judges, and if I am much mistaken in this opinion, then my work is absolutely indefensible[3].' --Pages x.x.xiv, x.x.xv.

In the introduction to his text of 1861, Grundtvig speaks of his theory of translation, saying that he gave, as it were, new clothes, new money, and new language to the poor old Seven Sleepers, so that they could a.s.sociate freely with moderns. He believed that it was necessary to put the poem into a form that would seem natural and attractive to the readers of the day. In so doing he departed from the letter of the law, and rewrote the poem according to his own ideas.

In the second edition the author states that he hopes the poem will prove acceptable as a reading-book for schools. Its value as a text-book in patriotism is also alluded to.

EXTRACT.

SJETTE SANG.

Traetten med Hunferd Drost og Trsten derover.

Nu _Hunferd_ tog til Orde[4], Og _Egglavs_ Sn var han, Men Klammeri han gjorde Med Tale sin paa Stand.

Han var en fornem Herre, Han sad ved Thronens Fod, Men avindsyg desvaerre, Han var ei Bjovulv G.o.d; En Torn var ham i iet Den aedlings Herrefaerd, Som havde Blgen pliet Og aere hstet der; Thi Hunferd taalte ikke, Med Naesen hit i Sky, At Nogen vilde stikke Ham selv i Roes og Ry.

'Er du,' see det var Skosen, 'Den Bjovulv Mudderpram, Som dykked efter Rosen Og drev i Land med Skam, Som kaeppedes med _Braekke_ Og holdt sig ei for brav, Dengang I, som to Giaekke, Omfld paa vildne Hav!

I vilde med jer Svmmen Paa Vandet gire Blaest, Men drev dog kun med Strmmen, Alt som I kunde bedst; For aldrig Det ei keise Jeg vilde slig en Klik, Som for den Vendereise I paa jert Rygte sik.

Paa Landet var I friske, Men Vand kan slukke Ild, I svmmed som to Fiske, Ia, snart som dde Sild; Da sagtnedes Stoheien, Der Storm og Blge strid Ier viste Vinterveien Alt i en Uges Tid.

Dog, om end Narre begge, Kom du dog vaerst deran, Thi fra dig svmmed Braekke Og blev din Overmand; Du artig blev tilbage, Der han en Morgenstund Opskvulpedes saa f.a.ge Paa hie Roms Grund, Hvorfra sin Kaas han satte Til _Brondingernas_ Land, Med Borge der og Skatte Han var en holden Mand; Der havde han sit Rige, Og deiligt var hans Slot, Han elsket var tillige Af hver sin Undersaat.

Saa _Bjansteens_ Sn udfrte Alt hvad han trued med; Men da du, som vi hrte, Kom der saa galt afsted, Saa tr jeg nok formode, Om end du gir dig kry, Det gir slet ingen G.o.de, Du braender dig paany; Ia, vil en Nat du vove At bie Graendel her, Da tr derfor jeg love, Dig times en Ufaerd.'

_Criticism of the Translation._

The poem departs so far from the text of _Beowulf_ that any discussion of its accuracy would be out of place. As has been shown by the section on the nature of the translation, the author had no intention of being true to the letter of the text. Grundtvig's scholarship has been discussed above.

The translation may properly be called nothing more than a paraphrase.

Whole sentences are introduced that have no connection with the original text. Throughout the translation is evident the robust, but not always agreeable, personality of the translator. In his preface[5] Grundtvig remarked that he put nothing into his poem that was not historically and poetically true to the original. The statement can only be regarded as an unfortunate exaggeration. Grundtvig's style cannot be called even a faint reflection of the _Beowulf_ style. He has popularized the story, and he has cheapened it. There is no warrant in the original for the coa.r.s.e invective of the extract that has just been cited. In the Old English, Hunferth taunts Beowulf, but he never forgets that his rival is 'doughty in battle' (l. 526). Beowulf is always worthy of his respect.

In Grundtvig, the taunting degenerates into a scurrilous tirade.

Hunferth calls Beowulf a 'mudscow'; Breca and Beowulf swim like two 'dead herrings.' In like manner the character of Hunferth is cheapened.

In _Beowulf_ he is a jealous courtier, but he is always heroic. In Grundtvig he is merely a contemptible braggart, 'with his nose high in air,' who will not allow himself to be 'thrown to the rubbish heap.'

The same false manner is retained throughout the poem. In many places it reads well--it is often an excellent story. But it can lay no claim to historic or poetic fidelity to the _Beowulf_.

_Reception of the Book._

The book fell dead from the press. Grundtvig himself tells us that it was hardly read outside his own house[6]. Thirty years later he learned that the book had never reached the Royal Library at Stockholm. A copy made its way to the British Museum, but it was the one which Grundtvig himself carried thither in 1829. This was doubtless the copy that was read and criticized by Thorpe and Wackerbarth. Both of these scholars spoke of its extreme freedom, but commended its readableness.

[Footnote 1: This volume I have never seen. My information regarding it is from a scribe in the British Museum.]

[Footnote 2: See supra, p. 15.] [[Thorkelin]]

[Footnote 3: Translation by scribe in British Museum.]

[Footnote 4: Several variations in meter occur in the translation.]

[Footnote 5: See supra, p. 24.] [[Gruntvig: Aim of the Volume...]]