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I'm Mike Pope. I live in the Seattle area. I've been a technical writer and editor for over 35 years. I'm interested in software, language, music, movies, books, motorcycles, travel, and ... well, lots of stuff.

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Blog Statistics

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First entry - 6/27/2003
Most recent entry - 9/4/2024

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Posts - 2655
Comments - 2677
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Entries/day - 0.34
Comments/entry - 1.01
Hits/day - 347

Updated every 30 minutes. Last: 2:38 PM Pacific


  08:04 AM

This week I start an Old English class in which we begin our reading of Beowulf. I believe that the arc for most (all?) Old English courses is to start with the basics, work one's way through shorter pieces, and culminate with reading the big B.

This week's assignment is to read the first 79 lines, in which Hrothgar has the great hall Heorot built. (Soon, as many of us know, it will be visited by Grendel ...)

I had to think for a bit about whether I even wanted to take this Beowulf class. Back in 1980, I took the Old English series at the University of Washington. That consisted of two parts: part 1 was grammar and shorter readings, part 2 was Beowulf, one semester (quarter?) each. As I've been taking OE classes again over the last couple of years, I marvel at how rapidly we must have worked our way through the readings. I absolutely could not keep that pace up now in my dotage.

The experience back in the day also must have traumatized me a little, because ever since I restarted Old English classes, I've been stressed about the prospect of revisiting Beowulf. I expressed this hesitancy to our instructor, who has assured us multiple times that the readings we've done so far — including "The Battle of Maldon", "The Wanderer", "The Seafarer", and the horrible (to me) "Andreas" poem — have prepared us well for tackling Beowulf.

But I also had to stop and think about a question that several people have asked me: why am I taking Old English classes at all? The answer at first was easy — because it's fun! I've had enough German to recognize and be delighted by the resemblance between OE and German, not to mention the joy of finding ancestral and fossil words of modern English.[1]

The text for our first year of OE was written by our instructor: a book about Osweald the Bear, a talking bear who has adventures in Anglo-Saxon England at a particularly interesting time in history. The text starts simple and becomes increasingly sophisticated, at times including snippets of "real" OE literature. It was a blast to read and discuss, with all of us keenly invested in what happens to Osweald and his friends.

After that we turned to existing literature, including bits from the Anglo-Saxon Chronicle, gospel translations, and various poems. These were more challenging, of course. That's especially true for the poems, which are syntactically complex — the subject of a sentence might be several lines after the verb and object(s), for example.

Plus poems rely on a broad vocabulary. As I heard somewhere, the alliteration used in Old English poems means poets needed a selection of synonyms that all started with different sounds. Thus, for example, the poem about the battle of Maldon has about two dozen words for "warrior", basically.[2] Until one has mastered all of this vocab (not so far, me), it can be a bit of a slog to stop and look up yet another unfamiliar word.

As the readings got harder and it took longer to get through them, I had to ask myself again whether I was having fun — or enough fun to continue. Did I actually want to read Beowulf?

I know from talking to some of the other students that many of them came to Old English through Tolkien and The Lord of the Rings. There are discussions sometimes in class about how Tolkien borrowed elements of Old English literature for his works. But I'm not a Tolkien guy (never read any of the books), so I do not get the pleasure of appreciating how the literature we're reading in class was echoed in LOTR.[3]

The joy of discovering correspondences and fossil vocabulary has faded a bit as I've gotten more used to Old English. I do still find pleasing word bits, though, like this from "The Wanderer":

Gemon hē selesecgas ond sincþege,
hū hine on geoguðe his goldwine
wenede tō wiste.

He remembered the hall warriors and treasure-receiving
How in his youth his gold-friend [lord]
Accustomed him to feasting.

... and learning that wenian ("accustom") is the source of our verb to wean [from].

But an unanticipated joy (unanticipated by me, that is) is that I have come to like some of the poetry a great deal. I've discovered a fondness for the fatalistic Saxon outlook on life, as well as for their pithy and wry observations. For example, the narrator of "The Wanderer", a poem in the persona of someone treading the paths of exile, makes this relatable observation:

… ne mæg weorþan wīs wer, ǣr hē āge
wintra dǣl in woruldrīce.

A man cannot become wise before he's had a share of winters in this world.

And there's this ubi sunt lamentation from later in the poem:

Hwǣr cwōm mearg? Hwǣr cwōm mago? Hwǣr cwōm māþþumgyfa?
Hwǣr cwōm symbla gesetu? Hwǣr sindon seledrēamas?

What's become of the horse?
What's become of the young warrior?
What's become of the treasure-giver?
What's become of the seats at the feast?
Where are the hall-joys?
[4]

I was surprised at how much I enjoyed "The Battle of Maldon", a poem about how a troop of Saxon militia lost a battle against marauding Vikings, apparently recording a real incident. The poem is practically cinematic; you could make a movie of it today and it would hit all the tropes we're used to — the old commander rallying his inexperienced troops; the young man who sends away his beloved hunting falcon and turns to join the ranks; the ravens circling in anticipation; the old warrior who gets wounded but kills his attacker; the cowardly brothers who turn and run; the sad ends of individual courageous fighters.

And now I've started Beowulf again. The poem begins with a history of Scyld Scefing, a foundling who …

... sceaþena þrēatum,
monegum mǣgþum, meodosetla oftēah,
egsode eorlas …
oð þæt him ǣghwylc þāra ymbsittendra
ofer hronrāde hȳran scolde
gomban gyldan

... from troops of enemies,
from many nations, captured their mead-benches,
(and) terrified rulers …
until him each of the surrounding nations
over the seas [whale-road] had to obey
(and) to yield tribute

To which the poet adds this conclusion:

þæt wæs gōd cyning

That was a good king!

You can imagine a hall full of Saxons having a good whoop about that.

I don't know if I'll make it through all 3182 lines of the poem, but it seems like it has a promising start.

__________

[1] One person asked why I didn't instead study a "practical" language.

[2] A selection of words for "warrior": bana, beorn, ceorl, cniht, dreng, fēond, fǣr-sceaþa, gārberend, gesīþ, gest, gram, gūþ-rinc, hæleþ, hǣþen, heorð-genēat, hyse, rinc, sǣman, scealc, sceaþa, secg, þegn, weard, wer, wīga, wīgend, wine. Observe how many different sounds these start with, very handy for the poet. Of course, these terms all have shades of meaning, but all of the senses revolve around the concept of "warrior".

[3] I’m not disdaining this, just noting that it's a facet of OE studies that I cannot participate in.

[4] Those familiar with 1950s folk music might, like me, be reminded of Where Have All the Flowers Gone? by Pete Seeger.

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