Bombastic Beowulf: Maria Dahvana Headley's Beowulf: A New Translation
I admit that I'm not up-to-date with Beowulf scholarship (mind, even if you're employed as a scholar of Old English, keeping up with Beowulf scholarship is a full-time job); I studied Beowulf as a seminar class in my finals 20 years ago. Even so, I can spot a few unfortunate gaps in the engagement with the literature. The biggest gap is in her engagement with Beowulf's monstrous nature. I was fortunate enough to be a classmate of Alaric Hall, whose work on the gradations between "human" and "monster" helped put Beowulf (and elves) into context. The Beowulf poet uses the same word (āglǣca) to describe Beowulf, Grendel and the dragon, as Headley (and many others) have noted. But that repetition doesn't turn up in the translation, obscuring the commonality of violence and exceptionalism shared by these characters. She even notes that most translators don't translate them the same - and then reproduces that choice.
In the introduction, Headley says that the poem "reads like and Old English fairytale". This, to me, neglects the poetic form, structure, and repetitions used by the Beowulf poet. Sure, there's a moral core, but the nature of how vernacular poetry survived from before the Norman Conquest renders this pretty much inevitable. The Beowulf poet used repetition to provide structure: "oþþæt ān ongan", "þæt wæs gōd cyning" - those repetitions and how they're used have stayed with me for 20 years. It doesn't feel like a fairytale to me.
Headley notes that "the poem feels populist" - well, it's got to be popular and/or noteworthy enough for it to be worth writing down and copying over the centuries. That doesn't preclude it being complex and subtle - Shakespeare's plays are all of those things. Headley also misses the point of "the periodic recaps" - this is less a poem about action than about reflection on action and its consequences. Repeats aren't there primarily for those who've lost the plot. There is a structure and a purpose to it, to loop around and around the action and its meaning in different contexts.
We see another missing of the point when shy says, "the poem, and especially the monologues of the men ... feels to me like the sort of competitive conversations between men". This is so close to getting it - indeed, that really is the point of the conversations between Beowulf and Unferþ - they're competitive, edgy. But it's missing out on the need Beowulf has to justify himself, the words he uses in different contexts to describe his action. It's all flattened into one bro brawling match, with no sense of the subtly different contexts the speeches happen in. Beowulf has to justify his violent nature - he's only useful when there's a threat; he's no peacemaker. And thus in this translation we miss the way that the Beowulf poet is undermining it all - worldly fame and gold are no good once you die. But because the translation flattens it, we miss all the nuance of the differences in the story when it's being retold.
I can't write a review of Beowulf without mentioning the first word: Hwæt. Obviously every translator needs to provide their own essay on how to translate this word. Our seminar leader suggested, "Yo!" (Can you tell that I was studying in the late 1990s? Yes, you can. Way to date yourself.) To stay slightly closer to the Old English, you could dip into AAVE and go for "Wassup?" Which choice could lead you in a very different direction. Headley goes for "bro", which immediately frames her whole translation, full of frat house culture (the boozing sections also lean into this very heavily). In a bold way, she reuses the word throughout the poem, to try to give some structure. That might work for some readers - it threw me out completely because it reframes the narration and speeches into a different mode that's not really done in the original poem. (It partly is, through the use of maþelode, but this isn't a direct mapping, so it's not a consistent usage either.) It didn't work for me; I felt it pushed everything into one register, in a way that obscures what the original poet was doing. And it heavily gendered a neutral opening statement.
The translation isn't that close; there are some elided passages, and some mildly expanded ones. Now, this is a fair tradition in translating (I like to compare and contrast two tellings of the Tristram story - one from mediæval Iceland, the other from France. They're separated by a few decades, and a massive cultural gulf. The French instance goes on for pages of monologues from all the main characters, saying how tragic they are, and how woeful it is to be in such a terrible situation. The Icelandic version cuts out most interiority and gets straight to the fighting and the tragedy.) I think I'd be happier about the choices if they were consistent. Sometimes Headley turns a religious phrase into something completely secular; at other times she retains the religious sense. This gives a rather uneven effect - we lose some of the sense of the poet reframing a story that involved pagan gods into a Christian context. And that weakens the sense we have of the religious import of the poem, and the reasons why it could be preserved. It also lacks the opportunity to really lean into the frat-house interpretation and see how Evangelical Christianity shapes that scene.
The big issue for me is that a lot of the repetition is gone. "That was a good king" survives (though if it didn't, I'd be wondering what the hell the translator was doing). But our Fierce Assailant āglǣca gets translated as "fiend", "enemy", "intruder", thus reproducing the issue Headley found with earlier translators. There's also some bizarre gendering choices. Headley leans in to the ship in the opening passages being ice-clad to say it was an "ice-maiden", which is pushing the "ships are she" thing a bit far, in my opinion. We also see her use "that bitch" to translate "feond" - which has a perfectly good English cognate that isn't gendered at all, and still shows what you thought of the person. This effectively manufactures more misogyny than there was in a poem that was probably written 1300 years ago. The women are already badly-treated by life (which the poet makes perfectly clear, by undercutting all our assumptions); there's no need to add to that. Headley draws attention to this in the introduction, and then fails by flattening everything into one-note misogyny.
Nonetheless, the moment when Beowulf goes out to fight the dragon (c. line 2540) evoked genuine emotion. It's pretty hard to ruin Beowulf; I just feel that it was so full of missed chances.