verse, several have written from what would seem a mistaken point of view. Is it proper, for instance, that the grave and solemn speeches of Beowulf and Hrothgar be put in ballad measures, tripping lightly and airily along? Or, again, is it fitting that the rough martial music of Anglo-Saxon verse be interpreted to us in the smooth measures of modern blank verse? Do we hear what has been beautifully called “the clanging tread of a warrior in mail”?
Of all English translations of Beowulf , that of Professor Garnett alone gives any adequate idea of the chief characteristics of this great Teutonic epic.
The measure used in the present translation is believed to be as near a reproduction of the original as modern English affords. The cadences closely resemble those used by Browning in some of his most striking poems. The four stresses of the Anglo-Saxon verse are retained, and as much thesis and anacrusis is allowed as is consistent with a regular cadence. Alliteration has been used to a large extent; but it was thought that modern ears would hardly tolerate it on every line. End-rhyme has been used occasionally; internal rhyme, sporadically. Both have some warrant in Anglo-Saxon poetry. (For end-rhyme, see here , see here ; for internal rhyme, see here , see here .)
What Gummere calls the “rime-giver” has been studiously kept; viz. , the first accented syllable in the second half-verse always carries the alliteration; and the last accented syllable alliterates only sporadically. Alternate alliteration is occasionally used as in the original. ( See here , see here .)
No two accented syllables have been brought together, except occasionally after a caesural pause. ( See here and see here .) Or, scientifically speaking, Sievers’s C type has been avoided as not consonant with the plan of translation. Several of his types, however,