Translated by Maria Dahvana Headley
Maria Dahvana Headley’s opening salvo in her translation of Beowulf is the word “Bro!” This sets the stage for an irreverent, rollicking, electrifying, and astonishing translation unlike any we have seen before.
Headley has studied the poem extensively. Her goal was to render the poem as close to the spirit of its original form as possible. As she says in her extensive introduction, “The original reads, at least in some places, like Old English freestyle, and in others like a wedding toast of a drunk uncle who’s suddenly remembered a poem he memorized at boarding school.” She captures the rollicking spirit of the poem admirably, generating a work that is not so much a translation but a re-creation. Her goal was to create “a text that is as bubbly and juicy as I think it ought to feel.”
Headley smashes the sedate lines of previous translations with flashes of lightning. As she explains in her introduction, some of the Old English words are difficult to pin down in modern English. Just as previous translators have had to interpret and take liberties with the wording, Headley has had to do the same. Whenever possible, she opts for wording that conforms with the original temperament of the poem. For example, the word “hwaet,” which has been variously translated as “Listen,” “Hark,” “Lo,” she translates as “Bro!” She conceives it as the poet’s attempt to capture audience attention and as a form of masculinist coded language. She punctuates traditional, stately passages of sublime poetry with the occasional four-letter word and phrases currently inhabiting social media. For example, Wealhtheow admires Beowulf’s “brass balls.” Treasure is now “bling.” The watchman in Denmark initially confronts Beowulf with, “There’s a dress code! You’re denied.”
Headley perceives the narrator as “an old-timer at the end of the bar, periodically pounding his glass and demanding another.” He shouts to be heard in a mead hall of rowdy men falling over each other in a drunken stupor. He interrupts himself, comments on the action, engages in foreshadowing, and addresses the audience directly to retain attention. She argues his language is laced with satire as he interrogates definitions of masculinity with its concomitant heroic boasts and chest-thumping.
One of the more interesting aspects of Headley’s translation lies in her treatment of Grendel’s mother. She allows her the simultaneous qualities of a monster while retaining her human qualities as a mother experiencing overwhelming grief at the loss of her only child.
With its raucous rhymes, refreshing language pulsating with contemporary idioms, Headley successfully reclaims a thousand-year-old manuscript for today’s audience. She comes out swinging. This is definitely not your father’s Beowulf.
Very highly recommended for its originality, riotous fun, effusive temperament, and sheer audacity.