Bearwolf and Fidget: The first of seven stories in 'The Adventures of Bearwolf'

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Waugh, Robin (1997). "Literacy, Royal Power, and King-Poet Relations in Old English and Old Norse Compositions". Comparative Literature. 49 (4): 289–315. doi: 10.2307/1771534. JSTOR 1771534. The poem was first transcribed in 1786; some verses were first translated into modern English in 1805, and nine complete translations were made in the 19th century, including those by John Mitchell Kemble and William Morris.

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Hygelac: If you must go to Denmark then go with our blessing. I will give you my fastest ship and fourteen of our bravest thanes. Travel safely, Beowulf. May the gods protect you! Ecclesiastical or biblical influences are only seen as adding "Christian color", in Andersson's survey. Old English sources hinges on the hypothesis that Genesis A predates Beowulf. The place of performance for our supplies and services, as well as the place of jurisdiction for all disputes arising under the contractual relationship relating to its existence and effectiveness, is Herne. The law of the Federal Republic of Germany applies. Neither identified sources nor analogues for Beowulf can be definitively proven, but many conjectures have been made. These are important in helping historians understand the Beowulf manuscript, as possible source-texts or influences would suggest time-frames of composition, geographic boundaries within which it could be composed, or range (both spatial and temporal) of influence (i.e. when it was "popular" and where its "popularity" took it). The poem has been related to Scandinavian, Celtic, and international folkloric sources. [d] [119] Scandinavian parallels and sources [ edit ]The next night, after celebrating Grendel's defeat, Hrothgar and his men sleep in Heorot. Grendel's mother, angry that her son has been killed, sets out to get revenge. "Beowulf was elsewhere. Earlier, after the award of treasure, The Geat had been given another lodging"; his assistance would be absent in this battle. [30] Grendel's mother violently kills Æschere, who is Hrothgar's most loyal fighter, and escapes. Friedrich Panzer [ de] (1910) wrote a thesis that the first part of Beowulf (the Grendel Story) incorporated preexisting folktale material, and that the folktale in question was of the Bear's Son Tale ( Bärensohnmärchen) type, which has surviving examples all over the world. [128] [121] This tale type was later catalogued as international folktale type 301 in the ATU Index, now formally entitled "The Three Stolen Princesses" type in Hans Uther's catalogue, although the "Bear's Son" is still used in Beowulf criticism, if not so much in folkloristic circles. [121] However, although this folkloristic approach was seen as a step in the right direction, "The Bear's Son" tale has later been regarded by many as not a close enough parallel to be a viable choice. [129] Later, Peter A. Jorgensen, looking for a more concise frame of reference, coined a "two-troll tradition" that covers both Beowulf and Grettis saga: "a Norse ' ecotype' in which a hero enters a cave and kills two giants, usually of different sexes"; [130] this has emerged as a more attractive folk tale parallel, according to a 1998 assessment by Andersson. [131] [132] Google Inc. will also transfer this information to third parties insofar as this is a legal requirement or if third parties are commissioned to process this data on Google’s behalf. The history of modern Beowulf criticism is often said to begin with Tolkien, [152] author and Merton Professor of Anglo-Saxon at the University of Oxford, who in his 1936 lecture to the British Academy criticised his contemporaries' excessive interest in its historical implications. [153] He noted in Beowulf: The Monsters and the Critics that as a result the poem's literary value had been largely overlooked, and argued that the poem "is in fact so interesting as poetry, in places poetry so powerful, that this quite overshadows the historical content..." [154] Tolkien argued that the poem is not an epic; that, while no conventional term exactly fits, the nearest would be elegy; and that its focus is the concluding dirge. [155] Paganism and Christianity [ edit ] Schulman, Jana K.; Szarmach, Paul E. (2012). "Introduction". In Schulman, Jana K.; Szarmach, Paul E. (eds.). Beowulf and Kalamazoo. Medieval Institute. pp.1–11. ISBN 978-1-58044-152-0.

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Hrothgar: I am going to build a great hall where all my people can meet together - to eat and drink and be happy! Work will start immediately! online text (digitised from Elliott van Kirk Dobbie (ed.), Beowulf and Judith, Anglo-Saxon Poetic Records, 4 (New York, 1953)) The poem survives in a single copy in the manuscript known as the Nowell Codex. It has no title in the original manuscript, but has become known by the name of the story's protagonist. [3] In 1731, the manuscript was damaged by a fire that swept through Ashburnham House in London, which was housing Sir Robert Cotton's collection of medieval manuscripts. It survived, but the margins were charred, and some readings were lost. [4] The Nowell Codex is housed in the British Library. Frank, Roberta (October 2007). "A Scandal in Toronto: "The Dating of "Beowulf" " a Quarter Century On". Speculum. 82 (4): 843–864. doi: 10.1017/S0038713400011313. JSTOR 20466079. S2CID 162726731. a b c Foley, John M. Oral-Formulaic Theory and Research: An Introduction and Annotated Bibliography. New York: Garland, 1985. p. 126

Tuso, Joseph F. (1985). "Beowulf's Dialectal Vocabulary and the Kiernan Theory". South Central Review. 2 (2): 1–9. doi: 10.2307/3189145. JSTOR 3189145. Lapidge, Michael (2000). "The Archetype of Beowulf". Anglo-Saxon England. 29: 5–41. doi: 10.1017/s0263675100002398. S2CID 163053320. The tightly interwoven structure of Old English poetry makes translating Beowulf a severe technical challenge. [95] Despite this, a great number of translations and adaptations are available, in poetry and prose. Andy Orchard, in A Critical Companion to Beowulf, lists 33 "representative" translations in his bibliography, [96] while the Arizona Center for Medieval and Renaissance Studies published Marijane Osborn's annotated list of over 300 translations and adaptations in 2003. [89] Beowulf has been translated many times in verse and in prose, and adapted for stage and screen. By 2020, the Beowulf's Afterlives Bibliographic Database listed some 688 translations and other versions of the poem. [97] Beowulf has been translated into at least 38 other languages. [98] [97]

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The dating of Beowulf has attracted considerable scholarly attention; opinion differs as to whether it was first written in the 8th century, whether it was nearly contemporary with its 11th century manuscript, and whether a proto-version (possibly a version of the " Bear's Son Tale") was orally transmitted before being transcribed in its present form. [47] Albert Lord felt strongly that the manuscript represents the transcription of a performance, though likely taken at more than one sitting. [48] J. R. R. Tolkien believed that the poem retains too genuine a memory of Anglo-Saxon paganism to have been composed more than a few generations after the completion of the Christianisation of England around AD 700, [49] and Tolkien's conviction that the poem dates to the 8th century has been defended by scholars including Tom Shippey, Leonard Neidorf, Rafael J. Pascual, and Robert D. Fulk. [50] [51] [52] An analysis of several Old English poems by a team including Neidorf suggests that Beowulf is the work of a single author, though other scholars disagree. [53] Carruthers, Leo (2011). "Rewriting Genres: Beowulf as Epic Romance". In Carruthers, Leo; Chai-Elsholz, Raeleen; Silec, Tatjana (eds.). Palimpsests and the Literary Imagination of Medieval England. Palgrave. pp.139–55. ISBN 9780230100268. Shippey, Tom (2005) [1982]. The Road to Middle-Earth (Thirded.). HarperCollins. p.91. ISBN 978-0261102750. Puhvel, Martin (1979). Beowulf and Celtic Tradition. Wilfrid Laurier University Press. ISBN 978-0889200630.Leyerle, John (1991). "The Interlace Structure of Beowulf". In Fulk, Robert Dennis (ed.). Interpretations of Beowulf: A Critical Anthology. Indiana University Press. pp.146–167. ISBN 978-0-253-20639-8. Beowulf, Hygelac, Hrothgar, Wealhtheow, Hrothulf, Æschere, Unferth, Grendel, Grendel's mother, Wiglaf, Hildeburh. Shippey, Tom (2007). "Tolkien and the Beowulf-poet". Roots and Branches. Walking Tree Publishers. ISBN 978-3-905703-05-4. Watts, Ann C. (1969). The Lyre and the Harp: A Comparative Reconsideration of Oral Tradition in Homer and Old English Epic Poetry. New Haven, Connecticut: Yale University Press. p.124. ISBN 978-0-300-00797-8. Ursula Schaefer's view is that the poem was created, and is interpretable, within both pagan and Christian horizons. Schaefer's concept of "vocality" offers neither a compromise nor a synthesis of views that see the poem as on the one hand Germanic, pagan, and oral and on the other Latin-derived, Christian, and literate, but, as stated by Monika Otter: "a 'tertium quid', a modality that participates in both oral and literate culture yet also has a logic and aesthetic of its own." [161] [162] Politics and warfare [ edit ]