In the fighting
Heardred
is killed.
Beowulf, translated by Francis Gummere
Its watcher had killed
one of a few, {40b} and the feud was avenged
in woful fashion. Wondrous seems it,
what manner a man of might and valor
oft ends his life, when the earl no longer
in mead-hall may live with loving friends.
So Beowulf, when that barrow's warden
he sought, and the struggle; himself knew not
in what wise he should wend from the world at last.
For {40c} princes potent, who placed the gold,
with a curse to doomsday covered it deep,
so that marked with sin the man should be,
hedged with horrors, in hell-bonds fast,
racked with plagues, who should rob their hoard.
Yet no greed for gold, but the grace of heaven,
ever the king had kept in view. {40d}
Wiglaf spake, the son of Weohstan: --
"At the mandate of one, oft warriors many
sorrow must suffer; and so must we.
The people's-shepherd showed not aught
of care for our counsel, king beloved!
That guardian of gold he should grapple not, urged we,
but let him lie where he long had been
in his earth-hall waiting the end of the world,
the hest of heaven. -- This hoard is ours
but grievously gotten; too grim the fate
which thither carried our king and lord.
I was within there, and all I viewed,
the chambered treasure, when chance allowed me
(and my path was made in no pleasant wise)
under the earth-wall. Eager, I seized
such heap from the hoard as hands could bear
and hurriedly carried it hither back
to my liege and lord. Alive was he still,
still wielding his wits. The wise old man
spake much in his sorrow, and sent you greetings
and bade that ye build, when he breathed no more,
on the place of his balefire a barrow high,
memorial mighty. Of men was he
worthiest warrior wide earth o'er
the while he had joy of his jewels and burg.
Let us set out in haste now, the second time
to see and search this store of treasure,
these wall-hid wonders, -- the way I show you, --
where, gathered near, ye may gaze your fill
at broad-gold and rings. Let the bier, soon made,
be all in order when out we come,
our king and captain to carry thither
-- man beloved -- where long he shall bide
safe in the shelter of sovran God. "
Then the bairn of Weohstan bade command,
hardy chief, to heroes many
that owned their homesteads, hither to bring
firewood from far -- o'er the folk they ruled --
for the famed-one's funeral. " Fire shall devour
and wan flames feed on the fearless warrior
who oft stood stout in the iron-shower,
when, sped from the string, a storm of arrows
shot o'er the shield-wall: the shaft held firm,
featly feathered, followed the barb. "
And now the sage young son of Weohstan
seven chose of the chieftain's thanes,
the best he found that band within,
and went with these warriors, one of eight,
under hostile roof. In hand one bore
a lighted torch and led the way.
No lots they cast for keeping the hoard
when once the warriors saw it in hall,
altogether without a guardian,
lying there lost. And little they mourned
when they had hastily haled it out,
dear-bought treasure! The dragon they cast,
the worm, o'er the wall for the wave to take,
and surges swallowed that shepherd of gems.
Then the woven gold on a wain was laden --
countless quite! -- and the king was borne,
hoary hero, to Hrones-Ness.
XLI
THEN fashioned for him the folk of Geats
firm on the earth a funeral-pile,
and hung it with helmets and harness of war
and breastplates bright, as the boon he asked;
and they laid amid it the mighty chieftain,
heroes mourning their master dear.
Then on the hill that hugest of balefires
the warriors wakened. Wood-smoke rose
black over blaze, and blent was the roar
of flame with weeping (the wind was still),
till the fire had broken the frame of bones,
hot at the heart. In heavy mood
their misery moaned they, their master's death.
Wailing her woe, the widow {41a} old,
her hair upbound, for Beowulf's death
sung in her sorrow, and said full oft
she dreaded the doleful days to come,
deaths enow, and doom of battle,
and shame. -- The smoke by the sky was devoured.
The folk of the Weders fashioned there
on the headland a barrow broad and high,
by ocean-farers far descried:
in ten days' time their toil had raised it,
the battle-brave's beacon. Round brands of the pyre
a wall they built, the worthiest ever
that wit could prompt in their wisest men.
They placed in the barrow that precious booty,
the rounds and the rings they had reft erewhile,
hardy heroes, from hoard in cave, --
trusting the ground with treasure of earls,
gold in the earth, where ever it lies
useless to men as of yore it was.
Then about that barrow the battle-keen rode,
atheling-born, a band of twelve,
lament to make, to mourn their king,
chant their dirge, and their chieftain honor.
They praised his earlship, his acts of prowess
worthily witnessed: and well it is
that men their master-friend mightily laud,
heartily love, when hence he goes
from life in the body forlorn away.
Thus made their mourning the men of Geatland,
for their hero's passing his hearth-companions:
quoth that of all the kings of earth,
of men he was mildest and most beloved,
to his kin the kindest, keenest for praise.
Footnotes:
{0a} Not, of course, Beowulf the Great, hero of the epic.
{0b} Kenning for king or chieftain of a comitatus: he breaks off
gold from the spiral rings -- often worn on the arm -- and so
rewards his followers.
{1a} That is, "The Hart," or "Stag," so called from decorations in
the gables that resembled the antlers of a deer. This hall has been
carefully described in a pamphlet by Heyne. The building was
rectangular, with opposite doors -- mainly west and east -- and a
hearth in the middle of th single room. A row of pillars down each
side, at some distance from the walls, made a space which was raised
a little above the main floor, and was furnished with two rows of
seats. On one side, usually south, was the high-seat midway between
the doors. Opposite this, on the other raised space, was another
seat of honor. At the banquet soon to be described, Hrothgar sat in
the south or chief high-seat, and Beowulf opposite to him. The scene
for a flying (see below, v. 499) was thus very effectively set.
Planks on trestles -- the "board" of later English literature --
formed the tables just in front of the long rows of seats, and were
taken away after banquets, when the retainers were ready to stretch
themselves out for sleep on the benches.
{1b} Fire was the usual end of these halls. See v. 781 below. One
thinks of the splendid scene at the end of the Nibelungen, of the
Nialssaga, of Saxo's story of Amlethus, and many a less famous
instance.
{1c} It is to be supposed that all hearers of this poem knew how
Hrothgar's hall was burnt, -- perhaps in the unsuccessful attack
made on him by his son-in-law Ingeld.
{1d} A skilled minstrel. The Danes are heathens, as one is told
presently; but this lay of beginnings is taken from Genesis.
{1e} A disturber of the border, one who sallies from his haunt in
the fen and roams over the country near by. This probably pagan
nuisance is now furnished with biblical credentials as a fiend or
devil in good standing, so that all Christian Englishmen might read
about him. "Grendel" may mean one who grinds and crushes.
{1f} Cain's.
{1g} Giants.
{2a} The smaller buildings within the main enclosure but separate
from the hall.
{2b} Grendel.
{2c} "Sorcerers-of-hell. "
{2d} Hrothgar, who is the "Scyldings'-friend" of 170.
{2e} That is, in formal or prescribed phrase.
{3a} Ship.
{3b} That is, since Beowulf selected his ship and led his men to the
harbor.
{3c} One of the auxiliary names of the Geats.
{3d} Or: Not thus openly ever came warriors hither; yet. . .
{4a} Hrothgar.
{4b} Beowulf's helmet has several boar-images on it; he is the "man
of war"; and the boar-helmet guards him as typical representative of
the marching party as a whole. The boar was sacred to Freyr, who was
the favorite god of the Germanic tribes about the North Sea and the
Baltic. Rude representations of warriors show the boar on the helmet
quite as large as the helmet itself.
{5a} Either merely paved, the strata via of the Romans, or else
thought of as a sort of mosaic, an extravagant touch like the
reckless waste of gold on the walls and roofs of a hall.
{6a} The nicor, says Bugge, is a hippopotamus; a walrus, says Ten
Brink. But that water-goblin who covers the space from Old Nick of
jest to the Neckan and Nix of poetry and tale, is all one needs, and
Nicor is a good name for him.
{6b} His own people, the Geats.
{6c} That is, cover it as with a face-cloth. "There will be no need
of funeral rites. "
{6d} Personification of Battle.
{6e} The Germanic Vulcan.
{6f} This mighty power, whom the Christian poet can still revere,
has here the general force of "Destiny. "
{7a} There is no irrelevance here. Hrothgar sees in Beowulf's
mission a heritage of duty, a return of the good offices which the
Danish king rendered to Beowulf's father in time of dire need.
{7b} Money, for wergild, or man-price.
{7c} Ecgtheow, Beowulf's sire.
{8a} "Began the fight. "
{8b} Breca.
{9a} Murder.
{10a} Beowulf, -- the "one. "
{11a} That is, he was a "lost soul," doomed to hell.
{12a} Kenning for Beowulf.
{13a} "Guarded the treasure. "
{13b} Sc. Heremod.
{13c} The singer has sung his lays, and the epic resumes its story.
The time-relations are not altogether good in this long passage
which describes the rejoicings of "the day after"; but the present
shift from the riders on the road to the folk at the hall is not
very violent, and is of a piece with the general style.
{14a} Unferth, Beowulf's sometime opponent in the flyting.
{15a} There is no horrible inconsistency here such as the critics
strive and cry about. In spite of the ruin that Grendel and Beowulf
had made within the hall, the framework and roof held firm, and
swift repairs made the interior habitable. Tapestries were hung on
the walls, and willing hands prepared the banquet.
{15b} From its formal use in other places, this phrase, to take cup
in hall, or "on the floor," would seem to mean that Beowulf stood up
to receive his gifts, drink to the donor, and say thanks.
{15c} Kenning for sword.
{15d} Hrothgar. He is also the "refuge of the friends of Ing,"
below. Ing belongs to myth.
{15e} Horses are frequently led or ridden into the hall where folk
sit at banquet: so in Chaucer's Squire's tale, in the ballad of
King Estmere, and in the romances.
{16a} Man-price, wergild.
{16b} Beowulf's.
{16c} Hrothgar.
{16d} There is no need to assume a gap in the Ms. As before about
Sigemund and Heremod, so now, though at greater length, about Finn
and his feud, a lay is chanted or recited; and the epic poet,
counting on his readers' familiarity with the story, -- a fragment
of it still exists, -- simply gives the headings.
{16e} The exact story to which this episode refers in summary is not
to be determined, but the following account of it is reasonable and
has good support among scholars. Finn, a Frisian chieftain, who
nevertheless has a "castle" outside the Frisian border, marries
Hildeburh, a Danish princess; and her brother, Hnaef, with many
other Danes, pays Finn a visit. Relations between the two peoples
have been strained before. Something starts the old feud anew; and
the visitors are attacked in their quarters. Hnaef is killed; so is
a son of Hildeburh. Many fall on both sides. Peace is patched up; a
stately funeral is held; and the surviving visitors become in a way
vassals or liegemen of Finn, going back with him to Frisia. So
matters rest a while. Hengest is now leader of the Danes; but he is
set upon revenge for his former lord, Hnaef. Probably he is killed
in feud; but his clansmen, Guthlaf and Oslaf, gather at their home a
force of sturdy Danes, come back to Frisia, storm Finn's stronghold,
kill him, and carry back their kinswoman Hildeburh.
{16f} The "enemies" must be the Frisians.
{16g} Battlefield. -- Hengest is the "prince's thane," companion of
Hnaef. "Folcwald's son" is Finn.
{16h} That is, Finn would govern in all honor the few Danish
warriors who were left, provided, of course, that none of them tried
to renew the quarrel or avenge Hnaef their fallen lord. If, again,
one of Finn's Frisians began a quarrel, he should die by the sword.
{16i} Hnaef.
{16j} The high place chosen for the funeral: see description of
Beowulf's funeral-pile at the end of the poem.
{16k} Wounds.
{17a} That is, these two Danes, escaping home, had told the story of
the attack on Hnaef, the slaying of Hengest, and all the Danish
woes. Collecting a force, they return to Frisia and kill Finn in his
home.
{17b} Nephew to Hrothgar, with whom he subsequently quarrels, and
elder cousin to the two young sons of Hrothgar and Wealhtheow, --
their natural guardian in the event of the king's death. There is
something finely feminine in this speech of Wealhtheow's, apart from
its somewhat irregular and irrelevant sequence of topics. Both she
and her lord probably distrust Hrothulf; but she bids the king to be
of good cheer, and, turning to the suspect, heaps affectionate
assurances on his probity. "My own Hrothulf" will surely not forget
these favors and benefits of the past, but will repay them to the
orphaned boy.
{19a} They had laid their arms on the benches near where they slept.
{20a} He surmises presently where she is.
{20b} The connection is not difficult. The words of mourning, of
acute grief, are said; and according to Germanic sequence of
thought, inexorable here, the next and only topic is revenge. But is
it possible? Hrothgar leads up to his appeal and promise with a
skillful and often effective description of the horrors which
surround the monster's home and await the attempt of an avenging
foe.
{21a} Hrothgar is probably meant.
{21b} Meeting place.
{22a} Kenning for "sword. " Hrunting is bewitched, laid under a spell
of uselessness, along with all other swords.
{22b} This brown of swords, evidently meaning burnished, bright,
continues to be a favorite adjective in the popular ballads.
{23a} After the killing of the monster and Grendel's decapitation.
{23b} Hrothgar.
{23c} The blade slowly dissolves in blood-stained drops like
icicles.
{23d} Spear.
{24a} That is, "whoever has as wide authority as I have and can
remember so far back so many instances of heroism, may well say, as
I say, that no better hero ever lived than Beowulf. "
{25a} That is, he is now undefended by conscience from the
temptations (shafts) of the devil.
{25b} Kenning for the sun. -- This is a strange role for the raven.
He is the warrior's bird of battle, exults in slaughter and carnage;
his joy here is a compliment to the sunrise.
{26a} That is, he might or might not see Beowulf again. Old as he
was, the latter chance was likely; but he clung to the former,
hoping to see his young friend again "and exchange brave words in
the hall. "
{27a} With the speed of the boat.
{27b} Queen to Hygelac. She is praised by contrast with the
antitype, Thryth, just as Beowulf was praised by contrast with
Heremod.
{27c} Kenning for "wife. "
{28a} Beowulf gives his uncle the king not mere gossip of his
journey, but a statesmanlike forecast of the outcome of certain
policies at the Danish court. Talk of interpolation here is absurd.
As both Beowulf and Hygelac know, -- and the folk for whom the
Beowulf was put together also knew, -- Froda was king of the
Heathobards (probably the Langobards, once near neighbors of Angle
and Saxon tribes on the continent), and had fallen in fight with the
Danes. Hrothgar will set aside this feud by giving his daughter as
"peace-weaver" and wife to the young king Ingeld, son of the slain
Froda. But Beowulf, on general principles and from his observation
of the particular case, foretells trouble. Note:
{28b} Play of shields, battle. A Danish warrior cuts down Froda in
the fight, and takes his sword and armor, leaving them to a son.
This son is selected to accompany his mistress, the young princess
Freawaru, to her new home when she is Ingeld's queen. Heedlessly he
wears the sword of Froda in hall. An old warrior points it out to
Ingeld, and eggs him on to vengeance. At his instigation the Dane is
killed; but the murderer, afraid of results, and knowing the land,
escapes. So the old feud must break out again.
{28c} That is, their disastrous battle and the slaying of their
king.
{28d} The sword.
{28e} Beowulf returns to his forecast. Things might well go somewhat
as follows, he says; sketches a little tragic story; and with this
prophecy by illustration returns to the tale of his adventure.
{28f} Not an actual glove, but a sort of bag.
{29a} Hygelac.
{29b} This is generally assumed to mean hides, though the text
simply says "seven thousand. " A hide in England meant about 120
acres, though "the size of the acre varied. "
{29c} On the historical raid into Frankish territory between 512 and
520 A. D. The subsequent course of events, as gathered from hints of
this epic, is partly told in Scandinavian legend.
{29d} The chronology of this epic, as scholars have worked it out,
would make Beowulf well over ninety years of age when he fights the
dragon. But the fifty years of his reign need not be taken as
historical fact.
{29e} The text is here hopelessly illegible, and only the general
drift of the meaning can be rescued. For one thing, we have the old
myth of a dragon who guards hidden treasure. But with this runs the
story of some noble, last of his race, who hides all his wealth
within this barrow and there chants his farewell to life's glories.
After his death the dragon takes possession of the hoard and watches
over it. A condemned or banished man, desperate, hides in the
barrow, discovers the treasure, and while the dragon sleeps, makes
off with a golden beaker or the like, and carries it for
propitiation to his master. The dragon discovers the loss and exacts
fearful penalty from the people round about.
{31a} Literally "loan-days," days loaned to man.
{31b} Chattuarii, a tribe that dwelt along the Rhine, and took part
in repelling the raid of (Hygelac) Chocilaicus.
{31c} Onla, son of Ongentheow, who pursues his two nephews Eanmund
and Eadgils to Heardred's court, where they have taken refuge after
their unsuccessful rebellion.
In the fighting Heardred is killed.
{32a} That is, Beowulf supports Eadgils against Onela, who is slain
by Eadgils in revenge for the "care-paths" of exile into which Onela
forced him.
{32b} That is, the king could claim no wergild, or man-price, from
one son for the killing of the other.
{32c} Usual euphemism for death.
{32d} Sc. in the grave.
{33a} Eofor for Wulf. -- The immediate provocation for Eofor in
killing "the hoary Scylfing," Ongentheow, is that the latter has
just struck Wulf down; but the king, Haethcyn, is also avenged by
the blow. See the detailed description below.
{33b} Hygelac.
{33c} Shield.
{33d} The hollow passage.
{34a} That is, although Eanmund was brother's son to Onela, the
slaying of the former by Weohstan is not felt as cause of feud, and
is rewarded by gift of the slain man's weapons.
{34b} Both Wiglaf and the sword did their duty. -- The following is
one of the classic passages for illustrating the comitatus as the
most conspicuous Germanic institution, and its underlying sense of
duty, based partly on the idea of loyalty and partly on the
practical basis of benefits received and repaid.
{34c} Sc. "than to bide safely here," -- a common figure of
incomplete comparison.
{34d} Wiglaf's wooden shield.
{34e} Gering would translate "kinsman of the nail," as both are made
of iron.
{35a} That is, swords.
{36a} Where Beowulf lay.
{37a} What had been left or made by the hammer; well-forged.
{37b} Trying to revive him.
{38a} Nothing.
{38b} Dead.
{38c} Death-watch, guard of honor, "lyke-wake. "
{38d} A name for the Franks.
{38e} Ongentheow.
{38f} Haethcyn.
{39a} The line may mean: till Hrethelings stormed on the hedged
shields, -- i. e. the shield-wall or hedge of defensive war --
Hrethelings, of course, are Geats.
{39b} Eofor, brother to Wulf Wonreding.
{39c} Sc. "value in" hides and the weight of the gold.
{39d} Not at all.
{39e} Laid on it when it was put in the barrow. This spell, or in
our days the "curse," either prevented discovery or brought dire
ills on the finder and taker.
{40a} Probably the fugitive is meant who discovered the hoard. Ten
Brink and Gering assume that the dragon is meant. "Hid" may well
mean here "took while in hiding. "
{40b} That is "one and a few others. " But Beowulf seems to be
indicated.
{40c} Ten Brink points out the strongly heathen character of this
part of the epic. Beowulf's end came, so the old tradition ran, from
his unwitting interference with spell-bound treasure.
{40d} A hard saying, variously interpreted. In any case, it is the
somewhat clumsy effort of the Christian poet to tone down the
heathenism of his material by an edifying observation.
{41a} Nothing is said of Beowulf's wife in the poem, but Bugge
surmises that Beowulf finally accepted Hygd's offer of kingdom and
hoard, and, as was usual, took her into the bargain.
End of the Project Gutenberg EBook of Beowulf, by Anonymous
*** END OF THIS PROJECT GUTENBERG EBOOK BEOWULF ***
***** This file should be named 981. txt or 981. zip *****
This and all associated files of various formats will be found in:
http://www. gutenberg. org/9/8/981/
Produced by Robin Katsuya-Corbet
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you! ) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg. org/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1. A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1. E. 8.
1. B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1. C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1. E below.
1. C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1. D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1. E. Unless you have removed all references to Project Gutenberg:
1. E. 1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www. gutenberg. org
1. E. 2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1. E. 1
through 1. E. 7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1. E. 8 or
1. E. 9.
1. E. 3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1. E. 1 through 1. E. 7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1. E. 4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1. E. 5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1. E. 1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1. E. 6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www. gutenberg. org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1. E. 1.
1. E. 7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1. E. 8 or 1. E. 9.
1. E. 8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation. "
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1. F. 3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1. E. 9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1. F.
1. F. 1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1. F. 2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1. F. 3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1. F. 3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1. F. 4. Except for the limited right of replacement or refund set forth
in paragraph 1. F. 3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1. F.
one of a few, {40b} and the feud was avenged
in woful fashion. Wondrous seems it,
what manner a man of might and valor
oft ends his life, when the earl no longer
in mead-hall may live with loving friends.
So Beowulf, when that barrow's warden
he sought, and the struggle; himself knew not
in what wise he should wend from the world at last.
For {40c} princes potent, who placed the gold,
with a curse to doomsday covered it deep,
so that marked with sin the man should be,
hedged with horrors, in hell-bonds fast,
racked with plagues, who should rob their hoard.
Yet no greed for gold, but the grace of heaven,
ever the king had kept in view. {40d}
Wiglaf spake, the son of Weohstan: --
"At the mandate of one, oft warriors many
sorrow must suffer; and so must we.
The people's-shepherd showed not aught
of care for our counsel, king beloved!
That guardian of gold he should grapple not, urged we,
but let him lie where he long had been
in his earth-hall waiting the end of the world,
the hest of heaven. -- This hoard is ours
but grievously gotten; too grim the fate
which thither carried our king and lord.
I was within there, and all I viewed,
the chambered treasure, when chance allowed me
(and my path was made in no pleasant wise)
under the earth-wall. Eager, I seized
such heap from the hoard as hands could bear
and hurriedly carried it hither back
to my liege and lord. Alive was he still,
still wielding his wits. The wise old man
spake much in his sorrow, and sent you greetings
and bade that ye build, when he breathed no more,
on the place of his balefire a barrow high,
memorial mighty. Of men was he
worthiest warrior wide earth o'er
the while he had joy of his jewels and burg.
Let us set out in haste now, the second time
to see and search this store of treasure,
these wall-hid wonders, -- the way I show you, --
where, gathered near, ye may gaze your fill
at broad-gold and rings. Let the bier, soon made,
be all in order when out we come,
our king and captain to carry thither
-- man beloved -- where long he shall bide
safe in the shelter of sovran God. "
Then the bairn of Weohstan bade command,
hardy chief, to heroes many
that owned their homesteads, hither to bring
firewood from far -- o'er the folk they ruled --
for the famed-one's funeral. " Fire shall devour
and wan flames feed on the fearless warrior
who oft stood stout in the iron-shower,
when, sped from the string, a storm of arrows
shot o'er the shield-wall: the shaft held firm,
featly feathered, followed the barb. "
And now the sage young son of Weohstan
seven chose of the chieftain's thanes,
the best he found that band within,
and went with these warriors, one of eight,
under hostile roof. In hand one bore
a lighted torch and led the way.
No lots they cast for keeping the hoard
when once the warriors saw it in hall,
altogether without a guardian,
lying there lost. And little they mourned
when they had hastily haled it out,
dear-bought treasure! The dragon they cast,
the worm, o'er the wall for the wave to take,
and surges swallowed that shepherd of gems.
Then the woven gold on a wain was laden --
countless quite! -- and the king was borne,
hoary hero, to Hrones-Ness.
XLI
THEN fashioned for him the folk of Geats
firm on the earth a funeral-pile,
and hung it with helmets and harness of war
and breastplates bright, as the boon he asked;
and they laid amid it the mighty chieftain,
heroes mourning their master dear.
Then on the hill that hugest of balefires
the warriors wakened. Wood-smoke rose
black over blaze, and blent was the roar
of flame with weeping (the wind was still),
till the fire had broken the frame of bones,
hot at the heart. In heavy mood
their misery moaned they, their master's death.
Wailing her woe, the widow {41a} old,
her hair upbound, for Beowulf's death
sung in her sorrow, and said full oft
she dreaded the doleful days to come,
deaths enow, and doom of battle,
and shame. -- The smoke by the sky was devoured.
The folk of the Weders fashioned there
on the headland a barrow broad and high,
by ocean-farers far descried:
in ten days' time their toil had raised it,
the battle-brave's beacon. Round brands of the pyre
a wall they built, the worthiest ever
that wit could prompt in their wisest men.
They placed in the barrow that precious booty,
the rounds and the rings they had reft erewhile,
hardy heroes, from hoard in cave, --
trusting the ground with treasure of earls,
gold in the earth, where ever it lies
useless to men as of yore it was.
Then about that barrow the battle-keen rode,
atheling-born, a band of twelve,
lament to make, to mourn their king,
chant their dirge, and their chieftain honor.
They praised his earlship, his acts of prowess
worthily witnessed: and well it is
that men their master-friend mightily laud,
heartily love, when hence he goes
from life in the body forlorn away.
Thus made their mourning the men of Geatland,
for their hero's passing his hearth-companions:
quoth that of all the kings of earth,
of men he was mildest and most beloved,
to his kin the kindest, keenest for praise.
Footnotes:
{0a} Not, of course, Beowulf the Great, hero of the epic.
{0b} Kenning for king or chieftain of a comitatus: he breaks off
gold from the spiral rings -- often worn on the arm -- and so
rewards his followers.
{1a} That is, "The Hart," or "Stag," so called from decorations in
the gables that resembled the antlers of a deer. This hall has been
carefully described in a pamphlet by Heyne. The building was
rectangular, with opposite doors -- mainly west and east -- and a
hearth in the middle of th single room. A row of pillars down each
side, at some distance from the walls, made a space which was raised
a little above the main floor, and was furnished with two rows of
seats. On one side, usually south, was the high-seat midway between
the doors. Opposite this, on the other raised space, was another
seat of honor. At the banquet soon to be described, Hrothgar sat in
the south or chief high-seat, and Beowulf opposite to him. The scene
for a flying (see below, v. 499) was thus very effectively set.
Planks on trestles -- the "board" of later English literature --
formed the tables just in front of the long rows of seats, and were
taken away after banquets, when the retainers were ready to stretch
themselves out for sleep on the benches.
{1b} Fire was the usual end of these halls. See v. 781 below. One
thinks of the splendid scene at the end of the Nibelungen, of the
Nialssaga, of Saxo's story of Amlethus, and many a less famous
instance.
{1c} It is to be supposed that all hearers of this poem knew how
Hrothgar's hall was burnt, -- perhaps in the unsuccessful attack
made on him by his son-in-law Ingeld.
{1d} A skilled minstrel. The Danes are heathens, as one is told
presently; but this lay of beginnings is taken from Genesis.
{1e} A disturber of the border, one who sallies from his haunt in
the fen and roams over the country near by. This probably pagan
nuisance is now furnished with biblical credentials as a fiend or
devil in good standing, so that all Christian Englishmen might read
about him. "Grendel" may mean one who grinds and crushes.
{1f} Cain's.
{1g} Giants.
{2a} The smaller buildings within the main enclosure but separate
from the hall.
{2b} Grendel.
{2c} "Sorcerers-of-hell. "
{2d} Hrothgar, who is the "Scyldings'-friend" of 170.
{2e} That is, in formal or prescribed phrase.
{3a} Ship.
{3b} That is, since Beowulf selected his ship and led his men to the
harbor.
{3c} One of the auxiliary names of the Geats.
{3d} Or: Not thus openly ever came warriors hither; yet. . .
{4a} Hrothgar.
{4b} Beowulf's helmet has several boar-images on it; he is the "man
of war"; and the boar-helmet guards him as typical representative of
the marching party as a whole. The boar was sacred to Freyr, who was
the favorite god of the Germanic tribes about the North Sea and the
Baltic. Rude representations of warriors show the boar on the helmet
quite as large as the helmet itself.
{5a} Either merely paved, the strata via of the Romans, or else
thought of as a sort of mosaic, an extravagant touch like the
reckless waste of gold on the walls and roofs of a hall.
{6a} The nicor, says Bugge, is a hippopotamus; a walrus, says Ten
Brink. But that water-goblin who covers the space from Old Nick of
jest to the Neckan and Nix of poetry and tale, is all one needs, and
Nicor is a good name for him.
{6b} His own people, the Geats.
{6c} That is, cover it as with a face-cloth. "There will be no need
of funeral rites. "
{6d} Personification of Battle.
{6e} The Germanic Vulcan.
{6f} This mighty power, whom the Christian poet can still revere,
has here the general force of "Destiny. "
{7a} There is no irrelevance here. Hrothgar sees in Beowulf's
mission a heritage of duty, a return of the good offices which the
Danish king rendered to Beowulf's father in time of dire need.
{7b} Money, for wergild, or man-price.
{7c} Ecgtheow, Beowulf's sire.
{8a} "Began the fight. "
{8b} Breca.
{9a} Murder.
{10a} Beowulf, -- the "one. "
{11a} That is, he was a "lost soul," doomed to hell.
{12a} Kenning for Beowulf.
{13a} "Guarded the treasure. "
{13b} Sc. Heremod.
{13c} The singer has sung his lays, and the epic resumes its story.
The time-relations are not altogether good in this long passage
which describes the rejoicings of "the day after"; but the present
shift from the riders on the road to the folk at the hall is not
very violent, and is of a piece with the general style.
{14a} Unferth, Beowulf's sometime opponent in the flyting.
{15a} There is no horrible inconsistency here such as the critics
strive and cry about. In spite of the ruin that Grendel and Beowulf
had made within the hall, the framework and roof held firm, and
swift repairs made the interior habitable. Tapestries were hung on
the walls, and willing hands prepared the banquet.
{15b} From its formal use in other places, this phrase, to take cup
in hall, or "on the floor," would seem to mean that Beowulf stood up
to receive his gifts, drink to the donor, and say thanks.
{15c} Kenning for sword.
{15d} Hrothgar. He is also the "refuge of the friends of Ing,"
below. Ing belongs to myth.
{15e} Horses are frequently led or ridden into the hall where folk
sit at banquet: so in Chaucer's Squire's tale, in the ballad of
King Estmere, and in the romances.
{16a} Man-price, wergild.
{16b} Beowulf's.
{16c} Hrothgar.
{16d} There is no need to assume a gap in the Ms. As before about
Sigemund and Heremod, so now, though at greater length, about Finn
and his feud, a lay is chanted or recited; and the epic poet,
counting on his readers' familiarity with the story, -- a fragment
of it still exists, -- simply gives the headings.
{16e} The exact story to which this episode refers in summary is not
to be determined, but the following account of it is reasonable and
has good support among scholars. Finn, a Frisian chieftain, who
nevertheless has a "castle" outside the Frisian border, marries
Hildeburh, a Danish princess; and her brother, Hnaef, with many
other Danes, pays Finn a visit. Relations between the two peoples
have been strained before. Something starts the old feud anew; and
the visitors are attacked in their quarters. Hnaef is killed; so is
a son of Hildeburh. Many fall on both sides. Peace is patched up; a
stately funeral is held; and the surviving visitors become in a way
vassals or liegemen of Finn, going back with him to Frisia. So
matters rest a while. Hengest is now leader of the Danes; but he is
set upon revenge for his former lord, Hnaef. Probably he is killed
in feud; but his clansmen, Guthlaf and Oslaf, gather at their home a
force of sturdy Danes, come back to Frisia, storm Finn's stronghold,
kill him, and carry back their kinswoman Hildeburh.
{16f} The "enemies" must be the Frisians.
{16g} Battlefield. -- Hengest is the "prince's thane," companion of
Hnaef. "Folcwald's son" is Finn.
{16h} That is, Finn would govern in all honor the few Danish
warriors who were left, provided, of course, that none of them tried
to renew the quarrel or avenge Hnaef their fallen lord. If, again,
one of Finn's Frisians began a quarrel, he should die by the sword.
{16i} Hnaef.
{16j} The high place chosen for the funeral: see description of
Beowulf's funeral-pile at the end of the poem.
{16k} Wounds.
{17a} That is, these two Danes, escaping home, had told the story of
the attack on Hnaef, the slaying of Hengest, and all the Danish
woes. Collecting a force, they return to Frisia and kill Finn in his
home.
{17b} Nephew to Hrothgar, with whom he subsequently quarrels, and
elder cousin to the two young sons of Hrothgar and Wealhtheow, --
their natural guardian in the event of the king's death. There is
something finely feminine in this speech of Wealhtheow's, apart from
its somewhat irregular and irrelevant sequence of topics. Both she
and her lord probably distrust Hrothulf; but she bids the king to be
of good cheer, and, turning to the suspect, heaps affectionate
assurances on his probity. "My own Hrothulf" will surely not forget
these favors and benefits of the past, but will repay them to the
orphaned boy.
{19a} They had laid their arms on the benches near where they slept.
{20a} He surmises presently where she is.
{20b} The connection is not difficult. The words of mourning, of
acute grief, are said; and according to Germanic sequence of
thought, inexorable here, the next and only topic is revenge. But is
it possible? Hrothgar leads up to his appeal and promise with a
skillful and often effective description of the horrors which
surround the monster's home and await the attempt of an avenging
foe.
{21a} Hrothgar is probably meant.
{21b} Meeting place.
{22a} Kenning for "sword. " Hrunting is bewitched, laid under a spell
of uselessness, along with all other swords.
{22b} This brown of swords, evidently meaning burnished, bright,
continues to be a favorite adjective in the popular ballads.
{23a} After the killing of the monster and Grendel's decapitation.
{23b} Hrothgar.
{23c} The blade slowly dissolves in blood-stained drops like
icicles.
{23d} Spear.
{24a} That is, "whoever has as wide authority as I have and can
remember so far back so many instances of heroism, may well say, as
I say, that no better hero ever lived than Beowulf. "
{25a} That is, he is now undefended by conscience from the
temptations (shafts) of the devil.
{25b} Kenning for the sun. -- This is a strange role for the raven.
He is the warrior's bird of battle, exults in slaughter and carnage;
his joy here is a compliment to the sunrise.
{26a} That is, he might or might not see Beowulf again. Old as he
was, the latter chance was likely; but he clung to the former,
hoping to see his young friend again "and exchange brave words in
the hall. "
{27a} With the speed of the boat.
{27b} Queen to Hygelac. She is praised by contrast with the
antitype, Thryth, just as Beowulf was praised by contrast with
Heremod.
{27c} Kenning for "wife. "
{28a} Beowulf gives his uncle the king not mere gossip of his
journey, but a statesmanlike forecast of the outcome of certain
policies at the Danish court. Talk of interpolation here is absurd.
As both Beowulf and Hygelac know, -- and the folk for whom the
Beowulf was put together also knew, -- Froda was king of the
Heathobards (probably the Langobards, once near neighbors of Angle
and Saxon tribes on the continent), and had fallen in fight with the
Danes. Hrothgar will set aside this feud by giving his daughter as
"peace-weaver" and wife to the young king Ingeld, son of the slain
Froda. But Beowulf, on general principles and from his observation
of the particular case, foretells trouble. Note:
{28b} Play of shields, battle. A Danish warrior cuts down Froda in
the fight, and takes his sword and armor, leaving them to a son.
This son is selected to accompany his mistress, the young princess
Freawaru, to her new home when she is Ingeld's queen. Heedlessly he
wears the sword of Froda in hall. An old warrior points it out to
Ingeld, and eggs him on to vengeance. At his instigation the Dane is
killed; but the murderer, afraid of results, and knowing the land,
escapes. So the old feud must break out again.
{28c} That is, their disastrous battle and the slaying of their
king.
{28d} The sword.
{28e} Beowulf returns to his forecast. Things might well go somewhat
as follows, he says; sketches a little tragic story; and with this
prophecy by illustration returns to the tale of his adventure.
{28f} Not an actual glove, but a sort of bag.
{29a} Hygelac.
{29b} This is generally assumed to mean hides, though the text
simply says "seven thousand. " A hide in England meant about 120
acres, though "the size of the acre varied. "
{29c} On the historical raid into Frankish territory between 512 and
520 A. D. The subsequent course of events, as gathered from hints of
this epic, is partly told in Scandinavian legend.
{29d} The chronology of this epic, as scholars have worked it out,
would make Beowulf well over ninety years of age when he fights the
dragon. But the fifty years of his reign need not be taken as
historical fact.
{29e} The text is here hopelessly illegible, and only the general
drift of the meaning can be rescued. For one thing, we have the old
myth of a dragon who guards hidden treasure. But with this runs the
story of some noble, last of his race, who hides all his wealth
within this barrow and there chants his farewell to life's glories.
After his death the dragon takes possession of the hoard and watches
over it. A condemned or banished man, desperate, hides in the
barrow, discovers the treasure, and while the dragon sleeps, makes
off with a golden beaker or the like, and carries it for
propitiation to his master. The dragon discovers the loss and exacts
fearful penalty from the people round about.
{31a} Literally "loan-days," days loaned to man.
{31b} Chattuarii, a tribe that dwelt along the Rhine, and took part
in repelling the raid of (Hygelac) Chocilaicus.
{31c} Onla, son of Ongentheow, who pursues his two nephews Eanmund
and Eadgils to Heardred's court, where they have taken refuge after
their unsuccessful rebellion.
In the fighting Heardred is killed.
{32a} That is, Beowulf supports Eadgils against Onela, who is slain
by Eadgils in revenge for the "care-paths" of exile into which Onela
forced him.
{32b} That is, the king could claim no wergild, or man-price, from
one son for the killing of the other.
{32c} Usual euphemism for death.
{32d} Sc. in the grave.
{33a} Eofor for Wulf. -- The immediate provocation for Eofor in
killing "the hoary Scylfing," Ongentheow, is that the latter has
just struck Wulf down; but the king, Haethcyn, is also avenged by
the blow. See the detailed description below.
{33b} Hygelac.
{33c} Shield.
{33d} The hollow passage.
{34a} That is, although Eanmund was brother's son to Onela, the
slaying of the former by Weohstan is not felt as cause of feud, and
is rewarded by gift of the slain man's weapons.
{34b} Both Wiglaf and the sword did their duty. -- The following is
one of the classic passages for illustrating the comitatus as the
most conspicuous Germanic institution, and its underlying sense of
duty, based partly on the idea of loyalty and partly on the
practical basis of benefits received and repaid.
{34c} Sc. "than to bide safely here," -- a common figure of
incomplete comparison.
{34d} Wiglaf's wooden shield.
{34e} Gering would translate "kinsman of the nail," as both are made
of iron.
{35a} That is, swords.
{36a} Where Beowulf lay.
{37a} What had been left or made by the hammer; well-forged.
{37b} Trying to revive him.
{38a} Nothing.
{38b} Dead.
{38c} Death-watch, guard of honor, "lyke-wake. "
{38d} A name for the Franks.
{38e} Ongentheow.
{38f} Haethcyn.
{39a} The line may mean: till Hrethelings stormed on the hedged
shields, -- i. e. the shield-wall or hedge of defensive war --
Hrethelings, of course, are Geats.
{39b} Eofor, brother to Wulf Wonreding.
{39c} Sc. "value in" hides and the weight of the gold.
{39d} Not at all.
{39e} Laid on it when it was put in the barrow. This spell, or in
our days the "curse," either prevented discovery or brought dire
ills on the finder and taker.
{40a} Probably the fugitive is meant who discovered the hoard. Ten
Brink and Gering assume that the dragon is meant. "Hid" may well
mean here "took while in hiding. "
{40b} That is "one and a few others. " But Beowulf seems to be
indicated.
{40c} Ten Brink points out the strongly heathen character of this
part of the epic. Beowulf's end came, so the old tradition ran, from
his unwitting interference with spell-bound treasure.
{40d} A hard saying, variously interpreted. In any case, it is the
somewhat clumsy effort of the Christian poet to tone down the
heathenism of his material by an edifying observation.
{41a} Nothing is said of Beowulf's wife in the poem, but Bugge
surmises that Beowulf finally accepted Hygd's offer of kingdom and
hoard, and, as was usual, took her into the bargain.
End of the Project Gutenberg EBook of Beowulf, by Anonymous
*** END OF THIS PROJECT GUTENBERG EBOOK BEOWULF ***
***** This file should be named 981. txt or 981. zip *****
This and all associated files of various formats will be found in:
http://www. gutenberg. org/9/8/981/
Produced by Robin Katsuya-Corbet
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you! ) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg. org/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1. A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1. E. 8.
1. B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1. C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1. E below.
1. C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1. D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1. E. Unless you have removed all references to Project Gutenberg:
1. E. 1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www. gutenberg. org
1. E. 2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1. E. 1
through 1. E. 7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1. E. 8 or
1. E. 9.
1. E. 3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1. E. 1 through 1. E. 7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1. E. 4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1. E. 5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1. E. 1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1. E. 6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www. gutenberg. org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1. E. 1.
1. E. 7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1. E. 8 or 1. E. 9.
1. E. 8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation. "
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1. F. 3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1. E. 9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1. F.
1. F. 1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1. F. 2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1. F. 3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1. F. 3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1. F. 4. Except for the limited right of replacement or refund set forth
in paragraph 1. F. 3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1. F.
