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The Wanderer
“How often the lone-dweller anticipates
some sign, this Measurer’s mercy
— must always must—
mind-caring, along the ocean’s windings,
stirring rime-chill seas, hands as oars
many long whiles, treading the tracks of exile—
the way of the world an open book always.” (1–5)
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Comments
Jax Brunsting says:
June 1, 2021 at 10:16 am
Stumbled on this translation from a reddit thread. It\’s really powerful, especially as translated. The only thing I find a
tiny bit jarring is the occasional bit that sounds very modern (\”I don’t think so.\” as opposed to all the OE phrases
throughout the rest. That said, I appreciate it may be the *best* translation of the original, which I can absolutely
appreciate. Maybe because of that, the three lines at the bottom don\’t bother me as much. It really seems to my
admittedly uneducated ear (I read this out loud to myself) that the last three lines could just as easily be a part of the
whole as every other part. It seems to flow just as easily as any other part to my ear, which is to say it doesn\’t flow
at all and none of it did.
Thank you so much for your support! I strive to avoid a complacency in translation that encourages simplistic &
uncritical readings, so you’ll see stuff that jars you. Completely intentional.
Thank you also for veering towards my point in responding to several of these previous commentors (this is not
directed at you, of course): It doesn’t flipping matter if one doesn’t think the final lines of the “Wanderer” belong.
Plain fact is that they’re there, in the only known copy of the poem. Any other version is a phantasm.
As the American empire slips away this poem is alive and prescient for 2021. It informs us of the transient nature of
middle earth, mankind has been here before. We are all just wandering warriors, aliens in this land, just passing
through until we reach that heavenly battlement that bulwarks us all.
This translation really made this come alive for me. Thank you.
This translation is so good. It keeps the “weird” syntax of Old English poem.
I had done a poor translation of this poem in my Old English class and was touched when I figured out the story,
feeling the power of every image and the emotion inside the poem. I found it quite strangely that when I read a
translation of the poem which puts all the verses into correct modern English grammar, the power of the poem was
completely gone.
In reading this translation I feel the power of this wonderful poem again. Thank you.
Is it just me or do the last three lines about seeking mercy and consolation from the father in heaven seem so out of
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place? The whole tenor of the poem is full of arresting, earthy imagery relating to the stoic “anhaga”, the loner, in a
hostile world. Nothing very Christian about any of it. Perhaps the monk/scribe felt obliged to tack it on at the end.
Hello, I mean possibly? But there is absolutely no evidence of trasnsmission or provenance or date of this poem.
Even less for its origins in “pagan” or Christian. First of all, the binary distinction between was absolutely not the
experience of the Early English. Practices termed “syncretic” were far more common (as can be attested from
grave goods, the exchange of letters in Bede’s Historia at the end of Book One, and the survival of the so-called
“Metrical Charms” [which you can see here]) — even modern Xtnty maintains many syncretic practices. Also the
need to view OE poetry as “very old” and therefore “pagan” arises out of the nationalist needs of early scholars
(Xtnty was Mediterranean, of Jewish origin, and therefore not Volkisch). So that’s a problematic area to get into.
One off-shoot of this misconception is that Christian monks somehow “spoiled” the “native spirit” of Germanic
poetry. Scholars just don’t view scribes, monks, and poets in such stark & needlessly binary terms.
Even the so-called “stoic” spirit of the main speaker is pretty just the product of Germanic nationalistic fanstasies
originating in Tacitus. My latest attempts to complicate the poem’s voice suggest a broad range of strong emotions
in this character (emotions which research is being to suggest were quite common for even the toughest warrior). I
mean, come on — homeslice loses their lord and is so wrought over it they project the actual end of the world.
That’s some drama there!
So I’m taking a Brit Lit class at my local community college, and I was trying to gain some information about this
poem, and found this discussion. I have no credibility of my own, but my professor’s lecture (that shows a
significantly shorter and slightly differently worded version of this poem) says that there were two authors. Here’s
that section of it ” The main speaker in “The Wanderer” (there are actually two speakers: the unknown monk
[probably, since it was the monks who were literate] who composes the poem; then the Wanderer himself; then
the monk comes back in at the end (those frames seem layered on by the monk-writer—a justification for the
pain that The Wanderer would not make)” I hope this is useful.
Hi there, as I’ve said in other comments here, this view is old school & quite outdated, based in “necessary”
fissures between “pagan, Germanic” culture & Christian culture. The dichotomy has been totally overstated, &
is not necessary to understand the poem in the only version we have available. No disrespect to your
professor, of course.
Jovana ST says:
April 3, 2021 at 10:55 pm
I’m not sure if this helps, but I’m a student majoring in English and we did this poem as a part of our English Lit
curriculum. The professor walked us through the possible interpretations and the common analyses of it.
Generally, the poem is regarded as having four parts: the beginning and the end we added by the monk who
recorded it, while the middle could be divided into two to show what the bard is talking about (reason for his exile
and an almost instructive part of the poem). Hence, if we take this kind of division into consideration, the middle
part of the poem was sung before the monk ever added his verses (the first and last three lines are speculated
additions) which are clearly out of place, not just historical period wise, but also in regards to context.
I hope this helps!
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Hello — thanks for coming by! I do not mean to be disrespectful to either you or your instructor, but the model of
monastic “interference” in “pure” Germanic poetry is WAAAAAAAY out of date. Literally no one seriously argues
that any longer. That was Ezra Pound’s view of the “Seafarer” and though it was based in the scholarship of the
time, that paradigm is not helpful at all (& based in some ugly narratives). Also, there is no reason to take the
narrator(s)’ situation literally or biographically at all. This is fiction: authors are not the same as narrators. That’s
basic literary interpretation.
Veris says:
April 14, 2021 at 8:53 am
You are so annoying. Glad you are the expert and can put any one with a different opinion or interpretation in
their place. Thanks for providing the last word on everything. You are full of yourself in the way only young little
geniuses can be. Far too few winters for you. Enlighten me more with the use of more words spelled like
“WAAAAAAAY”.
The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We
live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should
voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the
piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful
position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace
and safety of a new dark age.
All shade, all T: it seems that some have reached that point sooner than others…
Ya drag yourself to an academic’s website & you’re going to be exposed to their scholarly opinion. In a
teacherly & collegial manner when warranted. If you don’t like that, you can go piss in someone else’s
houseplants. The Interwebs are big like that.
First guy is right. Maintaining tone is not a modern invention. It seems out of place.
The key issue here is that the tone doesn’t match to _US_, readers a thousand years estranged from the
cultural conditions that produced this text, at that particular moment, for a particular audience. We judge this
text according to theories & models scholars have applied according to their needs & desires & agendas (like
all science). We judge these poems by our standards of propriety or decorum or poetics — none of them
necessarily accord with what produced the text or why.
Some people like to say “Facts don’t care about your feelings,” but here they are precious few facts. So all
we have are feelings. To be tested on the language of the text & what models & paradigms we set up.
Stig says:
May 21, 2021 at 9:45 am
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Ah. I was skimming the comments when I came upon the interesting controversy in the comments.
“the model of monastic “interference” in “pure” Germanic poetry is WAAAAAAAY out of date.”
Even reading your comments, I’m confused as to what grounds you say this. I don’t know anyone who would
use the word “pure” to describe Germanic tales and poetry, but my Classics professor said the same thing as
Jovana’s prof.
In my granted limited experience, it seems ubiquitous that anytime a religious sect transcribes for the prior
Pagan community, the text is changed, integrated, or destroyed to suit the religious predisposition of the
transcriber. In the Classics world, there’s a pagan continuity hypothesis with the very origin of Christianity, and
many overt references to Greek plays in the Gospel of John.
When there’s a clear tonal distinction, and an existing precedent for Christian modification to Pagan works, I
don’t see why you’re resistant to the idea, and I’m curious for why you say this.
Also. I have called myself Stigandr, ‘Wanderer’, as my online name for 16 years, and I’m only just finding this
poem! lol. This is really cool.
The key term is “pagan” — quite simply, there is no such thing. There are pre-Xtn cultures or beliefs, but
“paganos” is a Xtn slur against non-believers. Also, the concept of pre-Xtn beliefs are derived (esp. for thse
outside the Greco-Roman sphere) totally from a Xtn perspective, hardly unbiased or impartial, and often
involve forcing a Xtn metaphysical model on anything that they didn’t understand, that didn’t translate neatly.
Everything else in your reply is either a case of apples & oranges or what smacks of sealioning, so I’ll leave it
at that. Also, I said what I said in my previous post. That’s how I understand the issue & what informs my
research. You asking the same question again doesn’t invalidate anything: it usually means you didn’t read it.
You are free to disagree with any of it.
I see the the poem as one where the the wanderer who loses his people and place among men finally turns to his
Father in Heaven as the unchanging rock in a changing world.
That’s cool — but consider this: that god themself has changed so much in two thousand years of Xtn history.
Not for nothing, rocks change too.
For sure it grates with the rest of the poem. No depth of thought.
Look, I know y’all seem pressed by the apparent change in the poem — and given the timing of this repetitive
chatter, pressed by the change in my translation. The plain fact is that this is the Wanderer we have now, no
other version exists, nothing at all. Anyone one of us can like it or not, but to say “no depth of thought” is just
presumptious & actually not a critically supportable idea. Who are any of us to judge the poetic expression of a
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culture we actually dont have that many clear ideas about? We have literally no idea about what aesthetic
principles guide this culture’s lyric expression at this moment (a moment we cannot really date beyond its
appearance in the Exeter Book).
Ezra Pound once advised giving little credence to the poetic rules & expectations & systems set down by people
who haven’t written a poem. If you’ve written a poem that has survived at least a thousand years, then maybe
we can talk — but the biggest challenge to understanding OE poetry as such is forgetting all the decades of
seriously unhelpful ideas about that archive.
You seem very immature. From all of your comments, you seem rather unlikable, and I suggest you realise
that and change for the better (That is to say you might be likable in reality, but you fail to converse online in an
appropriate manner).
The main topic at hand was about the sudden change in tone from the beginning and middle in comparison to
the end. The replies are all giving their thoughts and opinions on why this might be, going from “An added
extra as generations passed on”, to “an originally added on part due to the scribe”, and others thinking “it was
the author’s fault”. Yet, you are insistent in shutting down any conversation, saying that is unnecessary and a
waste of time. In fact, it is the opposite; knowing the history and setting of the literature is incredibly important
in understanding the literature.
Hello whoever you are. Great start to your comments. Tone-policing is always going to get you far in a critical
conversation. I’m grown, don’t tell me how to talk on my own page. If it vexes, go somewhere else. Many of
my respondents have mistaken my natural informality as disrespect. It’s common, especially if one is
pretentious themselves or are still traumatized by their own education. And so you’ll likely really hate what
I’m about to say. Also, if you can’t challenge the facts, focus on the language or style of the response.
Awesome strategy!
Rule number one of Internets: no one owes you a debate. I have responded in generosity & fairness to every
_polite_ commenter & presented alternatives to these musty old critical commonplaces about Old English
literature. Instead of making a claim or providing evidence to assrt why I’m wrong, the next commenter
makes the exact same statement, in almost the exact same words. That’s not a conversation, that’s a
concatenation — and I simply do not have time for it. I give the same response, and I have been given no
reason to mediate my response. But I am no longer going to do so. Repeated comments will be moderated
out of existence.
The traditionla & superannuated paradigms for OE literature are themselves “unnecessary and a waste of
time” — they’ve been proven to be. They do not lead to new insights into the literature, they dont help us
understand that world. You’d really have to search to find a working scholar that makes this claim any longer
(not that there are none). It goes against every bit of codicological evidence we have & really emanates out
of mythology & fabulation. I’ve said why, repeatedly — I’m not repeating it for you now. Scroll up.
The first “Anglo-Saxonist” to make those claims about the “Wanderer” had no real evidence to flesh out their
speculation. At best it was correlation without cause. They made it up, iow — because the poem is highly
enigmatic, riddling even. And these scholars had their needs. Nobody knows _exactly_ what the poem is
about. So why be so sure they’re right & I’m wrong? Why get so offended when someone suggests an
alternative that might respond more naurally to what we know now, in the Year of Our Guinea Pig Lord 2021?
Why get so offended when a scholar gets tired of answering the same question?
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A lovely translation for these times. “Where has the horse gone? Where is the man? Where is the giver of treasure?
Where are the seats at the feast? Where are the joys of the hall?“ really sang to me. Found the reference to thus
poem in Alexandra Harris book Weatherland.
HAUSEVULT says:
April 15, 2020 at 5:41 pm
Half past eleven at night in Budapest I marvel and am grateful that people think it is important to try out translations
and to take up positions around this poem.
I thought you all might be interested in this excerpt from an essay by Ezra Pound, published in Poetry (Chicago)
Magazine, VI. Oct-March 1915-1916:
I appreciate your enthusiasm, but it’s important to remember that the “Wanderer” is not autobiographical at all.
Pound is indulging in a bit of nativist fantasy, imagining some sort of ancient purity of culture based in paganism
and the warrior ethos. If that sounds a bit fascist to you, it’s because that sort of mythology is at the root of fascism
(and Ezra Pound certainly did end up GOING THERE).
The roots of the poem might be as old pagan warrior days, but the version we have definitely derives from monks.
The conditions described in the poem, vivid as they are, are resonant references to older days in order to express
a contemplative message through the remnants of the culture. It’s a contrived artifact, in other words, like all
poetry.
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Dear Professor Baldwin, are you sure this citation is correct? Can you offer the number of the issue and page no?
I cannot find it in Poetry (Chicago) Vol VI Warwick Gould (warwick.gould@sas.ac.uk)
I wondered whether this version of the end of the poem might be of interest
This is by no means a literal translation of the lines towards the end of this poem, Rather it is an attempt to convey
the melancholy mood of the old soldier who has outlived both his comrades-in-arms and the social superiors he
respected and who valued his prowess in battle. Younger men probably see an old bore who is always scrounging a
drink, a bite to eat, or a warm corner where he can to sit and bend the ear of anyone foolish enough to greet him.
NB wyrml?cum: serpentine, serpent-like, worm-like? It is often suggested this refers to the encircling ditches
characteristic of multivalate Iron Age hillforts. However in the context of the implications of the poem, I have chosen
to ‘read’it, as worm-worked – an image of the sides of a grave that already holds each of his contemporaries and
awaits him before too long he hopes because his world is long-vanished into the mist of Time..
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Dr Blake, your version of the poem\’s ending is heart-melting and under your pen-wand \”the space of years\”
between us and the original poet appears to evanesce, \”as if it never was\”. Thank you!
I am just the scrivener here–working through word-roots wherever possible to restore this masterpiece to something
of its original glory. It’s a truly remarkable piece of literature. The more I work with it the more I appreciate the Anglo-
Saxon alliterative verse form. Iambic pentameter it is not–nor free verse. It’s a form unto itself. The possible word
choices are heavily constrained by the alliteration requirement. The requirement for balanced couplets is equally
constraining but also liberating. It’s no wonder there was so much compounding and word-coining.
Dr. Hostetter, I would like to know what you think of this rendering of lines 1-36. This rendering preserves or
otherwise restores the Anglo-Saxon alliterative verse form but using words that have intuitively approachable
meanings to modern readers. It reads almost word-for-word on the Anglo-Saxon. The meter is authentic Anglo-
Saxon alliterative verse as near as I can tell.
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Hi Bret, Still owe you comments on your Beowulf lines, but thank you for sharing these. I really like your work
here, & totally get you’re trying to do. There are bits that REALLY work (morn moans, fort freezes folded, coin-
clench, etc.) that I really covet having said. “Aurora-morn moans” for “uhtecearig” stops me a bit, though I see you
are going for the similar vowel sounds in the start. I might go with, though it breaks the pattern, “Cracking-morn
moans” since “uhte” is the moment before dawn. “Hole-spot” also stops me cold. But all poems require work and
revision, so keep going. What you have here are amazing bones for further work!
Thanks for these comments. This is encouraging. My intent is to render the lines following the poetic meter and
alliterative verse used by the Anglo-Saxons. In doing so there are sacrifices such as precise word meanings.
However, Anglo-Saxon proper itself being a dead language, it’s apparent that all Anglo-Saxon dictionaries are to
some extent or another all based on conjecture and speculation. We can never really appreciate nuanced word
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meanings from the time. However, we do have word roots and to the extent possible I have used them. That’s
why I would stick with aurora-morns. The most important word in the line (possibly the poem) is alone–and it
must alliterate with another vowel in the anglo-saxon form. The only modern word relating to the crack of dawn
that starts with a vowel (that I could find) is aurora. It just so happens that the word “moan” makes a very good
compound. I started with “dawn” but it works so well with “moan” that I used it. I also noted that the end of moan
connects to “none” just like the end of cwiþan connects to “nan.” An alternate way to render the line is to use
“call” for “moan” so the alliteration is preserved, but then the connection with “none” is lost. Word choices….
If you don’t mind let me post the whole thing when I am done. It’s taking some time since I haven’t really formally
studied Anglo-Saxon so I am learning it as I go.
Thank you Brett Randal for your stirring and heart-felt translations–this one and the one above. How I would
love to see your translation of the complete poem. Hope you will publish it here. Amazing that you have not
formally studied Anglo-Saxon.You must be a poet.
akh58@camden.rutgers.edu
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