Haywire Issue 4 Fall 2014

glo-Saxon kenning permeates the text, which Heaney
directly translates as “bone-cage” (101). The exceeding
strength of bones, almost unbreakable, protect
animal’s organs. A deeper message imparts itself
through the word’s pairing with “cage”. Cages protect,
but also trap the objects/subjects placed within.
In this case the “bone-cage” imprisons Beowulf’s
soul so it will not soar away into the great unknown.
Similarly, a mysterious presence alluded to by another
kenning makes an appearance. Earlier when the
Geats arrive in Denmark they cross the “sea-lanes”
(17). The lengths this great warrior goes to to defeat
evil abound in this tale, however, to avoid repeating
the same words and sounds multiple times, different
words are compounded to create a new one.Instead
of simply saying ocean, it becomes a “sea-lane”.
Separately the words are weak, yet together they are
mighty.
Extreme use of alliteration closes the gap between
the old English and the modern English version.
Almost all the language, despite its translation,
has poetic tendencies. Beowulf’s introduction by
“Wulfgar […] a Wendel chief renowned as a warrior,
well known for his wisdom” (25). Even this character
with his minuscule role in the context of the novel receives
the honor of alliteration and assonance. Such
devices in the spoken style also make the segments
easy to remember as they contain a rhythm and flow
which floats off the lips. Later to portray the
bravery of Ecgtheow’s son he is extolled as “excelling
himself/ in daring and danger, until the
day arrived when he had to come face to face with the
dragon” (163). The alliteration of “d”, a
harsh consonant proves Beowulf’s strength and agility
of mind as an equal match for the beast.
As with Wulfgar, repetition of the letter “d” creates a
simple way to memorize the worthy warrior’s many
merits. Employing this device can also add layers of
sound to contribute to a scene. At Beowulf’s funeral
a great pyre is lit by arrows: “The shaft hit home.
Feather-fledged, it finned the barb of flight” (209).
The alliteration of “f” creates the fizzle sound of fire
in the background of the story. Before the arrow sets
the pyre of aflame, no “f” sounds are used, but in the
“shaft”, which is already burning. As soon as it ignites
the wooden grave, however, suddenly flames
and alliteration spring up everywhere. To dramatize
HAYWIRE Issue 4 Fall 2014
Photography by Avery
Swarthout, 11d
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