Culture and language have always, by their very nature, been linked. Neither can exist without the other. As the world changes perspectives and culture evolves, language must evolve with it. Old tales become wordy and dated, seeming hardly relevant in modern society. In a world obsessed with instant gratification, our language is becoming more and more condensed, and few stories can demonstrate this change as well as Beowulf. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay In order to appreciate the evolution of the poem into our modern translations, it is important that we look to the past. From ancient mead halls to modern classrooms, each account of history demonstrates the subtle changes in the culture that surrounded it. In an early translation by English scholar Thomas Arnold in 1876 titled Beowulf: An Epic Poem Translated from Anglo-Saxon Into English Verse, Arnold translates the description of the titular character's journey as follows: "Then the frothy-necked cruiser, rushed by the wind, flew over the sea, like a bird, until, about first o'clock the next day, the ship with the crooked bow ran [so far], that the sailors saw the land, the glittering cliffs, -- steep mountains, great promontories. Interestingly, Arnold made the decision not to pace the story like a poem, but rather to interpret it like a novel. Epic poetry was out of fashion; poets such as Tennyson tended to write shorter, less narrative verse, while authors such as Charles Dickens enjoyed great success in the world of narrative fiction. There was, however, a return to the poetic style in the 1920s in America. Duncan J. Spaeth, a professor of English at Princeton University, produced a new translation of Beowulf titled Old English Poetry: Translations Into Alliterative Verse with Introduction and Notes in 1921. It would appear that Spaeth made an effort to be faithful to Old English in his book. choice of words. For example, Spaeth chose to retain the kenning in the sentence: “On the swan path, he said, he would seek the king” (200). On the other hand, Arnold chose to modify the kenning to say "the path of the wild swan". Although a subtle change, it demonstrates Spaeth's desire to stay true to the source material. This may have been influenced by technological advances and the growing materialism of the 1920s. As cinema and popular culture began to develop, writers and great thinkers of the era became increasingly critical of towards society. Great names like Fitzgerald and Hemingway actively fought against the increased sense of individualism. In turn, writers have strived to preserve and traditionalize their works, and Spaeth's translation of Beowulf is no exception. The 1940s marked another major cultural shift with the start of World War II. At that time, a tale like Beowulf would have been praised, as many such tales are in times of war, for its illustration of European heroism. We see this reflected in Charles W. Kennedy's 1940 translation, where he writes: "Of strong men living he was the strongest / Fearless, valiant and great of heart." / . . . The group he had gathered around him was brave, / Fourteen pillars seasoned and bold. . .” (196-206). Kennedy's translation emphasizes the courage of the characters and the glory that will surely come to them. Spaeth's translation, on the other hand, does notoffers only a brief extract from this extract in terms of the heroism of the characters. Spaeth writes: “Gallant and daring, he gave the command” (198). Arnold's translation is similar, calling him only "noble and powerful." Kennedy's interpretation clearly reflects the desire for courage and heroism in the face of war. It provides a clear window into the mentality of Britain during the war. Looking at the various American translations, we arrive at the 1960s. The decade was filled with controversy. Like the Kennedy translation, the growing tension in the country over the war (in this case, the War of Vietnam) seems to influence the choice of language. In Burton Raffel's 1963 Beowulf: A New Translation with an Introduction, Burton Raffel writes: “. . . [Beowulf proclaimed] that he would go to this famous king, / Cross the sea to Hrothgar, / Now, when help was needed” (199-201). Unlike previous translations, Raffel's translation emphasizes Beowulf's volunteering to help in times of need. This reflects a common wartime mentality, particularly prevalent among Americans. Back in Britain, we are presented with Michael Alexander's translation, Beowulf: A Verse Translation from 1973. Alexander's pacing and word choice are perhaps more difficult to follow than previous translations. when he writes: “He ordered that a seaworthy wave cutter be fitted to him; the warrior king / he would seek, he said, riding on the swan, / this lord of great name, in need of men” (199-202). Alexander's translation attempts to accurately reflect the rhythm of the Old English translation. The lines are jerky, interrupted by frequent punctuation. Due to the economic depression that Britain faced in the 1970s, it is possible that this extremely traditional style was meant to reflect more prosperous times. Often, in the face of difficulties, the past is glorified, and this translation of Beowulf seems to be no exception. Interestingly, in a 1982 translation by the English author and poet Kevin Crossley-Holland, the extract describing the journey was omitted entirely. Perhaps it was an early sign of our culture's shift toward our desire for instant gratification. Rather than bother readers with longer passages, Crossley-Holland made the decision not to write about the journey and instead indulge us in the result. With the growing popularity of television and even the invention of the first personal computers and cell phones, society demanded that things be more instantaneous than ever, and our literature of the time was not spared. Some of our most recent translations include those of Seamus. Heaney and Roy M. Liuzza in 2000. Both translations mark the turn of the millennium and are therefore both fresh and renewed in their approach to the aging poem. In Liuzza's version, he describes the end of the journey: "Above the rolling waves, driven by the wind, / the frothy-necked float flew like a bird, / . . . then the waves were crossed, / the journey ended” (217-224). While retaining its lyrical rhythm, Liuzza's version introduced much of the poem in modern terms. But it is perhaps Heaney's translation of the poem that succeeds best: Above the waves, with the wind behind her and the foam at her neck, she flew like a bird until her curved prow covered the distance and the next day, at the appointed time, these sailors saw land, the sunlit cliffs, the steep rocks and the looming promontories, the landing they sought. It was the end of their journey. (217-224) In Heaney's translation, we.