From my analysis of the different translations of The Seafarer, its pretty clear which one is more successful at imitating the Anglo-Saxon poetic traditions and style. We have to say, this journey is not sounding fun at all. The Wanderer now expands his ruminations towards the supernatural. The sea is where the Seafarer feels at home. He certainly doesn't seem all too eager to do this duty.
Raffel seems to really hold the original text in his favour here for one time. He, like the Wanderer, also must lament the loss of treasure, festivities, and glorious leaders. Because much of their poetic tradition involves the sounds of the words themselves. The sea is not a calm, cozy place for our sad speaker. His kind lord died of old age and as a result, the Wanderer has been exiled from his country.
In this section, the speaker urges the reader to forget earthly accomplishments and anticipate God's judgment in the afterlife. Curiosity proves to be one. Raffel's line is more immediately understandable, but it loses some of the meaning and makes it sound less like a poem and more like the beginning to any old story. But then the poem's viewpoint seems to shift. In the 2nd half of the verse form Pound continues to make a much better occupation of stand foring the original stuff. Or perhaps there was more than one scop involved, as I suggest in my translation notes. Some critics believe that the sea journey described in the first half of the poem is actually an allegory, especially because of the poet's use of idiom to express homiletic ideas.
But in the following line it is Pound who adds a half-line of his ain creative activity to precede the line after. Things can go from bad to good in a moment. Of course this could be a fictional device —one that has been used by many poets and other writers! Pound uses more initial rhyme in line seven. However, please see my Analysis for a discussion of how the speaker's point of view seems to change, as if more than one poet may have contributed to the poem, unless the poet had a religious conversion at sea! I 1 I can tell the true riddle of my own self, and speak of my experiences - how I have often suffered times of hardship in days of toil, how I have endured cruel anxiety at heart and experienced many anxious lodging-places afloat, and the terrible surging of the waves. Before the Christians took the story and changed it in their attempts to convert the An. This is likely because the two pieces have a lot in common, like their solitary speakers, the theme of the decaying material world, a melancholy tone, and idea of finding security through religious faith.
It has an alliterative rhyme scheme. The original Anglo-Saxon poem appears on the left. When he would take the position of night watchman at the prow or bow of his ship, he would be drenched and overwhelmed by the wildness of the waves and the sharpness of the cliffs. The differences begin at line one. He only knows who needs his lord As I do, eager or long-missing aid; He only knows who never sleeps Without the deepest dreams of longing. Raffel is uncharacteristically accurate here every bit good.
Pound's version, on the other hand, keeps the word order mostly the same as the original, even though the syntax doesn't really make sense. This opening section allows the narrator to essentially establish his credibility in offering advice to his readers. Selzer observes that the Wanderer begins his tale with an evocation of memory by recalling his past actions, lost friends, and an older way of life. Old English the predecessor of modern English is the name given to the Germanic tongues brought to England by the invading tribes who crossed the English channel from Northern Europe. Rachel has performed the piece on No Signal concerts, at the Kimmel Center in Philadelphia, and with the , which awarded the work its composition prize in 2007. The narrator reminds his readers that rich men on land do not know the level of suffering that exiles endure.
The Seafarer speaks of the land-dwellers in contrast to himself, and by doing so demonstrates that he is wiser and more experienced in dealing with hardship. The Seafarer describes how he has cast off all earthly pleasures and now mistrusts them. Fate has opened A single port: memory. Swylce geac monað Now the cuckoo warns geomran reorde; with her mournful voice; singeð sumeres weard, the guardian of summer sings, sorge beodeð boding sorrows bitter in breosthord. Mighty spears have slain these men, Greedy weapons have framed their fate. His feet would be frozen, and his insides ravaged by hunger in a way only seamen can understand. The poem ends with gnomic statements about God and morality, with the sailor sounding suspiciously like a priest or pastor.
The voice is sad and fearful. The poem begins making life sound hopeless. Raffel takes the line and translates it for intending. The sailor conveys how no matter what hardships the sea cast him, he still returned. He feels compelled to take new journeys to faraway lands, surrounded by strangers. The Seafarer is one Man's struggle to be true to his conscience. In the 2nd half of his ain interlingual rendition Raffel negotiations about sudating in the cold.
These two voices speak in different tones and they also speak of very different things. The translation by Ezra Pound did more to capture the original essence of the poem than Burton Raffel's version, though. What knowing man knows not the ghostly, Waste-like end of worldly wealth: See, already the wreckage is there, The wind-swept walls stand far and wide, The storm-beaten blocks besmeared with frost, The mead-halls crumbled, the monarchs thrown down And stripped of their pleasures. Regardless, both of the translations we looked at took some measures to preserve the Anglo-Saxon artistry that went into The Seafarer. This line gives us an inkling that, despite the miserable weather, what's really bothering our speaker is something inside him. The honest truth is that no one knows who wrote the poem, or what he believed at the time the poem was composed. Hwilum ylfete song Sometimes the swan's song Hwilum ~ while; ylfete ~ swan dyde ic me to gomene, gave me pleasure— gomene ~ pleasure, entertainment ganotes hleoþor the gannet's cries; hleoþor ~ song, sound ond huilpan sweg the curlew's clamor huilpan ~ curlew, waterbird; sweg ~ sound fore hleahtor wera, rather than the laughter of men; mæw singende the seagull's shrieks mæw ~ mew, gull; singende ~ sing, compose fore medodrince.