Of Bawns and Bros:Beowulf Translations and a Modernist Medievalism Mikaela Renshaw On the surface, the Old English Beowulf seems neither modern nor modernist, given that Beowulf is one of the oldest works in the English language. Yet, the connection is far less paradoxical than it seems, not only because of the fascination that high modernists, such as Ezra Pound, had for the medieval era engaging with it frequently through their own translations, but also because medievalism is itself modernist.1 Medievalism is born out of the desire to remake or recreate the medieval, both in how it truly was, as well as how we like to imagine it.2 However, due to the impossibility of true recovery, medievalism is not centered solely in the past, but is instead created by the collision and combination of the medieval and the modern, the exact sort of amalgamation that stands at the heart of the modernist genre. As such, engaging with a medieval texts and its translations through a kind of modernist medievalism helps us to understand how the text also lies on this collision point, existing across multiple modernities as its own kind of amalgamation. To expand on that, I will be examining the translations of Seamus Heaney and Maria Dahvana Headley to consider and define modernist medievalism.3 While both works exemplify the translation of a medieval work into a modernist piece, they do so in rather different ways. Heaney translates Beowulf through a focused form of spatial modernity, in which his use of regionalisms and dialect allows him to ground the work in his native land of Northern Ireland. Whereas, Headley works within a more strictly temporal modernity with her use of diffuse contemporary dialect that calls upon not only poetic turns of phrase but slang terms as well. Finally, I will use these works to construct a kind of Beowulfian palimpsest, in order to examine how Beowulf is not just Beowulf, the original text, standing alone a singular static object anchored in the past. Beowulf, as an object of study, is also a [End Page 21] multiplicitous living text that evolves across the centuries, with its translations being a vital component of that evolution. Beowulfian Modernisms The exact definition of modernism is a question that has become increasingly problematized as academics seek to expand the canon outside of the mostly white male authors that make up high modernism. This expansion has pushed the definition of modernism not only across racial, gendered, and spatial boundaries but temporal ones as well, which brings us to the question of what, if anything, ties together modernism as a genre.4 Especially since working within this weaker/more nebulous theory of modernism means that we step away from strict periodization and thus we do not have to think of modernity as a singular object.5 Therefore, identifying what makes a "modernity" is no longer a matter of looking back retroactively and deciding upon a singular time period; and as Susan Friedman says, "modernity need no longer reside solely in a specific set of institutional, ideological, or aesthetic characteristics emergent in the post-Renaissance West . . . Instead a particularized modernity located in space and time could potentially emerge wherever and whenever the winds of radical disruption blew, the conditions of rapid change flared up, or the reflexive consciousness of newness spread."6 So, it becomes clear that modernity is not locked in a binary with the past, but instead shares a cyclical and symbiotic nature with it: modernity should only be understood in relation to the past it is reacting against and disrupting. Furthermore, as time and change settle, each modernity then becomes the past that shapes the next modernity, meaning that modernity does not imply the existence of an "archaic and stable past," as Bruno Latour puts it, but actually gestures towards the continuous movement and disruption within it.7 This understanding of multiple modernities helps us remember that our conception of modernism is not limited to a single century or even just the past few centuries. As explained by David Damrosch, in "literary studies of modernism and modernity, anywhere we find written texts we have a key precondition for the development of a...
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