the wanderer - quotes and analysis

oft him anhaga are gebideþ (1st line, translation)

the solitary one often endures for grace

oft him anhaga are gebideþ (1st line - analysis)

• are is often used in a christian context, granting the poem theological grounding

• anhaga and are are alliterated, tying together the solitary one and endurance from the first line

• oft is often used as an understatement meaning always

Metudes Miltse, þeah þe modcearig (2nd line, translation)

the measurer’s mercy, although, sorrowful at heart

metudes Miltse, þeah þe modcearig (2nd line, analysis)

• modcearig is a poetic compound, centring ideas of interiority with reference to mod - mind heart

geond lagulade longe sceolde (3rd line, translation)

for a long time, over the sea

hreran mid hondum hrimcealde sæ (4th line, translation)

he had to move, with his hands, the frost cold sea

hreran mid hondum hrimcealde sæ (4th line, analysis)

• hrimcealde - poetic compound, frost cold → reinforces same idea → forces reader to reflect on the difficult conditions in which the wanderer lives

• ‘mid hondum’ reinforces isolation and lack of aid

wadan wraeclastas. wyrd bið ful aræd (5th line, translation)

and travel the paths of exile. fate is very resolute.

wadan wraeclastas. wyrd bið ful aræd (5th line, analysis)

• wraeclastas is the first direct hint he is in exile; compounds why he is miserable

• alliteration of wadan, wraeclastas and wyrd - idea that to be in exile was always his fate → what is fate?

• almost aside of ‘fate is very resolute’ → pushes the agenda of conforming to fate no matter what

swa cwæð eardstapa, earfeþa gemyndig (6th line, translation)

so said the wanderer, mindful of hardships

swa cwæð eardstapa, earfeþa gemyndig (6th line, analysis)

• alliteration of ‘eardsteapa’ and ‘earfeþa’ (wanderer and hardship) → ties the two together

• earfeþa - interiority stressed

wraþra wælsleahta winemaega hryre (7th line, translation)

of cruel slaughters, of the deaths of dear kinsmen.

wraþra wælsleahta winemaega hryre. (7th line, analysis)

• wine is a prefix of affection

• this line is the first hint of the tragedy truly of the past

oft, ic sceolde ana uhtna gehywlce (8th line, translation)

often, i had to alone, every dawn

oft, ic sceolde ana uhtna gehywlce (8th line, analysis)

• oft → hints at the repetitive structure (also used in line 1)

mine ceare cwiþan. nis nu cwicra nan (9th line, translation)

bewail my lament. now there is no-one

þe ic him modsefan minne durre (10th line, translation)

alive who i dare to express my mind to

sweotule asecgan. Ic to soþe wat (11th line, translation)

plainly. I know as a truth

sweotule asecgan. Ic to soþe wat (11th line, analysis)

• ic to → marks a shift to a didactic / wise / gnomic tone; the nobleman should shut down emotion and be wise

þæt biþ in eorle indrhyten þeaw (12th line, translation)

that in warriors, it is a noble custom

þæt he his ferðlocan faeste binde (13th line, translation)

to govern his breast, whatever he may think

þæt he his ferðlocan faeste binde (13th line, analysis)

• kenning - ferðlocan (spirit-locker)

healde his hordcofan hycge swa he wille (14th line, translation)

that he securely binds his life enclosure

healde his hordcofan hycge swa he wille (14th line, analysis)

• hordcofan - kenning - life enclosure (chest) → this is the second use of an interior focused kenning in place of chest (line 13 - ferðlocan )

ne mæg werig mod wyrde wiðstondan (15th line, translation)

the weary cannot withstand fate

ne mæg werig mod wyrde wiðstondan (15th line, analysis)

• start of the ‘ne’ anaphora which lasts until line 16 → reinforces a sense of negativity and desolation

• alliteration of weary, withstand and fate → makes fate into a hardship to be endured

ne se hreo hyge helpe gefremman (16th line, translation)

nor can the disturbed mind provide help

ne se hreo hyge helpe gefremman (16th line, analysis)

• second line in the ‘ne’ anaphora

forðon domgeorne dreorigne oft (17th line, translation)

therefore those eager for glory often

in hyra breostcofan bindað faeste (18th line, translation)

bind securely their sorrow in their breast chamber

in hyra breostcofan bindað faeste; (18th line, analysis)

• breostcofan - kenning - ribs

swa ic modsefan minne sceolde / oft earmcearig eðle bidaeled (lines 19 and 20, translation)

so i had to, often, wretchedly, take my soul cut off from my homeland

swa ic modsefan minne sceolde / oft earmcearig eðle bidaeled (lines 19 and 20, analysis) -

• swa ic marks a shift back to self-focus rather than advice - applies the advice to himself

• earmcearig - troubled and wretched - cearig is used frequently in compounds, making trouble / misery a central theme

freomaegum feor feterum saelen (line 21, translation)

far from noble kinsmen, and bind it in fetters

siþþan geara iu goldwinne minne (line 22, translation)

ever since, long ago, I covered my gold-lord

siþþan geara iu goldwinne minne (line 22, analysis)

• goldwinne = poetic compound - hints to teh commitatus which the exile has lost

hrusan healstre biwrah , ond ic hean þonan (line 23, translation)

with the darkness of theearth, and i, thence wretched

hrusan healstre biwrah , ond ic hean þonan (line 23, analysis)

• hrusan healstre biwrah = with the darkness of the earth = poetic reference to burial - important that all references to death / burial in the poem are euphemistic

wod wintercearig ofer waþema gebind (line 24, translation)

sorrowful as winter, sought over the freeze of the waves

wod wintercearig ofer waþema gebind (line 24, analysis)

• wintercearig = sorrowful as winter - poetic compound - again see the focus of compounds on misery, centralising this theme

sohte seledreorig sinces bryttan (line 25 translation)

the treasure giver, sorrowful at the separation of the hall

sohte seledreorig sinces bryttan (line 25, analysis)

• seledreorig - poetic compound - the treasure giver → again hints to commitatus positions

hwaer ic feor oþþe neah findan meahte (line 26, translation)

where I could find, near or far

þone þe in meoduhealle mine wisse (line 27, translation)

him who in the meadhall knew my own people

þone þe in meoduhealle mine wisse (line 27, analysis)

• alliteration of meoduhealle and mine → links the idea of the meadhall and personal life; centralises meadhall in speaker’s life

oþþe mec freondleasne frefan wolde (line 28, translation)

who could console me, friendless,

wenian mid wynnum. Wat se þe cunnað (line 29, translation)

entertain me with pleasures. He who has come to know

hu sliþen bið sorg to geferan (line 30, translation)

how cruel sorrow is as a companion

þam þe him lyt hafað leofra geholena (line 31, translation)

for one who himself has few clear confidants.

hu sliþen bið sorg to geferan (line 30, analysis)

• sorrow personified as a companion

warað hine wraeclast, nales wundon gold (line 32, translation)

the path of exile holds him, not wound with gold

warað hine wraeclast, nales wundon gold (line 32, analysis)

• oxymoronic personification of ‘warað hine wraeclast’ - the path of exile holds him

• ‘not wound with gold’ - hint at comitatus / materiality

ferðloca freorig, nalaes foldan blaed (line 33, translation)

a frozen life-enclosure, not the Earth’s prosperity.

ferðloca freorig, nalaes foldan blaed (line 33, analysis)

• ferðloca - kenning - life-enclosure - used before; there is a focus on chest / soul

gemon he selesecgas ond sincþege (line 34, translation)

he remembers the men of the hall and the receiving of gifts

gemon he selesecgas ond sincþege (line 34, analysis)

• selesecgas - poetic compound - men of the hall

• sincþege - poetic compound - receiving of gifts

hu hine geoguðe his goldwinne (line 35, translation)

how his gold lord had made him accustomed to feast

hu hine geoguðe his goldwinne (line 35, analysis)

• goldwinne - poetic compound - repeated - prioritises comitatus

wenede to wiste. Wyn eal gedreas. (line 36, translation)

in his youth. pleasure has entirely failed.

forþon wat se þe sceal his winedrhytnes (line 37, translation)

therefore, he who understands his beloved lord

leofes larewidum longe forþolian (line 38, translation)

and friend’s speeches must do without for a long time

donne sorg ond slaep somod aetgaedre (line 39, translation)

when sorrow and sleep simultaneously together

donne sorg ond slaep somod aetgaedre (line 39, analysis)

• sorg and slaep - sorrow and sleep - often tied together in OE lit - ALLITERATED

• sorg and slaep - personified

earmne anhogan oft gebindað (line 40, translation)

often bind the wretched solitary thinker

þinceð him on mode þaet he his mondrhyten (line 41, translation)

it seems to him in his mind that he (lord appears later)

þinceð him on mode þaet he his mondrhyten (line 41, analysis)

• alliteration of mode and mondrhyten → lord and mind-heart alliterated

• mondrhyten is a poetic compound

clyppe and cysse ond on cneo lecge (line 42, translation)

clasps and kisses his lord of men, and on his knee lays

honda ond heafod, swa he hwilum aer (line 43, translation)

hands and head, as he sometimes, long ago

in geardagum giefstolas breac. (line 44, translation)

in days of old enjoyed the throne’s gifts

in geardagum giefstolas breac. (line 44, analysis)

• alliteration of geardagum and giefstolas → ties the throne’s gifts to the days of old → makes it clear that the wanderer has lost this connection

donne onwaecneð eft wineleas guma (line 45, translation)

then the friendless man awakens again

gesihð him beforan fealwe wegas (line 46, translation)

and sees before him the dark waves

baþian brimfuglas, braedan feþra (line 47, translation)

seabirds bathing, spreading their wings

baþian brimfuglas, braedan feþra (line 47, analysis)

• bird imagery → emphasises the freedom of nature in contrast to the trapped misery of the man, bound by exile and humanity

hresoan hrim ond snaw, hagle gemenged. (line 48, translation)

falling frost and snow, mingled with hail.

hresoan hrim ond snaw, hagle gemenged. (line 48, analysis)

• all the actions of this passage are fleeting, emphasising the transient nature of both the man-made and natural worlds

þonne beoð þy hefigran heortan benne (line 49, translation)

then the heart’s wounds are much heavier

sare aefter swaesne. sorg bið geniwad (line 50, translation)

more painful wounds for the beloved. sorrow is renewed

sare aefter swaesne. sorg bið geniwad (line 50, analysis)

• beloved and sorrow alliterated (swasne and sorg) → intrinsically linked in the wanderer’s mind

þonne maga gemynd mod geondhweorfeð (line 51, translation)

when the memory of kinsmen passes through the mind-heart

greteð gliwstaðum georne geondsceawað (line 52, translation)

he greets them with joy, eagerly surveys

greteð gliwstaðum georne geondsceawað (line 52, analysis)

• every word is alliterated

secga geseldan. swimmað eft on weg. (line 53, translation)

the hall companions of men. Drift away again.

secga geseldan. swimmað eft on weg. (line 53, analysis)

• swimmað eft on weg - drfift away again - emphasises the fleeting nature of memories → personifies them → sea imagery makes the memories akin to the wanderer himself

fleotendra ferð no þaer fela bingeð (line 54, translation)

the spirit of the floating ones, there brings few

cuðra cwideguedda. cearo bið geniwad (line 55, translation)

familiar speeches to ind. care is renewed

cuðra cwideguedda. cearo bið geniwad (line 55, analysis)

• cuðra, cwideguedda and cearo alliterated - familiar speeches and care alliterated - ideas connected

þam þe sendan sceal swiþe geneahhe (line 56, translation)

for he who who must send frequently

ofer waþema gebind werigne sefan (line 57, translation)

a weary spirit over the binding of the waves

for þon ic geþencan ne maeg geond þas woruld (line 58, translation)

therefore I cannot think why in the world

for þon ic geþencan ne maeg geond þas woruld (line 58, analysis)

marks a shift back to first person

for hwan modsefa min ne gesweorce (line 59, translation)

my mind should not become dark

þonne ic eorla lif eal geondþence (line 60, translation)

when I think through the lives of all the noblemen

hu hi faerlice flet of geafon (line 61, translation)

how suddenly they left the hall

modge maguþegnas. swa þes middangeard (line 62, translation)

the spirited, noble kinsmen. so this middle earth

modge maguþegnas. swa þes middangeard (line 62, analysis)

• maguþegnas - poetic compound - noble kinsmen

• middangeard - middle earth - religious connotations

• middle earth, noble kisnmen and spirit all alliterated

ealra dogra gehwam dreoseð ond feallaþ. (line 63, translation)

each and everyday perishes and falls.

for þon ne maeg weorþan wis wer aer he age (line 64, translation)

therefore, a man cannot become wise before he

wintra dael in woruldrice. wita sceal geþyldig (line 65, translation)

has had his share of winters in the kingdom of the world. wise men should be patient

ne sceal no to hatheort ne to hraedwyrde (line 66, translation)

he ought not to be too hot-headed nor too hasty in speech