IndexIntroductionThe difference in the translations of Gordon and TolkienConclusionWorks CitedIn explaining Anglo-Saxon alliterative verse, JRR Tolkien said: “They depend on a balance, a weight and a contained emotion. They are more like a building work than a piece of music” (59). The original manuscript of Sir Gawain and the Green Knight is written in alliterative verse and follows the use of rigorous and almost constant alliteration throughout the poem. From examining the Middle English text, it is clear that the poet places as much importance on the alliterative structure of the poem as he does on the development of characters or plot. However, in examining the form of alliterative verse in various translations of Sir Gawain and the Green Knight, it becomes apparent that the more modern the translation, the more lenient the translator behaves when adhering to the strict use of alliteration established in the original medium. English text. Why did the unknown author of Sir Gawain and the Green Knight focus so deeply on the use of alliteration? Why are modern translations deteriorating the need for alliteration within poetry if it is vital to the good of the work as a whole? Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Introduction The drastic difference between medieval and modern audiences likely facilitates the decline of the alliterative stronghold within texts. The Middle English text relies on the act of oral presentation so that it can bridge the gap between an illiterate medieval audience and the written text. Medieval audiences must be read rather than possess the ability to read the work directly, and the poet focuses on the phonetic function of a word to reach his audience indirectly with the use of alliteration. Modern English translations are much less distinguished in their attention to alliteration. While most modern translators still employ the use of alliteration within the poem, the translations often lack the same dedication that the Middle English poet advocated for in the use of alliteration. Unlike medieval audiences, modern audiences are literate and no longer place such value on the cadence of language in the name of creating understanding within the audience. Despite the decline of the use of rigorous alliteration in modern translations, it is crucial to note how the creation of sound at the hands of alliteration is still influential on the audience's perception of poetry. Some sounds are universally understood. Sudden thunder is an unnerving or shocking sound, regardless of the language a person speaks; The music often increases to create suspense. In this way, the forced creation of an intense sound within the alliteration cannot be overlooked. To fully recognize the development of sound and examine its effect on the audience, studying lines 2199-2207 of the poem Sir Gawain and the Green Knight helps confirm the way in which the Middle English poet exercises alliteration to parallel the plot of action and emotion of language. The extant Middle English manuscript of the poem, as transcribed by Ross G. Arthur of York University, reads: Þene herde he of þat hy?e hil ia harde roche bi?onde þe broken ia bonk a wonder breme noy?e quat hit clated i þe cliff as hit cleue ?chulde as one vpon a gyrndel?ton hade grouden a ?yþe what hit wharred & whette as wat at a mulne what hit ru?ched & ronge rawþe to here Þene bi godde [quote] gawayn þat gere at Trowe Bi rote is ryched at þe reuence me renk to mete (2199-2206) The repetition of harsh consonants imitates the sound that the lines describe through astretched “R” sound. The harsh sound of the tongue imitates the grainy noise of a blade being sharpened, but this same noise at the same time rings as clear as running water; a terrifying balance of a sense of control and unpredictability. This moment in the poem articulates the fear that Sir Gawain feels when he hears a sudden, startling noise, and through the use of alliteration, the poem is able to convey to its audience both an imitation of the screeching noise that Gawain hears and the I sound the same sudden terror Gawain felt when his heart sank into his stomach. Creating a dark, resonant tone in the language used by the medieval poet conveys the frightening emotion of this moment in Gawain's journey and develops a grounded impression of Gawain's disorder. The Difference in Gordon's and Tolkien's Translations By adhering closely to the Middle English manuscript of the poem, the translation written by EV Gordon and JRR Tolkien recognizes the importance of maintaining the alliterative structure of the poem. One of the real separating qualities between Gordon and Tolkien's translation and the original manuscript is the removal of some of the archaic Middle English characters. Even with this small change, the poem becomes much more understandable to the modern eye. Gordon and Tolkien's translation reads: Þene herde he di þat hy?e hil, in a harde roche Bi?onde þe broken, in a bonk, a wonder breme noyse, Quat! hit clatered in þe clyff, as hit cleue schulde, as one vpon a gryndelston hade grounden a syþe. What! strike wharred and whette, like water upon a mulne; What! hit rough and ronge, rough up to here. Þenne 'Bi Godde,' quoþ Gawayn, 'þat gere, as I believe, is ryched at þe reuerence me, renk, to mete bi rote.' (2199-2207) Another useful addition is the inclusion of punctuation. The original poem has a heavy rhythm, and the two poets attempt to force the rhythm of the poem on their audience by adding punctuation. The exclamation and forced pauses help modern audiences understand that the language in the poem mimics the emotion they should feel when reading or listening. The use of punctuation also allows modern audiences to immediately feel slightly more familiar with a text that uses a language that may seem a little foreign than translations that use more of the common, modern English language. However, Gordon and Tolkien's translation mostly uses the same words as the original manuscript, and the two translators maintain the same rigorous use of alliteration as the original. The intent of this translation is to maintain the rough edges of the Middle English poem while refining its form. Tolkien, perhaps believing that changes in the language had necessitated a new translation that could be more easily understood by modern audiences and appreciated by those familiar with the original text, wrote another translation of Sir Gawain and the Green Knight which retains the focus on alliteration and its quality while transforming the original language of the poem into words with more modern foundations. Published posthumously by his son, Christopher Tolkien, modern audiences may find themselves drawn to Tolkien's later translation because it is intentionally translated for the eyes and ears of modern audiences. Christopher Tolkien notes that the translation his father published with Gordon was primarily Gordon's own work, and it was his father's wish to publish a translation that would serve as a springboard for those who wanted to learn about medieval literature. JRR Tolkien writes that the poem “deserves to be heard by lovers of English poetry who have no opportunity or desire to master its difficult idiom” (viii). He also notes that “a translation canbe a useful form of commentary; and this version may eventually be acceptable even to those who already know the original, and own editions with all their apparatus” (viii). Tolkien's ability to translate the poem into a more understandable and modern language, while maintaining attention to the importance of alliteration within the text, makes this translation a refined representation of the intertwining of medieval and medieval worlds. modern. Tolkien translates lines 2199-2207 of Sir Gawain and the Green Knight: Then he heard from the high hill, in a hard rock face beyond the stream on a steep, a sudden startling noise. How it resonated in the rock, as if it wanted to split it in two, as if someone were sharpening a sickle on a grindstone! How it buzzed and squealed like water in a mill! How it ran and sounded, sad to hear! Then, “By God,” said Gawain, “I suppose this noise is meant for my honor, to hail me as a knight!” (2199-2207) Tolkien changes the original words “quat” and “what” to “how” in his translation, imploring a sense of longing within the lines that goes unnoticed in other translations. Tolkien creates a greater sense of suspense in lines that enrich the description of a great moment in the poem. Tolkien's translation is probably more suspenseful because it wants to engage both its academic and non-academic audiences. This translation is effective in maintaining the original meaning of the poem while lending itself to a modern audience thanks to Tolkien's revision of the language. Tolkien removed all Middle English characters and replaced them with letters from the Modern English alphabet. He replaced old-fashioned and foreign words with more modern and familiar ones. Tolkien preserves the core of alliteration within the lines while maintaining the same insistent "R" sound created by the original Middle English text. In addition to this, Tolkien places additional emphasis on the creation of the “S” sound in his translation and further highlights how the alliteration parallels and represents the emotion and action presented in the text. When comparing Tolkien's modern English translation to other modern translations, it becomes apparent that Tolkien wishes to maintain within the text the same emotional balance that the original poet creates through the use of alliteration. Keith Harrison's translation, however, does not follow the same principle. His translation develops only the superficial story; it does not delve into the emotional connectivity between sound creation and audience that underlies alliteration. Harrison's translation is: At that height, from behind a boulder, he heard far away, across the stream, a strange sound. Listen to it! It slammed into the cliffs, as if to shatter them: a sound like a scythe being crushed against a stone. Listen! It sang and hummed, like the wild water of a mill in a rush. It rang and rang, rushing towards him. «By God, this instrument is destined to honor me alone; it is for me that he sharpens his blade! (2199-2207) Harrison's translation communicates the same underlying message carried by the original manuscript and other translations; however, it does not convey the same recognition of the balance between sound and meaning. The use of alliteration is minimal in Harrison's translation and this diminishes the emotional connection between the audience and the jokes. Please note: this is just an example. Get a custom paper from our expert writers now. Get a Custom Essay Conclusion In conclusion, the use of alliteration in Sir Gawain and the Green Knight is of equal importance to both medieval and modern audiences. Medieval audiences relied heavily on the function of sound to connect to a literary work due to low rates..