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which an earlier exemplar consisted. Now the first fifty-two lines, which are concerned with Scyld and his son Beowulf, stand outside this numbering. It may reasonably be inferred that there once existed a written text of the poem that did not include these lines. Their substance, however, is clearly ancient. Many difficulties will be obviated if we may suppose that this passage is the beginning of a different poem, the hero of which was not Beowulf the son of Ecgtheow, but his Danish namesake. It is true that Beowulf the Scylding is mentioned at the beginning of the first numbered section; but probably the opening lines of this section have undergone alteration in order to bring them into connexion with the prefixed matter.

Bibliography.—The volume containing the Beowulf MS. (then, as now, belonging to the Cottonian collection, and numbered “Vitellius A. xv.”) was first described by Humphrey Wanley in 1705, in his catalogue of MSS., published as vol. iii. of G. Hickes’s Thesaurus Veterum Linguarum Septentrionalium. In 1786 G. J. Thorkelin, an Icelander, made or procured two transcripts of the poem, which are still preserved in the Royal Library at Copenhagen, and are valuable for the criticism of the text, the MS. having subsequently become in places less legible. Thorkelin’s edition (1815) is of merely historic interest. The first edition showing competent knowledge of the language was produced in 1833 by J. M. Kemble. Since then editions have been very numerous. The text of the poem was edited by C. W. M. Grein in his Bibliothek der angelsächsischen Poesie (1857), and again separately in 1867. Autotypes of the MS. with transliteration by Julius Zupitza, were issued by the Early English Text Society in 1882. The new edition of Grein’s Bibliothek, by R. P. Wülker, vol. i. (1883), contains a revised text with critical notes. The most serviceable separate editions are those of M. Heyne (7th ed., revised by A. Socin, 1903), A. J. Wyatt (with English notes and glossary, 1898), and F. Holthausen (vol. i., 1905).

Eleven English translations of the poem have been published (see C. B. Tinker, The Translations of Beowulf, 1903). Among these may be mentioned those of J. M. Garnett (6th ed., 1900), a literal rendering in a metre imitating that of the original; J. Earle (1892) in prose; W. Morris (1895) in imitative metre, and almost unintelligibly archaistic in diction; and C. B. Tinker (1902) in prose.

For the bibliography of the earlier literature on Beowulf, and a detailed exposition of the theories therein advocated, see R. P. Wülker, Grundriss der angelsächsischen Litteratur (1882). The views of Karl Müllenhoff, which, though no longer tenable as a whole, have formed the basis of most of the subsequent criticism, may be best studied in his posthumous work, Beovulf, Untersuchungen über das angelsächsische Epos (1889). Much valuable matter may be found in B. ten Brink, Beowulf, Untersuchungen (1888). The work of G. Sarrazin, Beowulf-studien (1888), which advocates the strange theory that Beowulf is a translation by Cynewulf of a poem by the Danish singer Starkadr, contains, amid much that is fanciful, not a little that deserves careful consideration. The many articles by E. Sievers and S. Bugge, in Beiträge zur Geschichte der deutschen Sprache und Litteratur and other periodicals, are of the utmost importance for the textual criticism and interpretation of the poem.

 (H. Br.) 

BEQUEST (from O. Eng. becwethan, to declare or express in words; cf. “quoth”), the disposition of property by will. Strictly, “bequest” is used of personal, and “devise” of real property. (See Legacy; Will or Testament.)

BÉRAIN, JEAN (1638-1711), known as “the Elder,” Belgian draughtsman and designer, painter and engraver of ornament, was born in 1638 or 1639 at Saint Mihiel (Meuse) and died in Paris on the 24th of January 1711. In 1674 he was appointed dessinateur de la chambre et du cabinet de Roi, in succession to Gissey, whose pupil he is believed to have been. From 1677 onward he had apartments, near to those of André Charles Boulle (q.v.), for whom he made many designs, in the Louvre, where he died. After the death of Le Brun he was commissioned to compose and supervise the whole of the exterior decoration of the king’s ships. Without possessing great originality he was inventive and industrious, and knew so well how to assimilate the work of those who had preceded him (especially Raffaelle’s arabesques) and to adapt it to the taste of the time that his designs became the rage. He furnished designs for the decorations and costumes used in the opera performances, for court festivals, and for public solemnities such as funeral processions, and inspired the ornamentations of rooms and of furniture to such an extent that a French writer says that nothing was done during his later years which he had not designed, or at least which was not in his manner. He was, in fact, the oracle of taste and the supreme pontiff whose fiat was law in all matters of decoration. His numerous designs were for the most part engraved under his own superintendence, and a collection of them was published in Paris in 1711 by his son-in-law, Thuret, clockmaker to the king. There are three books, Œuvre de J. Bérain, Ornements inventés par J. Bérain and Œvres de J. Bérain contenant des ornements d’architecture. His earliest known works show him as engraver—twelve plates in the collection of Diverses pièces de serrurerie inventées par Hughes Brisville el gravées par Jean Bérain (Paris, 1663), and in 1667 ten plates of designs for the use of gunsmiths. M. Guilmard in Les Maîtres ornemanistes, gives a complete list of his published works.

His son Jean Bérain, “the Younger” (1678-1726), was born in Paris, where he also died. He was his father’s pupil, and exercised the same official functions after his death. Thus he planned the funeral ceremonies at St Denis on the death of the dauphin, and afterwards made the designs for the obsequies of Louis XIV. He is perhaps best known as an engraver. He engraved eleven plates of the collection Ornements de peinture et de sculpture qui sont dans la galerie d’Apollon au chasteau du Louvre, et dans le grand appartement du roy au palais des Tuileries (Paris, 1710), which have been wrongly attributed to his father, the Mausolei du duc de Bourgogne, and that of Marie-Louise Gabrielle de Savoie, reine d’Espagne (1714), &c. His work is exceedingly difficult to distinguish from his father’s, the similarity of style being remarkable.

Claude Bérain, brother of the elder Jean, was still living in 1726. He was engraver to the king, and executed a good number of plates of ornament and arabesque of various kinds, some of which are included in his more distinguished brother’s works.  (J. P.-B.) 

BÉRANGER, PIERRE JEAN DE (1780-1857), French song-writer, was born in Paris on the 19th of August 1780. The aristocratic de was a piece of groundless vanity on the part of his father, who had assumed the name of Béranger de Mersix. He was descended in truth from a country innkeeper on the one side, and, on the other, from a tailor in the rue Montorgueil. Of education, in the narrower sense, he had but little. From the roof of his first school he beheld the capture of the Bastille, and this stirring memory was all that he acquired. Later on he passed some time in a school at Péronne, founded by one Bellenglise on the principles of Rousseau, where the boys were formed into clubs and regiments, and taught to play solemnly at politics and war. Béranger was president of the club, made speeches before such members of Convention as passed through Péronne, and drew up addresses to Tallien or Robespierre at Paris. In the meanwhile he learned neither Greek nor Latin—not even French, it would appear; for it was after he left school, from the printer Laisney, that he acquired the elements of grammar. His true education was of another sort. In his childhood, shy, sickly and skilful with his hands, as he sat at home alone to carve cherry stones, he was already forming for himself those habits of retirement and patient elaboration which influenced the whole tenor of his life and the character of all that he wrote. At Péronne he learned of his good aunt to be a stout republican; and from the doorstep of her inn, on quiet evenings, he would listen to the thunder of the guns before Valenciennes, and fortify himself in his passionate love of France and distaste for all things foreign. Although he could never read Horace save in a translation, he had been educated on Télémaque, Racine and the dramas of Voltaire, and taught, from a child, in the tradition of all that is highest and most correct in French.

After serving his aunt for some time in the capacity of waiter, and passing some time also in the printing-office of one Laisney, he was taken to Paris by his father. Here he saw much low speculation, and many low royalist intrigues. In 1802, in consequence of a distressing quarrel, he left his father and began life for himself in the garret of his ever memorable song. For two years he did literary hackwork, when he could get it, and wrote pastorals, epics and all manner of ambitious failures. At the end of that period (1804) he wrote to Lucien Bonaparte, enclosing some of these attempts. He was then in bad health, and in the last state of misery. His watch was pledged. His