Simon Armitage’s “compulsively readable, energetic, free-flowing, high-spirited version” (Edward Hirsch, ) of offers “a brilliantly well-tuned modern score for one of the finest surviving examples of Middle English poetry” ( ) that “recreates the original’s gnarled, hypnotic muscle, its tableaux and landscapes, and its weird, unsettling drama” (Mark Ford, the ). This edition, revised by Armitage with advice from scholars Alfred David and James Simpson, also offers a new introduction by the translator.