This paper consists of an analysis of the translation of Beowulf made by Tolkien in 1926. The aim is to explore the modifications that his translation process applies to alliteration, kennings and archaisms, essential stylistic features in Anglo-Saxon poetry. These changes seem inevitable given 1) the differences between Anglo-Saxon poetic conventions and Present-Day English speech and literature, and 2) the needs of Tolkien’s target audience, his students at Oxford. Still, such changes pursue Tolkien’s main purpose, which, influenced by the ideas of New Criticism and Modernism, aims to maintain in translation the aesthetic value of the three stylistic features mentioned above. We follow Bassnett’s (1998) theoretical perspective to indicate...