Deor  "Deor" (or "The Lament of Deor") is an Old English poem found in the late-10th-century collection the Exeter Book. The poem consists of the lament of the scop Deor, who lends his name to the poem, which was given no formal title; modern scholars do not actually believe Deor to be the author of this poem. In the poem, Deor's lord has replaced him. Deor mentions various figures from Germanic mythology and reconciles his own troubles with the troubles these figures faced, ending each section with the refrain "that passed away, so may this." The poem Deor begins with the struggles and misfortunes of a character named Weland. The poem consists of 42 alliterative lines. Attempts at placing this poem within a genre have proven to be quite difficult. Some commentators attempting to characterise the work have called it an "ubi sunt" ("where are they?") poem because of its meditations on transience. It can also be considered a traditional lament and poem of consolation. Christian consolation poems, however, usually attempt to subsume personal miseries in a historical or explicitly metaphysical context (e.g., Boethius's "Consolation of Philosophy"), and such perspectives are somewhat remote from the tradition of Anglo-Saxon poetry. Medievalist scholars who have viewed the poem within the Anglo-Saxon tradition have therefore seen it primarily as a begging poem—a poem written by a travelling and begging poet who is without a place at a noble court—although because few other begging poems survive, assigning it to such a genre is somewhat speculative. Others have related "Deor" to other melancholy poems in the Exeter Book, such as "The Seafarer" and "The Wanderer". Richard North has argued that the poem was written in about 856 as a satire on King Æthelwulf of Wessex. John Miles Foley has hypothesized that the apparent murkiness of "Deor" is also in no small part attributable to the obscurity of the poet's references. As he puts it, "Cut off from its traditional background, 'Deor' makes little sense". Because the poem is not entirely translatable into modern English—the third and fourth stanzas remain indeterminate to this day, and even the refrain prompts argument and poses linguistic difficulties—without grasping the allusions of the poem, it is quite difficult to understand the poet's implied attitude, and therefore to place it in "any" genre satisfactorily.