A History of Old Norse Poetry and Poetics by Margaret Clunies Ross

By Margaret Clunies Ross

A background of previous Norse Poetry and Poetics is the 1st ebook in English to accommodate the dual matters of outdated Norse poetry and some of the vernacular treatises on local poetry that have been this sort of conspicuous characteristic of medieval highbrow lifestyles in Iceland and the Orkneys from the mid-twelfth to the fourteenth centuries. Its target is to provide a transparent description of the wealthy poetic culture of early Scandinavia, fairly in Iceland, the place it reached its zenith, and to illustrate the social contexts that favoured poetic composition, from the oral societies of the early Viking Age in Norway and its colonies to the religious compositions of literate Christian clerics in fourteenth-century Iceland. the 2 dominant poetic modes, eddic and skaldic, are analysed, and their numerous types and topics are illustrated with newly selected examples. The publication units out the prose contexts during which most aged Norse poetry has been preserved and discusses difficulties of interpretation that come up due to the poetry's mode of transmission. through the publication, the writer hyperlinks indigenous concept with perform, starting with the pre-Christian ideology of poets as favoured via the god ? hotel and concluding with the Christian inspiration simple type most sensible conveys the poet's message.

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In this respect Atlakviña is very like Old English heroic poetry, and what has been preserved of Old High German heroic verse. There are neither kennings nor heiti in this verse, and the word order is straightforward. 3. 960 (not an attested medieval title). 1350), where it is written on folio 99v after the text of Egils saga. 1250 in the manuscripts W and A, and lines 5–8 of stanza 17 are also found in two manuscripts of Snorri’s Edda (R and W), in a section of Skáldskaparmál discussing kennings for the god Freyr.

Ragnarr gave me a moon of the chariot of Rær ¼sea-king½ [ship ³ shield] and a multitude of stories. A stef was intended to be flattering to the patron or subject of the drápa, often mentioning him by name, as well as highly memorable (Fidjestøl 1982: 182–90; Kuhn 1983: 212–14). In some cases, only the stef of a particular drápa has survived, like that of the praise-poem for Knútr that Ãórarinn loftunga composed after having been criticised for composing a mere dræpling (see note 7). The stef with which he ornamented his drápa was certainly a model of contemporary political correctness, comparing Íslendingadrápa.

The Icelandic poet Óttarr svarti was forced to compose a head-ransom poem, as has been mentioned in Chapter 2, because his new Norwegian patron found a poem he had composed about Ástríñr too explicit. Ástríñr indeed inspired other poetry and seems to have been a remarkable woman (see Jesch 1994–7). After her husband Óláfr’s death she was exiled to Sweden but nevertheless acted to support the political career and claim to the Norwegian throne of her stepson Magnús. Sighvatr Ãórñarson composed a poem praising her, the deeply strategic woman (djúprôñ kona), for acting as if Magnús were her own son, and urged Magnús himself to acknowledge her magnanimous generosity appropriately (see Skj BI: 231–2).

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