The drottkvett was a form of Old Norse skaldic poetry composed to glorify a chieftain's deeds or to lament his death. Kari Ellen Gade explores the structural peculiarities of ninth- and tenth-century drottkvett poetry and suggests a solution to the mystery of the origins of the drottkvett and its eventual demise in the fourteenth century.
Bringing alive the dramatic poems of Old Norse heroic legend, this new collection offers accessible, ground-breaking and inspiring essays which introduce and analyse the exciting legends of the two doomed Helgis and their valkyrie lovers; the dragon-slayer Sigurðr; Brynhildr the implacable shield-maiden; tragic Guðrún and her children; Attila the Hun (from a Norse perspective!); and greedy King Fróði, whose name lives on in Tolkien’s Frodo. The book provides a comprehensive introduction to the poems for students, taking a number of fresh, theoretically-sophisticated and productive approaches to the poetry and its characters. Contributors bring to bear insights generated by comparative study, speech act and feminist theory, queer theory and psychoanalytic theory (among others) to raise new, probing questions about the heroic poetry and its reception. Each essay is accompanied by up-to-date lists of further reading and a contextualisation of the poems or texts discussed in critical history. Drawing on the latest international studies of the poems in their manuscript context, and written by experts in their individual fields, engaging with the texts in their original language and context, but presented with full translations, this companion volume to The Poetic Edda: Essays on Old Norse Mythology (Routledge, 2002) is accessible to students and illuminating for experts. Essays also examine the afterlife of the heroic poems in Norse legendary saga, late medieval Icelandic poetry, the nineteenth-century operas of Richard Wagner’s Der Ring des Nibelungen, and the recently published (posthumous) poem by Tolkien, The Legend of Sigurd and Gudrún.
THE GROUP of poems offered in this volume comprises practically all the more considerable (non-Skaldic) verse material not in the Edda. Indeed, it has been subtitled "the most important non-skaldic verse not included in the poetic edda." It is a supplement to the Edda and it shows, even better than that remarkable collection, the wealth of independent poetic inventions and forms that flourished in the Scandinavian North before and immediately after the introduction of Christianity, especially when we bear in mind that much has been irretrievably lost. As to the contents of these poems, with respect to the first group of nine, range from the genuinely "heroic," realistic, dialogic-dramatic, earlier lays (such as the Biarkamol) to the more "romantic," legendary, monologic-elegiac, retrospective, later lays (like Hialmar's Death Song); though the lines of demarcation are by no means sharp and, in fact, nearly every poem represents an individual combination of these traits. A very different type of lay is seen in the three contemporary encomiastic poems which celebrate the life and deeds of the (historic) rulers of Norway-the only non-Skaldic efforts of this genre so exceedingly numerous in Old Norse literature. There is no common denominator for the four poems at the end of the volume, except possibly their arch-heathen character. As a finale the Song of the Sun marks the transition from heathen to Christian spheres of thought. Common to all of this material is its unliterary, that is, unbookish, character which is in marked contrast to virtually all of Anglo-Saxon epic literature, influenced as it is, to a greater or lesser degree, by Christian or classical models. That is to say, we deal here with the genuinely native expression of the North. 33% of the net profit will be donated to charities for educational purposes. Yesterday's Books for Tomorrow's Educations"
English Poetry and Old Norse Myth: A History traces the influence of Old Norse myth - stories and poems about the familiar gods and goddesses of the pagan North, such as Odin, Thor, Baldr and Freyja - on poetry in English from Anglo-Saxon times to the present day. Especial care is taken to determine the precise form in which these poets encountered the mythic material, so that the book traces a parallel history of the gradual dissemination of Old Norse mythic texts. Very many major poets were inspired by Old Norse myth. Some, for instance the Anglo-Saxon poet of Beowulf, or much later, Sir Walter Scott, used Old Norse mythic references to lend dramatic colour and apparent authenticity to their presentation of a distant Northern past. Others, like Thomas Gray, or Matthew Arnold, adapted Old Norse mythological poems and stories in ways which both responded to and helped to form the literary tastes of their own times. Still others, such as William Blake, or David Jones, reworked and incorporated celebrated elements of Norse myth - valkyries weaving the fates of men, or the great World Tree Yggdrasill on which Odin sacrificed himself - as personal symbols in their own poetry. This book also considers less familiar literary figures, showing how a surprisingly large number of poets in English engaged in individual ways with Old Norse myth. English Poetry and Old Norse Myth: A History demonstrates how attitudes towards the pagan mythology of the north change over time, but reveals that poets have always recognized Old Norse myth as a vital part of the literary, political and historical legacy of the English-speaking world.
This book took its start with the author’s realization that what Old Norse calls 'magic' can be understood as 'unconscious', as stated by C. G. Jung: (we find) "magical means everything where unconscious influences are at work." This book reveals the existence of several Norse words specifically dedicated to magic, as are 'sköp', for instance, and it details the magic they carry with them. In our modern civilization these "skop" still exist but their magical nature is no longer obvious, though this point can be disputed. Once this magic is discovered and acknowledged, it becomes possible to infer from Norse poetry the existence and handling of unconscious archetypes within its associated myths. A few of them have been analyzed in detail and this enabled us to better understand some surprising traits of this mythology... up to detecting 'magical spells' imbedded within Norse poetry (they are usually dubbed as 'Galdralag"). The book ends by sending to the readers a positive of such 'spells' by which "Odinn" self-increased his thoughts and deeds, as given in Havamal. The book aims at four logically connected targets: 1) spotting Poetic Edda stanzas using a vocabulary calling upon magic for improving our knowledge of ancient Norse magic, 2) checking that no convincing proof of "Christian influences" on Poetic Edda had been provided by the academic community, 3) spotting a few images of Old Norse unconscious archetypes, and 4) finding a few typical instances of the Eddaic meter called Galdralag ("incantation meter").
This is the first book in English to deal with the twin subjects of Old Norse poetry and the various vernacular treatises on native poetry that were a conspicuous feature of medieval intellectual life in Iceland and the Orkneys from the mid-twelfth to the fourteenth centuries. Its aim is to give a clear description of the rich poetic tradition of early Scandinavia, particularly in Iceland, where it reached its zenith, and to demonstrate the social contexts that favoured poetic composition, from the oral societies of the early Viking Age in Norway and its colonies to the devout compositions of literate Christian clerics in fourteenth-century Iceland. The author analyses the two dominant poetic modes, eddic and skaldic, giving fresh examples of their various styles and subjects; looks at the prose contexts in which most Old Norse poetry has been preserved; and discusses problems of interpretation that arise because of the poetry's mode of transmission. She is concerned throughout to link indigenous theory with practice, beginning with the pre-Christian ideology of poets as favoured by the god ódinn and concluding with the Christian notion that a plain style best conveys the poet's message. Margaret Clunies Ross is McCaughey Professor of English Language and Early English Literature and Director of the Centre for Medieval Studies at the University of Sydney.
This book presents a range of approaches to the study of Old Norse poetry in performance. The contributors examine both eddic and skaldic poems and consider the surviving evidence for how they were originally recited or otherwise performed in medieval Scandinavia, Iceland and at royal courts across Europe. This study also engages with the challenge of reconstructing medieval performance styles and examines ways of applying the modern discipline of Performance Studies to the fragmentary corpus of Old Norse verse. The performance of verse by characters who appear in the Old Icelandic saga tradition is also considered, as is the cultural value associated not only with the poems themselves but with their various means of transmission and reception. This book will be of great interest to students and scholars in the fields of Old Norse studies, Performance and Theatre History.
Text, with English translation in two formats, of all the Old Norse poetry attributed to women - skáldkonur. The rich and compelling corpus of Old Norse poetry is one of the most important and influential areas of medieval European literature. What is less well known, however, is the quantity of the material which can be attributed to women skalds. This book, intended for a broad audience, presents a bilingual edition (Old Norse and English) of this material, from the ninth to the thirteenth century and beyond, with commentary and notes. The poems here reflect the dramatic and often violent nature of the sagas: their subject matter features Viking Age shipboard adventures and shipwrecks; prophecies; curses; declarations of love and of revenge; duels, feuds and battles; encounters with ghosts; marital and family discord; and religious insults, among many other topics. Their authors fall into four main categories: pre-Christian Norwegian and Icelandic skáldkonur of the Viking Age; Icelandic skáldkonur of the Sturlung Age (thirteenth century); additional early skáldkonur from the Islendingasögur and related material, not as historically verifiable as the first group; and mythical figures cited as reciting verse in the legendary sagas (fornaldarsögur). Sandra Ballif Straubhaar is Senior Lecturer in Germanic Studies at the University of Texas at Austin.
