By Margaret Clunies Ross
A heritage of outdated Norse Poetry and Poetics is the 1st booklet in English to house the dual matters of previous Norse poetry and many of the vernacular treatises on local poetry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 offer a transparent description of the wealthy poetic culture of early Scandinavia, really 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 a variety of kinds and matters are illustrated with newly selected examples. The e-book units out the prose contexts within which most aged Norse poetry has been preserved and discusses difficulties of interpretation that come up a result of poetry's mode of transmission. during the publication, the writer hyperlinks indigenous idea with perform, starting with the pre-Christian ideology of poets as favoured via the god ? hotel and concluding with the Christian suggestion undeniable variety most sensible conveys the poet's message.
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Extra resources for A History of Old Norse Poetry and Poetics
The personae of raven and poet seem to merge in this poem, to the extent that it can be reconstructed from the manuscripts in which it occurs (see Fidjestøl 1993b). e. 10 The variety of titles reviewed here is exemplified early in the skaldic tradition. The Norwegian Bragi Boddason the Old, the earliest skald whose poetry has been preserved, is said to have composed a drápa (a sequence of verses with a refrain or stef) for a patron named Ragnarr, possibly the legendary ninth-century Viking leader Ragnarr loñbrók.
A number of these terms are discussed further in the chapters on Old Norse poetic treatises. 39 chapter three An Indigenous Typology of Old Norse Poetry 2: Genres and Subgenres of Skaldic Verse The genres of skaldic poetry As with eddic poetry, agonistic speech acts are never far from the surface of the classificatory vocabulary of the genres of skaldic verse. Thus it will come as no surprise that there are many Old Norse literary terms for poems of praise and blame, which point to one of poetry’s main social purposes, to serve as a public endorsement of the dominant values of early Norse, especially Norwegian, court society and of the figure of its ruler, in particular, as a leader in war, a tough fighter himself, and a generous rewarder of his personal entourage.
At the highest level of certainty, we can safely say that there is no eddic-type poetry, narrowly defined, in dróttkvætt (‘court metre’), which is by far the commonest verse form used by skaldic poets and can be regarded as their standard. There were a number of variants of the dróttkvætt measure, and most of these are also confined to skaldic verse. Among the most notable is hrynhenda (or hrynhent), ‘falling, flowing measure’, in which the length of each line was expanded from six to eight 22 As well as common Latin tags, which were probably learnt in the schoolroom (especially Virgil, Eclogue 10: 69, about the power of love, which appears three times in the Bergen corpus), there is also one runic inscription (N603) that presents quotations from two Latin poems otherwise known only from the Carmina Burana (Liestøl 1980: 1–9; Knirk 1997: 30; 1998: 485).
A History of Old Norse Poetry and Poetics by Margaret Clunies Ross