Old English Rune Poem (OERP)

Total Page:16

File Type:pdf, Size:1020Kb

Old English Rune Poem (OERP) Old English Rune Poem (OERP) (Icelandic and Norse ones to be added) I do not present an exact facsimile but an approximation as follows. In the left column, the drawing of the rune is like the one of the original. The associated Latin letter is found to the left of the rune (as in the original). The name of the rune, above the drawing, is at the same place as in the original, but it is written with modern characters. For instance, rune Wen is written in the original a bit like ‘pen’ because ‘w’ was written at the time similarly to ‘p’. Classically, de ‘f’ and the ‘s’ are also quite different, and I put modern characters for them as well. In Maureen Halsal’s edition, the accents on the letters have been added, and this is already an interpretation of the original. On the contrary, I give here the text as it appears in the original, except a point on the letter ‘y’ (as in the drawing of rune Nyd, below), that I omitted. The translation is as near as possible to the original, sometimes, it is «not very meaningful», as some would say, but I prefer keep the ambiguities … that might mean something to you. Another translation very near to the original is due to Eric Wodening, and available at http://members.tripod.com/wednesbury/first.html. See much more information on the runes at: http://www.teaser.fr/~lfontaine/nmh/ byþ frofur. fira Wealth (or cattle, or movable property) is for all a gehwylcum. sceal ðeah benefit, though each should share a lot if he wants manna gehpylc. miclun hyt to cast by lots (or obtain) a destiny (a “doom”) in dælan. gif he wile. for front of the master1. ðrhtne domes hleotan :. byþ anmod. y ofer hyrned. Aurochs (or bison) is resolute, mightily horned. A fela frecne. deor feohteþ. very bold (or dangerous) fighting beast with mid horns . mære mor horns. A stalker of the moors, this is a mighty being. stapa. (þæt) is modig wuht :. byþ ðearle scearp. ðegna Thorn (also a kenning for “Giant”)2 is severely gehwylcum. anfen-gys sharp to the liegemen, catching (it brings) evil, yfyl. ungemetum reþe. excessively reckless to the human who rests with manna gehwylcun. ðe him it. mid resteð :. "Les runes qui guérissent" 1 Yves Kodratoff byþ ordfruma. ælcre God (or mouth)3 is fount of each discourse, spræce. wisdomes wraþu. support of wisdom and help (or compensation) for and witena frofur. and the wise one, rest and refuge to each nobleman. eorla gehwam. eadnys and to hiht :. byþ onrecyde. rinca Riding (or travel) in the hall, for each warrior, gehwylcum. sefte and (makes them) soft, and something mighty strong swiþhwæt. ðam ðe sitteþ who sits on a strong horse for a path of miles (= onufan. meare mægen mil paþas). heardum. ofer mil paþas :. byþ cwicera gehwam cuþ Torch (or pine, torch of pinewood) is obviously on fyre. blac and beorhtlic fire for each living being, shining, glittering, most byrneþ oftust. ðær hi often it burns where the princes rest. æþelingas inne restaþ :. gumena byþ gleng and Gift (or generosity, favor, sacrifice) is, for the herenys. wraþu y heroes, ornament and dignity and impels their wyrþscype y wræcna grace, but a support for these with no other (= gehwam ar and ætwist ðe lonely ones). byþ oþra leas :. ne bruceþ ðe can weana Joy (or hope, probability) never ends for the one lyt sares and sorge and who knows little of woes, sores and sorrows. He him sylfa hæfþ blæd and gets success and bliss and enough (protection in a) blysse and eac byrga fortress4. geniht:. byþ hwitust corna. hwyrft Hail (or hailstorm) is the whitest grain, it whirls hit of heofones lyfte. down from the sky’s heights, tossed in the wind wealcaþ hit windes scura. shower, becomes water thereafter. weorþeþ hit to wætere syððan :. byþ nearu on breostan Necessity (or duty, hardship, trouble- or also weorþeþ hi ðea oft niþa possibly: desire, longing) is distress on the chest bearnum to helpe and to and often strife of the servant. It becomes help and hæle gehwære gif hi his healing for the children if they listen soon enough. hlystaþ æror :. byþ ofer cealdunge metum Ice is mightily cold and gliding. It shines like clear slidor glisnaþ glæshluttur glass, as the jewels, a ground worked upon by gimmum gelicust flor cold, beautiful to look at. forste geworuht fæger ansyne :. "Les runes qui guérissent" 2 Yves Kodratoff byþ gumena hiht ðon god The year (or “good year”, hence the classical læteþ halig heofones translation: harvest) is a joy for the men when the cyning hrusan syllan god, holy king of the skies, (“obviously”, here, the beohrte beornum and God Freyr, also called King Freyr, and God of ðærfum :. fertility) makes earth supply brightly the noble and the poor. byþ utan unsmeþe treow. Yew is a tree, rough from the outside, hard and heard hrusan fæst hyrde fast in earth, a shepherd of the fire, his roots under fyres. wyrtrumum under the pillar, a joy on the native land. wreþyd wynan on eþle :. byþ symble plega. and Chessboard5 (the dictionary gives this meaning hlehter wlancum ðar with a ?) is feast day, games and casting by lots, wigan sittaþ on beor sele for the proud (or the splendid) fighters sitting in bliþe æt somne :. the bier hall, happy together. secgeard hæfþ oftust on The elk of the sedge6 (eolh = elk) often dwells in fenne. wexeð on wature. fens, grows in water, grimly wounds and burns wundaþ grimme. blode with boils the blood of the hero who seizes it. breneð beorna gehwylcne ðe him ænigne onfeng gedeð :. se mannum symble biþ on Sun (sigel = sun; sige = victory) is feast day and hihte ðonn hi hine feriaþ hope for those who depart on the fishes’ bath until ofer fisces beþ oþ hibrim the wave-steed brings them to land. hengest bringeþ to lande :. biþ tacna sum healdeð Tir is one of the signs; it keeps well its promise trywa wel. wiþ æþelingas (also possible: it controls well the tree - a not so a biþ on færylde. ofer absurd meaning in view of Yggdrasil) with the nihta genipu. næfre swiceþ noble, and it is there during the travel above the :. dark of the night, never deceives. byþ bleda leas. bereþ efne Birch has no shoots, it carries its rods without swa ðeah tanas butan fruits; radiant high twigs, high its crown with leafs tudder. biþ on telgum fairly laden, reaches the sky. wlitig. heah on helme hrysted fægere. geloden leafum lyfte getenge :. byþ for eorlum æþelinga Steed (or war steed) is for the princes and the wyn. hors hofum wlanc. noble’s joy; the warhorse arrogant in the hall7, ðær him hæleþas ymb. where the wealthy heroes exchange talk. And it is welege on wicgum ever refuge to the unstill ones. wrixlaþ spræce. Y biþ unstyllum æfre frofur :. "Les runes qui guérissent" 3 Yves Kodratoff byþ on myrgþe his magan Human is mirth to the beloved kin; he shall though leof. sceal þeah anra each one deceive, when the lord will doom this gehwylc oðrum swican. miserable flesh to be entrusted to earth. for ðam drythen wyle dome sine (þæt) earme flæsc eorþan betæcan :. byþ leodum langsum Water (or sea, ocean) seems lasting to the geþuht gif hi sculum liegemen if they venture out in a tossing bark neþun on nacan tealtum. (ship), so frightening are the waves of the sea, and Y hi sæ yþa swyþe bregaþ. the surf-steed no longer takes care of the bridle. and se brim hengest bridles ne gym(eð) :. wæs ærest mid east Ing was first among the East Danes, so was he denum. gesewen secgun. looked at, until towards East he went on the wave oþ he siððan est. ofer wæg after his wagon, thus these proud men named this gewat wæn æfter ran. ðus hero. heardingas ðone hæle nemdun :. byþ ofer leof. æghwylcum Native country (or ancestral home) is loved by men. gif he mot ðær. each human, if there the moot8 holds, and that he rihtes and gerysena on enjoys justly and often the convenience of his brucan on bolde bleadum sweet home. oftast :. byþ drihtnes sond. deore Day is sent by the Lord, mankind beloved, mannum. mære metodes glorious light of the creator, joy and hope for the leoht. myrgþ and tohit rich and the poor, useful to all. eadgum and earmum. eallum brice :. byþ on eorþan. elda Oak is on the ground, for the sons of man, food bearnum. flæsces fodor for the flesh; often it travels on the gannet's bath. fereþ gelome ofer ganotes The ocean checks if the oak keeps nobly its faith. bæþ garsecg fandaþ. hwæþer ac hæbbe æþele treowe :. biþ ofer heah. eldum dyre. Ash (or spear) rises high, loved by the folk, strong stiþ on staþule. stide rihte in its support, it justly keeps its place in spite of hylt. ðeah him feohtan on many human attacks. firas monige :. "Les runes qui guérissent" 4 Yves Kodratoff byþ æþelinga and eorla Bow (?, could also be gold ?, horn ?) is joy and gehwaes. wyn and memory of princes and nobles; beautiful on a wyrþmynd. byþ on wicge steed, firm in travel, some military gear. fæger. fæstlic on færelde. fyrd geatewa sum:. byþ ea fixa. ðeah abruceþ. Eel (?) is a kind of river fish; it nevertheless finds fodres onfoldan. hafaþ its food on the ground; it has a beautiful dwelling fægerne eard. wætre covered with water, where it lives in joy. beworpen. ðær he wynnum leofaþ :. byþ egle eorla gehwylcun.
Recommended publications
  • 9. Freyr's Solar Power and the Purifying Sword
    The Waning Sword E Conversion Imagery and Celestial Myth in Beowulf DWARD The Waning Sword Conversion Imagery and EDWARD PETTIT P The image of a giant sword mel� ng stands at the structural and thema� c heart of the Old ETTIT Celestial Myth in Beowulf English heroic poem Beowulf. This me� culously researched book inves� gates the nature and signifi cance of this golden-hilted weapon and its likely rela� ves within Beowulf and beyond, drawing on the fi elds of Old English and Old Norse language and literature, liturgy, archaeology, astronomy, folklore and compara� ve mythology. In Part I, Pe� t explores the complex of connota� ons surrounding this image (from icicles to candles and crosses) by examining a range of medieval sources, and argues that the giant sword may func� on as a visual mo� f in which pre-Chris� an Germanic concepts and prominent Chris� an symbols coalesce. In Part II, Pe� t inves� gates the broader Germanic background to this image, especially in rela� on to the god Ing/Yngvi-Freyr, and explores the capacity of myths to recur and endure across � me. Drawing on an eclec� c range of narra� ve and linguis� c evidence from Northern European texts, and on archaeological discoveries, Pe� t suggests that the T image of the giant sword, and the characters and events associated with it, may refl ect HE an elemental struggle between the sun and the moon, ar� culated through an underlying W myth about the the� and repossession of sunlight. ANING The Waning Sword: Conversion Imagery and Celesti al Myth in Beowulf is a welcome contribu� on to the overlapping fi elds of Beowulf-scholarship, Old Norse-Icelandic literature and Germanic philology.
    [Show full text]
  • Old English Literature: a Brief Summary
    Volume II, Issue II, June 2014 - ISSN 2321-7065 Old English Literature: A Brief Summary Nasib Kumari Student J.k. Memorial College of Education Barsana Mor Birhi Kalan Charkhi Dadri Introduction Old English literature (sometimes referred to as Anglo-Saxon literature) encompasses literature written in Old English (also called Anglo-Saxon) in Anglo-Saxon England from the 7th century to the decades after the Norman Conquest of 1066. "Cædmon's Hymn", composed in the 7th century according to Bede, is often considered the oldest extant poem in English, whereas the later poem, The Grave is one of the final poems written in Old English, and presents a transitional text between Old and Middle English.[1] Likewise, the Peterborough Chronicle continues until the 12th century. The poem Beowulf, which often begins the traditional canon of English literature, is the most famous work of Old English literature. The Anglo-Saxon Chronicle has also proven significant for historical study, preserving a chronology of early English history.Alexander Souter names the commentary on Paul's epistles by Pelagius "the earliest extant work by a British author".[2][3] In descending order of quantity, Old English literature consists of: sermons and saints' lives, biblical translations; translated Latin works of the early Church Fathers; Anglo-Saxon chronicles and narrative history works; laws, wills and other legal works; practical works ongrammar, medicine, geography; and poetry.[4] In all there are over 400 survivingmanuscripts from the period, of which about 189 are considered "major".[5] Besides Old English literature, Anglo-Saxons wrote a number of Anglo-Latin works.
    [Show full text]
  • Table of Contents
    Table of contents Acknowledgements V List of Abbreviations IX 0 Introduction 1 0.1 Anglo-Saxons and writing: a brief introduction 1 0.2 Runic writing before the fifth century 4 0.3 The runic and roman writing systems 6 0.4 English runes before and after the conversion 8 0.5 Methodology 11 1 Runes in Old English Manuscripts: The Exeter Book Manuscript as a Case Study 17 1.1 Runes in the Exeter Book 17 1.1.1 Marginal runes 23 1.1.2 Runic abbreviations 27 1.1.3 Textual runes 30 1.2 Runes, riddles, and revelation 35 1.3 Conclusion 43 2 Reading and Writing in the Runic Riddles and The Husband’s Message 45 2.1 Runes in the Exeter Book riddles 45 2.1.1 Speech and the material word: Riddle 24 47 2.1.2 Talking about writing in Riddles 42 and 58 52 2.1.3 Hidden in plain sight: re-reading Riddles 19 and 64 57 2.2 The Husband’s Message 65 2.2.1 The identity of the speaker 69 2.2.2 Interpreting the runes of The Husband’s Message 78 2.3 Conclusion 82 3 Cynewulf’s Signatures and the Materiality of the Letter 85 3.1 Cynewulf’s epilogues 85 3.1.1 Cynewulf’s runic signatures 90 3.1.2 Problem runes and playful language 95 3.2 Names in manuscripts: scribal colophons and authorial signatures 100 3.3 Names in epigraphy 106 3.4 Writing the cross: visual signifiers in Elene 112 VIII Table of contents 3.5 The purpose of Cynewulf’s epilogues 117 3.6 Conclusion 120 4 The Power of the Letter in Runic Charms and Solomon and Saturn I 121 4.1 Anglo-Saxon charms and the story of Imma 122 4.1.1 Letters and divine power 126 4.1.2 Runes in Old English charms 130 4.1.3 Imma
    [Show full text]
  • Words for Wood: the Lexis of Trees in Old English Poetry
    WORDS FOR WOOD: THE LEXIS OF TREES IN OLD ENGLISH POETRY by MARY ELIZABETH WARD A thesis submitted to The University of Birmingham for the degree of MASTER OF PHILOSOPHY Department of English College of Arts and Law The University of Birmingham May 2009 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Contents Introduction: p.1 Methodolgy p.2 The Context of the Old English Poetic Corpus p.3 The Context of Life in Anglo-Saxon England p.7 The Critical Context p.10 Structure of this thesis p.10 Chapter One: Words for Wood: p.12 Collective terms p.13 Individual terms p.17 Development and usage p.22 Formula p.27 Chapter Two: Case Study of ‘æsc’: p.29 The Ash Tree p.29 The Ash Wood p.32 The Artefact p.34 The People p.35 The place and the action p.37 The Attributes p.38 Chapter Three: Case Study of ‘wudu’: p.46 Compounds p.47 Wood in the landscape p.50 Wood as material p.57 Wood and wordplay p.60 Conclusion p.64 Appendix p.70 Bibliography p.79 Introduction This thesis had its origins in an attempt to discover and consider the role and significance of the tree in the Old English poetic corpus.
    [Show full text]
  • Elder Futhark Rune Poem and Some Notes RYKHART: ODINSXRAL
    Elder Futhark Rune Poem and some notes RYKHART: ODINSXRAL Dedication Mysteries ancient, Allfather found Wrested from anguish, nine days fast bound Hung from the world tree, pierced by the spear Odin who seized them, make these staves clear 1 Unless otherwise specified, all text and artwork within ELDER FUTHARK RUNE POEM and some notes RYKHART: ODINSXRAL are copyright by the author and is not to be copied or reproduced in any medium or form without the express written permission of the author Reikhart Odinsthrall both Reikhart Odinsthrall and RYKHART: ODINSXRAL are also both copyright Dec 31, 2013 Elder Futhark Rune Poem by Reikhart Odinsthrall is licensed under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License. Based on a work at http://odinsthrall.co.uk/rune-poem.html. 2 F: Fehu : Cattle / Wealth Wealth is won and gold bestowed But honour's due to all men owed Gift the given and ware the lord For thy name's worth noised abroad U: Uruz : Aurochs / Wild-ox Wild ox-blood proud, sharp hornéd might On moorland harsh midst sprite and wight Unconquered will and fierce in form Through summer's sun and winter's storm X: Thurisaz : Thorn / Giant / Thor Thorn hedge bound the foe repelled A giant's anger by Mjolnir felled Thor protect us, fight for troth In anger true as Odin's wrath A: Ansuz : As / God / Odin In mead divine and written word In raven's call and whisper heard Wisdom seek and wise-way act In Mimir's well see Odin's pact R: Raidho : Journey / Carriage By horse and wheel to travel far Till journey's
    [Show full text]
  • Manusanvisningar För Scripta Islandica
    The alysendlecan rune: Runic abbreviations in their immediate literary context. Thomas Birkett Runic abbreviations in manuscripts constitute something of a curiosity in runic studies, representing what one might call the practical afterlife of the script, transferred from the epigraphical world to the scriptorium. This practice makes use of the logographic component of the script, whereby each character bears a meaningful name, whose initial sound typically corresponds with the phonetic value of the rune. Although the earliest witness to such a naming system is the Abecedarium Nordmannicum, usually dated to the mid ninth century (Bischoff 1950: 45; Derolez 1954: 82-3), there is little doubt that this is an early tradition, supported both by cognate names in North Germanic sources (Halsall 1981: 3) and by the suggestion that certain Elder Fuþark inscriptions make use of ideograms, including the proposed deployment of the *oþala rune on the Pietroassa neck-ring to represent the concept of possession (Düwel 2001: 28). Whilst such Begriffsrunen are rather rare, and there are few ‘convincing’ examples in Old English inscriptions (Page 1999: 79), the manuscript practice exploits an original feature of the script, and is not simply an antiquarian invention. Only a small number of runic characters are used as abbreviations. The maðr rune is found regularly in Icelandic manuscripts, the fé rune somewhat less frequently, whilst in Anglo- Saxon manuscripts the runes mon, dæg, wynn and eþel are all used on occasion. These are some of the most functional of the rune names, occurring relatively often in written language, unlike the elusive peorð, for example, which would be of little or no use as an abbreviation because of its rarity.
    [Show full text]
  • Landscape and Community in Old English Poetry
    FORESTS OF THOUGHT AND FIELDS OF PERCEPTION: LANDSCAPE AND COMMUNITY IN OLD ENGLISH POETRY by MARY ELIZABETH WARD A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of English College of Arts and Law The University of Birmingham September 2017 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract. Old English poetry is centred on the concept of community and the importance of belonging. Landscape was a component of any community since, during the period when Old English poetry was being composed and written down, the landscape was a far more important constituent of daily life than it is for the majority of people today. Landscape dictated the places that could be settled, as well as the placing of the paths, fords, and bridges that joined them; it controlled boundaries, occupations, and trading routes. In the poetry of the period landscape, as part of the fabric of community, is the arbiter of whether each element of a community is in its proper place and relationship to the others. It is the means of explaining how a community is constructed, policed, and empowered.
    [Show full text]
  • Title: All That Is Wrought Is Not Gold : Locating Wealth in Old English Gnomic Texts
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE Title: All that is wrought is not gold : locating Wealth in Old English Gnomic Texts Author: Rafał Borysławski Citation style: Borysławski Rafał. (2015). All that is wrought is not gold : locating Wealth in Old English Gnomic Texts. W: R. Borysławski, A. Czarnowus, Ł. Neubauer (red.), "Marvels of reading : essays in honour of professor Andrzej Wicher" (S. 55-70). Katowice : Wydawnictwo Uniwersytetu Śląskiego Rafał Borysławski University of Silesia All That Is Wrought Is Not Gold: Locating Wealth in Old English Gnomic Texts That references to wealth are present all over Old English poetry is beyond doubt; likewise beyond doubt is the fact that representations of wealth at- tained a form of cult status in our contemporary renditions of Old English culture: we see Beowulf wanting to feast his eyes on the treasure before he dies, our imagination is captivated by the serendipitous finding of the Staffordshire hoard and we are transfixed by the Beowulfian, Tolkienian, and Peter Jackson’s dragon guarding the gold-hoard. The present essay shall be an attempt at outlining several of the cultural contexts in which wealth and ideas related to it operated within Old English wisdom poetry. My intention here is not to follow the references to Old English wealth in general, but, having proposed the boundaries within which it appears to be located, I shall refer to several examples confirming these boundaries in the context of Old English gnomic verse, accompanied by references to the allegorical applications of wealth presented by the book outlining and fashioning the later existential outlooks of Old English poetry, that is Gregory the Great’s Moralia in Iob “Morals in the Book of Job.” In a sense, one does not need to look very far to locate wealth in Old English poetry.
    [Show full text]
  • Rune Poem' in the Encyclopedia of British Medieval Literature Author(S) Birkett, Thomas Editor(S) Echard, Siân Rouse, Robert
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Cork Open Research Archive Title 'Rune Poem' in The Encyclopedia of British Medieval Literature Author(s) Birkett, Thomas Editor(s) Echard, Siân Rouse, Robert Publication date 2017-08 Original citation Birkett, T. (2017) 'Rune Poem', in Echard, S. and Rouse, R. (eds.) The Encyclopedia of British Medieval Literature, Oxford: Wiley-Blackwell. isbn: 978-1-118-39698-8 Type of publication Book chapter Link to publisher's http://onlinelibrary.wiley.com/book/10.1002/9781118396957 version Access to the full text of the published version may require a subscription. Rights © 2017 John Wiley & Sons, Ltd. Published 2017 by John Wiley & Sons, Ltd. Item downloaded http://hdl.handle.net/10468/5089 from Downloaded on 2018-08-23T18:56:08Z Rune Poem poet deviates from the typical order of the futhorc in several places, including placing TOM BIRKETT the rune ear (“earth” or “grave”) at the end University College Cork, Ireland of the sequence, seemingly to conclude the poem on a meditative note. Whilst it has been A rune poem is a verse exposition of the com- suggested that the rune poem tradition as a monnamesgiventotheindividualcharacters whole developed “as an elementary guide to of the runic alphabet, and examples of vary- the futhorc,presumablydesignedtohelpthe ing complexity survive from Anglo-Saxon memory” (Page 1999, 63), in the case of the England, thirteenth-century Norway, and late Old English poem the individual stanzas are medieval Iceland. far too developed to serve a purely mnemonic The original tenth-century witness to the function (Shippey 1976).
    [Show full text]
  • The Lacnunga and Its Sources: the Nine Herbs Charm and Wiš Fęrstice
    THE LACNUNGA AND ITS SOURCES: THE NINE HERBS CHARM AND WIÐ FÆRSTICE RECONSIDERED Karin Olsen Rijksuniversiteit Groningen ABSTRACT Gods play a very minor role in Old English literature. No mythological tales have survived, and even short accounts of or mere allusions to pagan (major and minor) divinities are extremely rare. All that is left from the Anglo-Saxon period are two references to Woden in Maxims I and the Nine Herbs Charm, one mysterious occurrence of Ing in The Rune Poem, and an equally obscure description of shooting esa (Æsir), elves and hægtessan in the charm Wið Færstice. Given the sparsity of such references, we are well advised not to interpret them too quickly as cryptic manifestations of heathen myths. On the contrary, an examina- tion of the two short ‘myths’ in the Nine Herbs Charm and Wið Færstice shows that both myths were created in their present form in the Christian era for the express purpose of transforming their supernatural protagonists into demonic, disease-inflicting beings that needed to be fought and destroyed . KEY WORDS: Elves, hægtæssan, witches, Æsir, valkyries, dísir, Woden, Furious Host, Baldr, elfshot Hexenschuss, smith(s). 23 RESUMEN Los dioses juegan un papel menor en la literatura del inglés antiguo. Ningún cuento mito- lógico ha sobrevivido, e incluso relatos cortos o simples alusiones a divinidades paganas THE NINE... (mayores y menores) son extremadamente escasas. Todo lo que queda en la literatura anglo- sajona son dos referencias a Odín en Maxims I y el Nine Herbs Charm, una misteriosa mención de Ing en The Rune Poem, y una descripción igualmente oscura del disparo de esa (Æsir), elfos y hægtessan en el encantamiento Wið Færstice.
    [Show full text]
  • The Runic Script and Its Characters in Old English and Middle English Texts
    The Runic Script and its Characters in Old English and Middle English Texts Petrinec, Monika Master's thesis / Diplomski rad 2013 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: Josip Juraj Strossmayer University of Osijek, Faculty of Humanities and Social Sciences / Sveučilište Josipa Jurja Strossmayera u Osijeku, Filozofski fakultet Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:142:646193 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-09-27 Repository / Repozitorij: FFOS-repository - Repository of the Faculty of Humanities and Social Sciences Osijek Sveučilište J. J. Strossmayera u Osijeku Filozofski fakultet Diplomski studij Engleskog i njemačkog jezika i književnosti Monika Petrinec The Runic Script and its Characters in Old English and Middle English Texts Mentor: Doc. Dr. sc. Tanja Gradeček Erdeljić Osijek, 2013 1 Summary The aim of this work is, primarily, to introduce and describe the topic of the runes as found in the development of the English language. A true value of the runes lies actually in some of the preserved texts which were vastly created during the Old and Middle English period. According to historical evidence, the runes were used by various people since prehistoric times, but the traces were probably lost. The early inscriptions chiselled into the stone or wood were the results of extraordinary master work. Marvellous ornaments, animal images and prolific decorations, were just a few of significant characteristics, which made rune stones look tremendous and unique. One needed to be very skilful and of capable hand in order to make tiny and precise movements in order to carve a message, a magical charm, spell, or just a mere text, that served for individual purpose.
    [Show full text]
  • Icelandic Rune Poem
    The Icelandic Rune Poem Aibhilin inghean Daibhidh 040186BR Division I: Dramatic Performance/Poetic Recitation Iceland 1500 Setting: Middle Class/education Summary The Icelandic Rune Poem is a mnemonic poem based on the first 16 characters of the Runic Alphabet. It is dated to the 15 th century, with the earliest known manuscript dating to circa 1500. The poem consists of 16 stanza, each including the Rune name followed by 3 kennings (metaphorical phrases) which describe the poem. Some have interpreted the poem as a type of riddle, however, this metaphorical language was representative of Skaldic poetry (a type of poetry developed in Iceland which followed strict rules and used dense metaphorical language). The Icelandic Rune Poem is written in Old Icelandic, however, it is important to note that at this time period, there was little to no distinction between Old Norse and Old Icelandic. Icelandic evolved out of Old Norse around this time period, but the changes in the language have been so minor that modern day Icelandic speakers can still read Old Norse with only moderate difficulty. The poem will be performed not as a poet performs a poem, due to the limited information on poets and poetry during this time period, but instead as a scholar reading through manuscripts might read aloud a poem he found for another scholar to share an interesting find. Table of Contents Summary....................................................................................................................................................2 Icelandic Poetry..........................................................................................................................................4
    [Show full text]