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Illuminating the Form and Function of the Valkyrie-Figure in the Literature, Mythology, and Social Consciousness of Anglo-Saxon England

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Illuminating the Form and Function of the Valkyrie-Figure in the Literature, Mythology, and Social Consciousness of Anglo-Saxon England Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English Spring 5-10-2013 Her Syndan Wælcyrian: Illuminating the Form and Function of the Valkyrie-Figure in the Literature, Mythology, and Social Consciousness of Anglo-Saxon England Philip A. Purser Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Purser, Philip A., "Her Syndan Wælcyrian: Illuminating the Form and Function of the Valkyrie-Figure in the Literature, Mythology, and Social Consciousness of Anglo-Saxon England." Dissertation, Georgia State University, 2013. https://scholarworks.gsu.edu/english_diss/104 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. HER SYNDAN WÆLCYRIAN: ILLUMINATING THE FORM AND FUNCTION OF THE VALKYRIE-FIGURE IN THE LITERATURE, MYTHOLOGY, AND SOCIAL CONSCIOUSNESS OF ANGLO-SAXON ENGLAND by PHILIP A. PURSER Under the Direction of Edward John Christie ABSTRACT The image of the warrior-woman, or Valkyrie, occurs, in a number of forms, throughout the Anglo-Saxon corpus. Her appearance and function in these writings may be subdivided into three primary registers: the named-appearances of the wælcyrge, unnamed appearances of the wælcyrge in the charms and riddles, and unnamed appearances of the wælcyrge in heroic verse. Since the mid-1800’s scholars have defined the wælcyrge in terms of the valkyrja, or Scandinavian Valkyrie figure, which is reductive and misleading and has caused an eclipse-effect in which the native elements of the wælcyrge have gone underestimated and undervalued. This is due in part to the scant amount of surviving evidence in Old English that references the wælcyrge. By closely investigating the texts in which the wælcyrge appears, I will attempt to demonstrate that the Anglo-Saxon conception of the Valkyrie figure is idiomatic, complex, and vastly different from the Old Norse conception of the valkyrja, and cannot be accurately defined by the same parameters which define the valkyrja. The differing genres in which the wælcyrge appears also showcase the differing values and forms which differing demographics of Anglo-Saxon society held for the wælcyrge. Such a disparate range of value present in one character of folklore suggests that the wælcyrge was a multivalent figure within Anglo-Saxon folklore. At the liturgical level, the epic poetic level, and the folk-verse level, the Valkyrie image is revelatory of the complexities accompanying the native folklore of the wælcyrge. Many aspects of the wælcyrge are reflected in similar war-woman figures of pre-Anglo-Saxon, Germanic cultures, as well as in later, Scandinavian verses that post-date the usage of the wælcyrge in England. The function of the wælcyrge within a long tradition of Germanic, Anglo-Saxon, and Scandinavian works shows that the native English war-woman was not a figure used in isolation, but was part of a medieval dialogic in which the female divinity as an agent of war, cunning, and death was paramount. The inherent complexities present in the Anglo- Saxon Valkyrie-figure are key to interpreting her role within the tripartite structure of Anglo-Saxon literature. INDEX WORDS: Valkyrie, Valkyjur, Wælcyrge, Anglo-Saxon, Anglo-Scandinavian HER SYNDAN WÆLCYRIAN: ILLUMINATING THE FORM AND FUNCTION OF THE VALKYRIE-FIGURE IN THE LITERATURE, MYTHOLOGY, AND SOCIAL CONSCIOUSNESS OF ANGLO-SAXON ENGLAND by PHILIP A. PURSER A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy In the College of Arts and Sciences Georgia State University 2013 Copyright by Philip A. Purser 2013 HER SYNDAN WÆLCYRIAN: ILLUMINATING THE FORM AND FUNCTION OF THE VALKYRIE-FIGURE IN THE LITERATURE, MYTHOLOGY, AND SOCIAL CONSCIOUSNESS OF ANGLO-SAXON ENGLAND by PHILIP A. PURSER Committee Director: Edward John Christie Committee: Scott Lightsey John Burrison Electronic Version Approved: Office of Graduate Studies College of Arts and Sciences Georgia State University May 2013 iv Dedication This dissertation is written in dedication to my late father, Arlis Purser (1943- 2011), who was an avid reader of Anglo-Saxon verse, Old Norse poetry, and the fiction of J. R. R. Tolkien. Of particular interest to Dad was Beowulf, which factors heavily into this dissertation. He also loved the sagas of the Icelanders, namely Egil’s Saga and Grettir’s Saga. Dad encouraged me in all things, not the least of which was my education. Thus, this document, the capstone assignment marking the attainment of my doctoral degree and the completion of my formal education, is solemnly dedicated to the memory of my father. Thanks for everything, Dad. I miss you. v Acknowledgements I would like to thank a great many people for their help in the formation of this dissertation, their guidance in the genesis and refinement of the ideas behind it, and their unwavering support during the tedious months in which I transformed my ideas from insubstantial inklings into a finished dissertation. Chief among these people is my director, Dr. Eddie Christie. Without Dr. Christie’s expertize in Anglo-Saxon literature and language, his diligence in forcing me to find an answer where I might wish to find an easy way out, and his overall tutelage during the duration of my doctoral program, I would be a lesser man and scholar today. The in-office meetings, the long hours, and the voluminous emails are but a tiny fraction of the commitment Dr. Christie showed in directing me. Deep thanks also go to my other committee members: Dr. Scott Lightsey and Dr. John Burrison. Dr. Lightsey injected into this project the solidly-grounded realism that functioned to galvanize my yen for mythological whimsy. Dr. Lightsey forced me to consider and either substantiate or “dismiss as a straw-man” many of the hurdles that the researching of this project threw my way. Dr. Lightsey has been integral to my development as a thinker and a scholar. Dr. Burrison offered strong support from the beginning. His knowledge as a folklorist and scholar of transcultural artistic transmission cannot be overstated. I can’t imagine where I’d be if it were not for Dr. Burrison. I must also acknowledge the advice and scholastic fathering given me by Dr. Stephen Carey. Without Dr. Carey, I suspect that my discovery of Northern antiquity and my love affair with both Old English and Old Norse verse, art, and culture would never have come to fruition. I also want to thank Dr. Thomas D. Hill of Cornell University, Dr. Richard Harris of vi the University of Saskatchewan, Dr. Jeff Turco of Purdue University, Dr. Torfi Tulinius of the University of Iceland, and Dr. Joe Harris of Harvard University. These men gave great guidance and encouragement during my conversations with them at the home of Tom Hill. I would also like to thank Dr. Jonathan Evans, of the University of Georgia, for introducing me to Anglo-Saxon literature, and the late Dr. Bill Provost, also of the University of Georgia, for introducing me to Beowulf. Dr. Evans and Provost were my earliest academic fathers. Professional thanks also go to two fellow Georgia State doctoral students. The first is Amber Estlund. Without her patience and support, I never would have survived the program. Amber has always been my beacon in the storm. She is, and forever will be, my bēaghroden cwen. Thanks, Amber. The second is Jimmy Crowder, a fellow student of medieval literature, who journeyed with me through the program every step of the way. We spent many long hours discussing, studying, and debating medieval literature. Thanks also go to my family, who has always had a couch I can crash on, a shoulder I can cry on, and a table I can eat on when graduate school got the better of me. Chief among these saviors are my brother, Virgil, my sister-in-law, Barbara, and my nephew, Everett. Finally, and very especially, I would like to express my deepest and most sincere thanks to Dr. Allen J. Frantzen for his guidance, patience, and unyielding support during this project. Dr. Frantzen taught me more about the dissertation as a document, myself as a scholar, and the nuances of academic writing than any other teacher I have ever had in my life. By pressing me harder than I have ever pressed myself, Dr. Frantzen has been utterly tireless and absolutely dedicated in transforming me from student to scholar. I can’t imagine what this dissertation would have been without him. I thank you all with the utmost sincerity. vii Table of Contents Acknowledgements .............................................................................................................................................. v List of Figures ..................................................................................................................................................... viii Introduction: From the Alaisiagae to Wælcyrian ..................................................................................... 1 Chapter One: Textual Presence and Concise Critical History of the Wælcyrge ......................... 15 Chapter Two: Her Syndan Wælcyrian: Form, Function, and Demythologization of the Wælcyrge in Anglo-Saxon England ............................................................................................................. 42 Chapter Three:
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