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Beowulf Themes
Wednesday, November 12, 2014 • Do now: In your notebooks, answer the following prompt: –What is a hero? Explain your definition and give examples. Thursday, November 13, 2014 • Do now: In your notebooks, answer the following prompt: –What is courage? How would most people today define courage? Beowulf Themes • Good vs Evil • Violence • Identity • Courage • Strength and • Mortality Skill • The • Wealth Supernatural • Religion • Traditions & Customs Beowulf Motifs/Symbols • Motifs • Symbols –Monsters –The Golden –The Oral Torque Tradition (Rewards) –The Mead –The Banquet Hall (Celebration) Beowulf Author • Very little is known about the author –Male –Educated –Upper Class –Anglo-Saxon / Christian Beowulf Information • Poem was composed (created) in the 8th century – Although it is English in language and origin, the poem does not deal with Englishmen, but their Germanic ancestors (Danes & Geats) – The Danes are from Denmark & the Geats are from modern day Sweden Beowulf Info (cont’d) • Some of the original poem was destroyed in the Ashburnham House Fire, causing a number of lines to be lost forever (1731) • The poem is circular in that it starts out with a young warrior, he grows old, another young warrior saves the day, etc. (comes full circle) Beowulf Info (cont’d) • Beowulf’s people are the Geats • Hrothgar’s people are the Danes • Beowulf reigned as king for 50 years • According to legend, Beowulf died at the age of 90 years old • Beowulf takes place in Scandinavia Beowulf’s Origin So why wasn’t it written down in the first place? This story was probably passed down orally for centuries before it was first written down. -
An Investigation of the Kennings in Ragnarsdrápa and Øxarflokkr
Universitet i Oslo, Fall 2013 Exploring the Emotive versus the Scholarly: an Investigation of the Kennings in Ragnarsdrápa and Øxarflokkr By Sydney A. Krell Guidance: Mikael Males Master Thesis in Nordic Viking and Medieval Culture Summary The poetry of Bragi inn Gamli and Einarr Skúlason has been thoroughly studied by many Old Norse scholars, but never directly in comparison to one another. This paper will investigate the nuances of each author’s verse, specifically regarding the way in which they utilize kennings, and draw conclusions based upon their similarities and differences. Both Bragi and Einarr composed within the same language, geographical area, and poetic tradition; they used similar kenning types that evolve from pagan imagery; and each describes a precious weapon given to them by a ruler whom they praise via a traditional skaldic long style poem. However, they could not be more different. This is due to the fact that Einarr’s kennings are meant to show his scholastic prowess, and Bragi’s are meant to affect his audience and move his plot based verse forward. The poetry of Bragi Boddason makes use of pagan mythology, ekphrasis, nýgerving, ofljóst and metaphors in the form of kennings, just as the poetry of Einarr Skúlason does. And yet the poems differ so greatly. Bragi’s kennings are meant to affect his audience on an emotional level, whereas Einarr’s are meant to impress on a scholarly level. Each author accomplishes magnificent prose, but with different expectations and outcomes achieved. 1 Acknowledgements I would like to express my gratitude to my advisor Mikael Males for his support, useful comments, encouragement and guidance throughout the process of writing my master thesis. -
1 Social and Linguistic Setting of Alliterative Verse in Anglo-Saxon and Medieval England
Cambridge University Press 0521573173 - Alliteration and Sound Change in Early English - Donka Minkova Excerpt More information 1 Social and linguistic setting of alliterative verse in Anglo-Saxon and Medieval England The primary goal of this study is to establish and analyze the linguistic prop- erties of early English verse. Verse is not created in a vacuum; a consideration of some non-structural factors that could influence the composition of poetry is important for our understanding of its linguistic dimensions. This chapter presents a brief overview of the social and cultural conditions under which alliterative verse was produced and enjoyed in Anglo-Saxon and Medieval England. 1.1 The Anglo-Saxon poetic scene Verse composition was a foremost outlet of creativity and a cherished form of entertainment, moral edification, and historical record keeping for the Anglo- Saxons. When the Northumbrian priest and chronicler Bede (b. 672/673– d. 735) wrote his Ecclesiastical History of the English People in Latin, the poetic rendition of important themes and events in the vernacular must have already been a highly prestigious undertaking. Bede tells us how Cadmon, an illiterate shepherd, found his inability to sing in company shameful. In a dream a stranger appeared urging him to sing the song of the Creation and he uttered “verses which he had never heard.” He was then taken to the monastery at Whitby where his divine poetic gift was tested and confirmed. He spent the rest of his life as a layman in the monastery, enjoying the fellowship of the abbess and the learned brethren, and composing more religious poetry. -
Eomer Gets Poetic: Tolkien's Alliterative Versecraft James Shelton East Tennessee State University, [email protected]
Journal of Tolkien Research Volume 5 | Issue 1 Article 6 2018 Eomer Gets Poetic: Tolkien's Alliterative Versecraft James Shelton East Tennessee State University, [email protected] Follow this and additional works at: https://scholar.valpo.edu/journaloftolkienresearch Part of the Literature in English, British Isles Commons Recommended Citation Shelton, James (2018) "Eomer Gets Poetic: Tolkien's Alliterative Versecraft," Journal of Tolkien Research: Vol. 5 : Iss. 1 , Article 6. Available at: https://scholar.valpo.edu/journaloftolkienresearch/vol5/iss1/6 This Conference Paper is brought to you for free and open access by the Library Services at ValpoScholar. It has been accepted for inclusion in Journal of Tolkien Research by an authorized administrator of ValpoScholar. For more information, please contact a ValpoScholar staff member at [email protected]. Shelton: Eomer Gets Poetic: Tolkien's Alliterative Versecraft The fact that Tolkien had an affinity for Old English and, therefore, Old English impacted his writing style are two contentions which are variously argued and proven throughout Tolkien scholarship. They are well supported enough that they need not be rehashed here, see Shippey, Flieger, Higgins, et passim. It is enough for this investigation into Tolkien's use of Old English alliterative verse to note his penchant for leaning heavily on such forms as he enjoyed, and had a professional interest in, is widely accepted in Tolkien scholarship. Additionally, it should be mentioned that Tolkien's use of Old English seems to be at its peak with the Riders of Rohan. In fact, to paraphrase Michael Drout, the Riders of Rohan are Anglo-Saxons except they have horses.1 Additionally, it has been stipulated that the Riders of Rohan use a specific dialect of Old English known as Mercian. -
The Ember of the Hands – Memory and Transmission Through Kennings in Haraldsdrápa
I N T E R N A T I O NA L CO N F E R E N C E RCIC’20 Redefining Community in Intercultural Context Cluj-Napoca, 7-9 May 2020 THE EMBER OF THE HANDS – MEMORY AND TRANSMISSION THROUGH KENNINGS IN HARALDSDRÁPA Flavia TEOC* *Center for the Study of Antiquity and Christianity, University of Aarhus, Denmark Abstract: On 21 April 1042, the Varangian warrior and future king Haraldr harðráði blinded in public the Byzantine Emperor Mihail and his uncle Constantine. The episode is narrated by two of Haraldr’s skalds: Þórarinn Skeggjason and Þjóðolfr Arnórsson. In spite of the substantial amount of analysis that has been produced on their stanzas, doubts about the participation of the entire Varangian guard still abound (Kari Ellen Gade 2009). My study answers the question by making use of memory activated through the corpus of kennings analyzed as units of repeated speech in the conceptual field of Eugeniu Coseriu’s text linguistics. Essential dimensions of the internal dynamics of the text, the evocative relations represent the key problem of text linguistics. The appearance of a kenning in different texts represents, each time, an act of translation from a poetic memory to a communicative memory. Due to the reinsertion and reconfiguration processes which can be applied to them, the kennings gain new evocative functions, despite their conventional repeated nature. My study inspects the imagery in the kenning glóðum handa (embers of the hands) of Þórarinn Skeggjason’s Haraldsdrápa, which also occurs in the kenning glóðs Rínar (the embers of the Rhine) in Liðsmannaflokkr, composed c. -
Gylfaginning Codex Regius, F
Snorri Sturluson Edda Prologue and Gylfaginning Codex Regius, f. 7v (reduced) (see pp. 26/34–28/1) Snorri Sturluson Edda Prologue and Gylfaginning Edited by ANTHONY FAULKES SECOND EDITION VIKING SOCIETY FOR NORTHERN RESEARCH UNIVERSITY COLLEGE LONDON 2005 © Anthony Faulkes 1982/2005 Second Edition 2005 First published by Oxford University Press in 1982 Reissued by Viking Society for Northern Research 1988, 2000 Reprinted 2011 ISBN 978 0 903521 64 2 Printed by Short Run Press Limited, Exeter Contents Codex Regius, fol. 7v ..........................................................Frontispiece Abbreviated references ....................................................................... vii Introduction ..........................................................................................xi Synopsis ..........................................................................................xi The author ..................................................................................... xii The title ....................................................................................... xvii The contents of Snorri’s Edda ................................................... xviii Models and sources ........................................................................ xx Manuscripts .............................................................................. xxviii Bibliography ...............................................................................xxxi Text ....................................................................................................... -
JL Borges and the Poetic Art of the Icelandic Skalds
Sigrún Á. Eiríksdóttir “El verso incorruptible” Jorge Luis Borges and the Poetic Art of the Icelandic Skalds If the same words were repeated over and again, they could fade and become like a shaped coin, “stiff and dead upon the earth”. Einar Ólafur Sveinsson, Við uppspretturnar (At the Source). The kenning as rhetoric (of myth and history) round 1220 the Icelandic writer and historian, Snorri Sturlu- son, wrote a treatise on the rhetoric art of the skaldic poetry (“Skáldskaparmál”) which some seven hundred years later A 1 was partly reproduced by Borges in Argentina. When Borges wrote his essay on the kennings in 1933, he had not be- gun his studies of Old Norse and based his observations on transla- tions, into both English and German as indicated by his appendixed bibliography. Yet we can suppose that he had already become ac- quainted with the basic principle behind the kennings when he was a young boy and read Völsungasaga in the translation of William Morris 1 “Las kenningar”, in Historia de la eternidad. All references to Borges’ work (unless otherwise stated) are to Jorge Luis Borges, Obras completas, hereafter referred to as OC. On Snorri and Borges’ fascination and admiration for him see Literaturas germá- nicas medievales (LGM hereafter), the poem “Snorri Sturluson (1179-1241)” (El otro, el mismo), and my essay “‘La alucinación del lector’. Jorge Luis Borges and the legacy of Snorri Sturluson”. Variaciones Borges 2/1996 38 Sigrún Á. Eiríksdóttir and Eiríkr Magnússon.2 There he would have come across archaisms and even coinages from Germanic roots which the translators resorted to in order to capture the ancient and “barbaric” flavour of the original. -
4996478-6B71c2-635212045121.Pdf
I AM THE SONG q anyone lived in a pretty how town [5.34] CHORAL music BY BERNARD HUGHES Soloists: Helen Neeves (soprano) • Rebecca Lodge (mezzo-soprano), Robert Johnston (tenor) • Stephen Charlesworth (baritone), Edward Price (bass) w Revelation Window [5.27] Two Choral Fanfares A Medieval Bestiary e 1 Everyone sang [2.08] Prologue [3.58] r 2 I am the Song [1.10] The Beasts of the Land [1.25] t The Panther [4.20] Three Swans y First Sermon [0.51] 3 The Bereaved Swan [1.39] u The Beasts of the Water [1.23] 4 The Silver Swan [1.24] i The Whale [3.33] 5 Riddle [3.30] o Second Sermon [0.49] Soloists: Helen Neeves (soprano) • Emma Tring (soprano) p The Beasts of the Air [0.58] a The Phoenix [4.33] 6 The winter it is past [4.02] s Third Sermon [2.38] The Death of Balder Soloists: Olivia Robinson (soprano) • Elizabeth Poole (soprano) Margaret Cameron (mezzo-soprano) • Stephen Jeffes (tenor) 7 Prologue [0.32] Simon Grant (bass) • Edward Price (bass) 8 Act One [11.55] 9 Interlude [3.08] Total timings: [75.15] 0 Act Two [10.18] Soloists: Elizabeth Poole (soprano, Frigg) • Olivia Robinson (soprano, Thokk) Rebecca Lodge (mezzo-soprano, Hel) • Cherith Milburn-Fryer (alto, Old Woman) Edward Goater (tenor, Balder) • Stephen Jeffes (tenor, Hermod) BBC SINGERS Robert Johnston (tenor, Hod) • Charles Gibbs (bass, Narrator) PAUL BROUGH CONDUCTOR Edward Price (bass, Loki) www.signumrecords.com COMPOSER’S NOTE beats grouped mostly in sevens and fives, The oldest of the poems in the set, although the ancient tales were intended to preserve and, in contrast to the first fanfare, builds presented in a modern adaptation, is a Riddle pre-Christian forms of Scandinavian story-telling. -
English Alliterative Verse: Poetic Tradition and Literary History
ENGLISH ALLITERATIVE VERSE English Alliterative Verse tells the story of the medieval poetic tradition that includes Beowulf, Piers Plowman, and Sir Gawain and the Green Knight, stretching from the eighth century, when English poetry first appeared in manuscripts, to the sixteenth century, when alliterative poetry ceased to be composed. Eric Weiskott draws on the study of meter to challenge the traditional division of medieval English literary history into ‘Old English’ and ‘Middle English’ periods. The two halves of the alliterative tradition, divided by the Norman Conquest of 1066, have been studied separately since the nineteenth century; this book uses the history of metrical form and its cultural meanings to bring the two halves back together. In combining literary history and metrical description into a new kind of history he calls ‘verse history,’ Weiskott reimagines the historical study of poetics. eric weiskott is Assistant Professor of English at Boston College. In addition to publishing widely on alliterative verse and early English literary history in journals such as Anglo-Saxon England, ELH, Modern Language Quarterly, Modern Philology, Review of English Studies, and Yearbook of Langland Studies, Weiskott is also a practicing poet. Most recently, his poems have appeared in burnt- district, Cricket Online Review, and paper nautilus. His first poetry chapbook was Sharp Fish (2008). With Irina Dumitrescu, he has co- edited a volume of essays with the working title Early English Poetics and the History of Style. cambridge studies -
The Eddic Poem Grímnismál As a Dramatic and Mythological Unity1
2012 ACTA UNIVERSITATIS CAROLINAE PAG. 7–35 PHILOLOGICA 1 / GERMANISTICA PRAGENSIA XXI VENI, VIDI, MORI: THE EDDIC POEM GRÍMNISMÁL AS A DRAMATIC AND MYTHOLOGICAL UNITY1 JIŘÍ STARÝ ABSTRACT The article deals with the Old-NorseLay of Grímnir, one of the mythologi- cal lays of the Poetic Edda. The first part of the article reviews the scholarly inquiries into the poem, especially the opinions on the relation between the framing epic story of the poem, which describes the capturing and torturing of the disguised god Óðinn, and the main body of the poem, which consists of enumerative stanzas depicting the Old-Norse mytho- logical world. The second part of the article analyzes the main motifs of the poem and tries to uncover their artistic and religious importance in the whole of the poem. Keywords Grímnismál, Old Norse myths, Old Norse religion, Old Norse literature Då sitter vid vår sida en gud förklädd. Hjalmar Gullberg Grímnismál, the fourth of the mythological poems of the Poetic Edda, is preserved in two manuscripts: in Codex Regius of the Poetic Edda (GkS 2365, 4to) and in the so-called Edda- fragment manuscript (AM 748, 4to). The extant poem consists of 54 stanzas of differing length and metre and of a prologue and epilogue in prose. Twenty-one stanzas – more than a third of the entire poem – are quoted (sometimes with different wording) by Snorri Sturluson in his Edda, and stanza 47 is quoted by Óláfr Þórðarson in his Third Grammatical Treatise. 1 The citations of Eddic poems in this article are taken from Jón Helgason’s edition (Eddadigte, 3 Vols., København: Ejnar Munksgaard – Oslo: Dreyer – Stockholm: Norstedt, 1955–1962). -
The Prose Edda: Norse Mythology Pdf, Epub, Ebook
THE PROSE EDDA: NORSE MYTHOLOGY PDF, EPUB, EBOOK Snorri Sturluson, Jesse L. Byock | 224 pages | 31 Jan 2006 | Penguin Books Ltd | 9780140447552 | English | London, United Kingdom The Prose Edda: Norse Mythology PDF Book More information about this seller Contact this seller 9. We are a small company and very thankful for your business!. Thank you for shopping with Goodwill Industries of the Inland Northwest - changing lives through the cycle for good. This ship, which is made from the fingernails and toenails of dead men and women, will sail easily over the flooded earth. About this Item: University of California Press. Unknown Author. Goes out and comes back to tell Odin the news of the world. The wellspring of modern knowledge of Norse mythology, these sagas preserved the Vikings' narrative style from an invading European influence. Clean, Unmarked Copy, No Highlighting. Ask and Embla are the first humans — male and female, respectively — to be created in Norse mythology. Accessories such as CD, codes, toys, may not be included. A boar. Seller Inventory APC Shows some signs of wear, and may have some markings on the inside. About this Item: Condition: Good. Public Domain. About this Item: Univ of California Pr. Written—or at the very least, compiled—by Icelandic poet Snorri Sturlson around c. In clear prose interspersed with powerful verse, the Edda provides unparalleled insight into the gods' tragic realisation that the future holds one final cataclysmic battle, Ragnarok, when the world will be destroyed. Odin blew into them the breath of life, while his two companions imparted inspired mental activity , a healthy complexion, and the ability to speak, hear, and see. -
Children of a One-Eyed God: Impairment in the Myth and Memory of Medieval Scandinavia Michael David Lawson East Tennessee State University
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 5-2019 Children of a One-Eyed God: Impairment in the Myth and Memory of Medieval Scandinavia Michael David Lawson East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Comparative Literature Commons, Cultural History Commons, Disability Studies Commons, European History Commons, European Languages and Societies Commons, Folklore Commons, History of Religion Commons, History of Science, Technology, and Medicine Commons, Medieval History Commons, Medieval Studies Commons, Scandinavian Studies Commons, and the Social and Cultural Anthropology Commons Recommended Citation Lawson, Michael David, "Children of a One-Eyed God: Impairment in the Myth and Memory of Medieval Scandinavia" (2019). Electronic Theses and Dissertations. Paper 3538. https://dc.etsu.edu/etd/3538 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. Children of a One-Eyed God: Impairment in the Myth and Memory of Medieval Scandinavia ————— A thesis presented to the faculty of the Department of History East Tennessee State University ————— In partial fulfillment of the requirements for the degree