Crafting Words and Wood: Myth, Carving and Húsdrápa
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Crafting Words and Wood: Myth, Carving and Húsdrápa By Erik Schjeide A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Scandinavian Languages and Literatures in the Graduate Division of the University of California, Berkeley Committee in charge: Professor John Lindow, Chair Professor Jonas Wellendorf Professor Beate Fricke Fall 2015 Abstract Crafting Words and Wood: Myth, Carving and Húsdrápa by Erik Schjeide Doctor of Philosophy in Scandinavian Languages and Literatures University of California, Berkeley Professor John Lindow, Chair In the poem Húsdrápa, ca. 985, Úlfr Uggason described woodcarvings of mythological scenes adorning an Icelandic hall owned by the chieftain Óláfr pái. The performance, of which some verses have been passed down in writing, was an act of referential intermedia, insofar as the art form of skaldic poetry presented with woven words the content of a wood-carved medium that has long since rotted away. Hence, the composition of the poem combined with the carvings created a link that opens up a union between extant literary sources and material culture which contributes to expanding cultural insight. This study draws from a range of sources in order to answer central research questions regarding the appearance and qualities of the missing woodcarvings. Intermedia becomes interdisciplinary in the quest, as archaeological finds of Viking Age and early medieval woodcarvings and iconography help fill the void of otherwise missing artifacts. Old Norse literature provides clues to the mythic cultural values imbued in the wooden iconography. Anthropological and other theories drawn from the liberal arts also apply as legend, myth and art combine to inform cultural meaning. The study reveals that the appearance and function of the woodcarvings merge as they were understood not only aesthetically but also to possess a certain agency. The dissertation is in two parts. The first portion provides background information regarding woodcarving and iconography found in Northern Europe as it refers to poetry, sagas and legends for contextualization. The second portion continues the investigation with an emphasis on Iceland and a close reading of the poem Húsdrápa. In these sections a synthesis of saga scenes, skaldic poetry, myth and applicable iconography informs analysis and hypothetical prototypes of the carvings. 1 Dedication This dissertation is dedicated to my wife Dawn, who made it possible. With gratitude for the assistance of The Department of Scandinavian, University of California, Berkeley, my Dissertation Committee, family and friends. With special thanks to John Lindow for his support of my project and continuing to work with me after his retirement from Berkeley. In recognition of the skáld Úlfr Uggason Þetta kvæði er kallat Húsdrápa ok er vel ort. With appreciation for the woodcarvers of the Viking Age. In memory of my father Ole Arne Schjeide i Table of Contents Page General Introduction ................................................................................................................ 1 Part 1: Background and contexts of woodcarving and iconography in Scandinavia Introduction: Qualities of Viking Age woodcarving and iconography ................................... 3 1.1: Oseberg burial ship and woodcarvings revisited .............................................................. 6 1.2: Oseberg burial ship pictorial tapestries ............................................................................ 30 1.3: Sagas, poetry and Vestfold archaeological sites .............................................................. 51 1.4: Þrándheimr and the earls of Hlaðir .................................................................................. 62 1.5: Sigurðr jarl Hákonarson and Sigurðardrápa ..................................................................... 69 1.6: Hákon jarl inn ríki: Pre-Christian worship and wooden idols - myths, legends, temples and halls ................. 85 1.7: Conversion ideology, destruction of woodcarvings, remnants seen in stave churches .... 98 1.8: Conclusion to part one ...................................................................................................... 106 Part 2: Icelandic dwellings, woodcarving, skaldic poetry and Húsdrápa Introduction .............................................................................................................................. 113 2.1: The transport of woodcarvings and timber from Norway to Iceland ................................ 116 2.2: A Northern Icelandic woodcarving tradition ..................................................................... 135 2.3: Húsdrápa, quatrain 1: The craft of skaldic poetry, praise, picture, kennings and mythic origins ......................... 151 2.4: Húsdrápa, stanza 2 - the contest over a mythic ornament ................................................ 181 2.5: Húsdrápa, strophes 3 - 6 - Þórr’s fishing expedition ........................................................ 203 2.6: Húsdrápa, strophes 7 - 12 - Baldr’s funeral procession ................................................... 235 2.7: Þar kømr á til sævar - Óláfr’s eldhús ............................................................................... 263 References and Bibliography .................................................................................................. 280 Appendix Figures .................................................................................................................... 299 ii List of Figures Page Figure 1. Oseberg ship excavation, September 29, 1904. ............................................ 299 Figure 2. Reconstructed Oseberg ship prow. ................................................................ 300 Figure 2.a. Detail of Oseberg ship brandr (stem, prow or “beak” of ship). .................... 301 Figure 2.b. Sketch of Oseberg ship terminating spiral-head. ........................................... 302 Figure 2.c. Detail of reconstructed Oseberg ship prow. ................................................... 303 Figure 3. Reconstructed hǫfðafjǫl, span board. ............................................................. 304 Figure 3.a. Tingl fragment. ................................................................................................ 305 Figure 3.b. Sketch of the uppermost board on the interior stem of the Oseberg ship. ..... 306 Figure 4. Oseberg ship anthropomorphic figure detail. ................................................. 307 Figure 5. Sketch of Oseberg wagon back. ..................................................................... 308 Figure 6. Oseberg wagon front detail. ........................................................................... 309 Figure 7. Oseberg wagon front. ..................................................................................... 310 Figure 8. Sketch of Oseberg wagon right side. .............................................................. 311 Figure 9. Oseberg wagon side - details of engravings within contours of figures. ........ 311 Figure 10. Oseberg wagon front head post detail. ........................................................... 312 Figure 11. Oseberg wagon back head post detail. ........................................................... 313 Figure 12. Oseberg wagon truss detail. ........................................................................... 314 Figure 13. Oseberg dyrehodestolpe detail. ...................................................................... 315 Figure 14. Oseberg rangle. .............................................................................................. 316 Figure 15. Sketch and photo of two dyrehodestolper and a rangle. ................................ 317 Figure 16. Head and engravings on dyrehodestolpe #174. ............................................. 318 Figure 16.a. Sketch of engravings on head of the “Carolingian” dyrehodestolpe. ............ 319 Figure 16.b. Sketch of engravings on neck of the “Carolingian” dyrehodestolpe. ............ 320 Figure 17. Head detail showing some of the engravings on dyrehodestolpe #174. ........ 321 Figure 17.a. Sketch of bird patterns on the head and neck of dyrehodestolpe #174. ......... 322 Figure 17.b. Sketch of anthropomorphic figure on the head ofdyrehodestolpe #174. ....... 323 Figure 18. The “Fourth” Oseberg sled. ............................................................................. 324 Figure 19. Detail of the “Fourth” Oseberg sled. ............................................................... 325 Figure 20. Detail of one of “daarlige sengehestene”. ..................................................... 326 Figure 21. Sketch of Oseberg tapestry fragment “2”. ...................................................... 327 Figure 22. Sketch of Oseberg tapestry fragment “2” detail. ............................................. 328 Figure 23. Sketch of Oseberg tapestry fragment “1”. ...................................................... 329 iii Figure 24. Sketch of Oseberg tapestry fragment “13” prior to splitting. .......................... 330 Figure 25. Sketch of Oseberg tapestry fragment “7B”. .................................................... 331 Figure 26. Sketch of Oseberg tapestry fragment “4”. ....................................................... 332 Figure 27. Sketch of Oseberg tapestry fragment “13B2”. ............................................... 333 Figure 28. Sketch of a portion of Oseberg tapestry fragment “7A”.