By Margaret Clunies Ross
A background of outdated Norse Poetry and Poetics is the 1st booklet in English to accommodate the dual matters of previous Norse poetry and many of the vernacular treatises on local poetry that have been any such conspicuous characteristic of medieval highbrow lifestyles in Iceland and the Orkneys from the mid-twelfth to the fourteenth centuries. Its goal is to provide 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 quite a few types and topics are illustrated with newly selected examples. The booklet 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. in the course of the booklet, the writer hyperlinks indigenous thought with perform, starting with the pre-Christian ideology of poets as favoured via the god ? resort and concluding with the Christian concept simple sort top conveys the poet's message.
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Extra info for A History of Old Norse Poetry and Poetics
1380–90. It is a charm incorporating a curse and is reminiscent, both in subject matter, style and metre, of some of the poems of the Elder Edda, especially Skírnismál and Hávamál (‘Speech of the High One [Óñinn]’). On the other hand, much of the poetry 20 I am indebted to Professor Edith Marold of the University of Kiel for much of the statistical information provided here and for access to the metrical runic corpus, which she and Professor Hans-Peter Naumann of the University of Basel are preparing for the new edition Skaldic Poetry of the Scandinavian Middle Ages.
4 Ormr may thus have used the Haraldr–Snæfríñr story either to conceal the subject of his own passion, named as Sæunn, or to contrast Haraldr’s extreme obsessiveness with the decorousness of his own love.
Such elements, whose technical senses will be discussed below, include –drápa (‘long poem with a refrain’), –flokkr (‘long poem without a refrain’), –stefja (‘[poem] having a refrain’) and –vísur (‘[collection of] verses’). g. g. Glymdrápa (‘Noise Drápa’, referring to all the echoic battle-effects in this poem), Glælognskviña (‘Sea Calm Lay’), Austrfararvísur (‘Verses about a Journey Eastwards’). A number of Christian skaldic poems do not refer to formal aspects of the poem in their titles, but focus more on the work’s religious significance, as, for example, in Líknarbraut (‘Path of Mercy’), a poem on the significance of Christ’s cross, and Harmsól (‘Sorrow-sun’), which centres on the themes of salvation, sin and redemption.
A History of Old Norse Poetry and Poetics by Margaret Clunies Ross