By Margaret Clunies Ross
A background of outdated Norse Poetry and Poetics is the 1st booklet in English to house the dual matters of outdated Norse poetry and a few of the vernacular treatises on local poetry that have been one of these conspicuous characteristic of medieval highbrow lifestyles in Iceland and the Orkneys from the mid-twelfth to the fourteenth centuries. Its target is to provide a transparent description of the wealthy poetic culture of early Scandinavia, fairly 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 kinds and topics are illustrated with newly selected examples. The e-book units out the prose contexts within which most aged Norse poetry has been preserved and discusses difficulties of interpretation that come up due to the poetry's mode of transmission. during the publication, the writer hyperlinks indigenous conception with perform, starting with the pre-Christian ideology of poets as favoured by way of the god ? hotel and concluding with the Christian inspiration simple sort most sensible conveys the poet's message.
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Additional resources for A History of Old Norse Poetry and Poetics
15 The fact that the formal elaborations made possible by the use of the stef were considered to be of aesthetic and communicative significance is attested in skaldic poetry itself. A good example, in which the twelfth-century Icelandic poet Hallar-Steinn compares himself to a shipwright and the poem to a ship, and then equates parts of the poem, divided by stef, to parts of the ship, with the poem’s upphaf paralleled to the ship’s prow, is from an otherwise unknown poem about a woman, quoted in the Skáldskaparmál section of Snorri’s Edda: Ek hefi óñar lokri õlstafna Bil skafna, væn mõrk skála, verki vandr, stefknarrar branda.
Comm. and Supplement to Editors’ Manual 2004) that the syntactic unit in kviñuháttr may have been greater than the eight-line stanza in some cases. 25 This statement requires qualification in one respect; during the period after the conversion to Christianity (the eleventh and early twelfth centuries), skalds tended to avoid the use of kennings because they were felt to be too closely connected with paganism, and concentrated more on elaborate syntactic fragmentation. However, from about 1150 new Christian kennings came into use and, in what one might term the antiquarian period of the thirteenth and fourteenth centuries, kennings with pagan content were again brought into use for political and religious purposes.
E. 10 The variety of titles reviewed here is exemplified early in the skaldic tradition. The Norwegian Bragi Boddason the Old, the earliest skald whose poetry has been preserved, is said to have composed a drápa (a sequence of verses with a refrain or stef) for a patron named Ragnarr, possibly the legendary ninth-century Viking leader Ragnarr loñbrók. It went by the name Ragnarsdrápa (‘Long Poem with a Refrain for Ragnarr’), according to Snorri’s Edda and Skáldatal. 900 with a descriptive title attested by Snorri is Haustlõng (‘Autumn Long’).