By Margaret Clunies Ross
A historical past of previous Norse Poetry and Poetics is the 1st booklet in English to accommodate the dual matters of previous Norse poetry and a few of the vernacular treatises on local poetry that have been this kind of conspicuous function of medieval highbrow existence in Iceland and the Orkneys from the mid-twelfth to the fourteenth centuries. Its objective is to provide a transparent description of the wealthy poetic culture of early Scandinavia, quite 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 numerous types and matters are illustrated with newly selected examples. The e-book units out the prose contexts during which most elderly Norse poetry has been preserved and discusses difficulties of interpretation that come up as a result of the poetry's mode of transmission. in the course of the publication, the writer hyperlinks indigenous conception with perform, starting with the pre-Christian ideology of poets as favoured by way of the god ? resort and concluding with the Christian suggestion undeniable sort most sensible conveys the poet's message.
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Extra info for A History of Old Norse Poetry and Poetics
900 and 1300. 1000 to the numerous personal quarrels represented in family sagas (see 40 genres and subgenres of skaldic verse Almqvist 1965–74). 1 In all cases níñ verses served to undermine a person’s (normally a man’s) honour, usually by casting doubt on his sexuality as a measure of his manliness (Meulengracht Sørensen 1983). Underlying the psychodynamics of these poetic subgenres of blame is the idea that poetry has the power to affect its victims with physical harm and mental hurt as well as to damage their reputations with dishonourable imputations.
606–8, but does not distinguish there those for which there is medieval authority from those whose titles are not attested in medieval sources. 31 a history of old norse poetry and poetics kinds of skaldic title are apparent; those which refer to a specific poem, perhaps to the context in or for which the poem was composed or the patron for whom it was intended, and those that were probably generic in origin, but came at some stage to be applied to specific examples of a genre. To take the second group first, one of the best known generic titles is the Hõfuñlausn (‘Head-ransom’), applied to a small group of poems, of which four are mentioned in Old Norse sources, composed by a poet who had to ransom his head (that is, save his life) by composing a praise-poem about a patron whom he had offended in some way.
Only the stef or refrain of Ãórarinn’s poem for King Knútr inn ríki (‘the powerful’) Sveinsson remains (Skj BI: 298); his offence seems to have been to insult the king by composing a poem about him that was too short and not elaborate enough (described as a flokkr, ‘poem without a refrain’, and a dræpling, ‘a little drápa, one that is too short’). The third poet who is said to have composed such a poem, in honour of King Magnús berfœttr (‘bare legs’) (r. 1093–1103), was the Icelandic skald Gísl Illugason (fl.
A History of Old Norse Poetry and Poetics by Margaret Clunies Ross