By Margaret Clunies Ros
This is often the 1st e-book in English to accommodate the dual topics of previous Norse poetry and a number of the vernacular treatises on local poetry that have been a conspicuous characteristic of medieval highbrow lifestyles in Iceland and the Orkneys from the mid-twelfth to the fourteenth centuries.
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Extra resources for A History of Old Norse Poetry and Poetics
Behind both Háttatal and Háttalykill lie Latin as well as indigenous influences, as will be discussed in Chapters 7 and 8. Another catalogue form, of special interest to poets, was the ãula or versified list of poetic synonyms (heiti) for the major subjects of skaldic verse, such as gods, men and women, ships, weapons and gold. Though ãulur were of most use to skaldic poets, the extant examples use eddic verse forms. The evolution of the ãula is speculative, but in all probability is attributable to the need oral poets felt to have access to versified aide-mémoires which functioned somewhat like rhyming dictionaries (see Clunies Ross 1987: 80–91).
Of my poem’). The term slœmr for the concluding section of a long poem seems to have come into fashion from some time in the twelfth century, as it is not attested before that, and is not used in Snorri’s Edda. g. g. Drápa af Maríugrát 37/2). 16 Branda (acc. pl. from brandr, usually used in the plural) is translated here ‘prow’ and 38 technical terms ¼goddess½ of the ale-ship [drinking horn ³ woman], for the beautiful forest of the bowl [woman]. Stál (lit. ‘steel’) or inlay of intercalary or parenthetical clauses within the half-stanza was an admired syntactic feature of skaldic verse, and one that characterised lausavísur as well as extended poems.
G. g. g. g. g. g. Oddrúnargrátr, ‘Lament of Oddrún’). Mythological poems like Hymiskviña and Ãrymskviña (‘Poem about Ãrymr [a giant]’), whose titles’ second element, kviña, probably denotes a narrative poem,4 embody continuous narratives of one or more known myths but are less common than the speech genres within the mythological group (see Klingenberg 1983). Within the heroic poetry of the Elder Edda group, most of the poems still have names that refer to different kinds of speech act, even though many of them include a good deal of third-person narrative.