https://wikisaga.hi.is/index.php?action=history&feed=atom&title=Egla%2C_55 2026-05-07T02:42:46Z Revision history for this page on the wiki MediaWiki 1.42.3 https://wikisaga.hi.is/index.php?title=Egla,_55&diff=8838&oldid=prev 2018-11-12T15:55:04Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 15:55, 12 November 2018</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l37">Line 37:</td> <td colspan="2" class="diff-lineno">Line 37:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Then went Egil and those about him to seek king Athelstan, and at once went before the king, where he sat at the drinking. There was much noise of merriment. And when the king saw that Egil was come in, he bade the lower bench be cleared for them, and that Egil should sit in the high-seat facing the king. Egil sat down there, and cast his shield before his feet. He had his helm on his head, and laid his sword across his knees; and now and again he half drew it, then clashed it back into the sheath. He sat upright, but with head bent forward.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Then went Egil and those about him to seek king Athelstan, and at once went before the king, where he sat at the drinking. There was much noise of merriment. And when the king saw that Egil was come in, he bade the lower bench be cleared for them, and that Egil should sit in the high-seat facing the king. Egil sat down there, and cast his shield before his feet. He had his helm on his head, and laid his sword across his knees; and now and again he half drew it, then clashed it back into the sheath. He sat upright, but with head bent forward.</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Egil was large-featured, broad of forehead, with large eyebrows, a nose not long but very thick, lips wide and long, chin exceeding broad, as was all about the jaws;&lt;ref&gt;'''lips wide and long, chin exceeding broad, as was all about the jaws'': “The hero is introduced after a full account of his ancestors and of the events which coloured the fate of his family. He arrives on the scene at the critical moment, when that fate has to be wound up to a crisis; that crisis is the story of his life--is, in other words, his saga.” [[Gosse, E.W.. The “Egils saga”]] (p. 21).&lt;/ref&gt; thick-necked was he, and big-shouldered beyond other men, hard-featured, and grim when angry.&lt;ref&gt;'''<del style="font-weight: bold; text-decoration: none;">narrative tool</del>''': “This technique is used most effectively in chapter 55 of ''Egils saga'' where Egill finally takes over centre stage after the death of Þórólfr at the battle of Vínheiðr. All action seems to halt while the author skilfully builds the tension by giving a long description of Egill sitting across from the king, still in his armour, violently pulling his sword halfway out of its scabbard and slamming it back in.” [[Blaney, Benjamin. The Narrative Technique of Character Delineation in Egils saga]] (s. 344).&lt;/ref&gt; He was well-made, more than commonly tall, had hair wolf-gray and thick, but became early bald. He was black-eyed and brown-skinned,</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Egil was large-featured, broad of forehead, with large eyebrows, a nose not long but very thick, lips wide and long, chin exceeding broad, as was all about the jaws;&lt;ref&gt;'''lips wide and long, chin exceeding broad, as was all about the jaws<ins style="font-weight: bold; text-decoration: none;">'</ins>'': “The hero is introduced after a full account of his ancestors and of the events which coloured the fate of his family. He arrives on the scene at the critical moment, when that fate has to be wound up to a crisis; that crisis is the story of his life--is, in other words, his saga.” [[Gosse, E.W.. The “Egils saga”]] (p. 21).&lt;/ref&gt; thick-necked was he, and big-shouldered beyond other men, hard-featured, and grim when angry.&lt;ref&gt;'''<ins style="font-weight: bold; text-decoration: none;">grim when angry</ins>''': “This technique is used most effectively in chapter 55 of ''Egils saga'' where Egill finally takes over centre stage after the death of Þórólfr at the battle of Vínheiðr. All action seems to halt while the author skilfully builds the tension by giving a long description of Egill sitting across from the king, still in his armour, violently pulling his sword halfway out of its scabbard and slamming it back in.” [[Blaney, Benjamin. The Narrative Technique of Character Delineation in Egils saga]] (s. 344).&lt;/ref&gt; He was well-made, more than commonly tall, had hair wolf-gray and thick, but became early bald. He was black-eyed and brown-skinned,</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>But as he sat (as was before written), he drew one eye-brow down towards the cheek&lt;ref&gt;&#039;&#039;&#039;one eye-brow down towards the cheek&#039;&#039;&#039;: &quot;When in the grip of fury, Celtic and Germanic berserks contorted their faces and bodies in frightening ways. Among Irish heroes, Cū Chulainn is famous for this. Likewise tenth-century Egil: when he came to claim the wergild for his slain brother, he showed the king how mad he was by drooping one eyebrow down towards his cheek, raising the other up to the roots of his hair and moving his eyebrows alternately up and down.&quot; [[Speidel, Michael P. Berserks: A History of Indo-European “Mad Warriors”]] (p. 260).&lt;/ref&gt;, the other up to the roots of the hair.&lt;ref&gt;&#039;&#039;&#039;up to the roots of the hair&#039;&#039;&#039;: &quot;In many ways this scene is reminiscent of the confrontation between Heiðrekr and Gestumblindi in Hervarar saga, and also of a scene in Grímnismál that was probably the prototype. The presence of fire, the face-to-face encounter between the kind and a newcomer, and the fact that Egill closes one eye as if in imitation of Óðinn, who occupies the role that Egill occupies in the two other episodes, can be viewed as allusions to these scenes, which, as we have seen, are both bound up with the motif of fratricide&quot;. [[Torfi H. Tulinius. An Attempt at Application: Interpreting Egils saga]] (p. 255).&lt;/ref&gt; He would not drink now, though the horn was borne to him, but alternately twitched his brows&lt;ref&gt;&#039;&#039;&#039;twitched his brows&#039;&#039;&#039;: „Þótt lýsing Egils í 55. kap. sé stórfengleg, brosir maður að henni í lokin, þegar Egill tekur að hleypa brúnum. Og er ekki næstum sem maður heyri smellinn, þegar brýn hans fara síðar í lag?“ [[Finnbogi Guðmundsson. Gamansemi Snorra Sturlusonar]] (p. 113).&lt;/ref&gt;&lt;ref&gt;&#039;&#039;&#039;twitched his brows &#039;&#039;&#039;: &quot;Augabrúnir sem færast úr lagi eru nefnilega einkenni á mynd af Kain sem finna má í ensku handriti frá fyrri hluta 13. aldar. Ef til vill er það engin tilviljun að útliti Egils er einmitt lýst rækilega á þessum stað í sögunni, þegar vísanir til Kains og Júdasar eru hvað nærtækastar og þar sem einnig má greina tengsl við heinar frásagnir um bróðurmorð.  &quot; [[Torfi H. Tulinius. Vefir textans]] (p. 76).&lt;/ref&gt; up and down.&lt;ref&gt; &#039;&#039;&#039;twitched his brows up and down&#039;&#039;&#039;: &quot;Oppsummert er tolkingsforslaget mitt altså at auga skal oppfattast som eit våpen parallelt til sverdet, og augnebryna (og augnelokka) som ein parallell til slira. Å sperre opp og knipe att annakvart auge blir dermed ein parallell til å dra sverdet halvt og så smelle det nedi slira att.&quot; [[Heide, Eldar. Auga til Egil: ei nytolkning av ein tekststad i Egilssoga]] (p. 123).&lt;/ref&gt; King Athelstan sat in the upper high-seat. He too laid his sword across his knees. When they had sat there for a time,&lt;ref&gt;&#039;&#039;&#039;sat there for a time&#039;&#039;&#039;: &quot;Þessi óviðjafnanlega smámynd úr Egils sögu ber snilld höfundarins fagurt vitni. Hann nær hinum sterkustu áhrifum með algerðu þagnarspili milli tveggja leikenda. [...] Ekki veit ég, hvað konungi hefur búið í hug, er hann horfðist í augu við Egil um hallargólf þvert, en mig grunar, að honum hafi þá skilizt, að það var sómi Þórólfs, hins fallna höfðingja, en ekki ágirnd ein, sem var um að tefla.&quot; [[Kristján Eldjárn. Kistur Aðalsteins konungs]] (pp. 97-98).&lt;/ref&gt; then the king drew his sword from the sheath, and took from his arm a gold ring large and good, and placing it upon the sword-point he stood up, and went across the floor, and reached it over the fire&lt;ref&gt;&#039;&#039;&#039;reached it over the fire&#039;&#039;&#039;: &quot;When the king puts a gold ring on the tip of his sword and hands it across the fire to Egill, who receives it in like fashion, it is not just a sign of fear or mistrust, but also - symbolically - an act of social recognition. The exact symmetry in the way the two men are presented is more important than the gift involved; it shows Egill and Athelstan as equals. ... The imaginary vision of an English court where justice and generosity prevail is in stark contrast with the less favorable impression which the saga offers of the Norwegian courts of King Harald and his sons. From this point of view the author hardly included the Vínheiðr episode to relate an event in the history of Anglo-Saxon England but as a literary counterpoint with a thinly veiled political message.&quot; [[Magnús Fjalldal. A Farmer in the Court of King Athelstan]] (pp. 29-31).&lt;/ref&gt; to Egil. Egil stood up and drew his sword, and went across the floor. He stuck the sword-point within the round of the ring, and drew it to him; then he went back to his place. The king sate him again in his high-seat. But when Egil was set down, he drew the ring on his arm, and then his brows went back to their place. He now laid down sword and helm, took the horn that they bare to him, and drank it off. Then sang he:</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>But as he sat (as was before written), he drew one eye-brow down towards the cheek&lt;ref&gt;&#039;&#039;&#039;one eye-brow down towards the cheek&#039;&#039;&#039;: &quot;When in the grip of fury, Celtic and Germanic berserks contorted their faces and bodies in frightening ways. Among Irish heroes, Cū Chulainn is famous for this. Likewise tenth-century Egil: when he came to claim the wergild for his slain brother, he showed the king how mad he was by drooping one eyebrow down towards his cheek, raising the other up to the roots of his hair and moving his eyebrows alternately up and down.&quot; [[Speidel, Michael P. Berserks: A History of Indo-European “Mad Warriors”]] (p. 260).&lt;/ref&gt;, the other up to the roots of the hair.&lt;ref&gt;&#039;&#039;&#039;up to the roots of the hair&#039;&#039;&#039;: &quot;In many ways this scene is reminiscent of the confrontation between Heiðrekr and Gestumblindi in Hervarar saga, and also of a scene in Grímnismál that was probably the prototype. The presence of fire, the face-to-face encounter between the kind and a newcomer, and the fact that Egill closes one eye as if in imitation of Óðinn, who occupies the role that Egill occupies in the two other episodes, can be viewed as allusions to these scenes, which, as we have seen, are both bound up with the motif of fratricide&quot;. [[Torfi H. Tulinius. An Attempt at Application: Interpreting Egils saga]] (p. 255).&lt;/ref&gt; He would not drink now, though the horn was borne to him, but alternately twitched his brows&lt;ref&gt;&#039;&#039;&#039;twitched his brows&#039;&#039;&#039;: „Þótt lýsing Egils í 55. kap. sé stórfengleg, brosir maður að henni í lokin, þegar Egill tekur að hleypa brúnum. Og er ekki næstum sem maður heyri smellinn, þegar brýn hans fara síðar í lag?“ [[Finnbogi Guðmundsson. Gamansemi Snorra Sturlusonar]] (p. 113).&lt;/ref&gt;&lt;ref&gt;&#039;&#039;&#039;twitched his brows &#039;&#039;&#039;: &quot;Augabrúnir sem færast úr lagi eru nefnilega einkenni á mynd af Kain sem finna má í ensku handriti frá fyrri hluta 13. aldar. Ef til vill er það engin tilviljun að útliti Egils er einmitt lýst rækilega á þessum stað í sögunni, þegar vísanir til Kains og Júdasar eru hvað nærtækastar og þar sem einnig má greina tengsl við heinar frásagnir um bróðurmorð.  &quot; [[Torfi H. Tulinius. Vefir textans]] (p. 76).&lt;/ref&gt; up and down.&lt;ref&gt; &#039;&#039;&#039;twitched his brows up and down&#039;&#039;&#039;: &quot;Oppsummert er tolkingsforslaget mitt altså at auga skal oppfattast som eit våpen parallelt til sverdet, og augnebryna (og augnelokka) som ein parallell til slira. Å sperre opp og knipe att annakvart auge blir dermed ein parallell til å dra sverdet halvt og så smelle det nedi slira att.&quot; [[Heide, Eldar. Auga til Egil: ei nytolkning av ein tekststad i Egilssoga]] (p. 123).&lt;/ref&gt; King Athelstan sat in the upper high-seat. He too laid his sword across his knees. When they had sat there for a time,&lt;ref&gt;&#039;&#039;&#039;sat there for a time&#039;&#039;&#039;: &quot;Þessi óviðjafnanlega smámynd úr Egils sögu ber snilld höfundarins fagurt vitni. Hann nær hinum sterkustu áhrifum með algerðu þagnarspili milli tveggja leikenda. [...] Ekki veit ég, hvað konungi hefur búið í hug, er hann horfðist í augu við Egil um hallargólf þvert, en mig grunar, að honum hafi þá skilizt, að það var sómi Þórólfs, hins fallna höfðingja, en ekki ágirnd ein, sem var um að tefla.&quot; [[Kristján Eldjárn. Kistur Aðalsteins konungs]] (pp. 97-98).&lt;/ref&gt; then the king drew his sword from the sheath, and took from his arm a gold ring large and good, and placing it upon the sword-point he stood up, and went across the floor, and reached it over the fire&lt;ref&gt;&#039;&#039;&#039;reached it over the fire&#039;&#039;&#039;: &quot;When the king puts a gold ring on the tip of his sword and hands it across the fire to Egill, who receives it in like fashion, it is not just a sign of fear or mistrust, but also - symbolically - an act of social recognition. The exact symmetry in the way the two men are presented is more important than the gift involved; it shows Egill and Athelstan as equals. ... The imaginary vision of an English court where justice and generosity prevail is in stark contrast with the less favorable impression which the saga offers of the Norwegian courts of King Harald and his sons. From this point of view the author hardly included the Vínheiðr episode to relate an event in the history of Anglo-Saxon England but as a literary counterpoint with a thinly veiled political message.&quot; [[Magnús Fjalldal. A Farmer in the Court of King Athelstan]] (pp. 29-31).&lt;/ref&gt; to Egil. Egil stood up and drew his sword, and went across the floor. He stuck the sword-point within the round of the ring, and drew it to him; then he went back to his place. The king sate him again in his high-seat. But when Egil was set down, he drew the ring on his arm, and then his brows went back to their place. He now laid down sword and helm, took the horn that they bare to him, and drank it off. Then sang he:</div></td></tr> <tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l137">Line 137:</td> <td colspan="2" class="diff-lineno">Line 137:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Síðan fór Egill með sveit sína á fund Aðalsteins konungs og gekk þegar fyrir konung er hann sat við drykkju. Þar var glaumur mikill. Og er konungur sá að Egill var inn kominn þá mælti hann að rýma skyldi pallinn þann hinn óæðra fyrir þeim og mælti að Egill skyldi sitja þar í öndvegi gegnt konungi.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Síðan fór Egill með sveit sína á fund Aðalsteins konungs og gekk þegar fyrir konung er hann sat við drykkju. Þar var glaumur mikill. Og er konungur sá að Egill var inn kominn þá mælti hann að rýma skyldi pallinn þann hinn óæðra fyrir þeim og mælti að Egill skyldi sitja þar í öndvegi gegnt konungi.</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Egill settist þar niður og skaut skildinum fyrir fætur sér. Hann hafði hjálm á höfði og lagði sverðið um kné sér og dró annað skeið til hálfs en þá skellti hann aftur í slíðrin. Hann sat uppréttur og var gneyptur mjög. Egill var mikilleitur, ennibreiður, brúnamikill,&lt;ref&gt;'''mikilleitur, ennibreiður, brúnamikill'': “The hero is introduced after a full account of his ancestors and of the events which coloured the fate of his family. He arrives on the scene at the critical moment, when that fate has to be wound up to a crisis; that crisis is the story of his life--is, in other words, his saga.” [[Gosse, E.W.. The “Egils saga”]] (s. 21).&lt;/ref&gt; nefið ekki langt en ákaflega digurt, granstæðið vítt og langt, hakan breið furðulega og svo allt um kjálkana, hálsdigur og herðimikill, svo að það bar frá því sem aðrir menn voru, harðleitur og grimmlegur þá er hann var reiður.&lt;ref&gt;'''<del style="font-weight: bold; text-decoration: none;">narrative tool</del>''': “This technique is used most effectively in chapter 55 of ''Egils saga'' where Egill finally takes over centre stage after the death of Þórólfr at the battle of Vínheiðr. All action seems to halt while the author skilfully builds the tension by giving a long description of Egill sitting across from the king, still in his armour, violently pulling his sword halfway out of its scabbard and slamming it back in.” [[Blaney, Benjamin. The Narrative Technique of Character Delineation in Egils saga]] (s. 344).&lt;/ref&gt; Hann var vel í vexti og hverjum manni hærri, úlfgrátt hárið og þykkt og varð snemma sköllóttur. En er hann sat, sem fyrr var ritað, þá hleypti hann annarri brúninni ofan&lt;ref&gt;'''annarri brúninni ofan''': "When in the grip of fury, Celtic and Germanic berserks contorted their faces and bodies in frightening ways. Among Irish heroes, Cū Chulainn is famous for this. Likewise tenth-century Egil: when he came to claim the wergild for his slain brother, he showed the king how mad he was by drooping one eyebrow down towards his cheek, raising the other up to the roots of his hair and moving his eyebrows alternately up and down." [[Speidel, Michael P. Berserks: A History of Indo-European “Mad Warriors”]] (s. 260).&lt;/ref&gt; á kinnina en annarri upp í hárrætur.&lt;ref&gt;'''annarri upp í hárrætur''': "In many ways this scene is reminiscent of the confrontation between Heiðrekr and Gestumblindi in Hervarar saga, and also of a scene in Grímnismál that was probably the prototype. The presence of fire, the face-to-face encounter between the kind and a newcomer, and the fact that Egill closes one eye as if in imitation of Óðinn, who occupies the role that Egill occupies in the two other episodes, can be viewed as allusions to these scenes, which, as we have seen, are both bound up with the motif of fratricide". [[Torfi H. Tulinius. An Attempt at Application: Interpreting Egils saga]] (s. 255).&lt;/ref&gt; Egill var svarteygur og skolbrúnn. Ekki vildi hann drekka þó að honum væri borið en ýmsum hleypti hann brúnunum&lt;ref&gt;'''hleypti hann brúnunum''': „Þótt lýsing Egils í 55. kap. sé stórfengleg, brosir maður að henni í lokin, þegar Egill tekur að hleypa brúnum. Og er ekki næstum sem maður heyri smellinn, þegar brýn hans fara síðar í lag?“ [[Finnbogi Guðmundsson. Gamansemi Snorra Sturlusonar]] (s. 113).&lt;/ref&gt;&lt;ref&gt;'''hleypti hann brúnunum ''': "Augabrúnir sem færast úr lagi eru nefnilega einkenni á mynd af Kain sem finna má í ensku handriti frá fyrri hluta 13. aldar. Ef til vill er það engin tilviljun að útliti Egils er einmitt lýst rækilega á þessum stað í sögunni, þegar vísanir til Kains og Júdasar eru hvað nærtækastar og þar sem einnig má greina tengsl við heinar frásagnir um bróðurmorð.  " [[Torfi H. Tulinius. Vefir textans]] (s. 76).&lt;/ref&gt; ofan eða upp.&lt;ref&gt;'''hleypti hann brúnunum ofan eða upp''': "Oppsummert er tolkingsforslaget mitt altså at auga skal oppfattast som eit våpen parallelt til sverdet, og augnebryna (og augnelokka) som ein parallell til slira. Å sperre opp og knipe att annakvart auge blir dermed ein parallell til å dra sverdet halvt og så smelle det nedi slira att." [[Heide, Eldar. Auga til Egil: ei nytolkning av ein tekststad i Egilssoga]] (s. 123).&lt;/ref&gt;</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Egill settist þar niður og skaut skildinum fyrir fætur sér. Hann hafði hjálm á höfði og lagði sverðið um kné sér og dró annað skeið til hálfs en þá skellti hann aftur í slíðrin. Hann sat uppréttur og var gneyptur mjög. Egill var mikilleitur, ennibreiður, brúnamikill,&lt;ref&gt;'''mikilleitur, ennibreiður, brúnamikill<ins style="font-weight: bold; text-decoration: none;">'</ins>'': “The hero is introduced after a full account of his ancestors and of the events which coloured the fate of his family. He arrives on the scene at the critical moment, when that fate has to be wound up to a crisis; that crisis is the story of his life--is, in other words, his saga.” [[Gosse, E.W.. The “Egils saga”]] (s. 21).&lt;/ref&gt; nefið ekki langt en ákaflega digurt, granstæðið vítt og langt, hakan breið furðulega og svo allt um kjálkana, hálsdigur og herðimikill, svo að það bar frá því sem aðrir menn voru, harðleitur og grimmlegur þá er hann var reiður.&lt;ref&gt;'''<ins style="font-weight: bold; text-decoration: none;">þá er hann var reiður</ins>''': “This technique is used most effectively in chapter 55 of ''Egils saga'' where Egill finally takes over centre stage after the death of Þórólfr at the battle of Vínheiðr. All action seems to halt while the author skilfully builds the tension by giving a long description of Egill sitting across from the king, still in his armour, violently pulling his sword halfway out of its scabbard and slamming it back in.” [[Blaney, Benjamin. The Narrative Technique of Character Delineation in Egils saga]] (s. 344).&lt;/ref&gt; Hann var vel í vexti og hverjum manni hærri, úlfgrátt hárið og þykkt og varð snemma sköllóttur. En er hann sat, sem fyrr var ritað, þá hleypti hann annarri brúninni ofan&lt;ref&gt;'''annarri brúninni ofan''': "When in the grip of fury, Celtic and Germanic berserks contorted their faces and bodies in frightening ways. Among Irish heroes, Cū Chulainn is famous for this. Likewise tenth-century Egil: when he came to claim the wergild for his slain brother, he showed the king how mad he was by drooping one eyebrow down towards his cheek, raising the other up to the roots of his hair and moving his eyebrows alternately up and down." [[Speidel, Michael P. Berserks: A History of Indo-European “Mad Warriors”]] (s. 260).&lt;/ref&gt; á kinnina en annarri upp í hárrætur.&lt;ref&gt;'''annarri upp í hárrætur''': "In many ways this scene is reminiscent of the confrontation between Heiðrekr and Gestumblindi in Hervarar saga, and also of a scene in Grímnismál that was probably the prototype. The presence of fire, the face-to-face encounter between the kind and a newcomer, and the fact that Egill closes one eye as if in imitation of Óðinn, who occupies the role that Egill occupies in the two other episodes, can be viewed as allusions to these scenes, which, as we have seen, are both bound up with the motif of fratricide". [[Torfi H. Tulinius. An Attempt at Application: Interpreting Egils saga]] (s. 255).&lt;/ref&gt; Egill var svarteygur og skolbrúnn. Ekki vildi hann drekka þó að honum væri borið en ýmsum hleypti hann brúnunum&lt;ref&gt;'''hleypti hann brúnunum''': „Þótt lýsing Egils í 55. kap. sé stórfengleg, brosir maður að henni í lokin, þegar Egill tekur að hleypa brúnum. Og er ekki næstum sem maður heyri smellinn, þegar brýn hans fara síðar í lag?“ [[Finnbogi Guðmundsson. Gamansemi Snorra Sturlusonar]] (s. 113).&lt;/ref&gt;&lt;ref&gt;'''hleypti hann brúnunum ''': "Augabrúnir sem færast úr lagi eru nefnilega einkenni á mynd af Kain sem finna má í ensku handriti frá fyrri hluta 13. aldar. Ef til vill er það engin tilviljun að útliti Egils er einmitt lýst rækilega á þessum stað í sögunni, þegar vísanir til Kains og Júdasar eru hvað nærtækastar og þar sem einnig má greina tengsl við heinar frásagnir um bróðurmorð.  " [[Torfi H. Tulinius. Vefir textans]] (s. 76).&lt;/ref&gt; ofan eða upp.&lt;ref&gt;'''hleypti hann brúnunum ofan eða upp''': "Oppsummert er tolkingsforslaget mitt altså at auga skal oppfattast som eit våpen parallelt til sverdet, og augnebryna (og augnelokka) som ein parallell til slira. Å sperre opp og knipe att annakvart auge blir dermed ein parallell til å dra sverdet halvt og så smelle det nedi slira att." [[Heide, Eldar. Auga til Egil: ei nytolkning av ein tekststad i Egilssoga]] (s. 123).&lt;/ref&gt;</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Aðalsteinn konungur sat í hásæti. Hann lagði og sverð um kné sér. Og er þeir sátu svo um hríð,&lt;ref&gt;&#039;&#039;&#039;sátu svo um hríð&#039;&#039;&#039;: &quot;Þessi óviðjafnanlega smámynd úr Egils sögu ber snilld höfundarins fagurt vitni. Hann nær hinum sterkustu áhrifum með algerðu þagnarspili milli tveggja leikenda. [...] Ekki veit ég, hvað konungi hefur búið í hug, er hann horfðist í augu við Egil um hallargólf þvert, en mig grunar, að honum hafi þá skilizt, að það var sómi Þórólfs, hins fallna höfðingja, en ekki ágirnd ein, sem var um að tefla.&quot; [[Kristján Eldjárn. Kistur Aðalsteins konungs]] (s. 97-98).&lt;/ref&gt; þá dró konungur sverðið úr slíðrum og tók gullhring af hendi sér, mikinn og góðan, og dró á blóðrefilinn, stóð upp og gekk á gólfið og rétti yfir eldinn&lt;ref&gt;&#039;&#039;&#039;rétti yfir eldinn&#039;&#039;&#039;: &quot;When the king puts a gold ring on the tip of his sword and hands it across the fire to Egill, who receives it in like fashion, it is not just a sign of fear or mistrust, but also - symbolically - an act of social recognition. The exact symmetry in the way the two men are presented is more important than the gift involved; it shows Egill and Athelstan as equals. ... The imaginary vision of an English court where justice and generosity prevail is in stark contrast with the less favorable impression which the saga offers of the Norwegian courts of King Harald and his sons. From this point of view the author hardly included the Vínheiðr episode to relate an event in the history of Anglo-Saxon England but as a literary counterpoint with a thinly veiled political message.&quot; [[Magnús Fjalldal. A Farmer in the Court of King Athelstan]] (s. 29-31).&lt;/ref&gt; til Egils. Egill stóð upp og brá sverðinu og gekk á gólfið. Hann stakk sverðinu í bug hringinum og dró að sér, gekk aftur til rúms síns. Konungur settist í hásæti. En er Egill settist niður dró hann hringinn á hönd sér og þá fóru brýnn hans í lag. Lagði hann þá niður sverðið og hjálminn og tók við dýrshorni er honum var borið og drakk af. Þá kvað hann:</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Aðalsteinn konungur sat í hásæti. Hann lagði og sverð um kné sér. Og er þeir sátu svo um hríð,&lt;ref&gt;&#039;&#039;&#039;sátu svo um hríð&#039;&#039;&#039;: &quot;Þessi óviðjafnanlega smámynd úr Egils sögu ber snilld höfundarins fagurt vitni. Hann nær hinum sterkustu áhrifum með algerðu þagnarspili milli tveggja leikenda. [...] Ekki veit ég, hvað konungi hefur búið í hug, er hann horfðist í augu við Egil um hallargólf þvert, en mig grunar, að honum hafi þá skilizt, að það var sómi Þórólfs, hins fallna höfðingja, en ekki ágirnd ein, sem var um að tefla.&quot; [[Kristján Eldjárn. Kistur Aðalsteins konungs]] (s. 97-98).&lt;/ref&gt; þá dró konungur sverðið úr slíðrum og tók gullhring af hendi sér, mikinn og góðan, og dró á blóðrefilinn, stóð upp og gekk á gólfið og rétti yfir eldinn&lt;ref&gt;&#039;&#039;&#039;rétti yfir eldinn&#039;&#039;&#039;: &quot;When the king puts a gold ring on the tip of his sword and hands it across the fire to Egill, who receives it in like fashion, it is not just a sign of fear or mistrust, but also - symbolically - an act of social recognition. The exact symmetry in the way the two men are presented is more important than the gift involved; it shows Egill and Athelstan as equals. ... The imaginary vision of an English court where justice and generosity prevail is in stark contrast with the less favorable impression which the saga offers of the Norwegian courts of King Harald and his sons. From this point of view the author hardly included the Vínheiðr episode to relate an event in the history of Anglo-Saxon England but as a literary counterpoint with a thinly veiled political message.&quot; [[Magnús Fjalldal. A Farmer in the Court of King Athelstan]] (s. 29-31).&lt;/ref&gt; til Egils. Egill stóð upp og brá sverðinu og gekk á gólfið. Hann stakk sverðinu í bug hringinum og dró að sér, gekk aftur til rúms síns. Konungur settist í hásæti. En er Egill settist niður dró hann hringinn á hönd sér og þá fóru brýnn hans í lag. Lagði hann þá niður sverðið og hjálminn og tók við dýrshorni er honum var borið og drakk af. Þá kvað hann:</div></td></tr> </table>

Jón Karl Helgason https://wikisaga.hi.is/index.php?title=Egla,_55&diff=8837&oldid=prev 2018-11-12T15:52:43Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 15:52, 12 November 2018</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l37">Line 37:</td> <td colspan="2" class="diff-lineno">Line 37:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Then went Egil and those about him to seek king Athelstan, and at once went before the king, where he sat at the drinking. There was much noise of merriment. And when the king saw that Egil was come in, he bade the lower bench be cleared for them, and that Egil should sit in the high-seat facing the king. Egil sat down there, and cast his shield before his feet. He had his helm on his head, and laid his sword across his knees; and now and again he half drew it, then clashed it back into the sheath. He sat upright, but with head bent forward.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Then went Egil and those about him to seek king Athelstan, and at once went before the king, where he sat at the drinking. There was much noise of merriment. And when the king saw that Egil was come in, he bade the lower bench be cleared for them, and that Egil should sit in the high-seat facing the king. Egil sat down there, and cast his shield before his feet. He had his helm on his head, and laid his sword across his knees; and now and again he half drew it, then clashed it back into the sheath. He sat upright, but with head bent forward.</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Egil was large-featured, broad of forehead, with large eyebrows, a nose not long but very thick, lips wide and long, chin exceeding broad, as was all about the jaws; thick-necked was he, and big-shouldered beyond other men, hard-featured, and grim when angry.&lt;ref&gt;'''narrative tool''': “This technique is used most effectively in chapter 55 of ''Egils saga'' where Egill finally takes over centre stage after the death of Þórólfr at the battle of Vínheiðr. All action seems to halt while the author skilfully builds the tension by giving a long description of Egill sitting across from the king, still in his armour, violently pulling his sword halfway out of its scabbard and slamming it back in.” [[Blaney, Benjamin. The Narrative Technique of Character Delineation in Egils saga]] (s. 344).&lt;/ref&gt; He was well-made, more than commonly tall, had hair wolf-gray and thick, but became early bald. He was black-eyed and brown-skinned,</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Egil was large-featured, broad of forehead, with large eyebrows, a nose not long but very thick, lips wide and long, chin exceeding broad, as was all about the jaws;<ins style="font-weight: bold; text-decoration: none;">&lt;ref&gt;'''lips wide and long, chin exceeding broad, as was all about the jaws'': “The hero is introduced after a full account of his ancestors and of the events which coloured the fate of his family. He arrives on the scene at the critical moment, when that fate has to be wound up to a crisis; that crisis is the story of his life--is, in other words, his saga.” [[Gosse, E.W.. The “Egils saga”]] (p. 21).&lt;/ref&gt; </ins>thick-necked was he, and big-shouldered beyond other men, hard-featured, and grim when angry.&lt;ref&gt;'''narrative tool''': “This technique is used most effectively in chapter 55 of ''Egils saga'' where Egill finally takes over centre stage after the death of Þórólfr at the battle of Vínheiðr. All action seems to halt while the author skilfully builds the tension by giving a long description of Egill sitting across from the king, still in his armour, violently pulling his sword halfway out of its scabbard and slamming it back in.” [[Blaney, Benjamin. The Narrative Technique of Character Delineation in Egils saga]] (s. 344).&lt;/ref&gt; He was well-made, more than commonly tall, had hair wolf-gray and thick, but became early bald. He was black-eyed and brown-skinned,</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>But as he sat (as was before written), he drew one eye-brow down towards the cheek&lt;ref&gt;&#039;&#039;&#039;one eye-brow down towards the cheek&#039;&#039;&#039;: &quot;When in the grip of fury, Celtic and Germanic berserks contorted their faces and bodies in frightening ways. Among Irish heroes, Cū Chulainn is famous for this. Likewise tenth-century Egil: when he came to claim the wergild for his slain brother, he showed the king how mad he was by drooping one eyebrow down towards his cheek, raising the other up to the roots of his hair and moving his eyebrows alternately up and down.&quot; [[Speidel, Michael P. Berserks: A History of Indo-European “Mad Warriors”]] (p. 260).&lt;/ref&gt;, the other up to the roots of the hair.&lt;ref&gt;&#039;&#039;&#039;up to the roots of the hair&#039;&#039;&#039;: &quot;In many ways this scene is reminiscent of the confrontation between Heiðrekr and Gestumblindi in Hervarar saga, and also of a scene in Grímnismál that was probably the prototype. The presence of fire, the face-to-face encounter between the kind and a newcomer, and the fact that Egill closes one eye as if in imitation of Óðinn, who occupies the role that Egill occupies in the two other episodes, can be viewed as allusions to these scenes, which, as we have seen, are both bound up with the motif of fratricide&quot;. [[Torfi H. Tulinius. An Attempt at Application: Interpreting Egils saga]] (p. 255).&lt;/ref&gt; He would not drink now, though the horn was borne to him, but alternately twitched his brows&lt;ref&gt;&#039;&#039;&#039;twitched his brows&#039;&#039;&#039;: „Þótt lýsing Egils í 55. kap. sé stórfengleg, brosir maður að henni í lokin, þegar Egill tekur að hleypa brúnum. Og er ekki næstum sem maður heyri smellinn, þegar brýn hans fara síðar í lag?“ [[Finnbogi Guðmundsson. Gamansemi Snorra Sturlusonar]] (p. 113).&lt;/ref&gt;&lt;ref&gt;&#039;&#039;&#039;twitched his brows &#039;&#039;&#039;: &quot;Augabrúnir sem færast úr lagi eru nefnilega einkenni á mynd af Kain sem finna má í ensku handriti frá fyrri hluta 13. aldar. Ef til vill er það engin tilviljun að útliti Egils er einmitt lýst rækilega á þessum stað í sögunni, þegar vísanir til Kains og Júdasar eru hvað nærtækastar og þar sem einnig má greina tengsl við heinar frásagnir um bróðurmorð.  &quot; [[Torfi H. Tulinius. Vefir textans]] (p. 76).&lt;/ref&gt; up and down.&lt;ref&gt; &#039;&#039;&#039;twitched his brows up and down&#039;&#039;&#039;: &quot;Oppsummert er tolkingsforslaget mitt altså at auga skal oppfattast som eit våpen parallelt til sverdet, og augnebryna (og augnelokka) som ein parallell til slira. Å sperre opp og knipe att annakvart auge blir dermed ein parallell til å dra sverdet halvt og så smelle det nedi slira att.&quot; [[Heide, Eldar. Auga til Egil: ei nytolkning av ein tekststad i Egilssoga]] (p. 123).&lt;/ref&gt; King Athelstan sat in the upper high-seat. He too laid his sword across his knees. When they had sat there for a time,&lt;ref&gt;&#039;&#039;&#039;sat there for a time&#039;&#039;&#039;: &quot;Þessi óviðjafnanlega smámynd úr Egils sögu ber snilld höfundarins fagurt vitni. Hann nær hinum sterkustu áhrifum með algerðu þagnarspili milli tveggja leikenda. [...] Ekki veit ég, hvað konungi hefur búið í hug, er hann horfðist í augu við Egil um hallargólf þvert, en mig grunar, að honum hafi þá skilizt, að það var sómi Þórólfs, hins fallna höfðingja, en ekki ágirnd ein, sem var um að tefla.&quot; [[Kristján Eldjárn. Kistur Aðalsteins konungs]] (pp. 97-98).&lt;/ref&gt; then the king drew his sword from the sheath, and took from his arm a gold ring large and good, and placing it upon the sword-point he stood up, and went across the floor, and reached it over the fire&lt;ref&gt;&#039;&#039;&#039;reached it over the fire&#039;&#039;&#039;: &quot;When the king puts a gold ring on the tip of his sword and hands it across the fire to Egill, who receives it in like fashion, it is not just a sign of fear or mistrust, but also - symbolically - an act of social recognition. The exact symmetry in the way the two men are presented is more important than the gift involved; it shows Egill and Athelstan as equals. ... The imaginary vision of an English court where justice and generosity prevail is in stark contrast with the less favorable impression which the saga offers of the Norwegian courts of King Harald and his sons. From this point of view the author hardly included the Vínheiðr episode to relate an event in the history of Anglo-Saxon England but as a literary counterpoint with a thinly veiled political message.&quot; [[Magnús Fjalldal. A Farmer in the Court of King Athelstan]] (pp. 29-31).&lt;/ref&gt; to Egil. Egil stood up and drew his sword, and went across the floor. He stuck the sword-point within the round of the ring, and drew it to him; then he went back to his place. The king sate him again in his high-seat. But when Egil was set down, he drew the ring on his arm, and then his brows went back to their place. He now laid down sword and helm, took the horn that they bare to him, and drank it off. Then sang he:</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>But as he sat (as was before written), he drew one eye-brow down towards the cheek&lt;ref&gt;&#039;&#039;&#039;one eye-brow down towards the cheek&#039;&#039;&#039;: &quot;When in the grip of fury, Celtic and Germanic berserks contorted their faces and bodies in frightening ways. Among Irish heroes, Cū Chulainn is famous for this. Likewise tenth-century Egil: when he came to claim the wergild for his slain brother, he showed the king how mad he was by drooping one eyebrow down towards his cheek, raising the other up to the roots of his hair and moving his eyebrows alternately up and down.&quot; [[Speidel, Michael P. Berserks: A History of Indo-European “Mad Warriors”]] (p. 260).&lt;/ref&gt;, the other up to the roots of the hair.&lt;ref&gt;&#039;&#039;&#039;up to the roots of the hair&#039;&#039;&#039;: &quot;In many ways this scene is reminiscent of the confrontation between Heiðrekr and Gestumblindi in Hervarar saga, and also of a scene in Grímnismál that was probably the prototype. The presence of fire, the face-to-face encounter between the kind and a newcomer, and the fact that Egill closes one eye as if in imitation of Óðinn, who occupies the role that Egill occupies in the two other episodes, can be viewed as allusions to these scenes, which, as we have seen, are both bound up with the motif of fratricide&quot;. [[Torfi H. Tulinius. An Attempt at Application: Interpreting Egils saga]] (p. 255).&lt;/ref&gt; He would not drink now, though the horn was borne to him, but alternately twitched his brows&lt;ref&gt;&#039;&#039;&#039;twitched his brows&#039;&#039;&#039;: „Þótt lýsing Egils í 55. kap. sé stórfengleg, brosir maður að henni í lokin, þegar Egill tekur að hleypa brúnum. Og er ekki næstum sem maður heyri smellinn, þegar brýn hans fara síðar í lag?“ [[Finnbogi Guðmundsson. Gamansemi Snorra Sturlusonar]] (p. 113).&lt;/ref&gt;&lt;ref&gt;&#039;&#039;&#039;twitched his brows &#039;&#039;&#039;: &quot;Augabrúnir sem færast úr lagi eru nefnilega einkenni á mynd af Kain sem finna má í ensku handriti frá fyrri hluta 13. aldar. Ef til vill er það engin tilviljun að útliti Egils er einmitt lýst rækilega á þessum stað í sögunni, þegar vísanir til Kains og Júdasar eru hvað nærtækastar og þar sem einnig má greina tengsl við heinar frásagnir um bróðurmorð.  &quot; [[Torfi H. Tulinius. Vefir textans]] (p. 76).&lt;/ref&gt; up and down.&lt;ref&gt; &#039;&#039;&#039;twitched his brows up and down&#039;&#039;&#039;: &quot;Oppsummert er tolkingsforslaget mitt altså at auga skal oppfattast som eit våpen parallelt til sverdet, og augnebryna (og augnelokka) som ein parallell til slira. Å sperre opp og knipe att annakvart auge blir dermed ein parallell til å dra sverdet halvt og så smelle det nedi slira att.&quot; [[Heide, Eldar. Auga til Egil: ei nytolkning av ein tekststad i Egilssoga]] (p. 123).&lt;/ref&gt; King Athelstan sat in the upper high-seat. He too laid his sword across his knees. When they had sat there for a time,&lt;ref&gt;&#039;&#039;&#039;sat there for a time&#039;&#039;&#039;: &quot;Þessi óviðjafnanlega smámynd úr Egils sögu ber snilld höfundarins fagurt vitni. Hann nær hinum sterkustu áhrifum með algerðu þagnarspili milli tveggja leikenda. [...] Ekki veit ég, hvað konungi hefur búið í hug, er hann horfðist í augu við Egil um hallargólf þvert, en mig grunar, að honum hafi þá skilizt, að það var sómi Þórólfs, hins fallna höfðingja, en ekki ágirnd ein, sem var um að tefla.&quot; [[Kristján Eldjárn. Kistur Aðalsteins konungs]] (pp. 97-98).&lt;/ref&gt; then the king drew his sword from the sheath, and took from his arm a gold ring large and good, and placing it upon the sword-point he stood up, and went across the floor, and reached it over the fire&lt;ref&gt;&#039;&#039;&#039;reached it over the fire&#039;&#039;&#039;: &quot;When the king puts a gold ring on the tip of his sword and hands it across the fire to Egill, who receives it in like fashion, it is not just a sign of fear or mistrust, but also - symbolically - an act of social recognition. The exact symmetry in the way the two men are presented is more important than the gift involved; it shows Egill and Athelstan as equals. ... The imaginary vision of an English court where justice and generosity prevail is in stark contrast with the less favorable impression which the saga offers of the Norwegian courts of King Harald and his sons. From this point of view the author hardly included the Vínheiðr episode to relate an event in the history of Anglo-Saxon England but as a literary counterpoint with a thinly veiled political message.&quot; [[Magnús Fjalldal. A Farmer in the Court of King Athelstan]] (pp. 29-31).&lt;/ref&gt; to Egil. Egil stood up and drew his sword, and went across the floor. He stuck the sword-point within the round of the ring, and drew it to him; then he went back to his place. The king sate him again in his high-seat. But when Egil was set down, he drew the ring on his arm, and then his brows went back to their place. He now laid down sword and helm, took the horn that they bare to him, and drank it off. Then sang he:</div></td></tr> <tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l137">Line 137:</td> <td colspan="2" class="diff-lineno">Line 137:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Síðan fór Egill með sveit sína á fund Aðalsteins konungs og gekk þegar fyrir konung er hann sat við drykkju. Þar var glaumur mikill. Og er konungur sá að Egill var inn kominn þá mælti hann að rýma skyldi pallinn þann hinn óæðra fyrir þeim og mælti að Egill skyldi sitja þar í öndvegi gegnt konungi.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Síðan fór Egill með sveit sína á fund Aðalsteins konungs og gekk þegar fyrir konung er hann sat við drykkju. Þar var glaumur mikill. Og er konungur sá að Egill var inn kominn þá mælti hann að rýma skyldi pallinn þann hinn óæðra fyrir þeim og mælti að Egill skyldi sitja þar í öndvegi gegnt konungi.</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Egill settist þar niður og skaut skildinum fyrir fætur sér. Hann hafði hjálm á höfði og lagði sverðið um kné sér og dró annað skeið til hálfs en þá skellti hann aftur í slíðrin. Hann sat uppréttur og var gneyptur mjög. Egill var mikilleitur, ennibreiður, brúnamikill, nefið ekki langt en ákaflega digurt, granstæðið vítt og langt, hakan breið furðulega og svo allt um kjálkana, hálsdigur og herðimikill, svo að það bar frá því sem aðrir menn voru, harðleitur og grimmlegur þá er hann var reiður.&lt;ref&gt;'''narrative tool''': “This technique is used most effectively in chapter 55 of ''Egils saga'' where Egill finally takes over centre stage after the death of Þórólfr at the battle of Vínheiðr. All action seems to halt while the author skilfully builds the tension by giving a long description of Egill sitting across from the king, still in his armour, violently pulling his sword halfway out of its scabbard and slamming it back in.” [[Blaney, Benjamin. The Narrative Technique of Character Delineation in Egils saga]] (s. 344).&lt;/ref&gt; Hann var vel í vexti og hverjum manni hærri, úlfgrátt hárið og þykkt og varð snemma sköllóttur. En er hann sat, sem fyrr var ritað, þá hleypti hann annarri brúninni ofan&lt;ref&gt;'''annarri brúninni ofan''': "When in the grip of fury, Celtic and Germanic berserks contorted their faces and bodies in frightening ways. Among Irish heroes, Cū Chulainn is famous for this. Likewise tenth-century Egil: when he came to claim the wergild for his slain brother, he showed the king how mad he was by drooping one eyebrow down towards his cheek, raising the other up to the roots of his hair and moving his eyebrows alternately up and down." [[Speidel, Michael P. Berserks: A History of Indo-European “Mad Warriors”]] (s. 260).&lt;/ref&gt; á kinnina en annarri upp í hárrætur.&lt;ref&gt;'''annarri upp í hárrætur''': "In many ways this scene is reminiscent of the confrontation between Heiðrekr and Gestumblindi in Hervarar saga, and also of a scene in Grímnismál that was probably the prototype. The presence of fire, the face-to-face encounter between the kind and a newcomer, and the fact that Egill closes one eye as if in imitation of Óðinn, who occupies the role that Egill occupies in the two other episodes, can be viewed as allusions to these scenes, which, as we have seen, are both bound up with the motif of fratricide". [[Torfi H. Tulinius. An Attempt at Application: Interpreting Egils saga]] (s. 255).&lt;/ref&gt; Egill var svarteygur og skolbrúnn. Ekki vildi hann drekka þó að honum væri borið en ýmsum hleypti hann brúnunum&lt;ref&gt;'''hleypti hann brúnunum''': „Þótt lýsing Egils í 55. kap. sé stórfengleg, brosir maður að henni í lokin, þegar Egill tekur að hleypa brúnum. Og er ekki næstum sem maður heyri smellinn, þegar brýn hans fara síðar í lag?“ [[Finnbogi Guðmundsson. Gamansemi Snorra Sturlusonar]] (s. 113).&lt;/ref&gt;&lt;ref&gt;'''hleypti hann brúnunum ''': "Augabrúnir sem færast úr lagi eru nefnilega einkenni á mynd af Kain sem finna má í ensku handriti frá fyrri hluta 13. aldar. Ef til vill er það engin tilviljun að útliti Egils er einmitt lýst rækilega á þessum stað í sögunni, þegar vísanir til Kains og Júdasar eru hvað nærtækastar og þar sem einnig má greina tengsl við heinar frásagnir um bróðurmorð.  " [[Torfi H. Tulinius. Vefir textans]] (s. 76).&lt;/ref&gt; ofan eða upp.&lt;ref&gt;'''hleypti hann brúnunum ofan eða upp''': "Oppsummert er tolkingsforslaget mitt altså at auga skal oppfattast som eit våpen parallelt til sverdet, og augnebryna (og augnelokka) som ein parallell til slira. Å sperre opp og knipe att annakvart auge blir dermed ein parallell til å dra sverdet halvt og så smelle det nedi slira att." [[Heide, Eldar. Auga til Egil: ei nytolkning av ein tekststad i Egilssoga]] (s. 123).&lt;/ref&gt;</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Egill settist þar niður og skaut skildinum fyrir fætur sér. Hann hafði hjálm á höfði og lagði sverðið um kné sér og dró annað skeið til hálfs en þá skellti hann aftur í slíðrin. Hann sat uppréttur og var gneyptur mjög. Egill var mikilleitur, ennibreiður, brúnamikill,<ins style="font-weight: bold; text-decoration: none;">&lt;ref&gt;'''mikilleitur, ennibreiður, brúnamikill'': “The hero is introduced after a full account of his ancestors and of the events which coloured the fate of his family. He arrives on the scene at the critical moment, when that fate has to be wound up to a crisis; that crisis is the story of his life--is, in other words, his saga.” [[Gosse, E.W.. The “Egils saga”]] (s. 21).&lt;/ref&gt; </ins>nefið ekki langt en ákaflega digurt, granstæðið vítt og langt, hakan breið furðulega og svo allt um kjálkana, hálsdigur og herðimikill, svo að það bar frá því sem aðrir menn voru, harðleitur og grimmlegur þá er hann var reiður.&lt;ref&gt;'''narrative tool''': “This technique is used most effectively in chapter 55 of ''Egils saga'' where Egill finally takes over centre stage after the death of Þórólfr at the battle of Vínheiðr. All action seems to halt while the author skilfully builds the tension by giving a long description of Egill sitting across from the king, still in his armour, violently pulling his sword halfway out of its scabbard and slamming it back in.” [[Blaney, Benjamin. The Narrative Technique of Character Delineation in Egils saga]] (s. 344).&lt;/ref&gt; Hann var vel í vexti og hverjum manni hærri, úlfgrátt hárið og þykkt og varð snemma sköllóttur. En er hann sat, sem fyrr var ritað, þá hleypti hann annarri brúninni ofan&lt;ref&gt;'''annarri brúninni ofan''': "When in the grip of fury, Celtic and Germanic berserks contorted their faces and bodies in frightening ways. Among Irish heroes, Cū Chulainn is famous for this. Likewise tenth-century Egil: when he came to claim the wergild for his slain brother, he showed the king how mad he was by drooping one eyebrow down towards his cheek, raising the other up to the roots of his hair and moving his eyebrows alternately up and down." [[Speidel, Michael P. Berserks: A History of Indo-European “Mad Warriors”]] (s. 260).&lt;/ref&gt; á kinnina en annarri upp í hárrætur.&lt;ref&gt;'''annarri upp í hárrætur''': "In many ways this scene is reminiscent of the confrontation between Heiðrekr and Gestumblindi in Hervarar saga, and also of a scene in Grímnismál that was probably the prototype. The presence of fire, the face-to-face encounter between the kind and a newcomer, and the fact that Egill closes one eye as if in imitation of Óðinn, who occupies the role that Egill occupies in the two other episodes, can be viewed as allusions to these scenes, which, as we have seen, are both bound up with the motif of fratricide". [[Torfi H. Tulinius. An Attempt at Application: Interpreting Egils saga]] (s. 255).&lt;/ref&gt; Egill var svarteygur og skolbrúnn. Ekki vildi hann drekka þó að honum væri borið en ýmsum hleypti hann brúnunum&lt;ref&gt;'''hleypti hann brúnunum''': „Þótt lýsing Egils í 55. kap. sé stórfengleg, brosir maður að henni í lokin, þegar Egill tekur að hleypa brúnum. Og er ekki næstum sem maður heyri smellinn, þegar brýn hans fara síðar í lag?“ [[Finnbogi Guðmundsson. Gamansemi Snorra Sturlusonar]] (s. 113).&lt;/ref&gt;&lt;ref&gt;'''hleypti hann brúnunum ''': "Augabrúnir sem færast úr lagi eru nefnilega einkenni á mynd af Kain sem finna má í ensku handriti frá fyrri hluta 13. aldar. Ef til vill er það engin tilviljun að útliti Egils er einmitt lýst rækilega á þessum stað í sögunni, þegar vísanir til Kains og Júdasar eru hvað nærtækastar og þar sem einnig má greina tengsl við heinar frásagnir um bróðurmorð.  " [[Torfi H. Tulinius. Vefir textans]] (s. 76).&lt;/ref&gt; ofan eða upp.&lt;ref&gt;'''hleypti hann brúnunum ofan eða upp''': "Oppsummert er tolkingsforslaget mitt altså at auga skal oppfattast som eit våpen parallelt til sverdet, og augnebryna (og augnelokka) som ein parallell til slira. Å sperre opp og knipe att annakvart auge blir dermed ein parallell til å dra sverdet halvt og så smelle det nedi slira att." [[Heide, Eldar. Auga til Egil: ei nytolkning av ein tekststad i Egilssoga]] (s. 123).&lt;/ref&gt;</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Aðalsteinn konungur sat í hásæti. Hann lagði og sverð um kné sér. Og er þeir sátu svo um hríð,&lt;ref&gt;&#039;&#039;&#039;sátu svo um hríð&#039;&#039;&#039;: &quot;Þessi óviðjafnanlega smámynd úr Egils sögu ber snilld höfundarins fagurt vitni. Hann nær hinum sterkustu áhrifum með algerðu þagnarspili milli tveggja leikenda. [...] Ekki veit ég, hvað konungi hefur búið í hug, er hann horfðist í augu við Egil um hallargólf þvert, en mig grunar, að honum hafi þá skilizt, að það var sómi Þórólfs, hins fallna höfðingja, en ekki ágirnd ein, sem var um að tefla.&quot; [[Kristján Eldjárn. Kistur Aðalsteins konungs]] (s. 97-98).&lt;/ref&gt; þá dró konungur sverðið úr slíðrum og tók gullhring af hendi sér, mikinn og góðan, og dró á blóðrefilinn, stóð upp og gekk á gólfið og rétti yfir eldinn&lt;ref&gt;&#039;&#039;&#039;rétti yfir eldinn&#039;&#039;&#039;: &quot;When the king puts a gold ring on the tip of his sword and hands it across the fire to Egill, who receives it in like fashion, it is not just a sign of fear or mistrust, but also - symbolically - an act of social recognition. The exact symmetry in the way the two men are presented is more important than the gift involved; it shows Egill and Athelstan as equals. ... The imaginary vision of an English court where justice and generosity prevail is in stark contrast with the less favorable impression which the saga offers of the Norwegian courts of King Harald and his sons. From this point of view the author hardly included the Vínheiðr episode to relate an event in the history of Anglo-Saxon England but as a literary counterpoint with a thinly veiled political message.&quot; [[Magnús Fjalldal. A Farmer in the Court of King Athelstan]] (s. 29-31).&lt;/ref&gt; til Egils. Egill stóð upp og brá sverðinu og gekk á gólfið. Hann stakk sverðinu í bug hringinum og dró að sér, gekk aftur til rúms síns. Konungur settist í hásæti. En er Egill settist niður dró hann hringinn á hönd sér og þá fóru brýnn hans í lag. Lagði hann þá niður sverðið og hjálminn og tók við dýrshorni er honum var borið og drakk af. Þá kvað hann:</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Aðalsteinn konungur sat í hásæti. Hann lagði og sverð um kné sér. Og er þeir sátu svo um hríð,&lt;ref&gt;&#039;&#039;&#039;sátu svo um hríð&#039;&#039;&#039;: &quot;Þessi óviðjafnanlega smámynd úr Egils sögu ber snilld höfundarins fagurt vitni. Hann nær hinum sterkustu áhrifum með algerðu þagnarspili milli tveggja leikenda. [...] Ekki veit ég, hvað konungi hefur búið í hug, er hann horfðist í augu við Egil um hallargólf þvert, en mig grunar, að honum hafi þá skilizt, að það var sómi Þórólfs, hins fallna höfðingja, en ekki ágirnd ein, sem var um að tefla.&quot; [[Kristján Eldjárn. Kistur Aðalsteins konungs]] (s. 97-98).&lt;/ref&gt; þá dró konungur sverðið úr slíðrum og tók gullhring af hendi sér, mikinn og góðan, og dró á blóðrefilinn, stóð upp og gekk á gólfið og rétti yfir eldinn&lt;ref&gt;&#039;&#039;&#039;rétti yfir eldinn&#039;&#039;&#039;: &quot;When the king puts a gold ring on the tip of his sword and hands it across the fire to Egill, who receives it in like fashion, it is not just a sign of fear or mistrust, but also - symbolically - an act of social recognition. The exact symmetry in the way the two men are presented is more important than the gift involved; it shows Egill and Athelstan as equals. ... The imaginary vision of an English court where justice and generosity prevail is in stark contrast with the less favorable impression which the saga offers of the Norwegian courts of King Harald and his sons. From this point of view the author hardly included the Vínheiðr episode to relate an event in the history of Anglo-Saxon England but as a literary counterpoint with a thinly veiled political message.&quot; [[Magnús Fjalldal. A Farmer in the Court of King Athelstan]] (s. 29-31).&lt;/ref&gt; til Egils. Egill stóð upp og brá sverðinu og gekk á gólfið. Hann stakk sverðinu í bug hringinum og dró að sér, gekk aftur til rúms síns. Konungur settist í hásæti. En er Egill settist niður dró hann hringinn á hönd sér og þá fóru brýnn hans í lag. Lagði hann þá niður sverðið og hjálminn og tók við dýrshorni er honum var borið og drakk af. Þá kvað hann:</div></td></tr> </table>

Jón Karl Helgason https://wikisaga.hi.is/index.php?title=Egla,_55&diff=8822&oldid=prev 2018-11-09T15:32:45Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 15:32, 9 November 2018</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l39">Line 39:</td> <td colspan="2" class="diff-lineno">Line 39:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Egil was large-featured, broad of forehead, with large eyebrows, a nose not long but very thick, lips wide and long, chin exceeding broad, as was all about the jaws; thick-necked was he, and big-shouldered beyond other men, hard-featured, and grim when angry.&lt;ref&gt;&#039;&#039;&#039;narrative tool&#039;&#039;&#039;: “This technique is used most effectively in chapter 55 of &#039;&#039;Egils saga&#039;&#039; where Egill finally takes over centre stage after the death of Þórólfr at the battle of Vínheiðr. All action seems to halt while the author skilfully builds the tension by giving a long description of Egill sitting across from the king, still in his armour, violently pulling his sword halfway out of its scabbard and slamming it back in.” [[Blaney, Benjamin. The Narrative Technique of Character Delineation in Egils saga]] (s. 344).&lt;/ref&gt; He was well-made, more than commonly tall, had hair wolf-gray and thick, but became early bald. He was black-eyed and brown-skinned,</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Egil was large-featured, broad of forehead, with large eyebrows, a nose not long but very thick, lips wide and long, chin exceeding broad, as was all about the jaws; thick-necked was he, and big-shouldered beyond other men, hard-featured, and grim when angry.&lt;ref&gt;&#039;&#039;&#039;narrative tool&#039;&#039;&#039;: “This technique is used most effectively in chapter 55 of &#039;&#039;Egils saga&#039;&#039; where Egill finally takes over centre stage after the death of Þórólfr at the battle of Vínheiðr. All action seems to halt while the author skilfully builds the tension by giving a long description of Egill sitting across from the king, still in his armour, violently pulling his sword halfway out of its scabbard and slamming it back in.” [[Blaney, Benjamin. The Narrative Technique of Character Delineation in Egils saga]] (s. 344).&lt;/ref&gt; He was well-made, more than commonly tall, had hair wolf-gray and thick, but became early bald. He was black-eyed and brown-skinned,</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>But as he sat (as was before written), he drew one eye-brow down towards the cheek&lt;ref&gt;'''one eye-brow down towards the cheek''': "When in the grip of fury, Celtic and Germanic berserks contorted their faces and bodies in frightening ways. Among Irish heroes, Cū Chulainn is famous for this. Likewise tenth-century Egil: when he came to claim the wergild for his slain brother, he showed the king how mad he was by drooping one eyebrow down towards his cheek, raising the other up to the roots of his hair and moving his eyebrows alternately up and down." [[Speidel, Michael P. Berserks: A History of Indo-European “Mad Warriors”]] (p. 260).&lt;/ref&gt;, the other up to the roots of the hair.&lt;ref&gt;'''up to the roots of the hair''': "In many ways this scene is reminiscent of the confrontation between Heiðrekr and Gestumblindi in Hervarar saga, and also of a scene in Grímnismál that was probably the prototype. The presence of fire, the face-to-face encounter between the kind and a newcomer, and the fact that Egill closes one eye as if in imitation of Óðinn, who occupies the role that Egill occupies in the two other episodes, can be viewed as allusions to these scenes, which, as we have seen, are both bound up with the motif of fratricide". [[Torfi H. Tulinius. An Attempt at Application: Interpreting Egils saga]] (p. 255).&lt;/ref&gt; He would not drink now, though the horn was borne to him, but alternately twitched his brows&lt;ref&gt;'''twitched his brows ''': "Augabrúnir sem færast úr lagi eru nefnilega einkenni á mynd af Kain sem finna má í ensku handriti frá fyrri hluta 13. aldar. Ef til vill er það engin tilviljun að útliti Egils er einmitt lýst rækilega á þessum stað í sögunni, þegar vísanir til Kains og Júdasar eru hvað nærtækastar og þar sem einnig má greina tengsl við heinar frásagnir um bróðurmorð.  " [[Torfi H. Tulinius. Vefir textans]] (p. 76).&lt;/ref&gt; up and down.&lt;ref&gt; '''twitched his brows up and down''': "Oppsummert er tolkingsforslaget mitt altså at auga skal oppfattast som eit våpen parallelt til sverdet, og augnebryna (og augnelokka) som ein parallell til slira. Å sperre opp og knipe att annakvart auge blir dermed ein parallell til å dra sverdet halvt og så smelle det nedi slira att." [[Heide, Eldar. Auga til Egil: ei nytolkning av ein tekststad i Egilssoga]] (p. 123).&lt;/ref&gt; King Athelstan sat in the upper high-seat. He too laid his sword across his knees. When they had sat there for a time,&lt;ref&gt;'''sat there for a time''': "Þessi óviðjafnanlega smámynd úr Egils sögu ber snilld höfundarins fagurt vitni. Hann nær hinum sterkustu áhrifum með algerðu þagnarspili milli tveggja leikenda. [...] Ekki veit ég, hvað konungi hefur búið í hug, er hann horfðist í augu við Egil um hallargólf þvert, en mig grunar, að honum hafi þá skilizt, að það var sómi Þórólfs, hins fallna höfðingja, en ekki ágirnd ein, sem var um að tefla." [[Kristján Eldjárn. Kistur Aðalsteins konungs]] (pp. 97-98).&lt;/ref&gt; then the king drew his sword from the sheath, and took from his arm a gold ring large and good, and placing it upon the sword-point he stood up, and went across the floor, and reached it over the fire&lt;ref&gt;'''reached it over the fire''': "When the king puts a gold ring on the tip of his sword and hands it across the fire to Egill, who receives it in like fashion, it is not just a sign of fear or mistrust, but also - symbolically - an act of social recognition. The exact symmetry in the way the two men are presented is more important than the gift involved; it shows Egill and Athelstan as equals. ... The imaginary vision of an English court where justice and generosity prevail is in stark contrast with the less favorable impression which the saga offers of the Norwegian courts of King Harald and his sons. From this point of view the author hardly included the Vínheiðr episode to relate an event in the history of Anglo-Saxon England but as a literary counterpoint with a thinly veiled political message." [[Magnús Fjalldal. A Farmer in the Court of King Athelstan]] (pp. 29-31).&lt;/ref&gt; to Egil. Egil stood up and drew his sword, and went across the floor. He stuck the sword-point within the round of the ring, and drew it to him; then he went back to his place. The king sate him again in his high-seat. But when Egil was set down, he drew the ring on his arm, and then his brows went back to their place. He now laid down sword and helm, took the horn that they bare to him, and drank it off. Then sang he:</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>But as he sat (as was before written), he drew one eye-brow down towards the cheek&lt;ref&gt;'''one eye-brow down towards the cheek''': "When in the grip of fury, Celtic and Germanic berserks contorted their faces and bodies in frightening ways. Among Irish heroes, Cū Chulainn is famous for this. Likewise tenth-century Egil: when he came to claim the wergild for his slain brother, he showed the king how mad he was by drooping one eyebrow down towards his cheek, raising the other up to the roots of his hair and moving his eyebrows alternately up and down." [[Speidel, Michael P. Berserks: A History of Indo-European “Mad Warriors”]] (p. 260).&lt;/ref&gt;, the other up to the roots of the hair.&lt;ref&gt;'''up to the roots of the hair''': "In many ways this scene is reminiscent of the confrontation between Heiðrekr and Gestumblindi in Hervarar saga, and also of a scene in Grímnismál that was probably the prototype. The presence of fire, the face-to-face encounter between the kind and a newcomer, and the fact that Egill closes one eye as if in imitation of Óðinn, who occupies the role that Egill occupies in the two other episodes, can be viewed as allusions to these scenes, which, as we have seen, are both bound up with the motif of fratricide". [[Torfi H. Tulinius. An Attempt at Application: Interpreting Egils saga]] (p. 255).&lt;/ref&gt; He would not drink now, though the horn was borne to him, but alternately twitched his brows<ins style="font-weight: bold; text-decoration: none;">&lt;ref&gt;'''twitched his brows''': „Þótt lýsing Egils í 55. kap. sé stórfengleg, brosir maður að henni í lokin, þegar Egill tekur að hleypa brúnum. Og er ekki næstum sem maður heyri smellinn, þegar brýn hans fara síðar í lag?“ [[Finnbogi Guðmundsson. Gamansemi Snorra Sturlusonar]] (p. 113).&lt;/ref&gt;</ins>&lt;ref&gt;'''twitched his brows ''': "Augabrúnir sem færast úr lagi eru nefnilega einkenni á mynd af Kain sem finna má í ensku handriti frá fyrri hluta 13. aldar. Ef til vill er það engin tilviljun að útliti Egils er einmitt lýst rækilega á þessum stað í sögunni, þegar vísanir til Kains og Júdasar eru hvað nærtækastar og þar sem einnig má greina tengsl við heinar frásagnir um bróðurmorð.  " [[Torfi H. Tulinius. Vefir textans]] (p. 76).&lt;/ref&gt; up and down.&lt;ref&gt; '''twitched his brows up and down''': "Oppsummert er tolkingsforslaget mitt altså at auga skal oppfattast som eit våpen parallelt til sverdet, og augnebryna (og augnelokka) som ein parallell til slira. Å sperre opp og knipe att annakvart auge blir dermed ein parallell til å dra sverdet halvt og så smelle det nedi slira att." [[Heide, Eldar. Auga til Egil: ei nytolkning av ein tekststad i Egilssoga]] (p. 123).&lt;/ref&gt; King Athelstan sat in the upper high-seat. He too laid his sword across his knees. When they had sat there for a time,&lt;ref&gt;'''sat there for a time''': "Þessi óviðjafnanlega smámynd úr Egils sögu ber snilld höfundarins fagurt vitni. Hann nær hinum sterkustu áhrifum með algerðu þagnarspili milli tveggja leikenda. [...] Ekki veit ég, hvað konungi hefur búið í hug, er hann horfðist í augu við Egil um hallargólf þvert, en mig grunar, að honum hafi þá skilizt, að það var sómi Þórólfs, hins fallna höfðingja, en ekki ágirnd ein, sem var um að tefla." [[Kristján Eldjárn. Kistur Aðalsteins konungs]] (pp. 97-98).&lt;/ref&gt; then the king drew his sword from the sheath, and took from his arm a gold ring large and good, and placing it upon the sword-point he stood up, and went across the floor, and reached it over the fire&lt;ref&gt;'''reached it over the fire''': "When the king puts a gold ring on the tip of his sword and hands it across the fire to Egill, who receives it in like fashion, it is not just a sign of fear or mistrust, but also - symbolically - an act of social recognition. The exact symmetry in the way the two men are presented is more important than the gift involved; it shows Egill and Athelstan as equals. ... The imaginary vision of an English court where justice and generosity prevail is in stark contrast with the less favorable impression which the saga offers of the Norwegian courts of King Harald and his sons. From this point of view the author hardly included the Vínheiðr episode to relate an event in the history of Anglo-Saxon England but as a literary counterpoint with a thinly veiled political message." [[Magnús Fjalldal. A Farmer in the Court of King Athelstan]] (pp. 29-31).&lt;/ref&gt; to Egil. Egil stood up and drew his sword, and went across the floor. He stuck the sword-point within the round of the ring, and drew it to him; then he went back to his place. The king sate him again in his high-seat. But when Egil was set down, he drew the ring on his arm, and then his brows went back to their place. He now laid down sword and helm, took the horn that they bare to him, and drank it off. Then sang he:</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>&#039;Mailed monarch, god of battle,&lt;br&gt;</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>&#039;Mailed monarch, god of battle,&lt;br&gt;</div></td></tr> <tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l137">Line 137:</td> <td colspan="2" class="diff-lineno">Line 137:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Síðan fór Egill með sveit sína á fund Aðalsteins konungs og gekk þegar fyrir konung er hann sat við drykkju. Þar var glaumur mikill. Og er konungur sá að Egill var inn kominn þá mælti hann að rýma skyldi pallinn þann hinn óæðra fyrir þeim og mælti að Egill skyldi sitja þar í öndvegi gegnt konungi.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Síðan fór Egill með sveit sína á fund Aðalsteins konungs og gekk þegar fyrir konung er hann sat við drykkju. Þar var glaumur mikill. Og er konungur sá að Egill var inn kominn þá mælti hann að rýma skyldi pallinn þann hinn óæðra fyrir þeim og mælti að Egill skyldi sitja þar í öndvegi gegnt konungi.</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Egill settist þar niður og skaut skildinum fyrir fætur sér. Hann hafði hjálm á höfði og lagði sverðið um kné sér og dró annað skeið til hálfs en þá skellti hann aftur í slíðrin. Hann sat uppréttur og var gneyptur mjög. Egill var mikilleitur, ennibreiður, brúnamikill, nefið ekki langt en ákaflega digurt, granstæðið vítt og langt, hakan breið furðulega og svo allt um kjálkana, hálsdigur og herðimikill, svo að það bar frá því sem aðrir menn voru, harðleitur og grimmlegur þá er hann var reiður.&lt;ref&gt;'''narrative tool''': “This technique is used most effectively in chapter 55 of ''Egils saga'' where Egill finally takes over centre stage after the death of Þórólfr at the battle of Vínheiðr. All action seems to halt while the author skilfully builds the tension by giving a long description of Egill sitting across from the king, still in his armour, violently pulling his sword halfway out of its scabbard and slamming it back in.” [[Blaney, Benjamin. The Narrative Technique of Character Delineation in Egils saga]] (s. 344).&lt;/ref&gt; Hann var vel í vexti og hverjum manni hærri, úlfgrátt hárið og þykkt og varð snemma sköllóttur. En er hann sat, sem fyrr var ritað, þá hleypti hann annarri brúninni ofan&lt;ref&gt;'''annarri brúninni ofan''': "When in the grip of fury, Celtic and Germanic berserks contorted their faces and bodies in frightening ways. Among Irish heroes, Cū Chulainn is famous for this. Likewise tenth-century Egil: when he came to claim the wergild for his slain brother, he showed the king how mad he was by drooping one eyebrow down towards his cheek, raising the other up to the roots of his hair and moving his eyebrows alternately up and down." [[Speidel, Michael P. Berserks: A History of Indo-European “Mad Warriors”]] (s. 260).&lt;/ref&gt; á kinnina en annarri upp í hárrætur.&lt;ref&gt;'''annarri upp í hárrætur''': "In many ways this scene is reminiscent of the confrontation between Heiðrekr and Gestumblindi in Hervarar saga, and also of a scene in Grímnismál that was probably the prototype. The presence of fire, the face-to-face encounter between the kind and a newcomer, and the fact that Egill closes one eye as if in imitation of Óðinn, who occupies the role that Egill occupies in the two other episodes, can be viewed as allusions to these scenes, which, as we have seen, are both bound up with the motif of fratricide". [[Torfi H. Tulinius. An Attempt at Application: Interpreting Egils saga]] (s. 255).&lt;/ref&gt; Egill var svarteygur og skolbrúnn. Ekki vildi hann drekka þó að honum væri borið en ýmsum hleypti hann brúnunum&lt;ref&gt;'''hleypti hann brúnunum ''': "Augabrúnir sem færast úr lagi eru nefnilega einkenni á mynd af Kain sem finna má í ensku handriti frá fyrri hluta 13. aldar. Ef til vill er það engin tilviljun að útliti Egils er einmitt lýst rækilega á þessum stað í sögunni, þegar vísanir til Kains og Júdasar eru hvað nærtækastar og þar sem einnig má greina tengsl við heinar frásagnir um bróðurmorð.  " [[Torfi H. Tulinius. Vefir textans]] (s. 76).&lt;/ref&gt; ofan eða upp.&lt;ref&gt;'''hleypti hann brúnunum ofan eða upp''': "Oppsummert er tolkingsforslaget mitt altså at auga skal oppfattast som eit våpen parallelt til sverdet, og augnebryna (og augnelokka) som ein parallell til slira. Å sperre opp og knipe att annakvart auge blir dermed ein parallell til å dra sverdet halvt og så smelle det nedi slira att." [[Heide, Eldar. Auga til Egil: ei nytolkning av ein tekststad i Egilssoga]] (s. 123).&lt;/ref&gt;</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Egill settist þar niður og skaut skildinum fyrir fætur sér. Hann hafði hjálm á höfði og lagði sverðið um kné sér og dró annað skeið til hálfs en þá skellti hann aftur í slíðrin. Hann sat uppréttur og var gneyptur mjög. Egill var mikilleitur, ennibreiður, brúnamikill, nefið ekki langt en ákaflega digurt, granstæðið vítt og langt, hakan breið furðulega og svo allt um kjálkana, hálsdigur og herðimikill, svo að það bar frá því sem aðrir menn voru, harðleitur og grimmlegur þá er hann var reiður.&lt;ref&gt;'''narrative tool''': “This technique is used most effectively in chapter 55 of ''Egils saga'' where Egill finally takes over centre stage after the death of Þórólfr at the battle of Vínheiðr. All action seems to halt while the author skilfully builds the tension by giving a long description of Egill sitting across from the king, still in his armour, violently pulling his sword halfway out of its scabbard and slamming it back in.” [[Blaney, Benjamin. The Narrative Technique of Character Delineation in Egils saga]] (s. 344).&lt;/ref&gt; Hann var vel í vexti og hverjum manni hærri, úlfgrátt hárið og þykkt og varð snemma sköllóttur. En er hann sat, sem fyrr var ritað, þá hleypti hann annarri brúninni ofan&lt;ref&gt;'''annarri brúninni ofan''': "When in the grip of fury, Celtic and Germanic berserks contorted their faces and bodies in frightening ways. Among Irish heroes, Cū Chulainn is famous for this. Likewise tenth-century Egil: when he came to claim the wergild for his slain brother, he showed the king how mad he was by drooping one eyebrow down towards his cheek, raising the other up to the roots of his hair and moving his eyebrows alternately up and down." [[Speidel, Michael P. Berserks: A History of Indo-European “Mad Warriors”]] (s. 260).&lt;/ref&gt; á kinnina en annarri upp í hárrætur.&lt;ref&gt;'''annarri upp í hárrætur''': "In many ways this scene is reminiscent of the confrontation between Heiðrekr and Gestumblindi in Hervarar saga, and also of a scene in Grímnismál that was probably the prototype. The presence of fire, the face-to-face encounter between the kind and a newcomer, and the fact that Egill closes one eye as if in imitation of Óðinn, who occupies the role that Egill occupies in the two other episodes, can be viewed as allusions to these scenes, which, as we have seen, are both bound up with the motif of fratricide". [[Torfi H. Tulinius. An Attempt at Application: Interpreting Egils saga]] (s. 255).&lt;/ref&gt; Egill var svarteygur og skolbrúnn. Ekki vildi hann drekka þó að honum væri borið en ýmsum hleypti hann brúnunum<ins style="font-weight: bold; text-decoration: none;">&lt;ref&gt;'''hleypti hann brúnunum''': „Þótt lýsing Egils í 55. kap. sé stórfengleg, brosir maður að henni í lokin, þegar Egill tekur að hleypa brúnum. Og er ekki næstum sem maður heyri smellinn, þegar brýn hans fara síðar í lag?“ [[Finnbogi Guðmundsson. Gamansemi Snorra Sturlusonar]] (s. 113).&lt;/ref&gt;</ins>&lt;ref&gt;'''hleypti hann brúnunum ''': "Augabrúnir sem færast úr lagi eru nefnilega einkenni á mynd af Kain sem finna má í ensku handriti frá fyrri hluta 13. aldar. Ef til vill er það engin tilviljun að útliti Egils er einmitt lýst rækilega á þessum stað í sögunni, þegar vísanir til Kains og Júdasar eru hvað nærtækastar og þar sem einnig má greina tengsl við heinar frásagnir um bróðurmorð.  " [[Torfi H. Tulinius. Vefir textans]] (s. 76).&lt;/ref&gt; ofan eða upp.&lt;ref&gt;'''hleypti hann brúnunum ofan eða upp''': "Oppsummert er tolkingsforslaget mitt altså at auga skal oppfattast som eit våpen parallelt til sverdet, og augnebryna (og augnelokka) som ein parallell til slira. Å sperre opp og knipe att annakvart auge blir dermed ein parallell til å dra sverdet halvt og så smelle det nedi slira att." [[Heide, Eldar. Auga til Egil: ei nytolkning av ein tekststad i Egilssoga]] (s. 123).&lt;/ref&gt;</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Aðalsteinn konungur sat í hásæti. Hann lagði og sverð um kné sér. Og er þeir sátu svo um hríð,&lt;ref&gt;&#039;&#039;&#039;sátu svo um hríð&#039;&#039;&#039;: &quot;Þessi óviðjafnanlega smámynd úr Egils sögu ber snilld höfundarins fagurt vitni. Hann nær hinum sterkustu áhrifum með algerðu þagnarspili milli tveggja leikenda. [...] Ekki veit ég, hvað konungi hefur búið í hug, er hann horfðist í augu við Egil um hallargólf þvert, en mig grunar, að honum hafi þá skilizt, að það var sómi Þórólfs, hins fallna höfðingja, en ekki ágirnd ein, sem var um að tefla.&quot; [[Kristján Eldjárn. Kistur Aðalsteins konungs]] (s. 97-98).&lt;/ref&gt; þá dró konungur sverðið úr slíðrum og tók gullhring af hendi sér, mikinn og góðan, og dró á blóðrefilinn, stóð upp og gekk á gólfið og rétti yfir eldinn&lt;ref&gt;&#039;&#039;&#039;rétti yfir eldinn&#039;&#039;&#039;: &quot;When the king puts a gold ring on the tip of his sword and hands it across the fire to Egill, who receives it in like fashion, it is not just a sign of fear or mistrust, but also - symbolically - an act of social recognition. The exact symmetry in the way the two men are presented is more important than the gift involved; it shows Egill and Athelstan as equals. ... The imaginary vision of an English court where justice and generosity prevail is in stark contrast with the less favorable impression which the saga offers of the Norwegian courts of King Harald and his sons. From this point of view the author hardly included the Vínheiðr episode to relate an event in the history of Anglo-Saxon England but as a literary counterpoint with a thinly veiled political message.&quot; [[Magnús Fjalldal. A Farmer in the Court of King Athelstan]] (s. 29-31).&lt;/ref&gt; til Egils. Egill stóð upp og brá sverðinu og gekk á gólfið. Hann stakk sverðinu í bug hringinum og dró að sér, gekk aftur til rúms síns. Konungur settist í hásæti. En er Egill settist niður dró hann hringinn á hönd sér og þá fóru brýnn hans í lag. Lagði hann þá niður sverðið og hjálminn og tók við dýrshorni er honum var borið og drakk af. Þá kvað hann:</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Aðalsteinn konungur sat í hásæti. Hann lagði og sverð um kné sér. Og er þeir sátu svo um hríð,&lt;ref&gt;&#039;&#039;&#039;sátu svo um hríð&#039;&#039;&#039;: &quot;Þessi óviðjafnanlega smámynd úr Egils sögu ber snilld höfundarins fagurt vitni. Hann nær hinum sterkustu áhrifum með algerðu þagnarspili milli tveggja leikenda. [...] Ekki veit ég, hvað konungi hefur búið í hug, er hann horfðist í augu við Egil um hallargólf þvert, en mig grunar, að honum hafi þá skilizt, að það var sómi Þórólfs, hins fallna höfðingja, en ekki ágirnd ein, sem var um að tefla.&quot; [[Kristján Eldjárn. Kistur Aðalsteins konungs]] (s. 97-98).&lt;/ref&gt; þá dró konungur sverðið úr slíðrum og tók gullhring af hendi sér, mikinn og góðan, og dró á blóðrefilinn, stóð upp og gekk á gólfið og rétti yfir eldinn&lt;ref&gt;&#039;&#039;&#039;rétti yfir eldinn&#039;&#039;&#039;: &quot;When the king puts a gold ring on the tip of his sword and hands it across the fire to Egill, who receives it in like fashion, it is not just a sign of fear or mistrust, but also - symbolically - an act of social recognition. The exact symmetry in the way the two men are presented is more important than the gift involved; it shows Egill and Athelstan as equals. ... The imaginary vision of an English court where justice and generosity prevail is in stark contrast with the less favorable impression which the saga offers of the Norwegian courts of King Harald and his sons. From this point of view the author hardly included the Vínheiðr episode to relate an event in the history of Anglo-Saxon England but as a literary counterpoint with a thinly veiled political message.&quot; [[Magnús Fjalldal. A Farmer in the Court of King Athelstan]] (s. 29-31).&lt;/ref&gt; til Egils. Egill stóð upp og brá sverðinu og gekk á gólfið. Hann stakk sverðinu í bug hringinum og dró að sér, gekk aftur til rúms síns. Konungur settist í hásæti. En er Egill settist niður dró hann hringinn á hönd sér og þá fóru brýnn hans í lag. Lagði hann þá niður sverðið og hjálminn og tók við dýrshorni er honum var borið og drakk af. Þá kvað hann:</div></td></tr> </table>

Jón Karl Helgason https://wikisaga.hi.is/index.php?title=Egla,_55&diff=7080&oldid=prev 2016-08-23T19:49:11Z

<p><span dir="auto"><span class="autocomment">Kafli 55</span></span></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 19:49, 23 August 2016</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l185">Line 185:</td> <td colspan="2" class="diff-lineno">Line 185:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>hreinbraut Aðalsteini.&lt;br&gt;</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>hreinbraut Aðalsteini.&lt;br&gt;</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Aðalsteinn gaf þá enn Agli að bragarlaunum gullhringa tvo og stóð hvor mörk og þar fylgdi skikkja dýr&lt;ref&gt;'''fylgdi skikkja dýr''': "Rewarded poets become part of a relationship of service and payment for helping royal reputations. Egill composes a verse in praise of his new armband and produces another stanza iin praise of Aðalsteinn himself. The king further rewards him with gold and skikkja dýr, er konungr sjálfr hafði áðr borit... This kind of gift absorbs a poet and makes him into what the sovereign wants him to be: dressed for court; visibly in the king's debt; obviously a member of an individual lord's retinue." [[Waugh, Robin. Literacy, Royal Power, and King-Poet Relations in Old English and Old Norse Compositions]] (s. 301).&lt;/ref&gt; er konungur sjálfur hafði áður borið.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Aðalsteinn gaf þá enn Agli að bragarlaunum gullhringa tvo og stóð hvor mörk og þar fylgdi skikkja dýr&lt;ref&gt;'''fylgdi skikkja dýr''': "Rewarded poets become part of a relationship of service and payment for helping royal reputations. Egill composes a verse in praise of his new armband and produces another stanza iin praise of Aðalsteinn himself. The king further rewards him with gold and skikkja dýr, er konungr sjálfr hafði áðr borit... This kind of gift absorbs a poet and makes him into what the sovereign wants him to be: dressed for court; visibly in the king's debt; obviously a member of an individual lord's retinue." [[Waugh, Robin. Literacy, Royal Power, and King-Poet Relations in Old English and Old Norse Compositions]] (s. 301).&lt;/ref&gt; er konungur sjálfur hafði áður borið.<ins style="font-weight: bold; text-decoration: none;">&lt;ref&gt; '''borið''': "In an absurd exaggeration of the importance of these foreign farmers’ sons, they are held in the highest regard by the king and placed in command of the first two cohorts in the vanguard at Vínheiðr (ch.. 54). Permanent honours are similarly offered to Egill in ch. 62. The compensation for Þórólf’s death in battle is equally overdone: two chests of silver (ch. 55). It is therefore fitting that the surest example of ‘straight’ praise from Egill’s lips seems to be a poem about the English king, of which a specimen is quoted in ch. 55. It is said to bring a reward of two rings, each worth a mark, together with a cloak which the king himself had worn." [[Whaley, Diana. Representations of Skalds in the Sagas 1: Social and Professional Relations]] (p. 298). &lt;/ref&gt;</ins></div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>En er voraði lýsti Egill yfir því fyrir konungi að hann ætlaði í brott um sumarið og til Noregs og vita hvað títt er um hag Ásgerðar „konu þeirrar er átt hefir Þórólfur bróðir minn. Þar standa saman fé mikil en eg veit eigi hvort börn þeirra lifa nokkur. Á eg þar fyrir að sjá ef þau lifa en eg á arf allan ef Þórólfur hefir barnlaus andast.“</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>En er voraði lýsti Egill yfir því fyrir konungi að hann ætlaði í brott um sumarið og til Noregs og vita hvað títt er um hag Ásgerðar „konu þeirrar er átt hefir Þórólfur bróðir minn. Þar standa saman fé mikil en eg veit eigi hvort börn þeirra lifa nokkur. Á eg þar fyrir að sjá ef þau lifa en eg á arf allan ef Þórólfur hefir barnlaus andast.“</div></td></tr> </table>

Ermenegilda https://wikisaga.hi.is/index.php?title=Egla,_55&diff=7079&oldid=prev 2016-08-23T19:48:05Z

<p><span dir="auto"><span class="autocomment">Chapter 55</span></span></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 19:48, 23 August 2016</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l81">Line 81:</td> <td colspan="2" class="diff-lineno">Line 81:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Bold Athelstan&#039;s high sway.&#039;&lt;br&gt;</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Bold Athelstan&#039;s high sway.&#039;&lt;br&gt;</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Then gave Athelstan further to Egil as poet's meed two gold rings, each weighing a mark, and therewith a costly cloak&lt;ref&gt;'''costly cloak''': "Rewarded poets become part of a relationship of service and payment for helping royal reputations. Egill composes a verse in praise of his new armband and produces another stanza iin praise of Aðalsteinn himself. The king further rewards him with gold and skikkja dýr, er konungr sjálfr hafði áðr borit... This kind of gift absorbs a poet and makes him into what the sovereign wants him to be: dressed for court; visibly in the king's debt; obviously a member of an individual lord's retinue." [[Waugh, Robin. Literacy, Royal Power, and King-Poet Relations in Old English and Old Norse Compositions]] (p. 301).&lt;/ref&gt; that the king himself had formerly worn.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Then gave Athelstan further to Egil as poet's meed two gold rings, each weighing a mark, and therewith a costly cloak&lt;ref&gt;'''costly cloak''': "Rewarded poets become part of a relationship of service and payment for helping royal reputations. Egill composes a verse in praise of his new armband and produces another stanza iin praise of Aðalsteinn himself. The king further rewards him with gold and skikkja dýr, er konungr sjálfr hafði áðr borit... This kind of gift absorbs a poet and makes him into what the sovereign wants him to be: dressed for court; visibly in the king's debt; obviously a member of an individual lord's retinue." [[Waugh, Robin. Literacy, Royal Power, and King-Poet Relations in Old English and Old Norse Compositions]] (p. 301).&lt;/ref&gt; that the king himself had formerly worn. <ins style="font-weight: bold; text-decoration: none;">&lt;ref&gt; '''worn''': "In an absurd exaggeration of the importance of these foreign farmers’ sons, they are held in the highest regard by the king and placed in command of the first two cohorts in the vanguard at Vínheiðr (ch.. 54). Permanent honours are similarly offered to Egill in ch. 62. The compensation for Þórólf’s death in battle is equally overdone: two chests of silver (ch. 55). It is therefore fitting that the surest example of ‘straight’ praise from Egill’s lips seems to be a poem about the English king, of which a specimen is quoted in ch. 55. It is said to bring a reward of two rings, each worth a mark, together with a cloak which the king himself had worn." [[Whaley, Diana. Representations of Skalds in the Sagas 1: Social and Professional Relations]] (p. 298). &lt;/ref&gt;</ins></div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>But when spring came Egil signified to the king this, that he purposed to go away in the summer to Norway, and to learn &#039;how matters stand with Asgerdr, my late brother Thorolf&#039;s wife. A large property is there in all; but I know not whether there be children of theirs living. I am bound to look after them, if they live; but I am heir to all, if Thorolf died childless.&#039;</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>But when spring came Egil signified to the king this, that he purposed to go away in the summer to Norway, and to learn &#039;how matters stand with Asgerdr, my late brother Thorolf&#039;s wife. A large property is there in all; but I know not whether there be children of theirs living. I am bound to look after them, if they live; but I am heir to all, if Thorolf died childless.&#039;</div></td></tr> </table>

Ermenegilda https://wikisaga.hi.is/index.php?title=Egla,_55&diff=7047&oldid=prev 2016-08-23T12:19:48Z

<p><span dir="auto"><span class="autocomment">Kafli 55</span></span></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 12:19, 23 August 2016</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l117">Line 117:</td> <td colspan="2" class="diff-lineno">Line 117:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>the personal revolt, in a cry that is soon broken off and taken up again after a wide gap</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>the personal revolt, in a cry that is soon broken off and taken up again after a wide gap</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>of almost two verses «en vér verðum […] hylja harm».&quot; [[Koch, Ludovica. Gli scaldi]] (s. 11).&lt;/ref&gt; &lt;br&gt;</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>of almost two verses «en vér verðum […] hylja harm».&quot; [[Koch, Ludovica. Gli scaldi]] (s. 11).&lt;/ref&gt; &lt;br&gt;</div></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Vínu nær&lt;ref&gt;'''Vínu nær''': "It is widely agreed that this battle [Vínheiðr] should be identified with the Battle of Brunanburh in 937;  </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Vínu<ins style="font-weight: bold; text-decoration: none;">&lt;ref&gt; '''Vínu''': "Despite the saga account of his visit to Kúrland, the coastal region south of Dómisnes, not even Egill's poetry provides any relevant place-names, unless we believe that the Vína in ''Egill'' VII, 10 is the Dvína rather than whatever river was nearest to the battle of Vínheiðr (which may or may not have been the battle of Brunanburh)." [[Jesch, Judith. Ships and men in the late Viking age]] (s. 94) &lt;/ref&gt; </ins>nær&lt;ref&gt;'''Vínu nær''': "It is widely agreed that this battle [Vínheiðr] should be identified with the Battle of Brunanburh in 937;  </div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>what is disputed, however, is whether the name Vínheiðr preserves an  </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>what is disputed, however, is whether the name Vínheiðr preserves an  </div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>English name behind it—to be specific, whether it represents a Norse  </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>English name behind it—to be specific, whether it represents a Norse  </div></td></tr> </table>

Ermenegilda https://wikisaga.hi.is/index.php?title=Egla,_55&diff=7046&oldid=prev 2016-08-23T12:19:22Z

<p><span dir="auto"><span class="autocomment">Chapter 55</span></span></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 12:19, 23 August 2016</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l16">Line 16:</td> <td colspan="2" class="diff-lineno">Line 16:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>impassive re-growing or, better said, the endless growing in nature is opposed to […]</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>impassive re-growing or, better said, the endless growing in nature is opposed to […]</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>the personal revolt, in a cry that is soon broken off and taken up again after a wide gap</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>the personal revolt, in a cry that is soon broken off and taken up again after a wide gap</div></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>of almost two verses «en vér verðum […] hylja harm»." [[Koch, Ludovica. Gli scaldi]] (p. 11).&lt;/ref&gt; of Vin-heath&lt;ref&gt;'''of Vin-heath''': "It is widely agreed that this battle [Vínheiðr] should be identified with the Battle of Brunanburh in 937;  </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>of almost two verses «en vér verðum […] hylja harm»." [[Koch, Ludovica. Gli scaldi]] (p. 11).&lt;/ref&gt; of Vin-heath<ins style="font-weight: bold; text-decoration: none;">&lt;ref&gt;'''Vin-heath''': "Despite the saga account of his visit to Kúrland, the coastal region south of Dómisnes, not even Egill's poetry provides any relevant place-names, unless we believe that the Vína in ''Egill'' VII, 10 is the Dvína rather than whatever river was nearest to the battle of Vínheiðr (which may or may not have been the battle of Brunanburh)." [[Jesch, Judith. Ships and men in the late Viking age]] (p. 94) &lt;/ref&gt;</ins>&lt;ref&gt;'''of Vin-heath''': "It is widely agreed that this battle [Vínheiðr] should be identified with the Battle of Brunanburh in 937;  </div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>what is disputed, however, is whether the name Vínheiðr preserves an  </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>what is disputed, however, is whether the name Vínheiðr preserves an  </div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>English name behind it—to be specific, whether it represents a Norse  </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>English name behind it—to be specific, whether it represents a Norse  </div></td></tr> </table>

Ermenegilda https://wikisaga.hi.is/index.php?title=Egla,_55&diff=6661&oldid=prev 2016-08-04T09:09:25Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 09:09, 4 August 2016</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l39">Line 39:</td> <td colspan="2" class="diff-lineno">Line 39:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Egil was large-featured, broad of forehead, with large eyebrows, a nose not long but very thick, lips wide and long, chin exceeding broad, as was all about the jaws; thick-necked was he, and big-shouldered beyond other men, hard-featured, and grim when angry.&lt;ref&gt;&#039;&#039;&#039;narrative tool&#039;&#039;&#039;: “This technique is used most effectively in chapter 55 of &#039;&#039;Egils saga&#039;&#039; where Egill finally takes over centre stage after the death of Þórólfr at the battle of Vínheiðr. All action seems to halt while the author skilfully builds the tension by giving a long description of Egill sitting across from the king, still in his armour, violently pulling his sword halfway out of its scabbard and slamming it back in.” [[Blaney, Benjamin. The Narrative Technique of Character Delineation in Egils saga]] (s. 344).&lt;/ref&gt; He was well-made, more than commonly tall, had hair wolf-gray and thick, but became early bald. He was black-eyed and brown-skinned,</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Egil was large-featured, broad of forehead, with large eyebrows, a nose not long but very thick, lips wide and long, chin exceeding broad, as was all about the jaws; thick-necked was he, and big-shouldered beyond other men, hard-featured, and grim when angry.&lt;ref&gt;&#039;&#039;&#039;narrative tool&#039;&#039;&#039;: “This technique is used most effectively in chapter 55 of &#039;&#039;Egils saga&#039;&#039; where Egill finally takes over centre stage after the death of Þórólfr at the battle of Vínheiðr. All action seems to halt while the author skilfully builds the tension by giving a long description of Egill sitting across from the king, still in his armour, violently pulling his sword halfway out of its scabbard and slamming it back in.” [[Blaney, Benjamin. The Narrative Technique of Character Delineation in Egils saga]] (s. 344).&lt;/ref&gt; He was well-made, more than commonly tall, had hair wolf-gray and thick, but became early bald. He was black-eyed and brown-skinned,</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>But as he sat (as was before written), he drew one eye-brow down towards the cheek&lt;ref&gt;'''one eye-brow down towards the cheek''': "When in the grip of fury, Celtic and Germanic berserks contorted their faces and bodies in frightening ways. Among Irish heroes, Cū Chulainn is famous for this. Likewise tenth-century Egil: when he came to claim the wergild for his slain brother, he showed the king how mad he was by drooping one eyebrow down towards his cheek, raising the other up to the roots of his hair and moving his eyebrows alternately up and down." [[Speidel, Michael P. Berserks: A History of Indo-European “Mad Warriors”]] (p. 260).&lt;/ref&gt;, the other up to the roots of the hair.&lt;ref&gt;'''up to the roots of the hair''': "In many ways this scene is reminiscent of the confrontation between Heiðrekr and Gestumblindi in Hervarar saga, and also of a scene in Grímnismál that was probably the prototype. The presence of fire, the face-to-face encounter between the kind and a newcomer, and the fact that Egill closes one eye as if in imitation of Óðinn, who occupies the role that Egill occupies in the two other episodes, can be viewed as allusions to these scenes, which, as we have seen, are both bound up with the motif of fratricide". [[Torfi H. Tulinius. An Attempt at Application: Interpreting Egils saga]] (p. 255).&lt;/ref&gt; He would not drink now, though the horn was borne to him, but alternately twitched his brows up and down.&lt;ref&gt; '''twitched his brows up and down''': "Oppsummert er tolkingsforslaget mitt altså at auga skal oppfattast som eit våpen parallelt til sverdet, og augnebryna (og augnelokka) som ein parallell til slira. Å sperre opp og knipe att annakvart auge blir dermed ein parallell til å dra sverdet halvt og så smelle det nedi slira att." [[Heide, Eldar. Auga til Egil: ei nytolkning av ein tekststad i Egilssoga]] (p. 123).&lt;/ref&gt; King Athelstan sat in the upper high-seat. He too laid his sword across his knees. When they had sat there for a time,&lt;ref&gt;'''sat there for a time''': "Þessi óviðjafnanlega smámynd úr Egils sögu ber snilld höfundarins fagurt vitni. Hann nær hinum sterkustu áhrifum með algerðu þagnarspili milli tveggja leikenda. [...] Ekki veit ég, hvað konungi hefur búið í hug, er hann horfðist í augu við Egil um hallargólf þvert, en mig grunar, að honum hafi þá skilizt, að það var sómi Þórólfs, hins fallna höfðingja, en ekki ágirnd ein, sem var um að tefla." [[Kristján Eldjárn. Kistur Aðalsteins konungs]] (pp. 97-98).&lt;/ref&gt; then the king drew his sword from the sheath, and took from his arm a gold ring large and good, and placing it upon the sword-point he stood up, and went across the floor, and reached it over the fire&lt;ref&gt;'''reached it over the fire''': "When the king puts a gold ring on the tip of his sword and hands it across the fire to Egill, who receives it in like fashion, it is not just a sign of fear or mistrust, but also - symbolically - an act of social recognition. The exact symmetry in the way the two men are presented is more important than the gift involved; it shows Egill and Athelstan as equals. ... The imaginary vision of an English court where justice and generosity prevail is in stark contrast with the less favorable impression which the saga offers of the Norwegian courts of King Harald and his sons. From this point of view the author hardly included the Vínheiðr episode to relate an event in the history of Anglo-Saxon England but as a literary counterpoint with a thinly veiled political message." [[Magnús Fjalldal. A Farmer in the Court of King Athelstan]] (pp. 29-31).&lt;/ref&gt; to Egil. Egil stood up and drew his sword, and went across the floor. He stuck the sword-point within the round of the ring, and drew it to him; then he went back to his place. The king sate him again in his high-seat. But when Egil was set down, he drew the ring on his arm, and then his brows went back to their place. He now laid down sword and helm, took the horn that they bare to him, and drank it off. Then sang he:</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>But as he sat (as was before written), he drew one eye-brow down towards the cheek&lt;ref&gt;'''one eye-brow down towards the cheek''': "When in the grip of fury, Celtic and Germanic berserks contorted their faces and bodies in frightening ways. Among Irish heroes, Cū Chulainn is famous for this. Likewise tenth-century Egil: when he came to claim the wergild for his slain brother, he showed the king how mad he was by drooping one eyebrow down towards his cheek, raising the other up to the roots of his hair and moving his eyebrows alternately up and down." [[Speidel, Michael P. Berserks: A History of Indo-European “Mad Warriors”]] (p. 260).&lt;/ref&gt;, the other up to the roots of the hair.&lt;ref&gt;'''up to the roots of the hair''': "In many ways this scene is reminiscent of the confrontation between Heiðrekr and Gestumblindi in Hervarar saga, and also of a scene in Grímnismál that was probably the prototype. The presence of fire, the face-to-face encounter between the kind and a newcomer, and the fact that Egill closes one eye as if in imitation of Óðinn, who occupies the role that Egill occupies in the two other episodes, can be viewed as allusions to these scenes, which, as we have seen, are both bound up with the motif of fratricide". [[Torfi H. Tulinius. An Attempt at Application: Interpreting Egils saga]] (p. 255).&lt;/ref&gt; He would not drink now, though the horn was borne to him, but alternately twitched his brows<ins style="font-weight: bold; text-decoration: none;">&lt;ref&gt;'''twitched his brows ''': "Augabrúnir sem færast úr lagi eru nefnilega einkenni á mynd af Kain sem finna má í ensku handriti frá fyrri hluta 13. aldar. Ef til vill er það engin tilviljun að útliti Egils er einmitt lýst rækilega á þessum stað í sögunni, þegar vísanir til Kains og Júdasar eru hvað nærtækastar og þar sem einnig má greina tengsl við heinar frásagnir um bróðurmorð.  " [[Torfi H. Tulinius. Vefir textans]] (p. 76).&lt;/ref&gt; </ins>up and down.&lt;ref&gt; '''twitched his brows up and down''': "Oppsummert er tolkingsforslaget mitt altså at auga skal oppfattast som eit våpen parallelt til sverdet, og augnebryna (og augnelokka) som ein parallell til slira. Å sperre opp og knipe att annakvart auge blir dermed ein parallell til å dra sverdet halvt og så smelle det nedi slira att." [[Heide, Eldar. Auga til Egil: ei nytolkning av ein tekststad i Egilssoga]] (p. 123).&lt;/ref&gt; King Athelstan sat in the upper high-seat. He too laid his sword across his knees. When they had sat there for a time,&lt;ref&gt;'''sat there for a time''': "Þessi óviðjafnanlega smámynd úr Egils sögu ber snilld höfundarins fagurt vitni. Hann nær hinum sterkustu áhrifum með algerðu þagnarspili milli tveggja leikenda. [...] Ekki veit ég, hvað konungi hefur búið í hug, er hann horfðist í augu við Egil um hallargólf þvert, en mig grunar, að honum hafi þá skilizt, að það var sómi Þórólfs, hins fallna höfðingja, en ekki ágirnd ein, sem var um að tefla." [[Kristján Eldjárn. Kistur Aðalsteins konungs]] (pp. 97-98).&lt;/ref&gt; then the king drew his sword from the sheath, and took from his arm a gold ring large and good, and placing it upon the sword-point he stood up, and went across the floor, and reached it over the fire&lt;ref&gt;'''reached it over the fire''': "When the king puts a gold ring on the tip of his sword and hands it across the fire to Egill, who receives it in like fashion, it is not just a sign of fear or mistrust, but also - symbolically - an act of social recognition. The exact symmetry in the way the two men are presented is more important than the gift involved; it shows Egill and Athelstan as equals. ... The imaginary vision of an English court where justice and generosity prevail is in stark contrast with the less favorable impression which the saga offers of the Norwegian courts of King Harald and his sons. From this point of view the author hardly included the Vínheiðr episode to relate an event in the history of Anglo-Saxon England but as a literary counterpoint with a thinly veiled political message." [[Magnús Fjalldal. A Farmer in the Court of King Athelstan]] (pp. 29-31).&lt;/ref&gt; to Egil. Egil stood up and drew his sword, and went across the floor. He stuck the sword-point within the round of the ring, and drew it to him; then he went back to his place. The king sate him again in his high-seat. But when Egil was set down, he drew the ring on his arm, and then his brows went back to their place. He now laid down sword and helm, took the horn that they bare to him, and drank it off. Then sang he:</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>&#039;Mailed monarch, god of battle,&lt;br&gt;</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>&#039;Mailed monarch, god of battle,&lt;br&gt;</div></td></tr> </table>

Andri https://wikisaga.hi.is/index.php?title=Egla,_55&diff=6660&oldid=prev 2016-08-04T09:08:08Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 09:08, 4 August 2016</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l137">Line 137:</td> <td colspan="2" class="diff-lineno">Line 137:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Síðan fór Egill með sveit sína á fund Aðalsteins konungs og gekk þegar fyrir konung er hann sat við drykkju. Þar var glaumur mikill. Og er konungur sá að Egill var inn kominn þá mælti hann að rýma skyldi pallinn þann hinn óæðra fyrir þeim og mælti að Egill skyldi sitja þar í öndvegi gegnt konungi.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Síðan fór Egill með sveit sína á fund Aðalsteins konungs og gekk þegar fyrir konung er hann sat við drykkju. Þar var glaumur mikill. Og er konungur sá að Egill var inn kominn þá mælti hann að rýma skyldi pallinn þann hinn óæðra fyrir þeim og mælti að Egill skyldi sitja þar í öndvegi gegnt konungi.</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Egill settist þar niður og skaut skildinum fyrir fætur sér. Hann hafði hjálm á höfði og lagði sverðið um kné sér og dró annað skeið til hálfs en þá skellti hann aftur í slíðrin. Hann sat uppréttur og var gneyptur mjög. Egill var mikilleitur, ennibreiður, brúnamikill, nefið ekki langt en ákaflega digurt, granstæðið vítt og langt, hakan breið furðulega og svo allt um kjálkana, hálsdigur og herðimikill, svo að það bar frá því sem aðrir menn voru, harðleitur og grimmlegur þá er hann var reiður.&lt;ref&gt;'''narrative tool''': “This technique is used most effectively in chapter 55 of ''Egils saga'' where Egill finally takes over centre stage after the death of Þórólfr at the battle of Vínheiðr. All action seems to halt while the author skilfully builds the tension by giving a long description of Egill sitting across from the king, still in his armour, violently pulling his sword halfway out of its scabbard and slamming it back in.” [[Blaney, Benjamin. The Narrative Technique of Character Delineation in Egils saga]] (s. 344).&lt;/ref&gt; Hann var vel í vexti og hverjum manni hærri, úlfgrátt hárið og þykkt og varð snemma sköllóttur. En er hann sat, sem fyrr var ritað, þá hleypti hann annarri brúninni<del style="font-weight: bold; text-decoration: none;">&lt;ref&gt;'''hleypti hann brúnunum ''': "Augabrúnir sem færast úr lagi eru nefnilega einkenni á mynd af Kain sem finna má í ensku handriti frá fyrri hluta 13. aldar. Ef til vill er það engin tilviljun að útliti Egils er einmitt lýst rækilega á þessum stað í sögunni, þegar vísanir til Kains og Júdasar eru hvað nærtækastar og þar sem einnig má greina tengsl við heinar frásagnir um bróðurmorð.  " [[Torfi H. Tulinius. Vefir textans]] (s. 76).&lt;/ref&gt; </del>ofan&lt;ref&gt;'''annarri brúninni ofan''': "When in the grip of fury, Celtic and Germanic berserks contorted their faces and bodies in frightening ways. Among Irish heroes, Cū Chulainn is famous for this. Likewise tenth-century Egil: when he came to claim the wergild for his slain brother, he showed the king how mad he was by drooping one eyebrow down towards his cheek, raising the other up to the roots of his hair and moving his eyebrows alternately up and down." [[Speidel, Michael P. Berserks: A History of Indo-European “Mad Warriors”]] (s. 260).&lt;/ref&gt; á kinnina en annarri upp í hárrætur.&lt;ref&gt;'''annarri upp í hárrætur''': "In many ways this scene is reminiscent of the confrontation between Heiðrekr and Gestumblindi in Hervarar saga, and also of a scene in Grímnismál that was probably the prototype. The presence of fire, the face-to-face encounter between the kind and a newcomer, and the fact that Egill closes one eye as if in imitation of Óðinn, who occupies the role that Egill occupies in the two other episodes, can be viewed as allusions to these scenes, which, as we have seen, are both bound up with the motif of fratricide". [[Torfi H. Tulinius. An Attempt at Application: Interpreting Egils saga]] (s. 255).&lt;/ref&gt; Egill var svarteygur og skolbrúnn. Ekki vildi hann drekka þó að honum væri borið en ýmsum hleypti hann brúnunum ofan eða upp.&lt;ref&gt;'''hleypti hann brúnunum ofan eða upp''': "Oppsummert er tolkingsforslaget mitt altså at auga skal oppfattast som eit våpen parallelt til sverdet, og augnebryna (og augnelokka) som ein parallell til slira. Å sperre opp og knipe att annakvart auge blir dermed ein parallell til å dra sverdet halvt og så smelle det nedi slira att." [[Heide, Eldar. Auga til Egil: ei nytolkning av ein tekststad i Egilssoga]] (s. 123).&lt;/ref&gt;</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Egill settist þar niður og skaut skildinum fyrir fætur sér. Hann hafði hjálm á höfði og lagði sverðið um kné sér og dró annað skeið til hálfs en þá skellti hann aftur í slíðrin. Hann sat uppréttur og var gneyptur mjög. Egill var mikilleitur, ennibreiður, brúnamikill, nefið ekki langt en ákaflega digurt, granstæðið vítt og langt, hakan breið furðulega og svo allt um kjálkana, hálsdigur og herðimikill, svo að það bar frá því sem aðrir menn voru, harðleitur og grimmlegur þá er hann var reiður.&lt;ref&gt;'''narrative tool''': “This technique is used most effectively in chapter 55 of ''Egils saga'' where Egill finally takes over centre stage after the death of Þórólfr at the battle of Vínheiðr. All action seems to halt while the author skilfully builds the tension by giving a long description of Egill sitting across from the king, still in his armour, violently pulling his sword halfway out of its scabbard and slamming it back in.” [[Blaney, Benjamin. The Narrative Technique of Character Delineation in Egils saga]] (s. 344).&lt;/ref&gt; Hann var vel í vexti og hverjum manni hærri, úlfgrátt hárið og þykkt og varð snemma sköllóttur. En er hann sat, sem fyrr var ritað, þá hleypti hann annarri brúninni ofan&lt;ref&gt;'''annarri brúninni ofan''': "When in the grip of fury, Celtic and Germanic berserks contorted their faces and bodies in frightening ways. Among Irish heroes, Cū Chulainn is famous for this. Likewise tenth-century Egil: when he came to claim the wergild for his slain brother, he showed the king how mad he was by drooping one eyebrow down towards his cheek, raising the other up to the roots of his hair and moving his eyebrows alternately up and down." [[Speidel, Michael P. Berserks: A History of Indo-European “Mad Warriors”]] (s. 260).&lt;/ref&gt; á kinnina en annarri upp í hárrætur.&lt;ref&gt;'''annarri upp í hárrætur''': "In many ways this scene is reminiscent of the confrontation between Heiðrekr and Gestumblindi in Hervarar saga, and also of a scene in Grímnismál that was probably the prototype. The presence of fire, the face-to-face encounter between the kind and a newcomer, and the fact that Egill closes one eye as if in imitation of Óðinn, who occupies the role that Egill occupies in the two other episodes, can be viewed as allusions to these scenes, which, as we have seen, are both bound up with the motif of fratricide". [[Torfi H. Tulinius. An Attempt at Application: Interpreting Egils saga]] (s. 255).&lt;/ref&gt; Egill var svarteygur og skolbrúnn. Ekki vildi hann drekka þó að honum væri borið en ýmsum hleypti hann brúnunum<ins style="font-weight: bold; text-decoration: none;">&lt;ref&gt;'''hleypti hann brúnunum ''': "Augabrúnir sem færast úr lagi eru nefnilega einkenni á mynd af Kain sem finna má í ensku handriti frá fyrri hluta 13. aldar. Ef til vill er það engin tilviljun að útliti Egils er einmitt lýst rækilega á þessum stað í sögunni, þegar vísanir til Kains og Júdasar eru hvað nærtækastar og þar sem einnig má greina tengsl við heinar frásagnir um bróðurmorð.  " [[Torfi H. Tulinius. Vefir textans]] (s. 76).&lt;/ref&gt; </ins>ofan eða upp.&lt;ref&gt;'''hleypti hann brúnunum ofan eða upp''': "Oppsummert er tolkingsforslaget mitt altså at auga skal oppfattast som eit våpen parallelt til sverdet, og augnebryna (og augnelokka) som ein parallell til slira. Å sperre opp og knipe att annakvart auge blir dermed ein parallell til å dra sverdet halvt og så smelle det nedi slira att." [[Heide, Eldar. Auga til Egil: ei nytolkning av ein tekststad i Egilssoga]] (s. 123).&lt;/ref&gt;</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Aðalsteinn konungur sat í hásæti. Hann lagði og sverð um kné sér. Og er þeir sátu svo um hríð,&lt;ref&gt;&#039;&#039;&#039;sátu svo um hríð&#039;&#039;&#039;: &quot;Þessi óviðjafnanlega smámynd úr Egils sögu ber snilld höfundarins fagurt vitni. Hann nær hinum sterkustu áhrifum með algerðu þagnarspili milli tveggja leikenda. [...] Ekki veit ég, hvað konungi hefur búið í hug, er hann horfðist í augu við Egil um hallargólf þvert, en mig grunar, að honum hafi þá skilizt, að það var sómi Þórólfs, hins fallna höfðingja, en ekki ágirnd ein, sem var um að tefla.&quot; [[Kristján Eldjárn. Kistur Aðalsteins konungs]] (s. 97-98).&lt;/ref&gt; þá dró konungur sverðið úr slíðrum og tók gullhring af hendi sér, mikinn og góðan, og dró á blóðrefilinn, stóð upp og gekk á gólfið og rétti yfir eldinn&lt;ref&gt;&#039;&#039;&#039;rétti yfir eldinn&#039;&#039;&#039;: &quot;When the king puts a gold ring on the tip of his sword and hands it across the fire to Egill, who receives it in like fashion, it is not just a sign of fear or mistrust, but also - symbolically - an act of social recognition. The exact symmetry in the way the two men are presented is more important than the gift involved; it shows Egill and Athelstan as equals. ... The imaginary vision of an English court where justice and generosity prevail is in stark contrast with the less favorable impression which the saga offers of the Norwegian courts of King Harald and his sons. From this point of view the author hardly included the Vínheiðr episode to relate an event in the history of Anglo-Saxon England but as a literary counterpoint with a thinly veiled political message.&quot; [[Magnús Fjalldal. A Farmer in the Court of King Athelstan]] (s. 29-31).&lt;/ref&gt; til Egils. Egill stóð upp og brá sverðinu og gekk á gólfið. Hann stakk sverðinu í bug hringinum og dró að sér, gekk aftur til rúms síns. Konungur settist í hásæti. En er Egill settist niður dró hann hringinn á hönd sér og þá fóru brýnn hans í lag. Lagði hann þá niður sverðið og hjálminn og tók við dýrshorni er honum var borið og drakk af. Þá kvað hann:</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Aðalsteinn konungur sat í hásæti. Hann lagði og sverð um kné sér. Og er þeir sátu svo um hríð,&lt;ref&gt;&#039;&#039;&#039;sátu svo um hríð&#039;&#039;&#039;: &quot;Þessi óviðjafnanlega smámynd úr Egils sögu ber snilld höfundarins fagurt vitni. Hann nær hinum sterkustu áhrifum með algerðu þagnarspili milli tveggja leikenda. [...] Ekki veit ég, hvað konungi hefur búið í hug, er hann horfðist í augu við Egil um hallargólf þvert, en mig grunar, að honum hafi þá skilizt, að það var sómi Þórólfs, hins fallna höfðingja, en ekki ágirnd ein, sem var um að tefla.&quot; [[Kristján Eldjárn. Kistur Aðalsteins konungs]] (s. 97-98).&lt;/ref&gt; þá dró konungur sverðið úr slíðrum og tók gullhring af hendi sér, mikinn og góðan, og dró á blóðrefilinn, stóð upp og gekk á gólfið og rétti yfir eldinn&lt;ref&gt;&#039;&#039;&#039;rétti yfir eldinn&#039;&#039;&#039;: &quot;When the king puts a gold ring on the tip of his sword and hands it across the fire to Egill, who receives it in like fashion, it is not just a sign of fear or mistrust, but also - symbolically - an act of social recognition. The exact symmetry in the way the two men are presented is more important than the gift involved; it shows Egill and Athelstan as equals. ... The imaginary vision of an English court where justice and generosity prevail is in stark contrast with the less favorable impression which the saga offers of the Norwegian courts of King Harald and his sons. From this point of view the author hardly included the Vínheiðr episode to relate an event in the history of Anglo-Saxon England but as a literary counterpoint with a thinly veiled political message.&quot; [[Magnús Fjalldal. A Farmer in the Court of King Athelstan]] (s. 29-31).&lt;/ref&gt; til Egils. Egill stóð upp og brá sverðinu og gekk á gólfið. Hann stakk sverðinu í bug hringinum og dró að sér, gekk aftur til rúms síns. Konungur settist í hásæti. En er Egill settist niður dró hann hringinn á hönd sér og þá fóru brýnn hans í lag. Lagði hann þá niður sverðið og hjálminn og tók við dýrshorni er honum var borið og drakk af. Þá kvað hann:</div></td></tr> </table>

Andri https://wikisaga.hi.is/index.php?title=Egla,_55&diff=6659&oldid=prev 2016-08-04T09:07:01Z

<p></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 09:07, 4 August 2016</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l137">Line 137:</td> <td colspan="2" class="diff-lineno">Line 137:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Síðan fór Egill með sveit sína á fund Aðalsteins konungs og gekk þegar fyrir konung er hann sat við drykkju. Þar var glaumur mikill. Og er konungur sá að Egill var inn kominn þá mælti hann að rýma skyldi pallinn þann hinn óæðra fyrir þeim og mælti að Egill skyldi sitja þar í öndvegi gegnt konungi.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Síðan fór Egill með sveit sína á fund Aðalsteins konungs og gekk þegar fyrir konung er hann sat við drykkju. Þar var glaumur mikill. Og er konungur sá að Egill var inn kominn þá mælti hann að rýma skyldi pallinn þann hinn óæðra fyrir þeim og mælti að Egill skyldi sitja þar í öndvegi gegnt konungi.</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Egill settist þar niður og skaut skildinum fyrir fætur sér. Hann hafði hjálm á höfði og lagði sverðið um kné sér og dró annað skeið til hálfs en þá skellti hann aftur í slíðrin. Hann sat uppréttur og var gneyptur mjög. Egill var mikilleitur, ennibreiður, brúnamikill, nefið ekki langt en ákaflega digurt, granstæðið vítt og langt, hakan breið furðulega og svo allt um kjálkana, hálsdigur og herðimikill, svo að það bar frá því sem aðrir menn voru, harðleitur og grimmlegur þá er hann var reiður.&lt;ref&gt;'''narrative tool''': “This technique is used most effectively in chapter 55 of ''Egils saga'' where Egill finally takes over centre stage after the death of Þórólfr at the battle of Vínheiðr. All action seems to halt while the author skilfully builds the tension by giving a long description of Egill sitting across from the king, still in his armour, violently pulling his sword halfway out of its scabbard and slamming it back in.” [[Blaney, Benjamin. The Narrative Technique of Character Delineation in Egils saga]] (s. 344).&lt;/ref&gt; Hann var vel í vexti og hverjum manni hærri, úlfgrátt hárið og þykkt og varð snemma sköllóttur. En er hann sat, sem fyrr var ritað, þá hleypti hann annarri brúninni ofan&lt;ref&gt;'''annarri brúninni ofan''': "When in the grip of fury, Celtic and Germanic berserks contorted their faces and bodies in frightening ways. Among Irish heroes, Cū Chulainn is famous for this. Likewise tenth-century Egil: when he came to claim the wergild for his slain brother, he showed the king how mad he was by drooping one eyebrow down towards his cheek, raising the other up to the roots of his hair and moving his eyebrows alternately up and down." [[Speidel, Michael P. Berserks: A History of Indo-European “Mad Warriors”]] (s. 260).&lt;/ref&gt; á kinnina en annarri upp í hárrætur.&lt;ref&gt;'''annarri upp í hárrætur''': "In many ways this scene is reminiscent of the confrontation between Heiðrekr and Gestumblindi in Hervarar saga, and also of a scene in Grímnismál that was probably the prototype. The presence of fire, the face-to-face encounter between the kind and a newcomer, and the fact that Egill closes one eye as if in imitation of Óðinn, who occupies the role that Egill occupies in the two other episodes, can be viewed as allusions to these scenes, which, as we have seen, are both bound up with the motif of fratricide". [[Torfi H. Tulinius. An Attempt at Application: Interpreting Egils saga]] (s. 255).&lt;/ref&gt; Egill var svarteygur og skolbrúnn. Ekki vildi hann drekka þó að honum væri borið en ýmsum hleypti hann brúnunum ofan eða upp.&lt;ref&gt;'''hleypti hann brúnunum ofan eða upp''': "Oppsummert er tolkingsforslaget mitt altså at auga skal oppfattast som eit våpen parallelt til sverdet, og augnebryna (og augnelokka) som ein parallell til slira. Å sperre opp og knipe att annakvart auge blir dermed ein parallell til å dra sverdet halvt og så smelle det nedi slira att." [[Heide, Eldar. Auga til Egil: ei nytolkning av ein tekststad i Egilssoga]] (s. 123).&lt;/ref&gt;</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Egill settist þar niður og skaut skildinum fyrir fætur sér. Hann hafði hjálm á höfði og lagði sverðið um kné sér og dró annað skeið til hálfs en þá skellti hann aftur í slíðrin. Hann sat uppréttur og var gneyptur mjög. Egill var mikilleitur, ennibreiður, brúnamikill, nefið ekki langt en ákaflega digurt, granstæðið vítt og langt, hakan breið furðulega og svo allt um kjálkana, hálsdigur og herðimikill, svo að það bar frá því sem aðrir menn voru, harðleitur og grimmlegur þá er hann var reiður.&lt;ref&gt;'''narrative tool''': “This technique is used most effectively in chapter 55 of ''Egils saga'' where Egill finally takes over centre stage after the death of Þórólfr at the battle of Vínheiðr. All action seems to halt while the author skilfully builds the tension by giving a long description of Egill sitting across from the king, still in his armour, violently pulling his sword halfway out of its scabbard and slamming it back in.” [[Blaney, Benjamin. The Narrative Technique of Character Delineation in Egils saga]] (s. 344).&lt;/ref&gt; Hann var vel í vexti og hverjum manni hærri, úlfgrátt hárið og þykkt og varð snemma sköllóttur. En er hann sat, sem fyrr var ritað, þá hleypti hann annarri brúninni<ins style="font-weight: bold; text-decoration: none;">&lt;ref&gt;'''hleypti hann brúnunum ''': "Augabrúnir sem færast úr lagi eru nefnilega einkenni á mynd af Kain sem finna má í ensku handriti frá fyrri hluta 13. aldar. Ef til vill er það engin tilviljun að útliti Egils er einmitt lýst rækilega á þessum stað í sögunni, þegar vísanir til Kains og Júdasar eru hvað nærtækastar og þar sem einnig má greina tengsl við heinar frásagnir um bróðurmorð.  " [[Torfi H. Tulinius. Vefir textans]] (s. 76).&lt;/ref&gt; </ins>ofan&lt;ref&gt;'''annarri brúninni ofan''': "When in the grip of fury, Celtic and Germanic berserks contorted their faces and bodies in frightening ways. Among Irish heroes, Cū Chulainn is famous for this. Likewise tenth-century Egil: when he came to claim the wergild for his slain brother, he showed the king how mad he was by drooping one eyebrow down towards his cheek, raising the other up to the roots of his hair and moving his eyebrows alternately up and down." [[Speidel, Michael P. Berserks: A History of Indo-European “Mad Warriors”]] (s. 260).&lt;/ref&gt; á kinnina en annarri upp í hárrætur.&lt;ref&gt;'''annarri upp í hárrætur''': "In many ways this scene is reminiscent of the confrontation between Heiðrekr and Gestumblindi in Hervarar saga, and also of a scene in Grímnismál that was probably the prototype. The presence of fire, the face-to-face encounter between the kind and a newcomer, and the fact that Egill closes one eye as if in imitation of Óðinn, who occupies the role that Egill occupies in the two other episodes, can be viewed as allusions to these scenes, which, as we have seen, are both bound up with the motif of fratricide". [[Torfi H. Tulinius. An Attempt at Application: Interpreting Egils saga]] (s. 255).&lt;/ref&gt; Egill var svarteygur og skolbrúnn. Ekki vildi hann drekka þó að honum væri borið en ýmsum hleypti hann brúnunum ofan eða upp.&lt;ref&gt;'''hleypti hann brúnunum ofan eða upp''': "Oppsummert er tolkingsforslaget mitt altså at auga skal oppfattast som eit våpen parallelt til sverdet, og augnebryna (og augnelokka) som ein parallell til slira. Å sperre opp og knipe att annakvart auge blir dermed ein parallell til å dra sverdet halvt og så smelle det nedi slira att." [[Heide, Eldar. Auga til Egil: ei nytolkning av ein tekststad i Egilssoga]] (s. 123).&lt;/ref&gt;</div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Aðalsteinn konungur sat í hásæti. Hann lagði og sverð um kné sér. Og er þeir sátu svo um hríð,&lt;ref&gt;&#039;&#039;&#039;sátu svo um hríð&#039;&#039;&#039;: &quot;Þessi óviðjafnanlega smámynd úr Egils sögu ber snilld höfundarins fagurt vitni. Hann nær hinum sterkustu áhrifum með algerðu þagnarspili milli tveggja leikenda. [...] Ekki veit ég, hvað konungi hefur búið í hug, er hann horfðist í augu við Egil um hallargólf þvert, en mig grunar, að honum hafi þá skilizt, að það var sómi Þórólfs, hins fallna höfðingja, en ekki ágirnd ein, sem var um að tefla.&quot; [[Kristján Eldjárn. Kistur Aðalsteins konungs]] (s. 97-98).&lt;/ref&gt; þá dró konungur sverðið úr slíðrum og tók gullhring af hendi sér, mikinn og góðan, og dró á blóðrefilinn, stóð upp og gekk á gólfið og rétti yfir eldinn&lt;ref&gt;&#039;&#039;&#039;rétti yfir eldinn&#039;&#039;&#039;: &quot;When the king puts a gold ring on the tip of his sword and hands it across the fire to Egill, who receives it in like fashion, it is not just a sign of fear or mistrust, but also - symbolically - an act of social recognition. The exact symmetry in the way the two men are presented is more important than the gift involved; it shows Egill and Athelstan as equals. ... The imaginary vision of an English court where justice and generosity prevail is in stark contrast with the less favorable impression which the saga offers of the Norwegian courts of King Harald and his sons. From this point of view the author hardly included the Vínheiðr episode to relate an event in the history of Anglo-Saxon England but as a literary counterpoint with a thinly veiled political message.&quot; [[Magnús Fjalldal. A Farmer in the Court of King Athelstan]] (s. 29-31).&lt;/ref&gt; til Egils. Egill stóð upp og brá sverðinu og gekk á gólfið. Hann stakk sverðinu í bug hringinum og dró að sér, gekk aftur til rúms síns. Konungur settist í hásæti. En er Egill settist niður dró hann hringinn á hönd sér og þá fóru brýnn hans í lag. Lagði hann þá niður sverðið og hjálminn og tók við dýrshorni er honum var borið og drakk af. Þá kvað hann:</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Aðalsteinn konungur sat í hásæti. Hann lagði og sverð um kné sér. Og er þeir sátu svo um hríð,&lt;ref&gt;&#039;&#039;&#039;sátu svo um hríð&#039;&#039;&#039;: &quot;Þessi óviðjafnanlega smámynd úr Egils sögu ber snilld höfundarins fagurt vitni. Hann nær hinum sterkustu áhrifum með algerðu þagnarspili milli tveggja leikenda. [...] Ekki veit ég, hvað konungi hefur búið í hug, er hann horfðist í augu við Egil um hallargólf þvert, en mig grunar, að honum hafi þá skilizt, að það var sómi Þórólfs, hins fallna höfðingja, en ekki ágirnd ein, sem var um að tefla.&quot; [[Kristján Eldjárn. Kistur Aðalsteins konungs]] (s. 97-98).&lt;/ref&gt; þá dró konungur sverðið úr slíðrum og tók gullhring af hendi sér, mikinn og góðan, og dró á blóðrefilinn, stóð upp og gekk á gólfið og rétti yfir eldinn&lt;ref&gt;&#039;&#039;&#039;rétti yfir eldinn&#039;&#039;&#039;: &quot;When the king puts a gold ring on the tip of his sword and hands it across the fire to Egill, who receives it in like fashion, it is not just a sign of fear or mistrust, but also - symbolically - an act of social recognition. The exact symmetry in the way the two men are presented is more important than the gift involved; it shows Egill and Athelstan as equals. ... The imaginary vision of an English court where justice and generosity prevail is in stark contrast with the less favorable impression which the saga offers of the Norwegian courts of King Harald and his sons. From this point of view the author hardly included the Vínheiðr episode to relate an event in the history of Anglo-Saxon England but as a literary counterpoint with a thinly veiled political message.&quot; [[Magnús Fjalldal. A Farmer in the Court of King Athelstan]] (s. 29-31).&lt;/ref&gt; til Egils. Egill stóð upp og brá sverðinu og gekk á gólfið. Hann stakk sverðinu í bug hringinum og dró að sér, gekk aftur til rúms síns. Konungur settist í hásæti. En er Egill settist niður dró hann hringinn á hönd sér og þá fóru brýnn hans í lag. Lagði hann þá niður sverðið og hjálminn og tók við dýrshorni er honum var borið og drakk af. Þá kvað hann:</div></td></tr> </table>

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