Egla, 56 - Revision history

Andri at 14:31, 3 August 2016

2016-08-03T14:31:47Z

← Older revision		Revision as of 14:31, 3 August 2016
Line 9:		Line 9:
	Bergonund son of Thorgeir Thornfoot had then married Gunnhilda daughter of Bjorn Yeoman. She had come to keep house with him at Askr. But Asgerdr, whom Thorolf Skallagrimsson had had to wife, was then with Arinbjorn, her kinsman. Thorolf and she had a daughter named Thordis, and the girl was there with her mother. Egil told Asgerdr of Thorolf's death, and offered her his guardianship. Asgerdr was much grieved at the tidings; she answered Egil's words well, saying however but little one way or the other.		Bergonund son of Thorgeir Thornfoot had then married Gunnhilda daughter of Bjorn Yeoman. She had come to keep house with him at Askr. But Asgerdr, whom Thorolf Skallagrimsson had had to wife, was then with Arinbjorn, her kinsman. Thorolf and she had a daughter named Thordis, and the girl was there with her mother. Egil told Asgerdr of Thorolf's death, and offered her his guardianship. Asgerdr was much grieved at the tidings; she answered Egil's words well, saying however but little one way or the other.

	But, at autumn wore on, Egil began to be very gloomy and drank little, and often say with his head drooping in his cloak. One time Arinbjorn went to him and asked what meant his gloom.		But, at autumn wore on, Egil began to be very gloomy and drank little, and often say with his head drooping in his cloak.<ref>''' with his head drooping in his cloak.''': " [Hegðun Egils] er því ráðgáta bæði fyrir lesendur og aðrar persónur sögunnar [...] Hér virðist því mikilvægur eiginleiki sögunnar vera kominn í ljós sem bætist við hina formföstu ytri byggingu og sterkt innra samhengi. Hann felst í tilhneigingu höfundar til að gera sögu Egils að ráðgátu. Það er t.a.m. ekki fyrr en í 56. kafla að skýring fæst á hegðun hans fram að því, og raunar þarf lesandinn að rekja sig til baka til að átta sig á því hvers vegna Egill biður Ásgerðar eftir fall Þórólfs. Þetta er ekki ósvipað gátu þar sem lausnin er fólgin í framsetningunni. Því vaknar sú spurning hvort það sem sagt er frá eftir að Egill snýr heim úr sinni fyrstu utanferð sé ekki hluti af þeirri ráðgátu." [[Torfi H. Tulinius. Beinagrindin]] (s. 52).</ref> One time Arinbjorn went to him and asked what meant his gloom.

	'Though now you have had a great loss in your brother, yet 'tis manly to bear up well; man must overlive man.<ref>'''man must overlive man''': "Auðkennda setningin á sér hliðstæður í tveim fornritum. Í Örvar-Odds sögu missir kempan hvern fóstbróður sinn á fætur öðrum, og kemur því ekki á óvart játning hans þegar líða tekur á ævi: „Mér þykir víðast dauflegt eftir mannamissi þann er eg hefi fengið.“ „Vorkunn er það,“ segir Hárekur. „Þó verður maður eftir mann að lifa. [...] Hitt ritið er Karlamagnús saga. Þegar Gvitalín hefur yppt þeirri harmfregn fyrir keisara og köppum hans að allir hinir bestu riddarar úr liði þeirra séu fallnir, þá tekst Nemes á hendur að hugga Karlamagnús: „Ver eigi óglaður,“ segir hann, „því ekki tjár að syrgja eftir dauðan. Maður skal eftir mann lifa og rækja sjálfan sig mest“.“ [[Hermann Pálsson. Ættarmót með Eglu og öðrum skrám]] (p. 3).</ref> Come, what verse are you now repeating?<ref>'''what verse are you now repeating''': "Most of non-strictly commemorative poetry stems from anger, sadness or regret. It is enough that Egil turns silent, absents and isolates himself by hiding		'Though now you have had a great loss in your brother, yet 'tis manly to bear up well; man must overlive man.<ref>'''man must overlive man''': "Auðkennda setningin á sér hliðstæður í tveim fornritum. Í Örvar-Odds sögu missir kempan hvern fóstbróður sinn á fætur öðrum, og kemur því ekki á óvart játning hans þegar líða tekur á ævi: „Mér þykir víðast dauflegt eftir mannamissi þann er eg hefi fengið.“ „Vorkunn er það,“ segir Hárekur. „Þó verður maður eftir mann að lifa. [...] Hitt ritið er Karlamagnús saga. Þegar Gvitalín hefur yppt þeirri harmfregn fyrir keisara og köppum hans að allir hinir bestu riddarar úr liði þeirra séu fallnir, þá tekst Nemes á hendur að hugga Karlamagnús: „Ver eigi óglaður,“ segir hann, „því ekki tjár að syrgja eftir dauðan. Maður skal eftir mann lifa og rækja sjálfan sig mest“.“ [[Hermann Pálsson. Ættarmót með Eglu og öðrum skrám]] (p. 3).</ref> Come, what verse are you now repeating?<ref>'''what verse are you now repeating''': "Most of non-strictly commemorative poetry stems from anger, sadness or regret. It is enough that Egil turns silent, absents and isolates himself by hiding

Andri at 14:30, 3 August 2016

2016-08-03T14:30:04Z

← Older revision		Revision as of 14:30, 3 August 2016
Line 60:		Line 60:
	Berg-Önundur son Þorgeirs þyrnifótar hafði þá fengið Gunnhildar dóttur Bjarnar hölds. Var hún komin til bús með honum á Aski. En Ásgerður er átt hafði Þórólfur Skalla-Grímsson var þá með Arinbirni frænda sínum. Þau Þórólfur áttu dóttur eina unga er Þórdís hét og var mærin þar með móður sinni. Egill sagði Ásgerði lát Þórólfs og bauð henni sína umsjá. Ásgerður varð mjög ókát við þá sögu en svaraði vel ræðum Egils og tók lítið af öllu.		Berg-Önundur son Þorgeirs þyrnifótar hafði þá fengið Gunnhildar dóttur Bjarnar hölds. Var hún komin til bús með honum á Aski. En Ásgerður er átt hafði Þórólfur Skalla-Grímsson var þá með Arinbirni frænda sínum. Þau Þórólfur áttu dóttur eina unga er Þórdís hét og var mærin þar með móður sinni. Egill sagði Ásgerði lát Þórólfs og bauð henni sína umsjá. Ásgerður varð mjög ókát við þá sögu en svaraði vel ræðum Egils og tók lítið af öllu.

	Og er á leið haustið tók Egill ógleði mikla, sat oft og drap höfðinu niður í feld sinn.		Og er á leið haustið tók Egill ógleði mikla, sat oft og drap höfðinu niður í feld sinn.<ref>''' drap höfðinu niður í feld sinn.''': " [Hegðun Egils] er því ráðgáta bæði fyrir lesendur og aðrar persónur sögunnar [...] Hér virðist því mikilvægur eiginleiki sögunnar vera kominn í ljós sem bætist við hina formföstu ytri byggingu og sterkt innra samhengi. Hann felst í tilhneigingu höfundar til að gera sögu Egils að ráðgátu. Það er t.a.m. ekki fyrr en í 56. kafla að skýring fæst á hegðun hans fram að því, og raunar þarf lesandinn að rekja sig til baka til að átta sig á því hvers vegna Egill biður Ásgerðar eftir fall Þórólfs. Þetta er ekki ósvipað gátu þar sem lausnin er fólgin í framsetningunni. Því vaknar sú spurning hvort það sem sagt er frá eftir að Egill snýr heim úr sinni fyrstu utanferð sé ekki hluti af þeirri ráðgátu." [[Torfi H. Tulinius. Beinagrindin]] (s. 52).</ref>

	Eitthvert sinn gekk Arinbjörn til hans og spurði hvað ógleði hans ylli „nú þó að þú hafir fengið skaða mikinn um bróður þinn þá er það karlmannlegt að bera það vel. Skal maður eftir mann lifa<ref>'''Skal maður eftir mann lifa''': "Auðkennda setningin á sér hliðstæður í tveim fornritum. Í Örvar-Odds sögu missir kempan hvern fóstbróður sinn á fætur öðrum, og kemur því ekki á óvart játning hans þegar líða tekur á ævi: „Mér þykir víðast dauflegt eftir mannamissi þann er eg hefi fengið.“ „Vorkunn er það,“ segir Hárekur. „Þó verður maður eftir mann að lifa. [...] Hitt ritið er Karlamagnús saga. Þegar Gvitalín hefur yppt þeirri harmfregn fyrir keisara og köppum hans að allir hinir bestu riddarar úr liði þeirra séu fallnir, þá tekst Nemes á hendur að hugga Karlamagnús: „Ver eigi óglaður,“ segir hann, „því ekki tjár að syrgja eftir dauðan. Maður skal eftir mann lifa og rækja sjálfan sig mest“.“ [[Hermann Pálsson. Ættarmót með Eglu og öðrum skrám]] (s. 3).</ref> eða hvað kveður þú nú?<ref>'''hvað kveður þú nú?''': "Most of non-strictly commemorative poetry stems from anger, sadness or regret. It is enough that Egil turns silent, absents and isolates himself by hiding		Eitthvert sinn gekk Arinbjörn til hans og spurði hvað ógleði hans ylli „nú þó að þú hafir fengið skaða mikinn um bróður þinn þá er það karlmannlegt að bera það vel. Skal maður eftir mann lifa<ref>'''Skal maður eftir mann lifa''': "Auðkennda setningin á sér hliðstæður í tveim fornritum. Í Örvar-Odds sögu missir kempan hvern fóstbróður sinn á fætur öðrum, og kemur því ekki á óvart játning hans þegar líða tekur á ævi: „Mér þykir víðast dauflegt eftir mannamissi þann er eg hefi fengið.“ „Vorkunn er það,“ segir Hárekur. „Þó verður maður eftir mann að lifa. [...] Hitt ritið er Karlamagnús saga. Þegar Gvitalín hefur yppt þeirri harmfregn fyrir keisara og köppum hans að allir hinir bestu riddarar úr liði þeirra séu fallnir, þá tekst Nemes á hendur að hugga Karlamagnús: „Ver eigi óglaður,“ segir hann, „því ekki tjár að syrgja eftir dauðan. Maður skal eftir mann lifa og rækja sjálfan sig mest“.“ [[Hermann Pálsson. Ættarmót með Eglu og öðrum skrám]] (s. 3).</ref> eða hvað kveður þú nú?<ref>'''hvað kveður þú nú?''': "Most of non-strictly commemorative poetry stems from anger, sadness or regret. It is enough that Egil turns silent, absents and isolates himself by hiding

Ermenegilda: /* Kafli 56 */

2016-07-12T17:45:16Z

Kafli 56

← Older revision		Revision as of 17:45, 12 July 2016
Line 77:		Line 77:
	brátt miðstalli hváta.<ref>'''hváta''': "With a bit of generalization, we would have a 'Minnedichter' [i.e. medieval German love-poet] complaint: a strophe about devouring love anguish and the necessity to remain silent and to avoid direct contact with the loved [lit. chosen] one." [[Gutenbrunner, Siegfried. Skaldischer Vorfrühling des Minnessangs]] (s. 388) </ref><br>		brátt miðstalli hváta.<ref>'''hváta''': "With a bit of generalization, we would have a 'Minnedichter' [i.e. medieval German love-poet] complaint: a strophe about devouring love anguish and the necessity to remain silent and to avoid direct contact with the loved [lit. chosen] one." [[Gutenbrunner, Siegfried. Skaldischer Vorfrühling des Minnessangs]] (s. 388) </ref><br>

	Arinbjörn spurði hver kona sú væri er hann orti mansöng<ref> '''mansöng''': "... there are nevertheless two strophes that Egil utters in relation to his love issue - the 23th and 24th strophes of the saga, the first of which Arinbjörn names "love song" (mansöngur), but their description of love-passion is very moderate." [[Bjarni Einarsson. Über Art und Herkunft einer Gruppe von Skaldensagas]] (s. 354) </ref> um „hefir þú fólgið nafn hennar í vísu þessi.“<ref>'''hefir þú fólgið nafn hennar í vísu þessi''': "When Egill secretes his lady's name in a stanza, it is not a ''senhal'', and when Þormóðr rededicates a love poem, it is not a ''chanson de change''. Indeed, one could argue that the similarities between Norse and Provençal love poetry are no greater than the similarities between the Norse ''níðvísa'' and the Provençal ''sirventès'' or the Norse ''erfidrápa'' and the Provençal ''planh''. The chief difficulty involved in Bjarni Einarsson's equation is therefore the absence of really significant correspondences between the conventions of love poetry in medieval Iceland and Provence." [[Andersson, Theodore M.. Skalds and Troubadours.]] (s. 17).</ref><ref> '''hefir þú fólgið nafn hennar í vísu þessi''': "I have, of course, never contended that there were "really significant correspondences between the conventions of love poetry in medieval Iceland and Provence", and I entirely agree with Andersson that "the differences are much more apparent". But when that has been stated, I still maintain that there are really significant signs of some influence, and I am not the first who has been struck by the resemblance between the Old Icelandic love poetry and certain characteristic traits of the love poetry fashionable on the continent in the twelfth century and later... It is only in the Sagas of the Skalds that the love-stanzas appear to be inconsistent with the above-named Provençal conventions, and no wonder! How should they be - or purport to be - other than "extemporaneous" and "specific" and pertaining "to a particular moment" ([Andersson 1969] p. 22), when they are part of a context in a saga?" [[Bjarni Einarsson. The Lovesick Skald]] (s. 36-7) </ref>		Arinbjörn spurði hver kona sú væri er hann orti mansöng<ref> '''mansöng''': "... there are nevertheless two strophes that Egil utters in relation to his love issue - the 23th and 24th strophes of the saga, the first of which Arinbjörn names "love song" (''mansöngur''), but their description of love-passion is very moderate." [[Bjarni Einarsson. Über Art und Herkunft einer Gruppe von Skaldensagas]] (s. 354) </ref> um „hefir þú fólgið nafn hennar í vísu þessi.“<ref>'''hefir þú fólgið nafn hennar í vísu þessi''': "When Egill secretes his lady's name in a stanza, it is not a ''senhal'', and when Þormóðr rededicates a love poem, it is not a ''chanson de change''. Indeed, one could argue that the similarities between Norse and Provençal love poetry are no greater than the similarities between the Norse ''níðvísa'' and the Provençal ''sirventès'' or the Norse ''erfidrápa'' and the Provençal ''planh''. The chief difficulty involved in Bjarni Einarsson's equation is therefore the absence of really significant correspondences between the conventions of love poetry in medieval Iceland and Provence." [[Andersson, Theodore M.. Skalds and Troubadours.]] (s. 17).</ref><ref> '''hefir þú fólgið nafn hennar í vísu þessi''': "I have, of course, never contended that there were "really significant correspondences between the conventions of love poetry in medieval Iceland and Provence", and I entirely agree with Andersson that "the differences are much more apparent". But when that has been stated, I still maintain that there are really significant signs of some influence, and I am not the first who has been struck by the resemblance between the Old Icelandic love poetry and certain characteristic traits of the love poetry fashionable on the continent in the twelfth century and later... It is only in the Sagas of the Skalds that the love-stanzas appear to be inconsistent with the above-named Provençal conventions, and no wonder! How should they be - or purport to be - other than "extemporaneous" and "specific" and pertaining "to a particular moment" ([Andersson 1969] p. 22), when they are part of a context in a saga?" [[Bjarni Einarsson. The Lovesick Skald]] (s. 36-7) </ref>

	Þá kvað Egill:		Þá kvað Egill:

Ermenegilda: /* Chapter 56 */

2016-07-12T17:44:52Z

Chapter 56

← Older revision		Revision as of 17:44, 12 July 2016
Line 26:		Line 26:
	Screen'd in his cloak his head.'<ref>'''head''': "With a bit of generalization, we would have a 'Minnedichter' [i.e. medieval German love-poet] complaint: a strophe about devouring love anguish and the necessity to remain silent and to avoid direct contact with the loved [lit. chosen] one." [[Gutenbrunner, Siegfried. Skaldischer Vorfrühling des Minnessangs]] (p. 388) </ref><br>		Screen'd in his cloak his head.'<ref>'''head''': "With a bit of generalization, we would have a 'Minnedichter' [i.e. medieval German love-poet] complaint: a strophe about devouring love anguish and the necessity to remain silent and to avoid direct contact with the loved [lit. chosen] one." [[Gutenbrunner, Siegfried. Skaldischer Vorfrühling des Minnessangs]] (p. 388) </ref><br>

	Arinbjorn asked who was the woman about whom he composed such love-song.<ref> '''love-song''': "... there are nevertheless two strophes that Egil utters in relation to his love issue - the 23th and 24th strophes of the saga, the first of which Arinbjörn names "love song" (mansöngur), but their description of love-passion is very moderate." [[Bjarni Einarsson. Über Art und Herkunft einer Gruppe von Skaldensagas]] (p. 354) </ref> 'Have you hidden her name in this stave?'<ref>'''Have you hidden her name in this stave?''': "When Egill secretes his lady's name in a stanza, it is not a ''senhal'', and when Þormóðr rededicates a love poem, it is not a ''chanson de change''. Indeed, one could argue that the similarities between Norse and Provençal love poetry are no greater than the similarities between the Norse ''níðvísa'' and the Provençal ''sirventès'' or the Norse ''erfidrápa'' and the Provençal ''planh''. The chief difficulty involved in Bjarni Einarsson's equation is therefore the absence of really significant correspondences between the conventions of love poetry in medieval Iceland and Provence." [[Andersson, Theodore M.. Skalds and Troubadours.]] (p. 17).</ref><ref> '''Have you hidden her name in this stave?''': "I have, of course, never contended that there were "really significant correspondences between the conventions of love poetry in medieval Iceland and Provence", and I entirely agree with Andersson that "the differences are much more apparent". But when that has been stated, I still maintain that there are really significant signs of some influence, and I am not the first who has been struck by the resemblance between the Old Icelandic love poetry and certain characteristic traits of the love poetry fashionable on the continent in the twelfth century and later... It is only in the Sagas of the Skalds that the love-stanzas appear to be inconsistent with the above-named Provençal conventions, and no wonder! How should they be - or purport to be - other than "extemporaneous" and "specific" and pertaining "to a particular moment" ([Andersson 1969] p. 22), when they are part of a context in a saga?" [[Bjarni Einarsson. The Lovesick Skald]] (p. 36-7) </ref>		Arinbjorn asked who was the woman about whom he composed such love-song.<ref> '''love-song''': "... there are nevertheless two strophes that Egil utters in relation to his love issue - the 23th and 24th strophes of the saga, the first of which Arinbjörn names "love song" (''mansöngur''), but their description of love-passion is very moderate." [[Bjarni Einarsson. Über Art und Herkunft einer Gruppe von Skaldensagas]] (p. 354) </ref> 'Have you hidden her name in this stave?'<ref>'''Have you hidden her name in this stave?''': "When Egill secretes his lady's name in a stanza, it is not a ''senhal'', and when Þormóðr rededicates a love poem, it is not a ''chanson de change''. Indeed, one could argue that the similarities between Norse and Provençal love poetry are no greater than the similarities between the Norse ''níðvísa'' and the Provençal ''sirventès'' or the Norse ''erfidrápa'' and the Provençal ''planh''. The chief difficulty involved in Bjarni Einarsson's equation is therefore the absence of really significant correspondences between the conventions of love poetry in medieval Iceland and Provence." [[Andersson, Theodore M.. Skalds and Troubadours.]] (p. 17).</ref><ref> '''Have you hidden her name in this stave?''': "I have, of course, never contended that there were "really significant correspondences between the conventions of love poetry in medieval Iceland and Provence", and I entirely agree with Andersson that "the differences are much more apparent". But when that has been stated, I still maintain that there are really significant signs of some influence, and I am not the first who has been struck by the resemblance between the Old Icelandic love poetry and certain characteristic traits of the love poetry fashionable on the continent in the twelfth century and later... It is only in the Sagas of the Skalds that the love-stanzas appear to be inconsistent with the above-named Provençal conventions, and no wonder! How should they be - or purport to be - other than "extemporaneous" and "specific" and pertaining "to a particular moment" ([Andersson 1969] p. 22), when they are part of a context in a saga?" [[Bjarni Einarsson. The Lovesick Skald]] (p. 36-7) </ref>

Ermenegilda: /* Kafli 56 */

2016-07-12T17:37:35Z

Kafli 56

← Older revision		Revision as of 17:37, 12 July 2016
Line 77:		Line 77:
	brátt miðstalli hváta.<ref>'''hváta''': "With a bit of generalization, we would have a 'Minnedichter' [i.e. medieval German love-poet] complaint: a strophe about devouring love anguish and the necessity to remain silent and to avoid direct contact with the loved [lit. chosen] one." [[Gutenbrunner, Siegfried. Skaldischer Vorfrühling des Minnessangs]] (s. 388) </ref><br>		brátt miðstalli hváta.<ref>'''hváta''': "With a bit of generalization, we would have a 'Minnedichter' [i.e. medieval German love-poet] complaint: a strophe about devouring love anguish and the necessity to remain silent and to avoid direct contact with the loved [lit. chosen] one." [[Gutenbrunner, Siegfried. Skaldischer Vorfrühling des Minnessangs]] (s. 388) </ref><br>

	Arinbjörn spurði hver kona sú væri er hann orti mansöng um „hefir þú fólgið nafn hennar í vísu þessi.“<ref>'''hefir þú fólgið nafn hennar í vísu þessi''': "When Egill secretes his lady's name in a stanza, it is not a ''senhal'', and when Þormóðr rededicates a love poem, it is not a ''chanson de change''. Indeed, one could argue that the similarities between Norse and Provençal love poetry are no greater than the similarities between the Norse ''níðvísa'' and the Provençal ''sirventès'' or the Norse ''erfidrápa'' and the Provençal ''planh''. The chief difficulty involved in Bjarni Einarsson's equation is therefore the absence of really significant correspondences between the conventions of love poetry in medieval Iceland and Provence." [[Andersson, Theodore M.. Skalds and Troubadours.]] (s. 17).</ref><ref> '''hefir þú fólgið nafn hennar í vísu þessi''': "I have, of course, never contended that there were "really significant correspondences between the conventions of love poetry in medieval Iceland and Provence", and I entirely agree with Andersson that "the differences are much more apparent". But when that has been stated, I still maintain that there are really significant signs of some influence, and I am not the first who has been struck by the resemblance between the Old Icelandic love poetry and certain characteristic traits of the love poetry fashionable on the continent in the twelfth century and later... It is only in the Sagas of the Skalds that the love-stanzas appear to be inconsistent with the above-named Provençal conventions, and no wonder! How should they be - or purport to be - other than "extemporaneous" and "specific" and pertaining "to a particular moment" ([Andersson 1969] p. 22), when they are part of a context in a saga?" [[Bjarni Einarsson. The Lovesick Skald]] (s. 36-7) </ref>		Arinbjörn spurði hver kona sú væri er hann orti mansöng<ref> '''mansöng''': "... there are nevertheless two strophes that Egil utters in relation to his love issue - the 23th and 24th strophes of the saga, the first of which Arinbjörn names "love song" (mansöngur), but their description of love-passion is very moderate." [[Bjarni Einarsson. Über Art und Herkunft einer Gruppe von Skaldensagas]] (s. 354) </ref> um „hefir þú fólgið nafn hennar í vísu þessi.“<ref>'''hefir þú fólgið nafn hennar í vísu þessi''': "When Egill secretes his lady's name in a stanza, it is not a ''senhal'', and when Þormóðr rededicates a love poem, it is not a ''chanson de change''. Indeed, one could argue that the similarities between Norse and Provençal love poetry are no greater than the similarities between the Norse ''níðvísa'' and the Provençal ''sirventès'' or the Norse ''erfidrápa'' and the Provençal ''planh''. The chief difficulty involved in Bjarni Einarsson's equation is therefore the absence of really significant correspondences between the conventions of love poetry in medieval Iceland and Provence." [[Andersson, Theodore M.. Skalds and Troubadours.]] (s. 17).</ref><ref> '''hefir þú fólgið nafn hennar í vísu þessi''': "I have, of course, never contended that there were "really significant correspondences between the conventions of love poetry in medieval Iceland and Provence", and I entirely agree with Andersson that "the differences are much more apparent". But when that has been stated, I still maintain that there are really significant signs of some influence, and I am not the first who has been struck by the resemblance between the Old Icelandic love poetry and certain characteristic traits of the love poetry fashionable on the continent in the twelfth century and later... It is only in the Sagas of the Skalds that the love-stanzas appear to be inconsistent with the above-named Provençal conventions, and no wonder! How should they be - or purport to be - other than "extemporaneous" and "specific" and pertaining "to a particular moment" ([Andersson 1969] p. 22), when they are part of a context in a saga?" [[Bjarni Einarsson. The Lovesick Skald]] (s. 36-7) </ref>

	Þá kvað Egill:		Þá kvað Egill:

Ermenegilda: /* Chapter 56 */

2016-07-12T17:36:38Z

Chapter 56

← Older revision		Revision as of 17:36, 12 July 2016
Line 26:		Line 26:
	Screen'd in his cloak his head.'<ref>'''head''': "With a bit of generalization, we would have a 'Minnedichter' [i.e. medieval German love-poet] complaint: a strophe about devouring love anguish and the necessity to remain silent and to avoid direct contact with the loved [lit. chosen] one." [[Gutenbrunner, Siegfried. Skaldischer Vorfrühling des Minnessangs]] (p. 388) </ref><br>		Screen'd in his cloak his head.'<ref>'''head''': "With a bit of generalization, we would have a 'Minnedichter' [i.e. medieval German love-poet] complaint: a strophe about devouring love anguish and the necessity to remain silent and to avoid direct contact with the loved [lit. chosen] one." [[Gutenbrunner, Siegfried. Skaldischer Vorfrühling des Minnessangs]] (p. 388) </ref><br>

	Arinbjorn asked who was the woman about whom he composed such love-song. 'Have you hidden her name in this stave?'<ref>'''Have you hidden her name in this stave?''': "When Egill secretes his lady's name in a stanza, it is not a ''senhal'', and when Þormóðr rededicates a love poem, it is not a ''chanson de change''. Indeed, one could argue that the similarities between Norse and Provençal love poetry are no greater than the similarities between the Norse ''níðvísa'' and the Provençal ''sirventès'' or the Norse ''erfidrápa'' and the Provençal ''planh''. The chief difficulty involved in Bjarni Einarsson's equation is therefore the absence of really significant correspondences between the conventions of love poetry in medieval Iceland and Provence." [[Andersson, Theodore M.. Skalds and Troubadours.]] (p. 17).</ref><ref> '''Have you hidden her name in this stave?''': "I have, of course, never contended that there were "really significant correspondences between the conventions of love poetry in medieval Iceland and Provence", and I entirely agree with Andersson that "the differences are much more apparent". But when that has been stated, I still maintain that there are really significant signs of some influence, and I am not the first who has been struck by the resemblance between the Old Icelandic love poetry and certain characteristic traits of the love poetry fashionable on the continent in the twelfth century and later... It is only in the Sagas of the Skalds that the love-stanzas appear to be inconsistent with the above-named Provençal conventions, and no wonder! How should they be - or purport to be - other than "extemporaneous" and "specific" and pertaining "to a particular moment" ([Andersson 1969] p. 22), when they are part of a context in a saga?" [[Bjarni Einarsson. The Lovesick Skald]] (p. 36-7) </ref>		Arinbjorn asked who was the woman about whom he composed such love-song.<ref> '''love-song''': "... there are nevertheless two strophes that Egil utters in relation to his love issue - the 23th and 24th strophes of the saga, the first of which Arinbjörn names "love song" (mansöngur), but their description of love-passion is very moderate." [[Bjarni Einarsson. Über Art und Herkunft einer Gruppe von Skaldensagas]] (p. 354) </ref> 'Have you hidden her name in this stave?'<ref>'''Have you hidden her name in this stave?''': "When Egill secretes his lady's name in a stanza, it is not a ''senhal'', and when Þormóðr rededicates a love poem, it is not a ''chanson de change''. Indeed, one could argue that the similarities between Norse and Provençal love poetry are no greater than the similarities between the Norse ''níðvísa'' and the Provençal ''sirventès'' or the Norse ''erfidrápa'' and the Provençal ''planh''. The chief difficulty involved in Bjarni Einarsson's equation is therefore the absence of really significant correspondences between the conventions of love poetry in medieval Iceland and Provence." [[Andersson, Theodore M.. Skalds and Troubadours.]] (p. 17).</ref><ref> '''Have you hidden her name in this stave?''': "I have, of course, never contended that there were "really significant correspondences between the conventions of love poetry in medieval Iceland and Provence", and I entirely agree with Andersson that "the differences are much more apparent". But when that has been stated, I still maintain that there are really significant signs of some influence, and I am not the first who has been struck by the resemblance between the Old Icelandic love poetry and certain characteristic traits of the love poetry fashionable on the continent in the twelfth century and later... It is only in the Sagas of the Skalds that the love-stanzas appear to be inconsistent with the above-named Provençal conventions, and no wonder! How should they be - or purport to be - other than "extemporaneous" and "specific" and pertaining "to a particular moment" ([Andersson 1969] p. 22), when they are part of a context in a saga?" [[Bjarni Einarsson. The Lovesick Skald]] (p. 36-7) </ref>

Ermenegilda: /* Kafli 56 */

2016-07-12T12:03:53Z

Kafli 56

← Older revision		Revision as of 12:03, 12 July 2016
Line 77:		Line 77:
	brátt miðstalli hváta.<ref>'''hváta''': "With a bit of generalization, we would have a 'Minnedichter' [i.e. medieval German love-poet] complaint: a strophe about devouring love anguish and the necessity to remain silent and to avoid direct contact with the loved [lit. chosen] one." [[Gutenbrunner, Siegfried. Skaldischer Vorfrühling des Minnessangs]] (s. 388) </ref><br>		brátt miðstalli hváta.<ref>'''hváta''': "With a bit of generalization, we would have a 'Minnedichter' [i.e. medieval German love-poet] complaint: a strophe about devouring love anguish and the necessity to remain silent and to avoid direct contact with the loved [lit. chosen] one." [[Gutenbrunner, Siegfried. Skaldischer Vorfrühling des Minnessangs]] (s. 388) </ref><br>

	Arinbjörn spurði hver kona sú væri er hann orti mansöng um „hefir þú fólgið nafn hennar í vísu þessi.“<ref>'''hefir þú fólgið nafn hennar í vísu þessi''': "When Egill secretes his lady's name in a stanza, it is not a ''senhal'', and when Þormóðr rededicates a love poem, it is not a ''chanson de change''. Indeed, one could argue that the similarities between Norse and Provençal love poetry are no greater than the similarities between the Norse ''níðvísa'' and the Provençal ''sirventès'' or the Norse ''erfidrápa'' and the Provençal ''planh''. The chief difficulty involved in Bjarni Einarsson's equation is therefore the absence of really significant correspondences between the conventions of love poetry in medieval Iceland and Provence." [[Andersson, Theodore M.. Skalds and Troubadours.]] (s. 17).</ref>		Arinbjörn spurði hver kona sú væri er hann orti mansöng um „hefir þú fólgið nafn hennar í vísu þessi.“<ref>'''hefir þú fólgið nafn hennar í vísu þessi''': "When Egill secretes his lady's name in a stanza, it is not a ''senhal'', and when Þormóðr rededicates a love poem, it is not a ''chanson de change''. Indeed, one could argue that the similarities between Norse and Provençal love poetry are no greater than the similarities between the Norse ''níðvísa'' and the Provençal ''sirventès'' or the Norse ''erfidrápa'' and the Provençal ''planh''. The chief difficulty involved in Bjarni Einarsson's equation is therefore the absence of really significant correspondences between the conventions of love poetry in medieval Iceland and Provence." [[Andersson, Theodore M.. Skalds and Troubadours.]] (s. 17).</ref><ref> '''hefir þú fólgið nafn hennar í vísu þessi''': "I have, of course, never contended that there were "really significant correspondences between the conventions of love poetry in medieval Iceland and Provence", and I entirely agree with Andersson that "the differences are much more apparent". But when that has been stated, I still maintain that there are really significant signs of some influence, and I am not the first who has been struck by the resemblance between the Old Icelandic love poetry and certain characteristic traits of the love poetry fashionable on the continent in the twelfth century and later... It is only in the Sagas of the Skalds that the love-stanzas appear to be inconsistent with the above-named Provençal conventions, and no wonder! How should they be - or purport to be - other than "extemporaneous" and "specific" and pertaining "to a particular moment" ([Andersson 1969] p. 22), when they are part of a context in a saga?" [[Bjarni Einarsson. The Lovesick Skald]] (s. 36-7) </ref>

	Þá kvað Egill:		Þá kvað Egill:

Ermenegilda: /* Chapter 56 */

2016-07-12T12:02:08Z

Chapter 56

← Older revision		Revision as of 12:02, 12 July 2016
Line 26:		Line 26:
	Screen'd in his cloak his head.'<ref>'''head''': "With a bit of generalization, we would have a 'Minnedichter' [i.e. medieval German love-poet] complaint: a strophe about devouring love anguish and the necessity to remain silent and to avoid direct contact with the loved [lit. chosen] one." [[Gutenbrunner, Siegfried. Skaldischer Vorfrühling des Minnessangs]] (p. 388) </ref><br>		Screen'd in his cloak his head.'<ref>'''head''': "With a bit of generalization, we would have a 'Minnedichter' [i.e. medieval German love-poet] complaint: a strophe about devouring love anguish and the necessity to remain silent and to avoid direct contact with the loved [lit. chosen] one." [[Gutenbrunner, Siegfried. Skaldischer Vorfrühling des Minnessangs]] (p. 388) </ref><br>

	Arinbjorn asked who was the woman about whom he composed such love-song. 'Have you hidden her name in this stave?'<ref>'''Have you hidden her name in this stave?''': "When Egill secretes his lady's name in a stanza, it is not a ''senhal'', and when Þormóðr rededicates a love poem, it is not a ''chanson de change''. Indeed, one could argue that the similarities between Norse and Provençal love poetry are no greater than the similarities between the Norse ''níðvísa'' and the Provençal ''sirventès'' or the Norse ''erfidrápa'' and the Provençal ''planh''. The chief difficulty involved in Bjarni Einarsson's equation is therefore the absence of really significant correspondences between the conventions of love poetry in medieval Iceland and Provence." [[Andersson, Theodore M.. Skalds and Troubadours.]] (p. 17).</ref>		Arinbjorn asked who was the woman about whom he composed such love-song. 'Have you hidden her name in this stave?'<ref>'''Have you hidden her name in this stave?''': "When Egill secretes his lady's name in a stanza, it is not a ''senhal'', and when Þormóðr rededicates a love poem, it is not a ''chanson de change''. Indeed, one could argue that the similarities between Norse and Provençal love poetry are no greater than the similarities between the Norse ''níðvísa'' and the Provençal ''sirventès'' or the Norse ''erfidrápa'' and the Provençal ''planh''. The chief difficulty involved in Bjarni Einarsson's equation is therefore the absence of really significant correspondences between the conventions of love poetry in medieval Iceland and Provence." [[Andersson, Theodore M.. Skalds and Troubadours.]] (p. 17).</ref><ref> '''Have you hidden her name in this stave?''': "I have, of course, never contended that there were "really significant correspondences between the conventions of love poetry in medieval Iceland and Provence", and I entirely agree with Andersson that "the differences are much more apparent". But when that has been stated, I still maintain that there are really significant signs of some influence, and I am not the first who has been struck by the resemblance between the Old Icelandic love poetry and certain characteristic traits of the love poetry fashionable on the continent in the twelfth century and later... It is only in the Sagas of the Skalds that the love-stanzas appear to be inconsistent with the above-named Provençal conventions, and no wonder! How should they be - or purport to be - other than "extemporaneous" and "specific" and pertaining "to a particular moment" ([Andersson 1969] p. 22), when they are part of a context in a saga?" [[Bjarni Einarsson. The Lovesick Skald]] (p. 36-7) </ref>

Ermenegilda: /* Kafli 56 */

2016-07-11T18:15:00Z

Kafli 56

← Older revision		Revision as of 18:15, 11 July 2016
Line 75:		Line 75:
	faldr kemr í hug skaldi <br>		faldr kemr í hug skaldi <br>
	berg-Óneris, brúna <br>		berg-Óneris, brúna <br>
	brátt miðstalli hváta.<br>		brátt miðstalli hváta.<ref>'''hváta''': "With a bit of generalization, we would have a 'Minnedichter' [i.e. medieval German love-poet] complaint: a strophe about devouring love anguish and the necessity to remain silent and to avoid direct contact with the loved [lit. chosen] one." [[Gutenbrunner, Siegfried. Skaldischer Vorfrühling des Minnessangs]] (s. 388) </ref><br>

	Arinbjörn spurði hver kona sú væri er hann orti mansöng um „hefir þú fólgið nafn hennar í vísu þessi.“<ref>'''hefir þú fólgið nafn hennar í vísu þessi''': "When Egill secretes his lady's name in a stanza, it is not a ''senhal'', and when Þormóðr rededicates a love poem, it is not a ''chanson de change''. Indeed, one could argue that the similarities between Norse and Provençal love poetry are no greater than the similarities between the Norse ''níðvísa'' and the Provençal ''sirventès'' or the Norse ''erfidrápa'' and the Provençal ''planh''. The chief difficulty involved in Bjarni Einarsson's equation is therefore the absence of really significant correspondences between the conventions of love poetry in medieval Iceland and Provence." [[Andersson, Theodore M.. Skalds and Troubadours.]] (s. 17).</ref>		Arinbjörn spurði hver kona sú væri er hann orti mansöng um „hefir þú fólgið nafn hennar í vísu þessi.“<ref>'''hefir þú fólgið nafn hennar í vísu þessi''': "When Egill secretes his lady's name in a stanza, it is not a ''senhal'', and when Þormóðr rededicates a love poem, it is not a ''chanson de change''. Indeed, one could argue that the similarities between Norse and Provençal love poetry are no greater than the similarities between the Norse ''níðvísa'' and the Provençal ''sirventès'' or the Norse ''erfidrápa'' and the Provençal ''planh''. The chief difficulty involved in Bjarni Einarsson's equation is therefore the absence of really significant correspondences between the conventions of love poetry in medieval Iceland and Provence." [[Andersson, Theodore M.. Skalds and Troubadours.]] (s. 17).</ref>
Line 95:		Line 95:

	Síðan bar Egill það mál fyrir Ásgerði en hún skaut til ráða föður síns og Arinbjarnar frænda síns. Síðan ræðir Arinbjörn við Ásgerði og hafði hún hin sömu svör fyrir sér. Arinbjörn fýsti þessa ráðs. Síðan fara þeir Arinbjörn og Egill á fund Bjarnar og hefur Egill þá bónorð og bað Ásgerðar dóttur Bjarnar. Björn tók því máli vel og sagði að Arinbjörn mundi því mjög ráða. Arinbjörn fýsti mjög og lauk því máli svo að Egill festi Ásgerði og skyldi brullaup vera að Arinbjarnar. En er að þeirri stefnu kemur þá var þar veisla allvegleg er Egill kvongaðist. Var hann þá allkátur það er eftir var vetrarins.		Síðan bar Egill það mál fyrir Ásgerði en hún skaut til ráða föður síns og Arinbjarnar frænda síns. Síðan ræðir Arinbjörn við Ásgerði og hafði hún hin sömu svör fyrir sér. Arinbjörn fýsti þessa ráðs. Síðan fara þeir Arinbjörn og Egill á fund Bjarnar og hefur Egill þá bónorð og bað Ásgerðar dóttur Bjarnar. Björn tók því máli vel og sagði að Arinbjörn mundi því mjög ráða. Arinbjörn fýsti mjög og lauk því máli svo að Egill festi Ásgerði og skyldi brullaup vera að Arinbjarnar. En er að þeirri stefnu kemur þá var þar veisla allvegleg er Egill kvongaðist. Var hann þá allkátur það er eftir var vetrarins.



	==Tilvísanir==		==Tilvísanir==

Ermenegilda: /* Chapter 56 */

2016-07-11T18:14:24Z

Chapter 56

← Older revision		Revision as of 18:14, 11 July 2016
Line 24:		Line 24:
	No sooner to the skald<br>		No sooner to the skald<br>
	Occurs, than shyly sinks<br>		Occurs, than shyly sinks<br>
	Screen'd in his cloak his head.'<br>		Screen'd in his cloak his head.'<ref>'''head''': "With a bit of generalization, we would have a 'Minnedichter' [i.e. medieval German love-poet] complaint: a strophe about devouring love anguish and the necessity to remain silent and to avoid direct contact with the loved [lit. chosen] one." [[Gutenbrunner, Siegfried. Skaldischer Vorfrühling des Minnessangs]] (p. 388) </ref><br>

	Arinbjorn asked who was the woman about whom he composed such love-song. 'Have you hidden her name in this stave?'<ref>'''Have you hidden her name in this stave?''': "When Egill secretes his lady's name in a stanza, it is not a ''senhal'', and when Þormóðr rededicates a love poem, it is not a ''chanson de change''. Indeed, one could argue that the similarities between Norse and Provençal love poetry are no greater than the similarities between the Norse ''níðvísa'' and the Provençal ''sirventès'' or the Norse ''erfidrápa'' and the Provençal ''planh''. The chief difficulty involved in Bjarni Einarsson's equation is therefore the absence of really significant correspondences between the conventions of love poetry in medieval Iceland and Provence." [[Andersson, Theodore M.. Skalds and Troubadours.]] (p. 17).</ref>		Arinbjorn asked who was the woman about whom he composed such love-song. 'Have you hidden her name in this stave?'<ref>'''Have you hidden her name in this stave?''': "When Egill secretes his lady's name in a stanza, it is not a ''senhal'', and when Þormóðr rededicates a love poem, it is not a ''chanson de change''. Indeed, one could argue that the similarities between Norse and Provençal love poetry are no greater than the similarities between the Norse ''níðvísa'' and the Provençal ''sirventès'' or the Norse ''erfidrápa'' and the Provençal ''planh''. The chief difficulty involved in Bjarni Einarsson's equation is therefore the absence of really significant correspondences between the conventions of love poetry in medieval Iceland and Provence." [[Andersson, Theodore M.. Skalds and Troubadours.]] (p. 17).</ref>
Line 46:		Line 46:
	Then Egil laid this matter before Asgerdr, but she referred it to the decision of her father and her kinsman Arinbjorn. Arinbjorn talked with Asgerdr, and she made the same answer. Arinbjorn was desirous of this match. After this Arinbjorn and Egil went together to Bjorn, and then Egil made his suit and asked to wife Asgerdr Bjorn's daughter. Bjorn took this matter well, and said that Arinbjorn should chiefly decide this. Arinbjorn greatly desired it; and the end of the matter was that Egil and Asgerdr were betrothed, and the wedding was to be at Arinbjorn's.		Then Egil laid this matter before Asgerdr, but she referred it to the decision of her father and her kinsman Arinbjorn. Arinbjorn talked with Asgerdr, and she made the same answer. Arinbjorn was desirous of this match. After this Arinbjorn and Egil went together to Bjorn, and then Egil made his suit and asked to wife Asgerdr Bjorn's daughter. Bjorn took this matter well, and said that Arinbjorn should chiefly decide this. Arinbjorn greatly desired it; and the end of the matter was that Egil and Asgerdr were betrothed, and the wedding was to be at Arinbjorn's.

	And when the appointed time came, there was a very grand feast at Egil's marriage. He was then very cheerful for the remaining part of the winter.		And when the appointed time came, there was a very grand feast at Egil's marriage. He was then very cheerful for the remaining part of the winter.

	==References==		==References==