Egla, 63 - Revision history

Jón Karl Helgason at 13:38, 9 November 2017

2017-11-09T13:38:42Z

← Older revision		Revision as of 13:38, 9 November 2017
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	'Loth am I in nowise, <br>		'Loth am I in nowise, <br>
	Though in features loathly,<ref>'''features loathly''': ""Aflagandi beinbólga er sennileg skýring á andlitslýtum Egils og hauskúpu sem er eins og „hjalma klettr". Aflögun og hörðnun höfuðkúpunnar, breytingar sem einkenna Pagetssjúkdóm, geta leitt til ljónskúpu (leontiasis ossea), aflögunar andlitsbeina sem gerir útlit viðkomnandi ljónslegt. Og lýsingin á andliti Egils kemur heim við þetta vegna þess að afleiðing sjúkdómsins er sú að andlitsbeinin þykkna verulega." [[Byock, Jesse L.. Hauskúpan og beinin í Egils sögu]] (p. 89).</ref><br>		Though in features loathly,<ref>'''features loathly''': "Aflagandi beinbólga er sennileg skýring á andlitslýtum Egils og hauskúpu sem er eins og „hjalma klettr". Aflögun og hörðnun höfuðkúpunnar, breytingar sem einkenna Pagetssjúkdóm, geta leitt til ljónskúpu (leontiasis ossea), aflögunar andlitsbeina sem gerir útlit viðkomnandi ljónslegt. Og lýsingin á andliti Egils kemur heim við þetta vegna þess að afleiðing sjúkdómsins er sú að andlitsbeinin þykkna verulega." [[Byock, Jesse L.. Hauskúpan og beinin í Egils sögu]] (p. 89).</ref><br>
	Helm-capt head in pardon<br>		Helm-capt head in pardon<br>
	From high king to take.<br>		From high king to take.<br>
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	Erumka leitt, <br>		Erumka leitt, <br>
	þótt ljótr of sé,<ref>'''þótt ljótr of sé''': ""Aflagandi beinbólga er sennileg skýring á andlitslýtum Egils og hauskúpu sem er eins og „hjalma klettr". Aflögun og hörðnun höfuðkúpunnar, breytingar sem einkenna Pagetssjúkdóm, geta leitt til ljónskúpu (leontiasis ossea), aflögunar andlitsbeina sem gerir útlit viðkomnandi ljónslegt. Og lýsingin á andliti Egils kemur heim við þetta vegna þess að afleiðing sjúkdómsins er sú að andlitsbeinin þykkna verulega." [[Byock, Jesse L.. Hauskúpan og beinin í Egils sögu]] (s. 89).</ref> <br>		þótt ljótr of sé,<ref>'''þótt ljótr of sé''': "Aflagandi beinbólga er sennileg skýring á andlitslýtum Egils og hauskúpu sem er eins og „hjalma klettr". Aflögun og hörðnun höfuðkúpunnar, breytingar sem einkenna Pagetssjúkdóm, geta leitt til ljónskúpu (leontiasis ossea), aflögunar andlitsbeina sem gerir útlit viðkomnandi ljónslegt. Og lýsingin á andliti Egils kemur heim við þetta vegna þess að afleiðing sjúkdómsins er sú að andlitsbeinin þykkna verulega." [[Byock, Jesse L.. Hauskúpan og beinin í Egils sögu]] (s. 89).</ref> <br>
	hjálma klett <br>		hjálma klett <br>
	af hilmi að þiggja. <br>		af hilmi að þiggja. <br>

Jón Karl Helgason at 13:36, 9 November 2017

2017-11-09T13:36:08Z

← Older revision		Revision as of 13:36, 9 November 2017
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	'Loth am I in nowise, <br>		'Loth am I in nowise, <br>
	Though in features loathly,<br>		Though in features loathly,<ref>'''features loathly''': ""Aflagandi beinbólga er sennileg skýring á andlitslýtum Egils og hauskúpu sem er eins og „hjalma klettr". Aflögun og hörðnun höfuðkúpunnar, breytingar sem einkenna Pagetssjúkdóm, geta leitt til ljónskúpu (leontiasis ossea), aflögunar andlitsbeina sem gerir útlit viðkomnandi ljónslegt. Og lýsingin á andliti Egils kemur heim við þetta vegna þess að afleiðing sjúkdómsins er sú að andlitsbeinin þykkna verulega." [[Byock, Jesse L.. Hauskúpan og beinin í Egils sögu]] (p. 89).</ref><br>
	Helm-capt head in pardon<br>		Helm-capt head in pardon<br>
	From high king to take.<br>		From high king to take.<br>
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	Erumka leitt, <br>		Erumka leitt, <br>
	þótt ljótr of sé, <br>		þótt ljótr of sé,<ref>'''þótt ljótr of sé''': ""Aflagandi beinbólga er sennileg skýring á andlitslýtum Egils og hauskúpu sem er eins og „hjalma klettr". Aflögun og hörðnun höfuðkúpunnar, breytingar sem einkenna Pagetssjúkdóm, geta leitt til ljónskúpu (leontiasis ossea), aflögunar andlitsbeina sem gerir útlit viðkomnandi ljónslegt. Og lýsingin á andliti Egils kemur heim við þetta vegna þess að afleiðing sjúkdómsins er sú að andlitsbeinin þykkna verulega." [[Byock, Jesse L.. Hauskúpan og beinin í Egils sögu]] (s. 89).</ref> <br>
	hjálma klett <br>		hjálma klett <br>
	af hilmi að þiggja. <br>		af hilmi að þiggja. <br>

Jón Karl Helgason at 13:18, 9 November 2017

2017-11-09T13:18:19Z

← Older revision		Revision as of 13:18, 9 November 2017
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	'''Egil's life is given him'''		'''Egil's life is given him'''

	King Eric sate upright<ref>'''King Eric sate upright''': "In ''Egils saga'' the motif of immobilisation … is perhaps even less easy to recognise because of the still greater element of realism in the narrative, the main characters of which, incidentally, are readily identifiable as historical. Reminders of the mythical character of the motif are nevertheless present in the text, as appears when the situation in which Eiríkr sits upright, staring at Egill, is seen in relation to the latter's placing of the decapitated head of a horse … and also in relation to the centrally placed motif of Egill's father being found dead in a sitting position." [[McTurk, Rory. Lot’s wife, Agni Dagsson and Egill Skalla-Grímsson]] (p. 229).</ref> while Egil recited the poem, and looked keenly at him. And when the song of praise was ended, then spake the king: 'Right well was the poem recited;.<ref>'''well was the poem recited''': "The irony is that the head-saving poem (despite its content) gives Egill more glory than [Eiríkr]. The skill of this poet in spite of the situation outweighs the king's reputation, which pales in significance; the composition even hints at this subversive agenda with its references to the art of verse-making, and with its requests for silence." [[Waugh, Robin. Literacy, Royal Power, and King-Poet Relations in Old English and Old Norse Compositions]] (p. 296).</ref> and now, Arinbjorn, I have resolved about the cause between me and Egil, how it shall go. Thou hast pleaded Egil's cause with great eagerness, since thou offerest to risk a conflict with me. Now shall I for thy sake do what thou hast asked, letting Egil go from my land safe and unhurt.<ref>'''unhurt''': "The unexpectedness of Egil's saving of his "head" when by rights he should lose it goes against the normal pattern of the sagas... Only such an extraordinary "self" as Egil could impose language so effectively on events that, against all reasonable expectation, the escalating violence does ''not'' result in death." [[De Looze, Laurence. The Concept of the Self in Egil’s Saga]] (p. 68).</ref> But thou, Egil, so order thy going that, after leaving my presence and this hall, thou never come before my eyes, nor my sons' eyes, nor be ever in the way of myself or my people. But I give thee now thy head this time for this reason, that thou camest freely into my power. I will do no dastardly deed on thee; yet know thou this for sure, that this is no reconciliation with me or my sons or any of our kin who wish to wreak their vengeance.'		King Eric sate upright<ref>'''King Eric sate upright''': "In ''Egils saga'' the motif of immobilisation … is perhaps even less easy to recognise because of the still greater element of realism in the narrative, the main characters of which, incidentally, are readily identifiable as historical. Reminders of the mythical character of the motif are nevertheless present in the text, as appears when the situation in which Eiríkr sits upright, staring at Egill, is seen in relation to the latter's placing of the decapitated head of a horse … and also in relation to the centrally placed motif of Egill's father being found dead in a sitting position." [[McTurk, Rory. Lot’s wife, Agni Dagsson and Egill Skalla-Grímsson]] (p. 229).</ref> while Egil recited the poem, and looked keenly at him. And when the song of praise was ended, then spake the king: 'Right well was the poem recited;.<ref>'''well was the poem recited''': "The irony is that the head-saving poem (despite its content) gives Egill more glory than [Eiríkr]. The skill of this poet in spite of the situation outweighs the king's reputation, which pales in significance; the composition even hints at this subversive agenda with its references to the art of verse-making, and with its requests for silence." [[Waugh, Robin. Literacy, Royal Power, and King-Poet Relations in Old English and Old Norse Compositions]] (p. 296).</ref> and now, Arinbjorn, I have resolved about the cause between me and Egil, how it shall go. Thou hast pleaded Egil's cause with great eagerness, since thou offerest to risk a conflict with me. Now shall I for thy sake do what thou hast asked, letting Egil go from my land safe and unhurt.<ref>'''unhurt''': "The unexpectedness of Egil's saving of his "head" when by rights he should lose it goes against the normal pattern of the sagas... Only such an extraordinary "self" as Egil could impose language so effectively on events that, against all reasonable expectation, the escalating violence does ''not'' result in death." [[De Looze, Laurence. The Concept of the Self in Egil’s Saga]] (p. 68).</ref> But thou, Egil, so order thy going that, after leaving my presence and this hall, thou never come before my eyes, nor my sons' eyes, nor be ever in the way of myself or my people. But I give thee now thy head this time for this reason, that thou camest freely into my power. I will do no dastardly deed on thee; yet know thou this for sure, that this is no reconciliation<ref>'''this is no reconciliation''': “Although Eirik accepts the poem and grants Egil safe passage away from his territory, it is hard to give this interaction a positive sign. In the friendship graph’s gift-giving subgraph, this act is the only negatively valued gift.” [[Tangherlini, Timothy R.. Facebook for Vikings]] (p. 162).</ref> with me or my sons or any of our kin who wish to wreak their vengeance.'

	Then sang Egil:		Then sang Egil:
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	'''Lífgjöf Egils'''		'''Lífgjöf Egils'''

	Eiríkur konungur sat uppréttur<ref>'''Eiríkur konungur sat uppréttur''': "In ''Egils saga'' the motif of immobilisation … is perhaps even less easy to recognise because of the still greater element of realism in the narrative, the main characters of which, incidentally, are readily identifiable as historical. Reminders of the mythical character of the motif are nevertheless present in the text, as appears when the situation in which Eiríkr sits upright, staring at Egill, is seen in relation to the latter's placing of the decapitated head of a horse … and also in relation to the centrally placed motif of Egill's father being found dead in a sitting position." [[McTurk, Rory. Lot’s wife, Agni Dagsson and Egill Skalla-Grímsson]] (s. 229).</ref> meðan Egill kvað kvæðið og hvessti augun á hann. Og er lokið var drápunni þá mælti konungur: „Besta er kvæðið fram flutt.<ref>'''besta er kvæðið fram flutt''': "The irony is that the head-saving poem (despite its content) gives Egill more glory than [Eiríkr]. The skill of this poet in spite of the situation outweighs the king's reputation, which pales in significance; the composition even hints at this subversive agenda with its references to the art of verse-making, and with its requests for silence." [[Waugh, Robin. Literacy, Royal Power, and King-Poet Relations in Old English and Old Norse Compositions]] (s. 296).</ref> En nú hefi eg hugsað Arinbjörn um mál vort Egils hvar koma skal. Þú hefir flutt mál Egils með ákafa miklum er þú býður að etja vandræðum við mig. Nú skal það gera fyrir þínar sakir sem þú hefir beðið að Egill skal fara frá mínum fundi heill og ósakaður.<ref>'''ósakaður''': "The unexpectedness of Egil's saving of his "head" when by rights he should lose it goes against the normal pattern of the sagas... Only such an extraordinary "self" as Egil could impose language so effectively on events that, against all reasonable expectation, the escalating violence does ''not'' result in death." [[De Looze, Laurence. The Concept of the Self in Egil’s Saga]] (s. 68).</ref> En þú Egill hátta svo ferðum þínum að síðan er þú kemur frá mínum fundi af þessi stofu, þá kom þú aldregi í augsýn mér og sonum mínum og verð aldrei fyrir mér né mínu liði. En eg gef þér nú höfuð þitt að sinni. Fyrir þá sök er þú gekkst á mitt vald, þá vil eg eigi gera níðingsverk á þér. En vita skaltu það til sanns að þetta er engi sætt við mig né sonu mína og enga frændur vora þá sem réttar vilja reka.“		Eiríkur konungur sat uppréttur<ref>'''Eiríkur konungur sat uppréttur''': "In ''Egils saga'' the motif of immobilisation … is perhaps even less easy to recognise because of the still greater element of realism in the narrative, the main characters of which, incidentally, are readily identifiable as historical. Reminders of the mythical character of the motif are nevertheless present in the text, as appears when the situation in which Eiríkr sits upright, staring at Egill, is seen in relation to the latter's placing of the decapitated head of a horse … and also in relation to the centrally placed motif of Egill's father being found dead in a sitting position." [[McTurk, Rory. Lot’s wife, Agni Dagsson and Egill Skalla-Grímsson]] (s. 229).</ref> meðan Egill kvað kvæðið og hvessti augun á hann. Og er lokið var drápunni þá mælti konungur: „Besta er kvæðið fram flutt.<ref>'''besta er kvæðið fram flutt''': "The irony is that the head-saving poem (despite its content) gives Egill more glory than [Eiríkr]. The skill of this poet in spite of the situation outweighs the king's reputation, which pales in significance; the composition even hints at this subversive agenda with its references to the art of verse-making, and with its requests for silence." [[Waugh, Robin. Literacy, Royal Power, and King-Poet Relations in Old English and Old Norse Compositions]] (s. 296).</ref> En nú hefi eg hugsað Arinbjörn um mál vort Egils hvar koma skal. Þú hefir flutt mál Egils með ákafa miklum er þú býður að etja vandræðum við mig. Nú skal það gera fyrir þínar sakir sem þú hefir beðið að Egill skal fara frá mínum fundi heill og ósakaður.<ref>'''ósakaður''': "The unexpectedness of Egil's saving of his "head" when by rights he should lose it goes against the normal pattern of the sagas... Only such an extraordinary "self" as Egil could impose language so effectively on events that, against all reasonable expectation, the escalating violence does ''not'' result in death." [[De Looze, Laurence. The Concept of the Self in Egil’s Saga]] (s. 68).</ref> En þú Egill hátta svo ferðum þínum að síðan er þú kemur frá mínum fundi af þessi stofu, þá kom þú aldregi í augsýn mér og sonum mínum og verð aldrei fyrir mér né mínu liði. En eg gef þér nú höfuð þitt að sinni. Fyrir þá sök er þú gekkst á mitt vald, þá vil eg eigi gera níðingsverk á þér. En vita skaltu það til sanns að þetta er engi sætt við mig<ref>'''þetta er engi sætt við mig''': “Although Eirik accepts the poem and grants Egil safe passage away from his territory, it is hard to give this interaction a positive sign. In the friendship graph’s gift-giving subgraph, this act is the only negatively valued gift.” [[Tangherlini, Timothy R.. Facebook for Vikings]] (s. 162).</ref> né sonu mína og enga frændur vora þá sem réttar vilja reka.“

	Þá kvað Egill:		Þá kvað Egill:

Ermenegilda: /* Kafli 63 */

2016-08-23T15:49:17Z

Kafli 63

← Older revision		Revision as of 15:49, 23 August 2016
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	magnaðr Egil fagna.<br>		magnaðr Egil fagna.<br>
	Arfstóli kná eg Ála <br>		Arfstóli kná eg Ála <br>
	áttgöfguðum<ref> '''áttgöfguðum''': "The excellence of the skald, and particularly Egill, consists then, in his skilful and daring variations on these (skaldic) themes, in the new and original kennings which, as in other poems go to the limits of the possible even in that baroque art; and, like many other artist, he has no mean opinion of his skill, and in general, of himself, and he is well aware that he is immortalizing but also himself in his poem." [[Hollander, Lee M.. The Lay of Arinbjiorn]] (s. 112) </ref> ~~háttar~~ <br>		áttgöfguðum háttar<ref> '''áttgöfguðum''': "The excellence of the skald, and particularly Egill, consists then, in his skilful and daring variations on these (skaldic) themes, in the new and original kennings which, as in other poems go to the limits of the possible even in that baroque art; and, like many other artist, he has no mean opinion of his skill, and in general, of himself, and he is well aware that he is immortalizing but also himself in his poem." [[Hollander, Lee M.. The Lay of Arinbjiorn]] (s. 112) </ref> <br>
	fyr regn-Gnár regni <br>		fyr regn-Gnár regni <br>
	ráða nú sem áðan.<br>		ráða nú sem áðan.<br>

Ermenegilda: /* Chapter 63 */

2016-08-23T15:48:44Z

Chapter 63

← Older revision		Revision as of 15:48, 23 August 2016
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	Wife's loyal kin lent.<br>		Wife's loyal kin lent.<br>
	My head, throne of helmet,<br>		My head, throne of helmet,<br>
	An heritage noble,<br>		An heritage noble,<ref> '''An heritage noble''': "The excellence of the skald, and particularly Egill, consists then, in his skilful and daring variations on these (skaldic) themes, in the new and original kennings which, as in other poems go to the limits of the possible even in that baroque art; and, like many other artist, he has no mean opinion of his skill, and in general, of himself, and he is well aware that he is immortalizing but also himself in his poem." [[Hollander, Lee M.. The Lay of Arinbjiorn]] (p. 112) </ref><br>
	As erst, from rough rainstorm<br>		As erst, from rough rainstorm<br>
	To rescue I knew.'<br>		To rescue I knew.'<br>

Ermenegilda: /* Kafli 63 */

2016-08-23T15:47:49Z

Kafli 63

← Older revision		Revision as of 15:47, 23 August 2016
Line 65:		Line 65:
	magnaðr Egil fagna.<br>		magnaðr Egil fagna.<br>
	Arfstóli kná eg Ála <br>		Arfstóli kná eg Ála <br>
	áttgöfguðum háttar <br>		áttgöfguðum<ref> '''áttgöfguðum''': "The excellence of the skald, and particularly Egill, consists then, in his skilful and daring variations on these (skaldic) themes, in the new and original kennings which, as in other poems go to the limits of the possible even in that baroque art; and, like many other artist, he has no mean opinion of his skill, and in general, of himself, and he is well aware that he is immortalizing but also himself in his poem." [[Hollander, Lee M.. The Lay of Arinbjiorn]] (s. 112) </ref> háttar <br>
	fyr regn-Gnár regni <br>		fyr regn-Gnár regni <br>
	ráða nú sem áðan.<br>		ráða nú sem áðan.<br>

Ermenegilda: /* Kafli 63 */

2016-07-11T17:20:23Z

Kafli 63

← Older revision		Revision as of 17:20, 11 July 2016
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	'''Lífgjöf Egils'''		'''Lífgjöf Egils'''

	Eiríkur konungur sat uppréttur<ref>'''Eiríkur konungur sat uppréttur''': "In ''Egils saga'' the motif of immobilisation … is perhaps even less easy to recognise because of the still greater element of realism in the narrative, the main characters of which, incidentally, are readily identifiable as historical. Reminders of the mythical character of the motif are nevertheless present in the text, as appears when the situation in which Eiríkr sits upright, staring at Egill, is seen in relation to the latter's placing of the decapitated head of a horse … and also in relation to the centrally placed motif of Egill's father being found dead in a sitting position." [[McTurk, Rory. Lot’s wife, Agni Dagsson and Egill Skalla-Grímsson]] (s. 229).</ref> meðan Egill kvað kvæðið og hvessti augun á hann. Og er lokið var drápunni þá mælti konungur: „Besta er kvæðið fram flutt.<ref>'''besta er kvæðið fram flutt''': "The irony is that the head-saving poem (despite its content) gives Egill more glory than [Eiríkr]. The skill of this poet in spite of the situation outweighs the king's reputation, which pales in significance; the composition even hints at this subversive agenda with its references to the art of verse-making, and with its requests for silence." [[Waugh, Robin. Literacy, Royal Power, and King-Poet Relations in Old English and Old Norse Compositions]] (s. 296).</ref> En nú hefi eg hugsað Arinbjörn um mál vort Egils hvar koma skal. Þú hefir flutt mál Egils með ákafa miklum er þú býður að etja vandræðum við mig. Nú skal það gera fyrir þínar sakir sem þú hefir beðið að Egill skal fara frá mínum fundi heill og ósakaður.<ref>'''ósakaður''': "The unexpectedness of Egil's saving of his "head" when by rights he should lose it goes against the normal pattern of the sagas... Only such an extraordinary "self" as Egil could impose language so effectively on events that, against all reasonable expectation, the escalating violence does ''not'' result in death." [[De Looze, Laurence. The Concept of the Self in ~~Egil's~~ Saga]] (s. 68).</ref> En þú Egill hátta svo ferðum þínum að síðan er þú kemur frá mínum fundi af þessi stofu, þá kom þú aldregi í augsýn mér og sonum mínum og verð aldrei fyrir mér né mínu liði. En eg gef þér nú höfuð þitt að sinni. Fyrir þá sök er þú gekkst á mitt vald, þá vil eg eigi gera níðingsverk á þér. En vita skaltu það til sanns að þetta er engi sætt við mig né sonu mína og enga frændur vora þá sem réttar vilja reka.“		Eiríkur konungur sat uppréttur<ref>'''Eiríkur konungur sat uppréttur''': "In ''Egils saga'' the motif of immobilisation … is perhaps even less easy to recognise because of the still greater element of realism in the narrative, the main characters of which, incidentally, are readily identifiable as historical. Reminders of the mythical character of the motif are nevertheless present in the text, as appears when the situation in which Eiríkr sits upright, staring at Egill, is seen in relation to the latter's placing of the decapitated head of a horse … and also in relation to the centrally placed motif of Egill's father being found dead in a sitting position." [[McTurk, Rory. Lot’s wife, Agni Dagsson and Egill Skalla-Grímsson]] (s. 229).</ref> meðan Egill kvað kvæðið og hvessti augun á hann. Og er lokið var drápunni þá mælti konungur: „Besta er kvæðið fram flutt.<ref>'''besta er kvæðið fram flutt''': "The irony is that the head-saving poem (despite its content) gives Egill more glory than [Eiríkr]. The skill of this poet in spite of the situation outweighs the king's reputation, which pales in significance; the composition even hints at this subversive agenda with its references to the art of verse-making, and with its requests for silence." [[Waugh, Robin. Literacy, Royal Power, and King-Poet Relations in Old English and Old Norse Compositions]] (s. 296).</ref> En nú hefi eg hugsað Arinbjörn um mál vort Egils hvar koma skal. Þú hefir flutt mál Egils með ákafa miklum er þú býður að etja vandræðum við mig. Nú skal það gera fyrir þínar sakir sem þú hefir beðið að Egill skal fara frá mínum fundi heill og ósakaður.<ref>'''ósakaður''': "The unexpectedness of Egil's saving of his "head" when by rights he should lose it goes against the normal pattern of the sagas... Only such an extraordinary "self" as Egil could impose language so effectively on events that, against all reasonable expectation, the escalating violence does ''not'' result in death." [[De Looze, Laurence. The Concept of the Self in Egil’s Saga]] (s. 68).</ref> En þú Egill hátta svo ferðum þínum að síðan er þú kemur frá mínum fundi af þessi stofu, þá kom þú aldregi í augsýn mér og sonum mínum og verð aldrei fyrir mér né mínu liði. En eg gef þér nú höfuð þitt að sinni. Fyrir þá sök er þú gekkst á mitt vald, þá vil eg eigi gera níðingsverk á þér. En vita skaltu það til sanns að þetta er engi sætt við mig né sonu mína og enga frændur vora þá sem réttar vilja reka.“

	Þá kvað Egill:		Þá kvað Egill:

Ermenegilda: /* Chapter 63 */

2016-07-11T17:19:49Z

Chapter 63

← Older revision		Revision as of 17:19, 11 July 2016
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	'''Egil's life is given him'''		'''Egil's life is given him'''

	King Eric sate upright<ref>'''King Eric sate upright''': "In ''Egils saga'' the motif of immobilisation … is perhaps even less easy to recognise because of the still greater element of realism in the narrative, the main characters of which, incidentally, are readily identifiable as historical. Reminders of the mythical character of the motif are nevertheless present in the text, as appears when the situation in which Eiríkr sits upright, staring at Egill, is seen in relation to the latter's placing of the decapitated head of a horse … and also in relation to the centrally placed motif of Egill's father being found dead in a sitting position." [[McTurk, Rory. Lot’s wife, Agni Dagsson and Egill Skalla-Grímsson]] (p. 229).</ref> while Egil recited the poem, and looked keenly at him. And when the song of praise was ended, then spake the king: 'Right well was the poem recited;.<ref>'''well was the poem recited''': "The irony is that the head-saving poem (despite its content) gives Egill more glory than [Eiríkr]. The skill of this poet in spite of the situation outweighs the king's reputation, which pales in significance; the composition even hints at this subversive agenda with its references to the art of verse-making, and with its requests for silence." [[Waugh, Robin. Literacy, Royal Power, and King-Poet Relations in Old English and Old Norse Compositions]] (p. 296).</ref> and now, Arinbjorn, I have resolved about the cause between me and Egil, how it shall go. Thou hast pleaded Egil's cause with great eagerness, since thou offerest to risk a conflict with me. Now shall I for thy sake do what thou hast asked, letting Egil go from my land safe and unhurt.<ref>'''unhurt''': "The unexpectedness of Egil's saving of his "head" when by rights he should lose it goes against the normal pattern of the sagas... Only such an extraordinary "self" as Egil could impose language so effectively on events that, against all reasonable expectation, the escalating violence does ''not'' result in death." [[De Looze, Laurence. The Concept of the Self in ~~Egil's~~ Saga]] (p. 68).</ref> But thou, Egil, so order thy going that, after leaving my presence and this hall, thou never come before my eyes, nor my sons' eyes, nor be ever in the way of myself or my people. But I give thee now thy head this time for this reason, that thou camest freely into my power. I will do no dastardly deed on thee; yet know thou this for sure, that this is no reconciliation with me or my sons or any of our kin who wish to wreak their vengeance.'		King Eric sate upright<ref>'''King Eric sate upright''': "In ''Egils saga'' the motif of immobilisation … is perhaps even less easy to recognise because of the still greater element of realism in the narrative, the main characters of which, incidentally, are readily identifiable as historical. Reminders of the mythical character of the motif are nevertheless present in the text, as appears when the situation in which Eiríkr sits upright, staring at Egill, is seen in relation to the latter's placing of the decapitated head of a horse … and also in relation to the centrally placed motif of Egill's father being found dead in a sitting position." [[McTurk, Rory. Lot’s wife, Agni Dagsson and Egill Skalla-Grímsson]] (p. 229).</ref> while Egil recited the poem, and looked keenly at him. And when the song of praise was ended, then spake the king: 'Right well was the poem recited;.<ref>'''well was the poem recited''': "The irony is that the head-saving poem (despite its content) gives Egill more glory than [Eiríkr]. The skill of this poet in spite of the situation outweighs the king's reputation, which pales in significance; the composition even hints at this subversive agenda with its references to the art of verse-making, and with its requests for silence." [[Waugh, Robin. Literacy, Royal Power, and King-Poet Relations in Old English and Old Norse Compositions]] (p. 296).</ref> and now, Arinbjorn, I have resolved about the cause between me and Egil, how it shall go. Thou hast pleaded Egil's cause with great eagerness, since thou offerest to risk a conflict with me. Now shall I for thy sake do what thou hast asked, letting Egil go from my land safe and unhurt.<ref>'''unhurt''': "The unexpectedness of Egil's saving of his "head" when by rights he should lose it goes against the normal pattern of the sagas... Only such an extraordinary "self" as Egil could impose language so effectively on events that, against all reasonable expectation, the escalating violence does ''not'' result in death." [[De Looze, Laurence. The Concept of the Self in Egil’s Saga]] (p. 68).</ref> But thou, Egil, so order thy going that, after leaving my presence and this hall, thou never come before my eyes, nor my sons' eyes, nor be ever in the way of myself or my people. But I give thee now thy head this time for this reason, that thou camest freely into my power. I will do no dastardly deed on thee; yet know thou this for sure, that this is no reconciliation with me or my sons or any of our kin who wish to wreak their vengeance.'

	Then sang Egil:		Then sang Egil:

Ermenegilda: /* Chapter 63 */

2016-07-05T16:14:17Z

Chapter 63

← Older revision		Revision as of 16:14, 5 July 2016
Line 7:		Line 7:
	'''Egil's life is given him'''		'''Egil's life is given him'''

	King Eric sate upright<ref>'''King Eric sate upright''': "In ''Egils saga'' the motif of immobilisation … is perhaps even less easy to recognise because of the still greater element of realism in the narrative, the main characters of which, incidentally, are readily identifiable as historical. Reminders of the mythical character of the motif are nevertheless present in the text, as appears when the situation in which Eiríkr sits upright, staring at Egill, is seen in relation to the latter's placing of the decapitated head of a horse … and also in relation to the centrally placed motif of Egill's father being found dead in a sitting position." [[McTurk, Rory. Lot’s wife, Agni Dagsson and Egill Skalla-Grímsson]] (p. 229).</ref> while Egil recited the poem, and looked keenly at him. And when the song of praise was ended, then spake the king: 'Right well was the poem recited;.<ref>'''well was the poem recited''': "The irony is that the head-saving poem (despite its content) gives Egill more glory than [Eiríkr]. The skill of this poet in spite of the situation outweighs the king's reputation, which pales in significance; the composition even hints at this subversive agenda with its references to the art of verse-making, and with its requests for silence." [[Waugh, Robin. Literacy, Royal Power, and King-Poet Relations in Old English and Old Norse Compositions]] (p. 296).</ref> and now, Arinbjorn, I have resolved about the cause between me and Egil, how it shall go. Thou hast pleaded Egil's cause with great eagerness, since thou offerest to risk a conflict with me. Now shall I for thy sake do what thou hast asked, letting Egil go from my land safe and unhurt. But thou, Egil, so order thy going that, after leaving my presence and this hall, thou never come before my eyes, nor my sons' eyes, nor be ever in the way of myself or my people. But I give thee now thy head this time for this reason, that thou camest freely into my power. I will do no dastardly deed on thee; yet know thou this for sure, that this is no reconciliation with me or my sons or any of our kin who wish to wreak their vengeance.'		King Eric sate upright<ref>'''King Eric sate upright''': "In ''Egils saga'' the motif of immobilisation … is perhaps even less easy to recognise because of the still greater element of realism in the narrative, the main characters of which, incidentally, are readily identifiable as historical. Reminders of the mythical character of the motif are nevertheless present in the text, as appears when the situation in which Eiríkr sits upright, staring at Egill, is seen in relation to the latter's placing of the decapitated head of a horse … and also in relation to the centrally placed motif of Egill's father being found dead in a sitting position." [[McTurk, Rory. Lot’s wife, Agni Dagsson and Egill Skalla-Grímsson]] (p. 229).</ref> while Egil recited the poem, and looked keenly at him. And when the song of praise was ended, then spake the king: 'Right well was the poem recited;.<ref>'''well was the poem recited''': "The irony is that the head-saving poem (despite its content) gives Egill more glory than [Eiríkr]. The skill of this poet in spite of the situation outweighs the king's reputation, which pales in significance; the composition even hints at this subversive agenda with its references to the art of verse-making, and with its requests for silence." [[Waugh, Robin. Literacy, Royal Power, and King-Poet Relations in Old English and Old Norse Compositions]] (p. 296).</ref> and now, Arinbjorn, I have resolved about the cause between me and Egil, how it shall go. Thou hast pleaded Egil's cause with great eagerness, since thou offerest to risk a conflict with me. Now shall I for thy sake do what thou hast asked, letting Egil go from my land safe and unhurt.<ref>'''unhurt''': "The unexpectedness of Egil's saving of his "head" when by rights he should lose it goes against the normal pattern of the sagas... Only such an extraordinary "self" as Egil could impose language so effectively on events that, against all reasonable expectation, the escalating violence does ''not'' result in death." [[De Looze, Laurence. The Concept of the Self in Egil's Saga]] (p. 68).</ref> But thou, Egil, so order thy going that, after leaving my presence and this hall, thou never come before my eyes, nor my sons' eyes, nor be ever in the way of myself or my people. But I give thee now thy head this time for this reason, that thou camest freely into my power. I will do no dastardly deed on thee; yet know thou this for sure, that this is no reconciliation with me or my sons or any of our kin who wish to wreak their vengeance.'

	Then sang Egil:		Then sang Egil:

Ermenegilda: /* Kafli 63 */

2016-07-05T16:12:11Z

Kafli 63

← Older revision		Revision as of 16:12, 5 July 2016
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	'''Lífgjöf Egils'''		'''Lífgjöf Egils'''

	Eiríkur konungur sat uppréttur<ref>'''Eiríkur konungur sat uppréttur''': "In ''Egils saga'' the motif of immobilisation … is perhaps even less easy to recognise because of the still greater element of realism in the narrative, the main characters of which, incidentally, are readily identifiable as historical. Reminders of the mythical character of the motif are nevertheless present in the text, as appears when the situation in which Eiríkr sits upright, staring at Egill, is seen in relation to the latter's placing of the decapitated head of a horse … and also in relation to the centrally placed motif of Egill's father being found dead in a sitting position." [[McTurk, Rory. Lot’s wife, Agni Dagsson and Egill Skalla-Grímsson]] (s. 229).</ref> meðan Egill kvað kvæðið og hvessti augun á hann. Og er lokið var drápunni þá mælti konungur: „Besta er kvæðið fram flutt.<ref>'''besta er kvæðið fram flutt''': "The irony is that the head-saving poem (despite its content) gives Egill more glory than [Eiríkr]. The skill of this poet in spite of the situation outweighs the king's reputation, which pales in significance; the composition even hints at this subversive agenda with its references to the art of verse-making, and with its requests for silence." [[Waugh, Robin. Literacy, Royal Power, and King-Poet Relations in Old English and Old Norse Compositions]] (s. 296).</ref> En nú hefi eg hugsað Arinbjörn um mál vort Egils hvar koma skal. Þú hefir flutt mál Egils með ákafa miklum er þú býður að etja vandræðum við mig. Nú skal það gera fyrir þínar sakir sem þú hefir beðið að Egill skal fara frá mínum fundi heill og ósakaður.<ref>'''ósakaður''': "The unexpectedness of Egil's saving of his "head" when by rights he should lose it goes against the normal pattern of the sagas... Only such an extraordinary "self" as Egil could impose language so effectively on events that, against all reasonable expectation, the escalating violence does ''not'' result in death." [[De Looze, Laurence. The Concept of the Self in ''Egil's Saga'']] (s. 68).</ref> En þú Egill hátta svo ferðum þínum að síðan er þú kemur frá mínum fundi af þessi stofu, þá kom þú aldregi í augsýn mér og sonum mínum og verð aldrei fyrir mér né mínu liði. En eg gef þér nú höfuð þitt að sinni. Fyrir þá sök er þú gekkst á mitt vald, þá vil eg eigi gera níðingsverk á þér. En vita skaltu það til sanns að þetta er engi sætt við mig né sonu mína og enga frændur vora þá sem réttar vilja reka.“		Eiríkur konungur sat uppréttur<ref>'''Eiríkur konungur sat uppréttur''': "In ''Egils saga'' the motif of immobilisation … is perhaps even less easy to recognise because of the still greater element of realism in the narrative, the main characters of which, incidentally, are readily identifiable as historical. Reminders of the mythical character of the motif are nevertheless present in the text, as appears when the situation in which Eiríkr sits upright, staring at Egill, is seen in relation to the latter's placing of the decapitated head of a horse … and also in relation to the centrally placed motif of Egill's father being found dead in a sitting position." [[McTurk, Rory. Lot’s wife, Agni Dagsson and Egill Skalla-Grímsson]] (s. 229).</ref> meðan Egill kvað kvæðið og hvessti augun á hann. Og er lokið var drápunni þá mælti konungur: „Besta er kvæðið fram flutt.<ref>'''besta er kvæðið fram flutt''': "The irony is that the head-saving poem (despite its content) gives Egill more glory than [Eiríkr]. The skill of this poet in spite of the situation outweighs the king's reputation, which pales in significance; the composition even hints at this subversive agenda with its references to the art of verse-making, and with its requests for silence." [[Waugh, Robin. Literacy, Royal Power, and King-Poet Relations in Old English and Old Norse Compositions]] (s. 296).</ref> En nú hefi eg hugsað Arinbjörn um mál vort Egils hvar koma skal. Þú hefir flutt mál Egils með ákafa miklum er þú býður að etja vandræðum við mig. Nú skal það gera fyrir þínar sakir sem þú hefir beðið að Egill skal fara frá mínum fundi heill og ósakaður.<ref>'''ósakaður''': "The unexpectedness of Egil's saving of his "head" when by rights he should lose it goes against the normal pattern of the sagas... Only such an extraordinary "self" as Egil could impose language so effectively on events that, against all reasonable expectation, the escalating violence does ''not'' result in death." [[De Looze, Laurence. The Concept of the Self in Egil's Saga]] (s. 68).</ref> En þú Egill hátta svo ferðum þínum að síðan er þú kemur frá mínum fundi af þessi stofu, þá kom þú aldregi í augsýn mér og sonum mínum og verð aldrei fyrir mér né mínu liði. En eg gef þér nú höfuð þitt að sinni. Fyrir þá sök er þú gekkst á mitt vald, þá vil eg eigi gera níðingsverk á þér. En vita skaltu það til sanns að þetta er engi sætt við mig né sonu mína og enga frændur vora þá sem réttar vilja reka.“

	Þá kvað Egill:		Þá kvað Egill: