Njála, 157 - Revision history

Andri at 15:26, 5 June 2019

2019-06-05T15:26:09Z

← Older revision		Revision as of 15:26, 5 June 2019
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	Earl Sigurd was in the mid battle.		Earl Sigurd was in the mid battle.

	Now it must be told of King Brian that he would not fight on the fast-day, and so a shieldburg (1) was thrown round him, and his host was drawn up in array in front of it.		Now it must be told of King Brian that he would not fight on the fast-day,<ref>''' Now it must be told of King Brian that he would not fight on the fast-day ''': “the idea is conveyed that military maneuvers during Holy Week would be to the disadvantage of the Irish army.” [[Ryan, John. The Battle of Clontarf]] (p. 16). </ref> and so a shieldburg (1) was thrown round him, and his host was drawn up in array in front of it.

	Wolf the Quarrelsome was on that wing of the battle against which Brodir stood; but on the other wing, where Sigtrygg stood against them, were Ospak and his sons.		Wolf the Quarrelsome was on that wing of the battle against which Brodir stood; but on the other wing, where Sigtrygg stood against them, were Ospak and his sons.
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	Brían konungur<ref>'''Brían konungur''': "Further, it is not true that no saga contains any Irish story or any Irish hero. ''Kjalnesinga saga'' contains a garbled version of the Irish story of Cúchukain's killing of his son … And, of course, there is the account of the battle of Clontarf at the end of ''Njáls saga''." [[Robinson, Peter. Vikings and Celts]] (s. 128).</ref> kom með allan her sinn til borgarinnar. Föstudaginn fór út herinn af borginni og var fylkt liðinu hvorutveggja. Bróðir var í annan fylkingararminn en Sigtryggur konungur í annan. Sigurður jarl var í miðju liðinu.		Brían konungur<ref>'''Brían konungur''': "Further, it is not true that no saga contains any Irish story or any Irish hero. ''Kjalnesinga saga'' contains a garbled version of the Irish story of Cúchukain's killing of his son … And, of course, there is the account of the battle of Clontarf at the end of ''Njáls saga''." [[Robinson, Peter. Vikings and Celts]] (s. 128).</ref> kom með allan her sinn til borgarinnar. Föstudaginn fór út herinn af borginni og var fylkt liðinu hvorutveggja. Bróðir var í annan fylkingararminn en Sigtryggur konungur í annan. Sigurður jarl var í miðju liðinu.

	Nú er að segja frá Bríani konungi að hann vildi eigi berjast föstudaginn og var skotið um hann skjaldborg og fylkt þar liðinu fyrir framan. Úlfur hræða var í þann fylkingararminn sem Bróðir var til móts en í annan fylkingararm var Óspakur og synir konungs en í miðri fylkingunni var Kerþjálfaður og voru fyrir honum borin merkin.		Nú er að segja frá Bríani konungi að hann vildi eigi berjast föstudaginn<ref>''' Nú er að segja frá Bríani konungi að hann vildi eigi berjast föstudaginn ''': “the idea is conveyed that military maneuvers during Holy Week would be to the disadvantage of the Irish army.” [[Ryan, John. The Battle of Clontarf]] (s. 16). </ref> og var skotið um hann skjaldborg og fylkt þar liðinu fyrir framan. Úlfur hræða var í þann fylkingararminn sem Bróðir var til móts en í annan fylkingararm var Óspakur og synir konungs en í miðri fylkingunni var Kerþjálfaður og voru fyrir honum borin merkin.

	Fallast nú að fylkingarnar. Var þar orusta allhörð. Gekk Bróðir í gegnum lið þeirra og felldi þá alla er fremstir stóðu en hann bitu ekki járn. Úlfur hræða sneri þá í móti honum og lagði til hans þrisvar sinnum svo fast að Bróðir féll fyrir í hvert sinn og var við sjálft að hann mundi eigi á fætur komast. En þegar hann fékk upp staðið þá flýði hann og þegar í skóginn undan.		Fallast nú að fylkingarnar. Var þar orusta allhörð. Gekk Bróðir í gegnum lið þeirra og felldi þá alla er fremstir stóðu en hann bitu ekki járn. Úlfur hræða sneri þá í móti honum og lagði til hans þrisvar sinnum svo fast að Bróðir féll fyrir í hvert sinn og var við sjálft að hann mundi eigi á fætur komast. En þegar hann fékk upp staðið þá flýði hann og þegar í skóginn undan.

Andri at 17:39, 8 June 2018

2018-06-08T17:39:42Z

← Older revision		Revision as of 17:39, 8 June 2018
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	This war-woof we work;		This war-woof we work;
	So weave we, weird sisters,		So weave we, weird sisters,
	Our warwinning woof.		Our warwinning woof.<ref>''' So weave we, weird sisters/Our warwinning woof ''': " Darraðarljóð, dated to the beginning of the tenth century […], constitutes a part of Njáls saga (ch. 157) and describes a scene in which twelve valkyrjur weave a fabric of battle and thus shape human fate according to their will. We might assume that this act influenced the result of the battle with which it was associated." [[Gardela, Leszek. Into Viking Minds]] (p. 69)</ref>

	"Now Warwinner walketh		"Now Warwinner walketh
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	Skulum slá sverðum		Skulum slá sverðum

	sigurvef þenna.		sigurvef þenna.<ref>''' Skulum slá sverðum / sigurvef þenna ''': " Darraðarljóð, dated to the beginning of the tenth century […], constitutes a part of Njáls saga (ch. 157) and describes a scene in which twelve valkyrjur weave a fabric of battle and thus shape human fate according to their will. We might assume that this act influenced the result of the battle with which it was associated." [[Gardela, Leszek. Into Viking Minds]] (s. 69)</ref>

Ermenegilda: /* Kafli 157 */

2017-01-29T21:48:05Z

Kafli 157

← Older revision		Revision as of 21:48, 29 January 2017
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	Föstudaginn langa varð sá atburður á Katanesi að maður sá er Dörruður hét gekk út. Hann sá að menn riðu tólf saman til dyngju einnar og hurfu þar allir. Hann gekk til dyngjunnar. Hann sá í glugg er á var og sá að þar voru konur inni og höfðu færðan upp vef. Mannahöfuð voru fyrir kljána en þarmar úr mönnum fyrir viftu og garn, sverð var fyrir skeið en ör fyrir hræl.		Föstudaginn langa varð sá atburður á Katanesi að maður sá er Dörruður hét gekk út. Hann sá að menn riðu tólf saman til dyngju einnar og hurfu þar allir. Hann gekk til dyngjunnar. Hann sá í glugg er á var og sá að þar voru konur inni og höfðu færðan upp vef. Mannahöfuð voru fyrir kljána en þarmar úr mönnum fyrir viftu og garn, sverð var fyrir skeið en ör fyrir hræl.

	Þær kváðu vísur þessar:<ref>'''Þær kváðu vísur þessar''': "Pursuing the air/wind/breath concept, it has been suggested that work songs, perhaps not unlike ''Darraðarlióð'' from ''Njáls saga'' (ch. 157) …, were sung to help those engaged in textile processes rhythmically focus on work. In my opinion, the dual focus and motivational support of work songs is not certain, but certainly likely among the Norse and especially in the quiet, indoor setting of women’s textile work. Wind and air play important roles in various drying processes but perhaps also song and the breath that carries it has the potential to find its way — quite literally — into textile processes and a special place in the cosmological world view." [[Roy, Carrie. Practical Fastenings ~~of the~~ Supernatural.]] (s. 202). </ref>		Þær kváðu vísur þessar:<ref>'''Þær kváðu vísur þessar''': "Pursuing the air/wind/breath concept, it has been suggested that work songs, perhaps not unlike ''Darraðarlióð'' from ''Njáls saga'' (ch. 157) …, were sung to help those engaged in textile processes rhythmically focus on work. In my opinion, the dual focus and motivational support of work songs is not certain, but certainly likely among the Norse and especially in the quiet, indoor setting of women’s textile work. Wind and air play important roles in various drying processes but perhaps also song and the breath that carries it has the potential to find its way — quite literally — into textile processes and a special place in the cosmological world view." [[Roy, Carrie. Practical Fastenings Of The Supernatural]] (s. 202). </ref>

Ermenegilda: /* Chapter 157 */

2017-01-29T21:47:37Z

Chapter 157

← Older revision		Revision as of 21:47, 29 January 2017
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	On Good-Friday that event happened in Caithness that a man whose name was Daurrud went out. He saw folk riding twelve together to a bower, and there they were all lost to his sight. He went to that bower and looked in through a window slit that was in it, and saw that there were women inside, and they had set up a loom. Men's heads were the weights, but men's entrails were the warp and weft, a sword was the shuttle, and the reels were arrows.		On Good-Friday that event happened in Caithness that a man whose name was Daurrud went out. He saw folk riding twelve together to a bower, and there they were all lost to his sight. He went to that bower and looked in through a window slit that was in it, and saw that there were women inside, and they had set up a loom. Men's heads were the weights, but men's entrails were the warp and weft, a sword was the shuttle, and the reels were arrows.

	They sang these songs,<ref>'''They sang these songs''': "Pursuing the air/wind/breath concept, it has been suggested that work songs, perhaps not unlike ''Darraðarlióð'' from ''Njáls saga'' (ch. 157) …, were sung to help those engaged in textile processes rhythmically focus on work. In my opinion, the dual focus and motivational support of work songs is not certain, but certainly likely among the Norse and especially in the quiet, indoor setting of women’s textile work. Wind and air play important roles in various drying processes but perhaps also song and the breath that carries it has the potential to find its way — quite literally — into textile processes and a special place in the cosmological world view." [[Roy, Carrie. Practical Fastenings ~~of the~~ Supernatural]] (p. 202). </ref> and he learnt them by heart:		They sang these songs,<ref>'''They sang these songs''': "Pursuing the air/wind/breath concept, it has been suggested that work songs, perhaps not unlike ''Darraðarlióð'' from ''Njáls saga'' (ch. 157) …, were sung to help those engaged in textile processes rhythmically focus on work. In my opinion, the dual focus and motivational support of work songs is not certain, but certainly likely among the Norse and especially in the quiet, indoor setting of women’s textile work. Wind and air play important roles in various drying processes but perhaps also song and the breath that carries it has the potential to find its way — quite literally — into textile processes and a special place in the cosmological world view." [[Roy, Carrie. Practical Fastenings Of The Supernatural]] (p. 202). </ref> and he learnt them by heart:

	THE WOOF OF WAR.		THE WOOF OF WAR.

Ermenegilda: /* Chapter 157 */

2017-01-29T21:46:20Z

Chapter 157

← Older revision		Revision as of 21:46, 29 January 2017
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	On Good-Friday that event happened in Caithness that a man whose name was Daurrud went out. He saw folk riding twelve together to a bower, and there they were all lost to his sight. He went to that bower and looked in through a window slit that was in it, and saw that there were women inside, and they had set up a loom. Men's heads were the weights, but men's entrails were the warp and weft, a sword was the shuttle, and the reels were arrows.		On Good-Friday that event happened in Caithness that a man whose name was Daurrud went out. He saw folk riding twelve together to a bower, and there they were all lost to his sight. He went to that bower and looked in through a window slit that was in it, and saw that there were women inside, and they had set up a loom. Men's heads were the weights, but men's entrails were the warp and weft, a sword was the shuttle, and the reels were arrows.

	They sang these songs,<ref>'''They sang these songs''': "Pursuing the air/wind/breath concept, it has been suggested that work songs, perhaps not unlike ''Darraðarlióð'' from ''Njáls saga'' (ch. 157) …, were sung to help those engaged in textile processes rhythmically focus on work. In my opinion, the dual focus and motivational support of work songs is not certain, but certainly likely among the Norse and especially in the quiet, indoor setting of women’s textile work. Wind and air play important roles in various drying processes but perhaps also song and the breath that carries it has the potential to find its way — quite literally — into textile processes and a special place in the cosmological world view." [[Roy, Carrie. Practical Fastenings of the Supernatural.]] (p. 202). </ref> and he learnt them by heart:		They sang these songs,<ref>'''They sang these songs''': "Pursuing the air/wind/breath concept, it has been suggested that work songs, perhaps not unlike ''Darraðarlióð'' from ''Njáls saga'' (ch. 157) …, were sung to help those engaged in textile processes rhythmically focus on work. In my opinion, the dual focus and motivational support of work songs is not certain, but certainly likely among the Norse and especially in the quiet, indoor setting of women’s textile work. Wind and air play important roles in various drying processes but perhaps also song and the breath that carries it has the potential to find its way — quite literally — into textile processes and a special place in the cosmological world view." [[Roy, Carrie. Practical Fastenings of the Supernatural]] (p. 202). </ref> and he learnt them by heart:

	THE WOOF OF WAR.		THE WOOF OF WAR.

Ermenegilda: /* Kafli 157 */

2017-01-29T21:42:59Z

Kafli 157

← Older revision		Revision as of 21:42, 29 January 2017
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	Föstudaginn langa varð sá atburður á Katanesi að maður sá er Dörruður hét gekk út. Hann sá að menn riðu tólf saman til dyngju einnar og hurfu þar allir. Hann gekk til dyngjunnar. Hann sá í glugg er á var og sá að þar voru konur inni og höfðu færðan upp vef. Mannahöfuð voru fyrir kljána en þarmar úr mönnum fyrir viftu og garn, sverð var fyrir skeið en ör fyrir hræl.		Föstudaginn langa varð sá atburður á Katanesi að maður sá er Dörruður hét gekk út. Hann sá að menn riðu tólf saman til dyngju einnar og hurfu þar allir. Hann gekk til dyngjunnar. Hann sá í glugg er á var og sá að þar voru konur inni og höfðu færðan upp vef. Mannahöfuð voru fyrir kljána en þarmar úr mönnum fyrir viftu og garn, sverð var fyrir skeið en ör fyrir hræl.

	Þær kváðu vísur þessar:		Þær kváðu vísur þessar:<ref>'''Þær kváðu vísur þessar''': "Pursuing the air/wind/breath concept, it has been suggested that work songs, perhaps not unlike ''Darraðarlióð'' from ''Njáls saga'' (ch. 157) …, were sung to help those engaged in textile processes rhythmically focus on work. In my opinion, the dual focus and motivational support of work songs is not certain, but certainly likely among the Norse and especially in the quiet, indoor setting of women’s textile work. Wind and air play important roles in various drying processes but perhaps also song and the breath that carries it has the potential to find its way — quite literally — into textile processes and a special place in the cosmological world view." [[Roy, Carrie. Practical Fastenings of the Supernatural.]] (s. 202). </ref>

Ermenegilda: /* Chapter 157 */

2017-01-29T21:42:16Z

Chapter 157

← Older revision		Revision as of 21:42, 29 January 2017
Line 95:		Line 95:
	On Good-Friday that event happened in Caithness that a man whose name was Daurrud went out. He saw folk riding twelve together to a bower, and there they were all lost to his sight. He went to that bower and looked in through a window slit that was in it, and saw that there were women inside, and they had set up a loom. Men's heads were the weights, but men's entrails were the warp and weft, a sword was the shuttle, and the reels were arrows.		On Good-Friday that event happened in Caithness that a man whose name was Daurrud went out. He saw folk riding twelve together to a bower, and there they were all lost to his sight. He went to that bower and looked in through a window slit that was in it, and saw that there were women inside, and they had set up a loom. Men's heads were the weights, but men's entrails were the warp and weft, a sword was the shuttle, and the reels were arrows.

	They sang these songs, and he learnt them by heart:		They sang these songs,<ref>'''They sang these songs''': "Pursuing the air/wind/breath concept, it has been suggested that work songs, perhaps not unlike ''Darraðarlióð'' from ''Njáls saga'' (ch. 157) …, were sung to help those engaged in textile processes rhythmically focus on work. In my opinion, the dual focus and motivational support of work songs is not certain, but certainly likely among the Norse and especially in the quiet, indoor setting of women’s textile work. Wind and air play important roles in various drying processes but perhaps also song and the breath that carries it has the potential to find its way — quite literally — into textile processes and a special place in the cosmological world view." [[Roy, Carrie. Practical Fastenings of the Supernatural.]] (p. 202). </ref> and he learnt them by heart:

	THE WOOF OF WAR.		THE WOOF OF WAR.

Ermenegilda: /* Kafli 157 */

2016-08-24T15:51:26Z

Kafli 157

← Older revision		Revision as of 15:51, 24 August 2016
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	Rifu þær þá ofan vefinn og í sundur og hafði hver það er hélt á. Gekk Dörruður nú í braut frá glugginum og heim en þær stigu á hesta sína og riðu sex í suður en aðrar sex í norður.<ref> '''aðrar sex í norður''': "The vision of the Njáls Saga, embodying, no doubt, eleventh century material, has skilfully fused the Irish vision tale of the Morrigan and her weird sisters with features of Scandinavian belief in the Norns and added the Teutonic, perhaps even christian, conception of the demons rushing to a scene of disaster and overheard by a mortal." [[Krappe, Alexander H.. The Valkyrie Episode in the Njals Saga]] (s. 474). </ref>		Rifu þær þá ofan vefinn og í sundur og hafði hver það er hélt á. Gekk Dörruður nú í braut frá glugginum og heim en þær stigu á hesta sína og riðu sex í suður en aðrar sex í norður.<ref> '''aðrar sex í norður''': "The vision of the ''Njáls Saga'', embodying, no doubt, eleventh century material, has skilfully fused the Irish vision tale of the Morrigan and her weird sisters with features of Scandinavian belief in the Norns and added the Teutonic, perhaps even christian, conception of the demons rushing to a scene of disaster and overheard by a mortal." [[Krappe, Alexander H.. The Valkyrie Episode in the Njals Saga]] (s. 474). </ref>

	Slíkan atburð bar fyrir Brand í Færeyjum Gneistason.		Slíkan atburð bar fyrir Brand í Færeyjum Gneistason.

Ermenegilda: /* Chapter 157 */

2016-08-24T15:51:04Z

Chapter 157

← Older revision		Revision as of 15:51, 24 August 2016
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	Then they plucked down the Woof and tore it asunder, and each kept what she had hold of.		Then they plucked down the Woof and tore it asunder, and each kept what she had hold of.

	Now Daurrud goes away from the Slit, and home; but they got on their steeds and rode six to the south, and the other six to the north.<ref> '''the other six to the north''': "The vision of the Njáls Saga, embodying, no doubt, eleventh century material, has skilfully fused the Irish vision tale of the Morrigan and her weird sisters with features of Scandinavian belief in the Norns and added the Teutonic, perhaps even christian, conception of the demons rushing to a scene of disaster and overheard by a mortal." [[Krappe, Alexander H.. The Valkyrie Episode in the Njals Saga]] (p. 474). </ref>		Now Daurrud goes away from the Slit, and home; but they got on their steeds and rode six to the south, and the other six to the north.<ref> '''the other six to the north''': "The vision of the ''Njáls Saga'', embodying, no doubt, eleventh century material, has skilfully fused the Irish vision tale of the Morrigan and her weird sisters with features of Scandinavian belief in the Norns and added the Teutonic, perhaps even christian, conception of the demons rushing to a scene of disaster and overheard by a mortal." [[Krappe, Alexander H.. The Valkyrie Episode in the Njals Saga]] (p. 474). </ref>

	A like event befell Brand Gneisti's son in the Faroe Isles.		A like event befell Brand Gneisti's son in the Faroe Isles.

Ermenegilda: /* Chapter 157 */

2016-08-24T15:49:19Z

Chapter 157

← Older revision		Revision as of 15:49, 24 August 2016
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	Then they plucked down the Woof and tore it asunder, and each kept what she had hold of.		Then they plucked down the Woof and tore it asunder, and each kept what she had hold of.

	Now Daurrud goes away from the Slit, and home; but they got on their steeds and rode six to the south, and the other six to the north.		Now Daurrud goes away from the Slit, and home; but they got on their steeds and rode six to the south, and the other six to the north.<ref> '''the other six to the north''': "The vision of the Njáls Saga, embodying, no doubt, eleventh century material, has skilfully fused the Irish vision tale of the Morrigan and her weird sisters with features of Scandinavian belief in the Norns and added the Teutonic, perhaps even christian, conception of the demons rushing to a scene of disaster and overheard by a mortal." [[Krappe, Alexander H.. The Valkyrie Episode in the Njals Saga]] (p. 474). </ref>

	A like event befell Brand Gneisti's son in the Faroe Isles.		A like event befell Brand Gneisti's son in the Faroe Isles.