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Icelandic literature refers to literature written in Iceland or by Icelandic people. It is best known for the sagas written in medieval times, starting in the 13th century. As Icelandic and Old Norse are almost the same, and because Icelandic works constitute most of Old Norse literature, Old Norse literature is often wrongly considered a subset of Icelandic literature. However, works by Norwegians are present in the standard reader Sýnisbók íslenzkra bókmennta til miðrar átjándu aldar, compiled by Sigurður Nordal on the grounds that the language was the same.
The medieval Icelandic literature is usually divided into three parts:
There has been some discussion on the probable etymology of the term "Edda"[ citation needed ]. Most say it stems from the Old Norse term edda, which means great-grandmother, but some see a reference to Oddi, a place where Snorri Sturluson (the writer of the Prose Edda ) was brought up.
The Elder Edda or Poetic Edda (originally attributed to Sæmundr fróði, although this is now rejected by modern scholars) is a collection of Old Norse poems and stories originated in the late 10th century.
Although these poems and stories probably come from the Scandinavian mainland, they were first written down in the 13th century in Iceland. The first and original manuscript of the Poetic Edda is the Codex Regius , found in southern Iceland in 1643 by Brynjólfur Sveinsson, Bishop of Skálholt.
The Younger Edda or Prose Edda was written by Snorri Sturluson, and it is the main source of modern understanding of Norse mythology and also of some features of medieval Icelandic poetics, as it contains many mythological stories and also several kennings. In fact, its main purpose was to use it as a manual of poetics for the Icelandic skalds.
Skaldic poetry mainly differs from Eddaic poetry by the fact that skaldic poetry was composed by well-known skalds, the Norwegian and Icelandic poets. Instead of talking about mythological events or telling mythological stories, skaldic poetry was usually sung to honour nobles and kings, commemorate or satirise important or any current events (e.g. a battle won by their lord, a political event in town etc.). In narratives, poems were usually used to pause the story and more closely examine an experience occurring. Poetry was also used to dramatise the emotions in a saga. For example, Egil's Saga contains a poem about the loss of Egil's sons that is lyrical and very emotional.
Skaldic poets were highly regarded members of Icelandic society, and are typically divided into four categories: 1) Professional Poets (for the court or aristocrats) When Skaldic poets composed lyrics for the king, they wrote with the purpose of praising the king, recording his dealings, and celebrating him. These poems are generally considered historically correct [1] [ citation needed ] because a poet would not have written something false about the king; a king would have taken that as the poet mocking him.[ citation needed ]
Ruling aristocratic families also appreciated poetry, and poets composed verses for important events in their lives as well.
2) Private Poets
These poets did not write for financial gain, rather, they wrote to participate in societal poetic exchanges.
3) Clerics
These poets composed religious verses.
4) Anonymous Poets
These poets are anonymously quoted and incorporated into sagas. The anonymity allowed them to mask the comments they made with their verses. [2] [ citation needed ]
Skaldic poetry is written using a strict metric system together with many figures of speech, like the complicated kennings, favoured amongst the skalds, and also with a lot of “artistic license” concerning word order and syntax, with sentences usually inverted.
The sagas are prose stories written in Old Norse that talk about historical aspects of the Germanic and Scandinavian world; for instance, the migration of people to Iceland, voyages of Vikings to unexplored lands, or the early history of the inhabitants of Gotland. Whereas the Eddas contain mainly mythological stories, sagas are usually realistic and deal with actual events, although there are some legendary sagas of saints, bishops, and translated romances. Sometimes mythological references are added, or a story is rendered more romantic and fantastical than as actually occurred. Sagas are the main sources for studying the history of Scandinavia between the 9th and 13th centuries.
Little medieval Icelandic writing is securely attested to be by women. In theory, anonymous sagas might have been written by women, but there is no evidence to support this, and known saga-writers are male. [3] A fairly large number of Skaldic verse stanzas are attributed to Icelandic and Norwegian women, including Hildr Hrólfsdóttir, Jórunn skáldmær, Gunnhildr konungamóðir, Bróka-Auðr, and Þórhildr skáldkona. However, the poetry attributed to women—just like much of the poetry attributed to men— is likely to have been composed by later (male) saga-writers. Even so, this material suggests that women may sometimes have composed verse. [4]
However, the authorial voice of the fifteenth-century rímur -cycle Landrés rímur describes itself with grammatically feminine adjectives, and accordingly the poem has been suggested to be the earliest Icelandic poem reliably attributable to a woman. [5]
Reformation-era literature |
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Important compositions of the time from the 15th century to the 19th include sacred verse, most famously the Passion Hymns of Hallgrímur Pétursson; rímur, rhymed epic poems with alliterative verse that consist of two to four verses per stanza, popular until the end of the 19th century; and autobiographical prose writings such as the Píslarsaga of Jón Magnússon. The first book printed in Icelandic was the New Testament in 1540. A full translation of the Bible was published in the sixteenth century, and popular religious literature, such as the Sendibréf frá einum reisandi Gyðingi í fornöld , was translated from German or Danish or composed in Icelandic. The most prominent poet of the eighteenth century was Eggert Ólafsson (1726–1768), while Jón Þorláksson á Bægisá (1744–1819) undertook several major translations, including the Paradísarmissir, a translation of John Milton's Paradise Lost . Sagas continued to be composed in the style of medieval ones, particularly romances, not least by the priest Jón Oddsson Hjaltalín (1749-1835). [6]
In the beginning of the 19th century, there was a linguistic and literary revival. Romanticism arrived in Iceland and was dominant especially during the 1830s, in the work of poets like Bjarni Thorarensen (1786–1841) and Jónas Hallgrímsson (1807–45). Jónas Hallgrímsson, also the first writer of modern Icelandic short stories, influenced Jón Thoroddsen (1818–68), who, in 1850, published the first Icelandic novel, and so he is considered the father of the modern Icelandic novel.
This classic Icelandic style from the 19th and early 20th centuries was continued chiefly by Grímur Thomsen (1820–96), who wrote many heroic poems and Matthías Jochumsson (1835–1920), who wrote many plays that are considered the beginning of modern Icelandic drama, among many others. In short, this period was a great revival of Icelandic literature.
Realism and naturalism followed romanticism. Notable Realistic writers include the short-story writer Gestur Pálsson (1852–91), known for his satires, and the Icelandic-Canadian poet Stephan G. Stephansson (1853–1927), noted for his sensitive way of dealing with the language and for his ironic vein. Einar Benediktsson must be mentioned here as an early proponent of Neo-romanticism. He is in many ways alone in Icelandic poetry, but is generally acknowledged to be one of the great figures of the "Golden Age" in poetry. [7]
In the early 20th century several Icelandic writers started writing in Danish, among them Jóhann Sigurjónsson, and Gunnar Gunnarsson (1889–1975). Writer Halldór Laxness (1902–98), won the 1955 Nobel Prize in Literature, and was the author of many articles, essays, poems, short stories and novels. Widely translated works include the expressionist novels Independent People (1934–35) and Iceland's Bell (1943–46).
After World War I, there was a revival of the classic style, mainly in poetry, with authors such as Davíð Stefánsson and Tómas Guðmundsson, who later became the representer of traditional poetry in Iceland in the 20th century. Modern authors, from the end of World War II, tend to merge the classical style with a modernist style.
More recently, crime novelist Arnaldur Indriðason's (b. 1961) works have met with success outside of Iceland.
"Edda" is an Old Norse term that has been applied by modern scholars to the collective of two Medieval Icelandic literary works: what is now known as the Prose Edda and an older collection of poems now known as the Poetic Edda. The term historically referred only to the Prose Edda, but this usage has fallen out of favour because of confusion with the other work. Both works were recorded in Iceland during the 13th century in Icelandic, although they contain material from earlier traditional sources, reaching back into the Viking Age. The books provide the main sources for medieval skaldic tradition in Iceland and for Norse mythology.
In Norse mythology, Rán is a goddess and a personification of the sea. Rán and her husband Ægir, a jötunn who also personifies the sea, have nine daughters, who personify waves. The goddess is frequently associated with a net, which she uses to capture sea-goers. According to the prose introduction to a poem in the Poetic Edda and in Völsunga saga, Rán once loaned her net to the god Loki.
In Norse mythology, Hlín is a goddess associated with the goddess Frigg. Hlín appears in a poem in the Poetic Edda, compiled in the 13th century from earlier traditional sources, the Prose Edda, written in the 13th century by Snorri Sturluson, and in kennings found in skaldic poetry. Scholars have debated whether the stanza referring to her in the Prose Edda refers to Frigg. Hlín serves as a given name in Iceland, and Hlín receives veneration in the modern era in Germanic paganism's modern extension, Heathenry.
The Poetic Edda is the modern name for an untitled collection of Old Norse anonymous narrative poems in alliterative verse. It is distinct from the closely related Prose Edda, although both works are seminal to the study of Old Norse poetry. Several versions of the Poetic Edda exist: especially notable is the medieval Icelandic manuscript Codex Regius, which contains 31 poems.
The Prose Edda, also known as the Younger Edda, Snorri's Edda or, historically, simply as Edda, is an Old Norse textbook written in Iceland during the early 13th century. The work is often considered to have been to some extent written, or at least compiled, by the Icelandic scholar, lawspeaker, and historian Snorri Sturluson c. 1220. It is considered the fullest and most detailed source for modern knowledge of Norse mythology, the body of myths of the North Germanic peoples, and draws from a wide variety of sources, including versions of poems that survive into today in a collection known as the Poetic Edda.
In prosody, alliterative verse is a form of verse that uses alliteration as the principal device to indicate the underlying metrical structure, as opposed to other devices such as rhyme. The most commonly studied traditions of alliterative verse are those found in the oldest literature of the Germanic languages, where scholars use the term 'alliterative poetry' rather broadly to indicate a tradition which not only shares alliteration as its primary ornament but also certain metrical characteristics. The Old English epic Beowulf, as well as most other Old English poetry, the Old High German Muspilli, the Old Saxon Heliand, the Old Norse Poetic Edda, and many Middle English poems such as Piers Plowman, Sir Gawain and the Green Knight, Layamon's Brut and the Alliterative Morte Arthur all use alliterative verse.
A skald, or skáld is one of the often named poets who composed skaldic poetry, one of the two kinds of Old Norse poetry in alliterative verse, the other being Eddic poetry. Skaldic poems were traditionally composed to honor kings, but were sometimes extempore. They include both extended works and single verses (lausavísur). They are characteristically more ornate in form and diction than eddic poems, employing many kennings, which require some knowledge of Norse mythology, and heiti, which are formal nouns used in place of more prosaic synonyms. Dróttkvætt metre is a type of skaldic verse form that most often use internal rhyme and alliteration.
Sagas are prose stories and histories, composed in Iceland and to a lesser extent elsewhere in Scandinavia.
In Icelandic literature, a ríma is an epic poem written in any of the so-called rímnahættir. They are rhymed, they alliterate and consist of two to four lines per stanza. The plural, rímur, is either used as an ordinary plural, denoting any two or more rímur, but is also used for more expansive works, containing more than one ríma as a whole. Thus Ólafs ríma Haraldssonar denotes an epic about Ólafr Haraldsson in one ríma, while Núma rímur are a multi-part epic on Numa Pompilius.
A mansǫngr is a form of Norse poetry. In scholarly usage the term has often been applied to medieval skaldic love-poetry; and it is used of lyric openings to rímur throughout the Icelandic literary tradition.
Bragi Boddason, known as Bragi the Old was a Norwegian skald active in the first half of the 9th century, the earliest known skald from whom verses have survived. Portions of his Ragnarsdrápa are preserved in Snorri Sturluson's Edda.
Old Norse poetry encompasses a range of verse forms written in the Old Norse language, during the period from the 8th century to as late as the far end of the 13th century. Old Norse poetry is associated with the area now referred to as Scandinavia. Much Old Norse poetry was originally preserved in oral culture, but the Old Norse language ceased to be spoken and later writing tended to be confined to history rather than for new poetic creation, which is normal for an extinct language. Modern knowledge of Old Norse poetry is preserved by what was written down. Most of the Old Norse poetry that survives was composed or committed to writing in Iceland, after refined techniques for writing were introduced—seemingly contemporaneously with the introduction of Christianity: thus, the general topic area of Old Norse poetry may be referred to as Old Icelandic poetry in literature.
A legendary saga or fornaldarsaga is a Norse saga that, unlike the Icelanders' sagas, takes place before the settlement of Iceland. There are some exceptions, such as Yngvars saga víðförla, which takes place in the 11th century. The sagas were probably all written in Iceland, from about the middle of the 13th century to about 1400, although it is possible that some may be of a later date, such as Hrólfs saga kraka.
Þjóðólfr ór Hvini, was a Norwegian skald, said to have been one of the court-poets of the Norwegian king Harald Fairhair. His name suggests that he was from the region of Hvinir (Kvinesdal). Two skaldic poems, Haustlǫng (Autumn-long) and Ynglingatal, are generally attributed to him.
Ragnarsdrápa is a skaldic poem said to have been composed in honour of the Scandinavian hero, Ragnar Lodbrok, but likely actually addressed to some later Ragnar. It is attributed to the oldest known skald, Bragi Boddason, who lived in the 9th century, and was composed for the Swedish king Björn at Haugi. Bragi describes the images on a decorated shield which Ragnar had given to him. The images included:
Old Norse literature refers to the vernacular literature of the Scandinavian peoples up to c. 1350. It chiefly consists of Icelandic writings.
Einarr Helgason, known by the epithet skálaglamm ("tinkle-scales") was a 10th-century Icelandic skald. He was a court poet of Lord Hákon to whom he dedicated his magnum opus, the Vellekla. Einarr's added name skálaglamm means "tinkle-scales" and refers to a set of balances and weights with divinatory powers, given to him by Hákon.
Sonatorrek is a skaldic poem in 25 stanzas, that appears in Egil's Saga, an Icelandic saga focusing on the life of skald and viking, Egill Skallagrímsson. The work laments the death of two of the poet's sons, Gunnar, who died of a fever, and Böðvarr, who drowned during a storm. In the assessment of Margaret Clunies Ross, Sonatorrek "has probably received, from the second half of the nineteenth century onwards, the greatest literary approbation accorded to any single skaldic poem". According to the saga, after Egill placed Böðvarr in the family burial mound, he locked himself in his bed-chamber, determined to starve himself to death. Egill’s daughter, Thorgerdr, diverted him from this plan in part by convincing him to compose a memorial poem for Böðvarr, to be carved on a rune-staff.
Baldur Ragnarsson was an Icelandic poet and author of Esperanto works. He was a teacher and a superintendent of schools in Iceland.
Germanic heroic legend is the heroic literary tradition of the Germanic-speaking peoples, most of which originates or is set in the Migration Period. Stories from this time period, to which others were added later, were transmitted orally, traveled widely among the Germanic speaking peoples, and were known in many variants. These legends typically reworked historical events or personages in the manner of oral poetry, forming a heroic age. Heroes in these legends often display a heroic ethos emphasizing honor, glory, and loyalty above other concerns. Like Germanic mythology, heroic legend is a genre of Germanic folklore.