HEATHER O'DONOGHUE. English Poetry and Old Norse Myth: A History.

2015 ◽  
Vol 66 (275) ◽  
pp. 563-565
Author(s):  
C. Phelpstead
Keyword(s):  
Author(s):  
Hannah Burrows

This chapter examines the Old Norse myth of the mead of poetry in light of the distributed cognition hypothesis. It explains how Norse skaldic poetry scaffolds various cognitive processes, and then argues that the myth of the poetic mead, which sees poetry as an alcoholic substance, is exploited by Old Norse poets to understand and describe poetry’s effect on the mind. Examples are given that suggest poets saw poetry as ‘mind altering’ in ways that resonate with certain aspects of the distributed cognition hypothesis: in particular, that poetry is cognition-enabling through feedback-loop processes; that the mind can be extended into the world and over time in poetry; that cognition can be shared and/or furthered by engaging with other minds; that the body plays a non-trivial role; and that poetry performs mental and affective work in the world.


2020 ◽  
Vol 113 (2) ◽  
pp. 186-209
Author(s):  
Richard Cole

AbstractEven gods are not always above bureaucracy. Societies very different from each other have entertained the idea that the heavens might be arranged much like an earthly bureaucracy, or that mythological beings might exercise their power in a way that makes them resembles bureaucrats. The best-known case is the Chinese “celestial bureaucracy,” but the idea is also found in (to take nearly random examples) Ancient Near Eastern cosmology, the Hebrew Bible, Late Antiquity, and modern popular culture. The primary sources discussed in this essay pertain to an area of history where bureaucracy was historically underdeveloped, namely medieval Scandinavia. Beginning with the Glavendrup runestone from the 900s, I examine a way of thinking about divine power that seems blissfully bureaucracy-free. Moving forwards in time to Adam of Bremen’s description of the temple at Uppsala (1040s–1070s), I find traces of a tentative, half-formed bureaucracy in the fading embers of Scandinavian paganism. In the 1220s, well into the Christian era, I find Snorri Sturluson concocting a version of Old Norse myth which proposes a novel resolution between the non-bureaucratic origins of his mythological corpus and the burgeoning bureacratization of High Medieval Norway. Although my focus is on medieval Scandinavia, transhistorical comparisons are frequently drawn with mythological bureaucrats from other times and places. In closing, I synthesise this comparative material with historical and anthropological theories of the relationship between bureaucracy and the divine.


2015 ◽  
Vol 5 (2) ◽  
pp. 3-56
Author(s):  
Nelson Goering

J.R.R. Tolkien produced a considerable body of poetry in which he used the traditional alliterative metre of Old Norse and Old English to write modern English verse. This paper reviews three of his longer narrative poems, published in The Legend of Sigurd and Gudrún and The Fall of Arthur, examining Tolkien’s alliterative technique in comparison to medieval poetry and to the metrical theories of Eduard Sievers. In particular, the two poems in The Legend of Sigurd and Gudrún, which are adapted from Old Norse material, show a number of metrical and poetic features reminiscent of Tolkien’s sources in the Poetic Edda. The Fall of Arthur, on the other hand, is in a style that is, in detail and in general, strongly reminiscent of Old English poetry. Throughout all these compositions, Tolkien employs a distinctive alliterative style, closely based on medieval and philological models, but adjusted according to the linguistic needs of modern English and to his own preferences.


PMLA ◽  
1899 ◽  
Vol 14 (2) ◽  
pp. 169-206
Author(s):  
William E. Mead

It is a somewhat singular fact that although students of our language and literature have been carefully gleaning their chosen fields and leaving scarcely any entirely new theme for investigation, there should remain practically untouched a subject of high interest and æsthetic importance,— I mean the use of color in poetry. To some extent the matter has attracted attention in the study of other literatures than ours. Critics often remark upon the brilliant color-sense of the Celtic poets and of the writers of the Old Norse sagas and poems. Gladstone devoted a long section of his Homeric Studies to the color-epithets in the Iliad and the Odyssey; and a German scholar, with characteristic thoroughness, has made an exhaustive study of the color-words in the entire body of the Latin and Greek classics. But an adequate investigation of the development of the color-sense in English poetry is yet to be written. I know of but one paper that treats the matter in any detail, and that paper is confessedly tentative and leaves the older periods untouched. As for color in Old English poetry, a few words by Professor March and a few more in a very rare paper by Dr. Sweet exhaust about all that has been said on the subject.


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