Icelandic Poem Quotes

Poem of the day 1. nóvember 2010: Tunglskin Og vatnið starir, starir köldum augum á stirndan himin yfir bleikum tindum. Og inn í dalnum dökkir skuggar trjánna við dapra geilsa tunglsins stíga dans. Og yfir sandinn, langar óraleiðir, lýsir tunglið spor þín, þreytti maður, og bregður köldum, annarlegum glampa á andlit þitt. Ég sé þig hverfa, hverfa inn í skuggann. Og yfir öllu vakir þögnin - þögnin.

Tumi Jónsen has now started to tell the Icelandic sagas in a style that consists principally of casting doubt on the story being told, making no effort to describe things, skating past the main points, excusing the main characters for performing deeds that will live as long as the world endures, erasing their faces if possible - but wiping them clean, just in case. Therefore it never became a story, at best just a subject for a poem. The women carry on with their scrubbing. This was a long morning.

Comparing your beloved to a red, red rose might be fine if you're writing a poem, but these thinkers believed more exact language was needed to express the "truth"-a term, by the way, distilled from Icelandic, Swedish, Anglo-Saxon, and other non-English words meaning "believed" rather than certain.

The Pleiades and northern lights are still above the mountain. The mountain is in the east, and on its slopes there are reindeer. Reindeer always remind me of trees that have taken to moving. They remind me even more of trees than people do. In the distant past, reindeer were trees as people were, but they haven't come such a long way from their origins, and the branches can be seen although they no longer bear leaves. I have my bedtime book in my hand and my pocket light and walk toward the mountain over the edges of the moorland in rubber boots. The book is a relative of mine, I feel; it is made out of trees and human thought, and thus the relationship becomes twofold. These are ancient poems that I am taking to the mountains and the reindeer.

Norway’s first Christian king was Hákon Aðalsteinsfostri. He grew up and was baptized in England and remained a Christian after he became king of his native pagan country c. 935. According to the scalds, he did not destroy sanctuaries, but he brought priests from England and churches were built in the coastal area of western Norway. Further north and in Tröndelag Christianity did not take root. When Hákon was killed c. 960 he was interred in a mound in traditional pagan fashion; the scald Eyvind described his last great battle, his death and his reception in Valhalla in the poem Hákonarmál. Ironically, this poem about a Christian king gives some of the best information about Odin’s realm of the dead. Olaf Tryggvason became the next Christian king of Norway when he returned home c. 995 with much silver after many years abroad. He had also been baptized in England and brought clerics back with him. A systematic and ruthless process of conversion was initiated in conjunction with efforts to unify the realm. The greatest success was in western and southern Norway and around the year 1000 Olaf was responsible for the conversion of Iceland, probably under threat of reprisals. Shortly after this he was killed in the battle of Svöld. The conversion of Norway was completed during the reign of Olaf Haraldsson. He had also become a Christian on expeditions abroad and his baptism is said to have taken place in Rouen in Normandy. On his return to Norway in 1015 clerics were again in the royal retinue, among them the bishop Grimkel, who helped Olaf mercilessly impose Christianity on the people.

Our principal sources of knowledge of this great Pagan religious system are the two Eddas of Iceland. These Eddas are collections of mythical and heroic poems and stories. One is called the Elder or Poetic Edda; the other, Snorri’s or the Prose Edda. The latter was discovered first; it came into the possession of appreciative scholars in the seventeenth century, by whom it was studied and carefully preserved. The

The saga teems with life and action, with memorable and complex characters from the heroic Gunnar of Hlidarendi, a warrior without equal who dislikes killing, to the villainous, insinuating Mord Valgardsson, who turns out to be less dastardly than we first expect. Unforgettable events include Skarphedin’s head-splitting axe blow as he glides past his opponent on an icy river bank, or Hildigunn’s provoking of her uncle to seek blood revenge by placing on his shoulders the blood-clotted cloak in which her husband was slain... Just as in the Norse poem Völuspá (‘The Seeress’s Prophecy’) the gods met their doom (no mere twilight) at the hands of brute giants and monsters, after which a new and peaceful earth arose, so do the terrible events of Njal’s Saga lead finally and at great cost to a dignified resolution bearing the promise of a better time. (Robert Cook(

It is certainly possible that knowledge of the myths survived the conversion to Christianity because of the value early Christian Iceland placed on the skaldic poems about kings and rulers. In other words, it is possible that the continued transmission of poetry about early kings and battles as historical sources required a continuing knowledge of heroic legend and of myth, not as the object of belief or as something associated with cult but simply as stories that people interested in the history of their own culture had to know.

However, as the two sides approached the althingi in Iceland in the year 1000, it appeared that war would break out. Finally it was agreed that a single arbiter should choose one religion for the entire land, and the lawspeaker Thorgeir, a pagan, was chosen. After spending a night under his cloak, he emerged and decreed that Iceland should be Christian. And so it was. At first some pagan practices were permitted if carried out in secret, but later even this permission was rescinded. However, for reasons that are no longer quite clear, the old stories about the gods were not lost on Iceland. Poems about them lived on in oral tradition, to be recorded more than two centuries after the conversion. Some mythological poems may actually have been composed by Christians in Iceland, and Snorri Sturluson made extensive use of the mythology in his writings.

It is noteworthy that about the year 1200, the Nibelungenlied, with its poetic version of the Siegfried story, was written, probably in Austria. At approximately the same time or within seven decades, The Saga of the Volsungs was compiled in Iceland with far fewer chivalric elements than its German counterpart. Almost all the Old Norse narrative material that has survived—whether myth, legend, saga, history, or poetry—is found in Icelandic manuscripts, which form the largest existing vernacular literature of the medieval West. Among the wealth of written material is Snorri Sturluson’s Prose Edda, a thirteenth century Icelandic treatise on the art of skaldic poetry and a handbook of mythological lore. The second section of Snorri’s three-part prose work contains a short and highly readable summary of the Sigurd cycle which, like the much longer prose rendering of the cycle in The Saga of the Volsungs, is based on traditional Eddic poems (Jesse Byock)

No one can say exactly when the process of combining the different historical, legendary, and mythic elements into a Volsung cycle began, but it was probably at an early date. By the ninth century the legends of the Gothic Jormunrek and those of the destruction of the Burgundians had already been linked in Scandinavia, where the ninth-century “Lay of Ragnar” by the poet Bragi the Old treats both subjects. Bragi’s poem describes a shield on which a picture of the maiming of Jormunrek was either painted or carved and refers to the brothers Hamdir and Sorli from the Gothic section of the saga as “kinsmen of Gjuki,” the Burgundian father of King Gunnar. The “Lay of Ragnar” has other connections with the Volsung legend. The thirteenth-century Icelandic writer Snorri Sturluson identifies the central figure of the lay, whose gift inspired the poem in his honor, with Ragnar Hairy Breeches, a supposed ancestor of the Ynglings, Norway’s royal family. Ragnar’s son-in-law relationship to Sigurd through his marriage to Sigurd’s daughter Aslaug (mentioned earlier in connection with stave church carvings) is reflected in the sequence of texts in the vellum manuscript: The Saga of the Volsungs immediately precedes The Saga of Ragnar Lodbrok. Ragnar’s saga, in turn, is followed by Krákumál (Lay of the Raven), Ragnar’s death poem, in which Ragnar, thrown into the snakepit by the Anglo-Saxon King Ella, boasts that he will die laughing. The Volsung and Ragnar stories are further linked by internal textual references. It is likely that the The Saga of the Volsungs was purposely set first in the manuscript to serve as a prelude to the Ragnar material. The opening section of Ragnar’s saga may originally have been the ending of The Saga of the Volsungs. Just where the division between these two sagas occurs in the manuscript is unclear. Together these narratives chronicle the ancestry of the Ynglings—the legendary line (through Sigurd and Ragnar) and the divine one (through Odin). Such links to Odin, or Wotan, were common among northern dynasties; by tracing their ancestry through Sigurd, later Norwegian kings availed themselves of one of the greatest heroes in northern lore. In so doing, they probably helped to preserve the story for us.” (Jesse Byock)

In one of our conversations, she told me about Finland’s development of sisu, a rough cognate for grit. Etymologically, sisu denotes a person’s viscera, their “intestines (sisucunda).” It is defined as “having guts,” intentional, stoic, constant bravery in the face of adversity. 21 For Finns, sisu is a part of national culture, forged through their history of war with Russia and required by the harsh climate. 22 In this Nordic country, pride is equated with endurance. When Finnish mountain climber Veikka Gustafsson ascended a peak in Antarctica, it was named Mount Sisu. The fortitude to withstand war and foreign occupations is lyrically heralded in the Finnish epic poem, The Kalevala. 23 Even the saunas—two million, one for every three Finns in a country of approximately five and a half million—involve fortitude: A sauna roast is often followed by a nude plunge into the ice-cold Baltic Sea. If Iceland is happier than it has any right to be considering the hours the country spends plunged in darkness each year, Finland’s past circumstances, climate, and developed culture have turned it into one of the grittiest. Finland’s educational system is also currently ranked first, ahead of South Korea, now at number two. 24 The United States is midway down the list. 25 In Finland, there is no after-school tutoring or training, no “miracle pedagogy” in the classrooms, where students are on a first-name basis with their teachers, all of whom have master’s degrees. There is also more “creative play.” 26 Perhaps the tradition of sisu and play, I suspect, are part of the larger, unstated reason for its success. 27 “Wouldn’t it be great if you heard people talking about how they were going to do something to build their grit?” Duckworth asked.

It was where they kept their minds active by making up poetry on the spot, which they called að kveðast á - someone would make up the first line of a poem, someone else would make up the next line, and so on.