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This paper will see Bjarni Kolbeinsson as a representative of the new kind of skaldic poetry that had developed around the turn of the thirteenth century. By then, formal skaldic poetry had become an art form cultivated by men who had received schooling and clerical ordination. Skalds such as Bjarni had turned their attention from the praise of kings of the present or the near past towards subjects of the more distant past and religious themes. InJómsvíkingadrápa, Bjarni brushed aside the Odinic mead hailed by former skalds and preferred to apply techniques of poetic composition that he had learned through the formal study of Latin poetry. A tongue-in-cheek rejection of the traditional exordial topoi and a sensibility for love poetry allowed him to compose a poem that not only rejected the past but also pointed towards the future.
This paper will see Bjarni Kolbeinsson as a representative of the new kind of skaldic poetry that had developed around the turn of the thirteenth century. By then, formal skaldic poetry had become an art form cultivated by men who had received schooling and clerical ordination. Skalds such as Bjarni had turned their attention from the praise of kings of the present or the near past towards subjects of the more distant past and religious themes. InJómsvíkingadrápa, Bjarni brushed aside the Odinic mead hailed by former skalds and preferred to apply techniques of poetic composition that he had learned through the formal study of Latin poetry. A tongue-in-cheek rejection of the traditional exordial topoi and a sensibility for love poetry allowed him to compose a poem that not only rejected the past but also pointed towards the future.
В настоящей статье предлагается перевод драпы Эйнара Скуласона «Geisli» («Луч») - одного из наиболее выдающихся памятников скальдической поэзии и важной вехи ее развития в XII в. Поэма была сложена, вероятнее всего, в 1153 г. по заказу одного из норвежских конунгов, Эйстейна Харальдссона, в честь основания архиепископства в Нидаросе, а также - в честь Олава Святого, небесного покровителя диоцеза и всей Норвегии. В «Гейсли» Эйнар демонстрирует не только уверенное владение скальдической и мифологической традициями, но и знакомство с современной ему богословской мыслью: будучи формально хвалебной дротткветтной драпой правителю, «Гейсли» вместе с тем предоставляет доказательства его святости и обосновывает его роль заступника для всех норвежцев. Пример «новой поэзии», торжественно продемонстрированный Эйнаром в 1153 г., будет подхвачен и развит сперва дидактическими и интроспективными драпами-проповедями XII в. («Harmsol», «Placftusdrapa», «LeiQamsan»), а затем - многочисленными поэмами о святых XIII-XIV вв. Перевод снабжен вступительной статьей и комментарием.
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