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|Old North, Viking Age, Iceland and Icelandic literature|
Old North split into separate dialects after the 9th
c. in the famous Viking Age , when the Scandinavians started their raids
because of the overpopulation of the fjord areas. The linguistic division
into separate languages was due to the political division into Sweden,
Denmark and Norway.
In the Faroe Islands the West Norwegian dialects brought by the Scandinavians developed into separate language called Faroese, which nowadays is spoken by 30000 people.
Iceland was practically uninhabited at the time of the first settlements. (9th c.) Norwegian dialects grew into an independed language, Icelandic. As compared with other North Germanic languages Icelandic has retained a more archaic system, that is why the study of Old Icelandic literature takes a central place for philologists. Modern Icelandic is very much like Old Icelandic and Old North. At present it is spoken by 200000 people. Old Icelandic written records date from the 12th and 13th c., of which the most important are:
Younger Edda – a textbook for young poets written by Snorri Sturluson,
Elder Edda – a collection of heroic songs of the 12th c., and
Old Icelandic sagas – the retellings of Scandinavian history and folktales in narrative form.
All Old Icelandic texts are written in the Icelandic alphabet which of course has its origins in the common Roman-type alphabet used throughout most of the western world, but the Futhark Runes have also had their considerable influence on its appearance. All those accents over the vowels and the "Þþ", the "Ðð" and the "Ææ" have a profound influence on how Icelandic text looks like. First text written in Old Icelandic date back to XII c. In XIIIc. Skaldic poetry – the collection of poems by the poets some of whom lived in IX c. was written down. These poems came down to us as quotations in the textbook of skaldic art called Younger Edda and composed by Snorri Sturluson. Snorri was a famous Icelandic scholar, poet and politician. The book has three parts. The first part gives the description of the mythological world. The second contains the commentary on the use of the poetic language and its devices.
In the song in honour of konnung Harald kennings help to create a specific
poetic code which is hard to decipher without the knowledge of the clues:
If we decipher all the kennings the meaning will be as following:
Треска битвы+дорога+заклинание+жаждущее древо
Thus we have: Треска битвы>меч, дорога меча>щит, заклинание щита>битва, жаждущее древо битвы>муж
Gripnis riðsviggs gnapsolar gnystærandi – укрепитель шума возвышающегося солнца верхового жеребца Грипнира
Жеребец Грипнира+возвышаюшееся солнце+укрепитель шума
Which again stands for: верховой жеребец Грипнира>корабль, возвышающееся
солнце корабля> щит, шум щита>битва, укрепитель битвы>муж.
The Younger Edda (completed by Snorri Sturluson in 1223) is also known as the prose Edda or Snorri’s Edda. The first part is a survey of Norse mythology, taking the form of a dialogue between a Swedish king (Gylfi) and the gods (the three High Ones); mythological accounts are found elsewhere in the work, in Snorri’s discussion of poetic diction and figures of speech. Snorri’s work is a creative adaptation of the Elder Edda and other (mostly lost) sources. Whereas some of the stories of the gods in the Elder Edda were composed by pagan poets, Snorri’s work is a post-Christian retelling, of particular interest in revealing his attitude to the pagan past.
The comparison of poetic lines from the texts written in Runic, Old English, Old Germanic, and Old Icelandic languages shows the inner similarities of this tradition.
In conclusion we can sum up the main features of the Old Germanic Poetry:
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