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Skaldic Poetry of the Scandinavian Middle Ages

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Anonymous Lausavísur (Anon)

III. 4. Stanzas from the Third Grammatical Treatise (TGT) - 38

not in Skj

2.2: Stanzas from the Third Grammatical Treatise — Anon (TGT)III

Tarrin Wills 2017, ‘(Introduction to) Anonymous, Stanzas from the Third Grammatical Treatise’ in Kari Ellen Gade and Edith Marold (eds), Poetry from Treatises on Poetics. Skaldic Poetry of the Scandinavian Middle Ages 3. Turnhout: Brepols, p. 536.

 1   2   3   4   5   6   7   8   9   10   11   12   13   14   15   16   17   18   19   20   22   23   24   25   26   27   28   29   30   31   32   33   34   35   36   37   38 

cross-references:  21 = Anon (TGT) 17III 

SkP info: III, 541

old edition introduction edition manuscripts transcriptions concordance search files

6 — Anon (TGT) 6III

also: Anonymous Poems, Verses about a woman 1

edition interactive full text transcriptions old edition references concordance


Cite as: Tarrin Wills (ed.) 2017, ‘Anonymous Lausavísur, Stanzas from the Third Grammatical Treatise 6’ in Kari Ellen Gade and Edith Marold (eds), Poetry from Treatises on Poetics. Skaldic Poetry of the Scandinavian Middle Ages 3. Turnhout: Brepols, p. 541.

Hér liggja brot beggja,
brúðr, strykvinna súða.

Hér liggja brot beggja strykvinna súða, brúðr.

Here lie pieces of both the painted ship’s sides, woman.

Mss: A(4r), B(3r), W(102) (TGT)

Editions: Skj: Anonyme digte og vers [XII], C. Vers om ubestemmelige personer og begivenheder 27: AI, 600, BI, 600, Skald I, 292; SnE 1818, 313, SnE 1848, 184, SnE 1848-87, II, 110-11, 409, 511, III, 140, TGT 1884, 16, 72, 181, TGT 1927, 49, 94.

Context: Cited as an example of barbarismus, specifically a third form of collisiones (lit. ‘clashes’) involving the juxtaposition of two syllables with harsh consonants (TGT 1927, 48): Svá ok ef snarpir samhljóðendr rennaz í móti í tveim samstǫfum ‘Likewise also if harsh consonants are juxtaposed in two syllables’.

Notes: [All]: Óláfr’s use of snarpr ‘rough, harsh, aspirated’ (for Lat. asper) in the preceding prose is ambiguous: the term is used of the word þurrum ‘dry’ (TGT 1927, 24), perhaps regarding the voiceless fricative <þ>, and later applied to hraustr ‘brave’, horskr ‘wise’ and the letter <h> (TGT 1927, 35). The present section on collisiones has no corresponding text in Donatus, but is elaborated in Hiberno-Latin commentaries in very different ways. The closest identifiable source for the present context is Sedulius Scottus (CCCM 40B, 334): Collisiones sunt, cum asperae consonantes in constructione sibi occurunt, ut est illud ‘si iuret auriga per lora, per flagella, per frena’ ‘Clashes occur when harsh [asperae] consonants occur in the same construction, as it is: si iuret auriga per lora, per flagella, per frena’. A broader sense for snarpr/asper, i.e. ‘harsh-sounding, difficult to pronounce’ (cf. TGT 1884, 322asper) must be meant here. In Sedulius the collisiones may be in the consonant clusters -r fl- and -r fr- and in the present stanza -t b- in brot beggja and/or -ðr str- in brúðr strykvinna. Ms. W omits snarpir and SnE 1848-87, III (using W’s reading) suggests the collision is of -ðr str-. — [2] strykvinna ‘painted’: This p. p. is related to the verb strýkva, strýkja (cf. strjúka ‘stroke’). AEW: strýkja, strýkva posits a strong verb strýkva on the basis of this form. The sense is ‘stroked (with a brush)’, i.e. ‘painted’ or ‘striped’ (cf. TGT 1884, 181 and TGT 1927, 94). The ships on the Bayeux Tapestry, for example, are painted in stripes along the hull. — [2] súða ‘ship’s sides’: The collective noun for the planking on the sides of a ship (cf. Jesch 2001a, 139-40).

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