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Anonymous Poems (Anon)

VII. Lilja (Lil) - 100

Lilja (‘Lily’) — Anon LilVII

Martin Chase 2007, ‘(Introduction to) Anonymous, Lilja’ in Margaret Clunies Ross (ed.), Poetry on Christian Subjects. Skaldic Poetry of the Scandinavian Middle Ages 7. Turnhout: Brepols, pp. 544-677.

stanzas:  1   2   3   4   5   6   7   8   9   10   11   12   13   14   15   16   17   18   19   20   21   22   23   24   25   26   27   28   29   30   31   32   33   34   35   36   37   38   39   40   41   42   43   44   45   46   47   48   49   50   51   52   53   54   55   56   57   58   59   60   61   62   63   64   65   66   67   68   69   70   71   72   73   74   75   76   77   78   79   80   81   82   83   84   85   86   87   88   89   90   91   92   93   94   95   96   97   98   99   100 

Skj: Eysteinn Ásgrímsson: Lilja (AII, 363-95, BII, 390-416)

SkP info: VII, 675-6

old edition introduction edition manuscripts transcriptions concordance search files

99 — Anon Lil 99VII

edition interactive full text transcriptions old edition references concordance

 

Cite as: Martin Chase (ed.) 2007, ‘Anonymous Poems, Lilja 99’ in Margaret Clunies Ross (ed.), Poetry on Christian Subjects. Skaldic Poetry of the Scandinavian Middle Ages 7. Turnhout: Brepols, pp. 675-6.

Sannri ást af sætu brjósti
sinni riett fyrir hjálp og minni
segi Máríu hverr, er heyrir
hennar vess, á diktan þessa,
því vera kann, mærin minniz
mín, þá er liggi eg kvaldr í pínum;
berr mig þar til ván, á vörrum
víst ef lieki dominus tecum.

 

With true love from a sweet breast, for the sake of his own salvation and mine, may whoever listens to this poem say clearly to Mary her verse, because it can happen that the maid will remember me, when I lie plagued by torments; I have hope of that, if Dominus tecum ‘The Lord is with you’ certainly plays on my lips.

notes: Vb and 41 8°ˣ conclude the drápa with the first helmingr of this st. followed by the two stef (‘Æfinliga . . . þinni’ and ‘Sé þér dýrð . . . aldri’). Hill 1970 detects a triangular pattern within the circular structure of the poem: Christ is born in st. 33, the Atonement is completed in st. 66, and the poem ends in st. 99. The naming of the poem in st. 98 highlights this triple-duple, triangular-circular pattern (see Note to st. 98/8). Hill sees in the conflation of the two numerical patterns (a circular one based on 100 and a triangular one based on ninety-nine), ‘the emblem of the circular triangle ... frequently used as an emblem of the Trinity’ (1970, 564-5). He cites as analogues a passage from the Roman de la Rose (de Lorris and de Meun 1914-25, ll. 19124-45; de Lorris and de Meun 1962, 405-6) and a Nativity hymn attributed to Philippe de Grꜵves (AH 20, 88) in support of this view. — [3-4]: Cf. the verbal parallel in Has 64/5-8.

editions: Skj Eysteinn Ásgrímsson: Lilja 99 (AII, 395; BII, 416); Skald II, 228, NN §3319.

sources

Holm perg 1 fol (Bb) 116vb, 18 - 116vb, 23  transcr.  image  image  
AM 99 a 8° (99a) 19v, 8 - 19v, 15  transcr.  image  image  
AM 622 4° (622) 41, 6 - 41, 10  transcr.  image  
AM 713 4° (713) 15, 6 - 15, 8  transcr.  image  image  image  
Vísnabók (Vb) 256 - 256 [1-4]  
DKNVSB 41 8°x (41 8°x) 136, 9 - 136, 11 [1-4]  transcr.  image  
AM 705 4°x (705x) 24r - 24r  transcr.  
BLAdd 4892 (4892) 40v - 40v [1-4]  transcr.  image  
Runic data from Samnordisk runtextdatabas, Uppsala universitet, unless otherwise stated