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Runic Dictionary

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Anonymous Poems (Anon)

VII. Heilagra meyja drápa (Mey) - 60

Heilagra meyja drápa (‘Drápa about Holy Maidens’) — Anon MeyVII

Kirsten Wolf 2007, ‘(Introduction to) Anonymous, Heilagra meyja drápa’ in Margaret Clunies Ross (ed.), Poetry on Christian Subjects. Skaldic Poetry of the Scandinavian Middle Ages 7. Turnhout: Brepols, pp. 891-930.

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 

Skj: [Anonyme digte og vers XIV]: [B. 12]. Af heilogum meyjum, Heilagra meyja drápa. (AII, 526-39, BII, 582-97)

SkP info: VII, 894-5

old edition introduction edition manuscripts transcriptions concordance search files

5 — Anon Mey 5VII

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Cite as: Kirsten Wolf (ed.) 2007, ‘Anonymous Poems, Heilagra meyja drápa 5’ in Margaret Clunies Ross (ed.), Poetry on Christian Subjects. Skaldic Poetry of the Scandinavian Middle Ages 7. Turnhout: Brepols, pp. 894-5.

Sæt Máría gjörði gráta
gráti mædd í sonarins láti;
lát Júðanna fældi fljóði;
fljóðið horfði á krossinn rjóðan.
Rjóðandi þá flaut og flóði
flóð táranna niðr um móður,
móðurbrjóstið streingt af stríði
stríðið bar sem eingi síðan.

 

Sweet Mary, overcome by weeping, wept at the death of the son; the conduct of the Jews mocked the woman; the woman looked at the red Cross. The reddening stream of tears then flowed and streamed down the mother; the mother’s chest, tight from grief, bore the grief like no one since.

notes: This st. uses a variety of the echoing verse-form that Snorri Sturluson in Ht called iðurmælt ‘repeatedly said’ (SnE 1999, 22). Here the stressed syllable of the final word in l. 1 is repeated (though in a cognate, not the same, word) at the beginning of l. 2; l. 2’s aðalhending changes the stem while maintaining the rhyme, and the new lexeme begins l. 3; this format is repeated through the rest of the st., employing four rhymes in all. Note also that the st. comprises four apposed couplets, allowing the word-play, a type of adnominatio, to suggest a rapid sequence of significant events. This rhetorical ornamentation, which is very like some of the devices employed by the poet of Lil (cf. Foote 1982, 260-3), doubtless reflects the emotional intensity associated with the common medieval motif of Mary standing weeping at the foot of Christ’s Cross. See st. 36, whose subject is S. Margaret, for a similar display.

editions: Skj [Anonyme digte og vers XIV]: [B. 12]. Af heilogum meyjum 5 (AII, 527; BII, 583); Skald II, 322, NN §§1839, 2970A.

sources

AM 721 4° (721) 11r - 11r  transcr.  image  image  
AM 713 4° (713) 23, 16 - 23, 18 ()  image  image  
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