GunnLeif Merl II 40VIII
Russell Poole (ed.) 2017, ‘Breta saga 40 (Gunnlaugr Leifsson, Merlínusspá II 40)’ in Margaret Clunies Ross (ed.), Poetry in fornaldarsögur. Skaldic Poetry of the Scandinavian Middle Ages 8. Turnhout: Brepols, p. 170.
En ‘But’
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2. en (conj.): but, and
hraustir ‘the brave’
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hraustr (adj.; °compar. -ari, superl. -astr): strong, valiant
hugga ‘will comfort’
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hugga (verb): comfort
galta ‘the boar’
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galti (noun m.): boar
kveðask ‘they will say’
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kveða (verb; kveð, kvað, kveðinn): (str.) say, recite, sing
sár ‘wounds’
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2. sár (noun n.; °-s; -): wound
munu ‘will’
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munu (verb): will, must
sjalfir ‘they themselves’
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sjalfr (adj.): self
grœða ‘heal’
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grœða (verb): heal
Fara ‘go’
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fara (verb; ferr, fór, fóru, farinn): go, travel
skulum ‘We will’
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skulu (verb): shall, should, must
báðir ‘both’
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báðir (pron.; °gen. beggja (báðra), nom./acc. n. bǽði): both
fótar ‘foot’
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1. fótr (noun m.): foot, leg
at ‘to’
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5. at (nota): to (with infinitive)
leita ‘find’
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leita (verb): seek, look for, attack
hlustar ‘ear’
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hlust (noun f.; °-ar; -ir): [ears]
ok ‘and’
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3. ok (conj.): and, but; also
hala ‘tail’
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hali (noun m.; °-a; -ar): tail
þér ‘your’
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þú (pron.; °gen. þín, dat. þér, acc. þik): you
hér ‘here’
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hér (adv.): here
bíð ‘wait’
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bíða (verb; °bíðr; beið, biðu; beðit): wait, suffer, experience
þú ‘you’
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þú (pron.; °gen. þín, dat. þér, acc. þik): you
notes
[8] þú ‘you’: Omitted in Skald.
galti ‘boar’
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galti (noun m.): boar
Interactive view: tap on words in the text for notes and glosses
Cf. DGB 116 (Reeve and Wright 2007, 155.198-200; cf. Wright 1988, 110, prophecy 43): Qui ut causam inierint, promittent ei duos pedes et aures et caudam et ex eis porcina membra component. Acquiescet ipse promissamque restaurationem expectabit ‘Plotting together, they will promise it two feet and ears and a tail to replace the boar’s members. The boar will consent and await their promised restitution’ (cf. Reeve and Wright 2007, 154). Merl differs from Geoffrey in being consistent about the number of feet and ears to be replaced. Altogether, the treatment in Merl is notably free, especially in its incorporation of direct speech, and suggests that Gunnlaugr had contemporary beast epic in mind (see Introduction).
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