Judith Jesch (ed.) 2009, ‘Oddi inn litli Glúmsson, Lausavísur 1’ in Kari Ellen Gade (ed.), Poetry from the Kings’ Sagas 2: From c. 1035 to c. 1300. Skaldic Poetry of the Scandinavian Middle Ages 2. Turnhout: Brepols, pp. 614-16.
(not checked:)
standa (verb): stand
(not checked:)
3. ok (conj.): and, but; also
(not checked:)
2. hyggja (verb): think, consider
(not checked:)
5. at (nota): to (with infinitive)
(not checked:)
hǫggva (verb): to strike, put to death, cut, hew
(not checked:)
herðilútr (adj.): [bent-shouldered]
(not checked:)
með (prep.): with
(not checked:)
sverð (noun n.; °-s; -): sword
(not checked:)
band (noun n.; °-s; *-): band, bond < bandalfr (noun m.)
(not checked:)
band (noun n.; °-s; *-): band, bond < bandalfr (noun m.)
(not checked:)
alfr (noun m.; °; -ar): elf < bandalfr (noun m.)
(not checked:)
beiða (verb; °-dd-): ask, request < beiðirindr (noun f.)
[3] beiði‑: beiðir Flat
[3-4] bandalfr beiði-Rindi Baldrs ‘the elf of the belt of the begging-Rindr <giantess> of Baldr <god> [(lit. ‘belt-elf of the begging-Rindr of Baldr’) = Frigg (ey ‘island’) > SEA (marr ‘sword’) > WARRIOR]’: The reading here follows that of Finnbogi Guðmundsson (ÍF 34, 203) and Bibire (1988, 231). The warrior-kenning uses ofljóst ‘too transparent’: Frigg, the goddess who begged for the release of Baldr from Hel, is also an island-name (Þul Eyja 4/3III); the ‘belt’ of an island is the sea (marr) which is also a ‘sword’ (Þul Sverða 3/5III), and the ‘elf’ of the sword is the warrior. Poole (2006, 150-2) has the same reading but a very different interpretation, based on his supposition that the scene depicted on the tapestry is from the story of Starkaðr. His interpretation is not adopted here on the grounds that it ignores the clear parallelism in the st. between this kenning and the extended kenning hlœðendr hleypiskíða hlunns ‘the loaders of the leaping skis of the roller’ in ll. 7-8 (although that admittedly does not make use of ofljóst). Poole contends (2006, 151-2) that Baldrs beiði-Rindi is a woman-kenning, using an allusion to Baldr in Anon Bjark 6III to argue that the kenning refers to a woman associated with the Dan. royal dynasty. Poole (2006, 151-2) also maintains that ‘the verse envisages the striking of a woman, additional to whatever male-to-male confrontation and aggression we see described in Rǫgnvaldr’s stanza’, although there is also clear evidence of ‘male-to-male ... aggression’ in l. 5 of this st. It is indeed assumed here that the two sts represent two different interpretations of what the poets saw on the wall-hanging, but that this difference is not quite as radical as that suggested by Poole. See further the Notes to Rv Lv 13.
(not checked:)
beiða (verb; °-dd-): ask, request < beiðirindr (noun f.)
[3] beiði‑: beiðir Flat
[3-4] bandalfr beiði-Rindi Baldrs ‘the elf of the belt of the begging-Rindr <giantess> of Baldr <god> [(lit. ‘belt-elf of the begging-Rindr of Baldr’) = Frigg (ey ‘island’) > SEA (marr ‘sword’) > WARRIOR]’: The reading here follows that of Finnbogi Guðmundsson (ÍF 34, 203) and Bibire (1988, 231). The warrior-kenning uses ofljóst ‘too transparent’: Frigg, the goddess who begged for the release of Baldr from Hel, is also an island-name (Þul Eyja 4/3III); the ‘belt’ of an island is the sea (marr) which is also a ‘sword’ (Þul Sverða 3/5III), and the ‘elf’ of the sword is the warrior. Poole (2006, 150-2) has the same reading but a very different interpretation, based on his supposition that the scene depicted on the tapestry is from the story of Starkaðr. His interpretation is not adopted here on the grounds that it ignores the clear parallelism in the st. between this kenning and the extended kenning hlœðendr hleypiskíða hlunns ‘the loaders of the leaping skis of the roller’ in ll. 7-8 (although that admittedly does not make use of ofljóst). Poole contends (2006, 151-2) that Baldrs beiði-Rindi is a woman-kenning, using an allusion to Baldr in Anon Bjark 6III to argue that the kenning refers to a woman associated with the Dan. royal dynasty. Poole (2006, 151-2) also maintains that ‘the verse envisages the striking of a woman, additional to whatever male-to-male confrontation and aggression we see described in Rǫgnvaldr’s stanza’, although there is also clear evidence of ‘male-to-male ... aggression’ in l. 5 of this st. It is indeed assumed here that the two sts represent two different interpretations of what the poets saw on the wall-hanging, but that this difference is not quite as radical as that suggested by Poole. See further the Notes to Rv Lv 13.
(not checked:)
beiða (verb; °-dd-): ask, request < beiðirindr (noun f.)
[3] beiði‑: beiðir Flat
[3-4] bandalfr beiði-Rindi Baldrs ‘the elf of the belt of the begging-Rindr <giantess> of Baldr <god> [(lit. ‘belt-elf of the begging-Rindr of Baldr’) = Frigg (ey ‘island’) > SEA (marr ‘sword’) > WARRIOR]’: The reading here follows that of Finnbogi Guðmundsson (ÍF 34, 203) and Bibire (1988, 231). The warrior-kenning uses ofljóst ‘too transparent’: Frigg, the goddess who begged for the release of Baldr from Hel, is also an island-name (Þul Eyja 4/3III); the ‘belt’ of an island is the sea (marr) which is also a ‘sword’ (Þul Sverða 3/5III), and the ‘elf’ of the sword is the warrior. Poole (2006, 150-2) has the same reading but a very different interpretation, based on his supposition that the scene depicted on the tapestry is from the story of Starkaðr. His interpretation is not adopted here on the grounds that it ignores the clear parallelism in the st. between this kenning and the extended kenning hlœðendr hleypiskíða hlunns ‘the loaders of the leaping skis of the roller’ in ll. 7-8 (although that admittedly does not make use of ofljóst). Poole contends (2006, 151-2) that Baldrs beiði-Rindi is a woman-kenning, using an allusion to Baldr in Anon Bjark 6III to argue that the kenning refers to a woman associated with the Dan. royal dynasty. Poole (2006, 151-2) also maintains that ‘the verse envisages the striking of a woman, additional to whatever male-to-male confrontation and aggression we see described in Rǫgnvaldr’s stanza’, although there is also clear evidence of ‘male-to-male ... aggression’ in l. 5 of this st. It is indeed assumed here that the two sts represent two different interpretations of what the poets saw on the wall-hanging, but that this difference is not quite as radical as that suggested by Poole. See further the Notes to Rv Lv 13.
(not checked:)
Rindr (noun f.): Rindr < beiðirindr (noun f.)
[3] -Rindi ‘-Rindr <giantess>’: Poole (2006, 150) objects that Rindi ‘can hardly be genitive-case or a combinative form’, but it is in fact a regular dat. form (ÍF 34, 203; ANG §384), here a dat. of respect. For the use of such datives with pieces of clothing (here ‘belt’) see NS §100 Anm. Kock (NN §2086) also feels the need to emend Rindi to Rindar (gen.) to arrive at a similar kenning. — [3-4] bandalfr beiði-Rindi Baldrs ‘the elf of the belt of the begging-Rindr <giantess> of Baldr <god> [(lit. ‘belt-elf of the begging-Rindr of Baldr’) = Frigg (ey ‘island’) > SEA (marr ‘sword’) > WARRIOR]’: The reading here follows that of Finnbogi Guðmundsson (ÍF 34, 203) and Bibire (1988, 231). The warrior-kenning uses ofljóst ‘too transparent’: Frigg, the goddess who begged for the release of Baldr from Hel, is also an island-name (Þul Eyja 4/3III); the ‘belt’ of an island is the sea (marr) which is also a ‘sword’ (Þul Sverða 3/5III), and the ‘elf’ of the sword is the warrior. Poole (2006, 150-2) has the same reading but a very different interpretation, based on his supposition that the scene depicted on the tapestry is from the story of Starkaðr. His interpretation is not adopted here on the grounds that it ignores the clear parallelism in the st. between this kenning and the extended kenning hlœðendr hleypiskíða hlunns ‘the loaders of the leaping skis of the roller’ in ll. 7-8 (although that admittedly does not make use of ofljóst). Poole contends (2006, 151-2) that Baldrs beiði-Rindi is a woman-kenning, using an allusion to Baldr in Anon Bjark 6III to argue that the kenning refers to a woman associated with the Dan. royal dynasty. Poole (2006, 151-2) also maintains that ‘the verse envisages the striking of a woman, additional to whatever male-to-male confrontation and aggression we see described in Rǫgnvaldr’s stanza’, although there is also clear evidence of ‘male-to-male ... aggression’ in l. 5 of this st. It is indeed assumed here that the two sts represent two different interpretations of what the poets saw on the wall-hanging, but that this difference is not quite as radical as that suggested by Poole. See further the Notes to Rv Lv 13.
(not checked:)
Rindr (noun f.): Rindr < beiðirindr (noun f.)
[3] -Rindi ‘-Rindr <giantess>’: Poole (2006, 150) objects that Rindi ‘can hardly be genitive-case or a combinative form’, but it is in fact a regular dat. form (ÍF 34, 203; ANG §384), here a dat. of respect. For the use of such datives with pieces of clothing (here ‘belt’) see NS §100 Anm. Kock (NN §2086) also feels the need to emend Rindi to Rindar (gen.) to arrive at a similar kenning. — [3-4] bandalfr beiði-Rindi Baldrs ‘the elf of the belt of the begging-Rindr <giantess> of Baldr <god> [(lit. ‘belt-elf of the begging-Rindr of Baldr’) = Frigg (ey ‘island’) > SEA (marr ‘sword’) > WARRIOR]’: The reading here follows that of Finnbogi Guðmundsson (ÍF 34, 203) and Bibire (1988, 231). The warrior-kenning uses ofljóst ‘too transparent’: Frigg, the goddess who begged for the release of Baldr from Hel, is also an island-name (Þul Eyja 4/3III); the ‘belt’ of an island is the sea (marr) which is also a ‘sword’ (Þul Sverða 3/5III), and the ‘elf’ of the sword is the warrior. Poole (2006, 150-2) has the same reading but a very different interpretation, based on his supposition that the scene depicted on the tapestry is from the story of Starkaðr. His interpretation is not adopted here on the grounds that it ignores the clear parallelism in the st. between this kenning and the extended kenning hlœðendr hleypiskíða hlunns ‘the loaders of the leaping skis of the roller’ in ll. 7-8 (although that admittedly does not make use of ofljóst). Poole contends (2006, 151-2) that Baldrs beiði-Rindi is a woman-kenning, using an allusion to Baldr in Anon Bjark 6III to argue that the kenning refers to a woman associated with the Dan. royal dynasty. Poole (2006, 151-2) also maintains that ‘the verse envisages the striking of a woman, additional to whatever male-to-male confrontation and aggression we see described in Rǫgnvaldr’s stanza’, although there is also clear evidence of ‘male-to-male ... aggression’ in l. 5 of this st. It is indeed assumed here that the two sts represent two different interpretations of what the poets saw on the wall-hanging, but that this difference is not quite as radical as that suggested by Poole. See further the Notes to Rv Lv 13.
(not checked:)
Rindr (noun f.): Rindr < beiðirindr (noun f.)
[3] -Rindi ‘-Rindr <giantess>’: Poole (2006, 150) objects that Rindi ‘can hardly be genitive-case or a combinative form’, but it is in fact a regular dat. form (ÍF 34, 203; ANG §384), here a dat. of respect. For the use of such datives with pieces of clothing (here ‘belt’) see NS §100 Anm. Kock (NN §2086) also feels the need to emend Rindi to Rindar (gen.) to arrive at a similar kenning. — [3-4] bandalfr beiði-Rindi Baldrs ‘the elf of the belt of the begging-Rindr <giantess> of Baldr <god> [(lit. ‘belt-elf of the begging-Rindr of Baldr’) = Frigg (ey ‘island’) > SEA (marr ‘sword’) > WARRIOR]’: The reading here follows that of Finnbogi Guðmundsson (ÍF 34, 203) and Bibire (1988, 231). The warrior-kenning uses ofljóst ‘too transparent’: Frigg, the goddess who begged for the release of Baldr from Hel, is also an island-name (Þul Eyja 4/3III); the ‘belt’ of an island is the sea (marr) which is also a ‘sword’ (Þul Sverða 3/5III), and the ‘elf’ of the sword is the warrior. Poole (2006, 150-2) has the same reading but a very different interpretation, based on his supposition that the scene depicted on the tapestry is from the story of Starkaðr. His interpretation is not adopted here on the grounds that it ignores the clear parallelism in the st. between this kenning and the extended kenning hlœðendr hleypiskíða hlunns ‘the loaders of the leaping skis of the roller’ in ll. 7-8 (although that admittedly does not make use of ofljóst). Poole contends (2006, 151-2) that Baldrs beiði-Rindi is a woman-kenning, using an allusion to Baldr in Anon Bjark 6III to argue that the kenning refers to a woman associated with the Dan. royal dynasty. Poole (2006, 151-2) also maintains that ‘the verse envisages the striking of a woman, additional to whatever male-to-male confrontation and aggression we see described in Rǫgnvaldr’s stanza’, although there is also clear evidence of ‘male-to-male ... aggression’ in l. 5 of this st. It is indeed assumed here that the two sts represent two different interpretations of what the poets saw on the wall-hanging, but that this difference is not quite as radical as that suggested by Poole. See further the Notes to Rv Lv 13.
(not checked:)
Rindr (noun f.): Rindr < beiðirindr (noun f.)
[3] -Rindi ‘-Rindr <giantess>’: Poole (2006, 150) objects that Rindi ‘can hardly be genitive-case or a combinative form’, but it is in fact a regular dat. form (ÍF 34, 203; ANG §384), here a dat. of respect. For the use of such datives with pieces of clothing (here ‘belt’) see NS §100 Anm. Kock (NN §2086) also feels the need to emend Rindi to Rindar (gen.) to arrive at a similar kenning. — [3-4] bandalfr beiði-Rindi Baldrs ‘the elf of the belt of the begging-Rindr <giantess> of Baldr <god> [(lit. ‘belt-elf of the begging-Rindr of Baldr’) = Frigg (ey ‘island’) > SEA (marr ‘sword’) > WARRIOR]’: The reading here follows that of Finnbogi Guðmundsson (ÍF 34, 203) and Bibire (1988, 231). The warrior-kenning uses ofljóst ‘too transparent’: Frigg, the goddess who begged for the release of Baldr from Hel, is also an island-name (Þul Eyja 4/3III); the ‘belt’ of an island is the sea (marr) which is also a ‘sword’ (Þul Sverða 3/5III), and the ‘elf’ of the sword is the warrior. Poole (2006, 150-2) has the same reading but a very different interpretation, based on his supposition that the scene depicted on the tapestry is from the story of Starkaðr. His interpretation is not adopted here on the grounds that it ignores the clear parallelism in the st. between this kenning and the extended kenning hlœðendr hleypiskíða hlunns ‘the loaders of the leaping skis of the roller’ in ll. 7-8 (although that admittedly does not make use of ofljóst). Poole contends (2006, 151-2) that Baldrs beiði-Rindi is a woman-kenning, using an allusion to Baldr in Anon Bjark 6III to argue that the kenning refers to a woman associated with the Dan. royal dynasty. Poole (2006, 151-2) also maintains that ‘the verse envisages the striking of a woman, additional to whatever male-to-male confrontation and aggression we see described in Rǫgnvaldr’s stanza’, although there is also clear evidence of ‘male-to-male ... aggression’ in l. 5 of this st. It is indeed assumed here that the two sts represent two different interpretations of what the poets saw on the wall-hanging, but that this difference is not quite as radical as that suggested by Poole. See further the Notes to Rv Lv 13.
(not checked:)
Rindr (noun f.): Rindr < beiðirindr (noun f.)
[3] -Rindi ‘-Rindr <giantess>’: Poole (2006, 150) objects that Rindi ‘can hardly be genitive-case or a combinative form’, but it is in fact a regular dat. form (ÍF 34, 203; ANG §384), here a dat. of respect. For the use of such datives with pieces of clothing (here ‘belt’) see NS §100 Anm. Kock (NN §2086) also feels the need to emend Rindi to Rindar (gen.) to arrive at a similar kenning. — [3-4] bandalfr beiði-Rindi Baldrs ‘the elf of the belt of the begging-Rindr <giantess> of Baldr <god> [(lit. ‘belt-elf of the begging-Rindr of Baldr’) = Frigg (ey ‘island’) > SEA (marr ‘sword’) > WARRIOR]’: The reading here follows that of Finnbogi Guðmundsson (ÍF 34, 203) and Bibire (1988, 231). The warrior-kenning uses ofljóst ‘too transparent’: Frigg, the goddess who begged for the release of Baldr from Hel, is also an island-name (Þul Eyja 4/3III); the ‘belt’ of an island is the sea (marr) which is also a ‘sword’ (Þul Sverða 3/5III), and the ‘elf’ of the sword is the warrior. Poole (2006, 150-2) has the same reading but a very different interpretation, based on his supposition that the scene depicted on the tapestry is from the story of Starkaðr. His interpretation is not adopted here on the grounds that it ignores the clear parallelism in the st. between this kenning and the extended kenning hlœðendr hleypiskíða hlunns ‘the loaders of the leaping skis of the roller’ in ll. 7-8 (although that admittedly does not make use of ofljóst). Poole contends (2006, 151-2) that Baldrs beiði-Rindi is a woman-kenning, using an allusion to Baldr in Anon Bjark 6III to argue that the kenning refers to a woman associated with the Dan. royal dynasty. Poole (2006, 151-2) also maintains that ‘the verse envisages the striking of a woman, additional to whatever male-to-male confrontation and aggression we see described in Rǫgnvaldr’s stanza’, although there is also clear evidence of ‘male-to-male ... aggression’ in l. 5 of this st. It is indeed assumed here that the two sts represent two different interpretations of what the poets saw on the wall-hanging, but that this difference is not quite as radical as that suggested by Poole. See further the Notes to Rv Lv 13.
(not checked:)
Rindr (noun f.): Rindr < beiðirindr (noun f.)
[3] -Rindi ‘-Rindr <giantess>’: Poole (2006, 150) objects that Rindi ‘can hardly be genitive-case or a combinative form’, but it is in fact a regular dat. form (ÍF 34, 203; ANG §384), here a dat. of respect. For the use of such datives with pieces of clothing (here ‘belt’) see NS §100 Anm. Kock (NN §2086) also feels the need to emend Rindi to Rindar (gen.) to arrive at a similar kenning. — [3-4] bandalfr beiði-Rindi Baldrs ‘the elf of the belt of the begging-Rindr <giantess> of Baldr <god> [(lit. ‘belt-elf of the begging-Rindr of Baldr’) = Frigg (ey ‘island’) > SEA (marr ‘sword’) > WARRIOR]’: The reading here follows that of Finnbogi Guðmundsson (ÍF 34, 203) and Bibire (1988, 231). The warrior-kenning uses ofljóst ‘too transparent’: Frigg, the goddess who begged for the release of Baldr from Hel, is also an island-name (Þul Eyja 4/3III); the ‘belt’ of an island is the sea (marr) which is also a ‘sword’ (Þul Sverða 3/5III), and the ‘elf’ of the sword is the warrior. Poole (2006, 150-2) has the same reading but a very different interpretation, based on his supposition that the scene depicted on the tapestry is from the story of Starkaðr. His interpretation is not adopted here on the grounds that it ignores the clear parallelism in the st. between this kenning and the extended kenning hlœðendr hleypiskíða hlunns ‘the loaders of the leaping skis of the roller’ in ll. 7-8 (although that admittedly does not make use of ofljóst). Poole contends (2006, 151-2) that Baldrs beiði-Rindi is a woman-kenning, using an allusion to Baldr in Anon Bjark 6III to argue that the kenning refers to a woman associated with the Dan. royal dynasty. Poole (2006, 151-2) also maintains that ‘the verse envisages the striking of a woman, additional to whatever male-to-male confrontation and aggression we see described in Rǫgnvaldr’s stanza’, although there is also clear evidence of ‘male-to-male ... aggression’ in l. 5 of this st. It is indeed assumed here that the two sts represent two different interpretations of what the poets saw on the wall-hanging, but that this difference is not quite as radical as that suggested by Poole. See further the Notes to Rv Lv 13.
[3-4] bandalfr beiði-Rindi Baldrs ‘the elf of the belt of the begging-Rindr <giantess> of Baldr <god> [(lit. ‘belt-elf of the begging-Rindr of Baldr’) = Frigg (ey ‘island’) > SEA (marr ‘sword’) > WARRIOR]’: The reading here follows that of Finnbogi Guðmundsson (ÍF 34, 203) and Bibire (1988, 231). The warrior-kenning uses ofljóst ‘too transparent’: Frigg, the goddess who begged for the release of Baldr from Hel, is also an island-name (Þul Eyja 4/3III); the ‘belt’ of an island is the sea (marr) which is also a ‘sword’ (Þul Sverða 3/5III), and the ‘elf’ of the sword is the warrior. Poole (2006, 150-2) has the same reading but a very different interpretation, based on his supposition that the scene depicted on the tapestry is from the story of Starkaðr. His interpretation is not adopted here on the grounds that it ignores the clear parallelism in the st. between this kenning and the extended kenning hlœðendr hleypiskíða hlunns ‘the loaders of the leaping skis of the roller’ in ll. 7-8 (although that admittedly does not make use of ofljóst). Poole contends (2006, 151-2) that Baldrs beiði-Rindi is a woman-kenning, using an allusion to Baldr in Anon Bjark 6III to argue that the kenning refers to a woman associated with the Dan. royal dynasty. Poole (2006, 151-2) also maintains that ‘the verse envisages the striking of a woman, additional to whatever male-to-male confrontation and aggression we see described in Rǫgnvaldr’s stanza’, although there is also clear evidence of ‘male-to-male ... aggression’ in l. 5 of this st. It is indeed assumed here that the two sts represent two different interpretations of what the poets saw on the wall-hanging, but that this difference is not quite as radical as that suggested by Poole. See further the Notes to Rv Lv 13. — [4] Baldrs ‘of Baldr <god>’: The eleventh leaf of 325I begins in the middle of this word.
[3-4] bandalfr beiði-Rindi Baldrs ‘the elf of the belt of the begging-Rindr <giantess> of Baldr <god> [(lit. ‘belt-elf of the begging-Rindr of Baldr’) = Frigg (ey ‘island’) > SEA (marr ‘sword’) > WARRIOR]’: The reading here follows that of Finnbogi Guðmundsson (ÍF 34, 203) and Bibire (1988, 231). The warrior-kenning uses ofljóst ‘too transparent’: Frigg, the goddess who begged for the release of Baldr from Hel, is also an island-name (Þul Eyja 4/3III); the ‘belt’ of an island is the sea (marr) which is also a ‘sword’ (Þul Sverða 3/5III), and the ‘elf’ of the sword is the warrior. Poole (2006, 150-2) has the same reading but a very different interpretation, based on his supposition that the scene depicted on the tapestry is from the story of Starkaðr. His interpretation is not adopted here on the grounds that it ignores the clear parallelism in the st. between this kenning and the extended kenning hlœðendr hleypiskíða hlunns ‘the loaders of the leaping skis of the roller’ in ll. 7-8 (although that admittedly does not make use of ofljóst). Poole contends (2006, 151-2) that Baldrs beiði-Rindi is a woman-kenning, using an allusion to Baldr in Anon Bjark 6III to argue that the kenning refers to a woman associated with the Dan. royal dynasty. Poole (2006, 151-2) also maintains that ‘the verse envisages the striking of a woman, additional to whatever male-to-male confrontation and aggression we see described in Rǫgnvaldr’s stanza’, although there is also clear evidence of ‘male-to-male ... aggression’ in l. 5 of this st. It is indeed assumed here that the two sts represent two different interpretations of what the poets saw on the wall-hanging, but that this difference is not quite as radical as that suggested by Poole. See further the Notes to Rv Lv 13. — [4] Baldrs ‘of Baldr <god>’: The eleventh leaf of 325I begins in the middle of this word.
[3-4] bandalfr beiði-Rindi Baldrs ‘the elf of the belt of the begging-Rindr <giantess> of Baldr <god> [(lit. ‘belt-elf of the begging-Rindr of Baldr’) = Frigg (ey ‘island’) > SEA (marr ‘sword’) > WARRIOR]’: The reading here follows that of Finnbogi Guðmundsson (ÍF 34, 203) and Bibire (1988, 231). The warrior-kenning uses ofljóst ‘too transparent’: Frigg, the goddess who begged for the release of Baldr from Hel, is also an island-name (Þul Eyja 4/3III); the ‘belt’ of an island is the sea (marr) which is also a ‘sword’ (Þul Sverða 3/5III), and the ‘elf’ of the sword is the warrior. Poole (2006, 150-2) has the same reading but a very different interpretation, based on his supposition that the scene depicted on the tapestry is from the story of Starkaðr. His interpretation is not adopted here on the grounds that it ignores the clear parallelism in the st. between this kenning and the extended kenning hlœðendr hleypiskíða hlunns ‘the loaders of the leaping skis of the roller’ in ll. 7-8 (although that admittedly does not make use of ofljóst). Poole contends (2006, 151-2) that Baldrs beiði-Rindi is a woman-kenning, using an allusion to Baldr in Anon Bjark 6III to argue that the kenning refers to a woman associated with the Dan. royal dynasty. Poole (2006, 151-2) also maintains that ‘the verse envisages the striking of a woman, additional to whatever male-to-male confrontation and aggression we see described in Rǫgnvaldr’s stanza’, although there is also clear evidence of ‘male-to-male ... aggression’ in l. 5 of this st. It is indeed assumed here that the two sts represent two different interpretations of what the poets saw on the wall-hanging, but that this difference is not quite as radical as that suggested by Poole. See further the Notes to Rv Lv 13. — [4] Baldrs ‘of Baldr <god>’: The eleventh leaf of 325I begins in the middle of this word.
[3-4] bandalfr beiði-Rindi Baldrs ‘the elf of the belt of the begging-Rindr <giantess> of Baldr <god> [(lit. ‘belt-elf of the begging-Rindr of Baldr’) = Frigg (ey ‘island’) > SEA (marr ‘sword’) > WARRIOR]’: The reading here follows that of Finnbogi Guðmundsson (ÍF 34, 203) and Bibire (1988, 231). The warrior-kenning uses ofljóst ‘too transparent’: Frigg, the goddess who begged for the release of Baldr from Hel, is also an island-name (Þul Eyja 4/3III); the ‘belt’ of an island is the sea (marr) which is also a ‘sword’ (Þul Sverða 3/5III), and the ‘elf’ of the sword is the warrior. Poole (2006, 150-2) has the same reading but a very different interpretation, based on his supposition that the scene depicted on the tapestry is from the story of Starkaðr. His interpretation is not adopted here on the grounds that it ignores the clear parallelism in the st. between this kenning and the extended kenning hlœðendr hleypiskíða hlunns ‘the loaders of the leaping skis of the roller’ in ll. 7-8 (although that admittedly does not make use of ofljóst). Poole contends (2006, 151-2) that Baldrs beiði-Rindi is a woman-kenning, using an allusion to Baldr in Anon Bjark 6III to argue that the kenning refers to a woman associated with the Dan. royal dynasty. Poole (2006, 151-2) also maintains that ‘the verse envisages the striking of a woman, additional to whatever male-to-male confrontation and aggression we see described in Rǫgnvaldr’s stanza’, although there is also clear evidence of ‘male-to-male ... aggression’ in l. 5 of this st. It is indeed assumed here that the two sts represent two different interpretations of what the poets saw on the wall-hanging, but that this difference is not quite as radical as that suggested by Poole. See further the Notes to Rv Lv 13. — [4] Baldrs ‘of Baldr <god>’: The eleventh leaf of 325I begins in the middle of this word.
[3-4] bandalfr beiði-Rindi Baldrs ‘the elf of the belt of the begging-Rindr <giantess> of Baldr <god> [(lit. ‘belt-elf of the begging-Rindr of Baldr’) = Frigg (ey ‘island’) > SEA (marr ‘sword’) > WARRIOR]’: The reading here follows that of Finnbogi Guðmundsson (ÍF 34, 203) and Bibire (1988, 231). The warrior-kenning uses ofljóst ‘too transparent’: Frigg, the goddess who begged for the release of Baldr from Hel, is also an island-name (Þul Eyja 4/3III); the ‘belt’ of an island is the sea (marr) which is also a ‘sword’ (Þul Sverða 3/5III), and the ‘elf’ of the sword is the warrior. Poole (2006, 150-2) has the same reading but a very different interpretation, based on his supposition that the scene depicted on the tapestry is from the story of Starkaðr. His interpretation is not adopted here on the grounds that it ignores the clear parallelism in the st. between this kenning and the extended kenning hlœðendr hleypiskíða hlunns ‘the loaders of the leaping skis of the roller’ in ll. 7-8 (although that admittedly does not make use of ofljóst). Poole contends (2006, 151-2) that Baldrs beiði-Rindi is a woman-kenning, using an allusion to Baldr in Anon Bjark 6III to argue that the kenning refers to a woman associated with the Dan. royal dynasty. Poole (2006, 151-2) also maintains that ‘the verse envisages the striking of a woman, additional to whatever male-to-male confrontation and aggression we see described in Rǫgnvaldr’s stanza’, although there is also clear evidence of ‘male-to-male ... aggression’ in l. 5 of this st. It is indeed assumed here that the two sts represent two different interpretations of what the poets saw on the wall-hanging, but that this difference is not quite as radical as that suggested by Poole. See further the Notes to Rv Lv 13. — [4] Baldrs ‘of Baldr <god>’: The eleventh leaf of 325I begins in the middle of this word.
[3-4] bandalfr beiði-Rindi Baldrs ‘the elf of the belt of the begging-Rindr <giantess> of Baldr <god> [(lit. ‘belt-elf of the begging-Rindr of Baldr’) = Frigg (ey ‘island’) > SEA (marr ‘sword’) > WARRIOR]’: The reading here follows that of Finnbogi Guðmundsson (ÍF 34, 203) and Bibire (1988, 231). The warrior-kenning uses ofljóst ‘too transparent’: Frigg, the goddess who begged for the release of Baldr from Hel, is also an island-name (Þul Eyja 4/3III); the ‘belt’ of an island is the sea (marr) which is also a ‘sword’ (Þul Sverða 3/5III), and the ‘elf’ of the sword is the warrior. Poole (2006, 150-2) has the same reading but a very different interpretation, based on his supposition that the scene depicted on the tapestry is from the story of Starkaðr. His interpretation is not adopted here on the grounds that it ignores the clear parallelism in the st. between this kenning and the extended kenning hlœðendr hleypiskíða hlunns ‘the loaders of the leaping skis of the roller’ in ll. 7-8 (although that admittedly does not make use of ofljóst). Poole contends (2006, 151-2) that Baldrs beiði-Rindi is a woman-kenning, using an allusion to Baldr in Anon Bjark 6III to argue that the kenning refers to a woman associated with the Dan. royal dynasty. Poole (2006, 151-2) also maintains that ‘the verse envisages the striking of a woman, additional to whatever male-to-male confrontation and aggression we see described in Rǫgnvaldr’s stanza’, although there is also clear evidence of ‘male-to-male ... aggression’ in l. 5 of this st. It is indeed assumed here that the two sts represent two different interpretations of what the poets saw on the wall-hanging, but that this difference is not quite as radical as that suggested by Poole. See further the Notes to Rv Lv 13. — [4] Baldrs ‘of Baldr <god>’: The eleventh leaf of 325I begins in the middle of this word.
(not checked:)
2. við (prep.): with, against
[4] við dyrr á tjaldi ‘by the door on the tapestry’: Finnbogi Guðmundsson (ÍF 34, 202-3) suggests that tjald, here and in Rv Lv 13, means ‘wall’, by means of a complex pun, and that the figure is depicted as standing on a wall with a door in it. As Poole points out (2006, 149), it is simpler to read tjald as ‘wall-hanging’. This wall-hanging then presumably depicted an armed man standing by a doorway. See also Notes to Rv Lv 13.
(not checked:)
1. dyrr (noun f.; °gen. dura/dyra, dat. durum/dyrum): door
[4] við dyrr á tjaldi ‘by the door on the tapestry’: Finnbogi Guðmundsson (ÍF 34, 202-3) suggests that tjald, here and in Rv Lv 13, means ‘wall’, by means of a complex pun, and that the figure is depicted as standing on a wall with a door in it. As Poole points out (2006, 149), it is simpler to read tjald as ‘wall-hanging’. This wall-hanging then presumably depicted an armed man standing by a doorway. See also Notes to Rv Lv 13.
(not checked:)
3. á (prep.): on, at
[4] við dyrr á tjaldi ‘by the door on the tapestry’: Finnbogi Guðmundsson (ÍF 34, 202-3) suggests that tjald, here and in Rv Lv 13, means ‘wall’, by means of a complex pun, and that the figure is depicted as standing on a wall with a door in it. As Poole points out (2006, 149), it is simpler to read tjald as ‘wall-hanging’. This wall-hanging then presumably depicted an armed man standing by a doorway. See also Notes to Rv Lv 13.
(not checked:)
tjald (noun n.; °-s; *-): tent, awning
[4] við dyrr á tjaldi ‘by the door on the tapestry’: Finnbogi Guðmundsson (ÍF 34, 202-3) suggests that tjald, here and in Rv Lv 13, means ‘wall’, by means of a complex pun, and that the figure is depicted as standing on a wall with a door in it. As Poole points out (2006, 149), it is simpler to read tjald as ‘wall-hanging’. This wall-hanging then presumably depicted an armed man standing by a doorway. See also Notes to Rv Lv 13.
(not checked:)
hann (pron.; °gen. hans, dat. honum; f. hon, gen. hennar, acc. hana): he, she, it, they, them...
(not checked:)
hjǫrr (noun m.): sword
(not checked:)
hættr (adj.; °compar. -ari/-ri, superl. -astr): dangerous
[6] hættr: hætt Flat
(not checked:)
nú (adv.): now
(not checked:)
2. vera (verb): be, is, was, were, are, am
(not checked:)
1. mál (noun n.; °-s; -): speech, matter
(not checked:)
4. at (conj.): that
(not checked:)
2. sæta (verb): mean, signify
[6] sættisk: sættask 325I, Flat
(not checked:)
hlœðandi (noun m.): [loaders]
(not checked:)
hleypa (verb): impell, make run < hleypiskíð (noun n.)
(not checked:)
hleypa (verb): impell, make run < hleypiskíð (noun n.)
(not checked:)
skíð (noun n.; °; -): ski < hleypiskíð (noun n.)
(not checked:)
skíð (noun n.; °; -): ski < hleypiskíð (noun n.)
(not checked:)
hlunnr (noun m.; °-s, dat. -i; -ar): roller
(not checked:)
hlunnr (noun m.; °-s, dat. -i; -ar): roller
(not checked:)
áðr (adv.; °//): before
(not checked:)
geigr (noun m.): fright, injury
(not checked:)
2. vera (verb): be, is, was, were, are, am
(not checked:)
2. vinna (verb): perform, work
Interactive view: tap on words in the text for notes and glosses
Stendr ok hyggr at hǫggva |
The elf of the belt of the begging-Rindr <giantess> of Baldr <god> [(lit. ‘belt-elf of the begging-Rindr of Baldr’) = Frigg (ey ‘island’) > SEA (marr ‘sword’) > WARRIOR] stands bent-shouldered by the door on the tapestry and intends to strike with his sword. He will be dangerous to men with his sword; now it is time for the loaders of the leaping skis of the roller [SHIPS > SEAFARERS] to be reconciled, before an injury is inflicted.
At Christmas time, Rǫgnvaldr jarl challenged Oddi to compose a st. about one of his wall-hangings, at the same time as, and without using any of the words in, Rǫgnvaldr’s own st. (Rv Lv 13) on the same subject.
See also Rv Lv 13. Quite how this simultaneous composition would have worked is not made clear; Orkn (ÍF 34, 202-3) introduces Lv 1 with Oddi kvað ‘Oddi said’ immediately after citing Rv Lv 13.
Use the buttons at the top of the page to navigate between stanzas in a poem.
The text and translation are given here, with buttons to toggle whether the text is shown in the verse order or prose word order. Clicking on indiviudal words gives dictionary links, variant readings, kennings and notes, where relevant.
This is the text of the edition in a similar format to how the edition appears in the printed volumes.
This view is also used for chapters and other text segments. Not all the headings shown are relevant to such sections.