Anon Mey 5VII
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 ‘Sweet’
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sœtr (adj.): sweet
Máría ‘Mary’
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María (noun f.): Mary
gjörði ‘’
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1. gera (verb): do, make
að ‘’
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5. at (nota): to (with infinitive)
gráta ‘wept’
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2. gráta (verb): weep
gráti ‘by weeping’
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grátr (noun m.): weeping, crying
mædd ‘overcome’
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2. mœða (verb): weary
í ‘at’
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í (prep.): in, into
sonarins ‘of the son’
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sonr (noun m.; °-ar, dat. syni; synir, acc. sonu, syni): son
láti ‘death’
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lát (noun n.; °; -): death
lát ‘conduct’
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lát (noun n.; °; -): death
Júðanna ‘of the Jews’
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júði (noun m.; °-a; -ar): Jew
að ‘’
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3. at (prep.): at, to
fljóði ‘woman’
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fljóð (noun n.): woman
fljóðið ‘the woman’
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fljóð (noun n.): woman
horfði ‘looked’
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2. horfa (verb): face, look at
á ‘at’
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3. á (prep.): on, at
krossinn ‘Cross’
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kross (noun m.; °-, dat. -i; -ar): cross, crucifix
rjóðan ‘the red’
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3. rjóðr (adj.): red
Rjóðandi ‘reddening’
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rjóða (verb): to redden
flaut ‘flowed’
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fljóta (verb): flow, float
flóði ‘streamed’
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3. flóa (verb): flood, flow
flóð ‘stream’
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2. flóð (noun n.): flood
táranna ‘of tears’
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tár (noun n.; °; -): tear
niðr ‘down’
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3. niðr (adv.): down
um ‘’
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1. um (prep.): about, around
móður ‘mother’
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móðir (noun f.): mother
móður ‘the mother’s’
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móðir (noun f.): mother < móðurbrjóst (noun n.)
brjóstið ‘chest’
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brjóst (noun n.; °-s; -): breast, chest < móðurbrjóst (noun n.)
streingt ‘tight’
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strengr (adj.): [tight]
af ‘from’
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af (prep.): from
stríði ‘grief’
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2. stríð (noun n.; °-s; -): affliction
stríðið ‘the grief’
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2. stríð (noun n.; °-s; -): affliction
bar ‘bore’
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3. bera (verb; °berr; bar, báru; borinn): bear, carry
sem ‘like’
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sem (conj.): as, which
síðan ‘since’
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síðan (adv.): later, then
Interactive view: tap on words in the text for notes and glosses
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.
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