William Morris’s ‘greatest single inspiration’ was said to be the language and literature of medieval Iceland. After a brief survey of the origins and scope of Old Norse literary texts, this piece works through the considerable volume of translations of Old Norse saga literature which Morris made along with his Icelandic collaborator Eiríkur Magnússon, and considers why, after a ten-year period of astonishing productivity, his interest seems to have cooled. Morris’s knowledge of Old Norse literature and traditions is detailed, his translation methods are analysed, and the style and lexis of his controversially archaizing translations described, with special reference to Eiríkur’s experiences of working with him. Morris also translated Old Norse eddic verse, and many of the prose sagas he translated contain skaldic stanzas in the elaborate and unique dróttkvætt, or court, metre. The piece concludes with an assessment of these poetic translations, which are often overlooked, and the particular metrical and lexical challenges the originals present.

Court poetry is the label given to skaldic poetry in dróttkvætt (court metre) or one of its many variations, delivered as praise of rulers by Icelandic, Norwegian and Orcadian poets. This chapter discusses its typical content, including battle, voyages, praise, self-referential allusions to poetry, and mythical and religious references, both Christian and pre-Christian. The characteristic techniques of skaldic poetry – complex metre, diction (especially kennings) and word order, including clause arrangement – are described in detail. The three main forms of skaldic poetry, the drápa, flokkr and vísur, are distinguished, and subgenres of skaldic poetry such as ekphrasis, genealogical and historical poems, and eddic-style praise poems are described. Other types of court poetry, not straightforwardly encomiastic, are also considered. The social context and purpose of court poetry is explained, and the chapter concludes with a survey of the transmission, influence and modern reconstruction of court poems. Court poetry was such a useful medium for entertaining warrior elites that it endured for four centuries, and the continued inventiveness of court poets is noted.

The Introduction describes the distinctive character of Old Norse-Icelandic literature, arguing that in range, quality and originality this body of literature rivals anything produced elsewhere in the Middle Ages. Highlighting the enduring importance, influence and popularity of this unique corpus of literature, it sets out the rationale for a volume providing a comprehensive account of its history and development. It then outlines the reasons for organizing the chapters of this volume primarily by the time and place of their texts’ setting, rather than any putative order of composition, in order to emphasize the fundamental intertextuality of Old Norse-Icelandic literary genres and the diversity of genre, style and worldview which these texts encompass. After this, the contents and approach of each section of the History are introduced in turn.

This chapter deals with the konungasögur, the sagas of the Norwegian and Danish kings. Taking a chronological approach, it outlines the development of the genre from the Icelandic, Danish and Norwegian histories of the twelfth century through to the major compilations of the thirteenth century (Morkinskinna, Fagrskinna and Heimskringla) and the substantial manuscript collections of the fourteenth and fifteenth centuries, such as Flateyjarbók. It stresses the diversity of the sources which the authors of the kings’ sagas incorporated within their works, emphasizing the fundamentally intertextual nature of the konungasaga genre. In discussing the growth of the genre, it highlights the variety of voices, sources and modes contained within these sagas, exemplified in their different approaches to the skaldic verses quoted within their prosimetric structure. Placing Old Norse-Icelandic historiography within the context of historical writing in medieval Europe, the chapter argues that the kings’ sagas offer a polyphonic history of the medieval north, and in doing so explore the process of history-writing itself.

This chapter offers an analysis of the language, metres and forms of Old Norse poetry. It begins with a brief account of Old Norse language and related languages, and then considers the specialized language of Old Norse poetry, with its distinctive lexis and syntax, especially in skaldic verse. Compound words and kennings are discussed, followed by analysis of alliteration and rhyme in Old Norse poetry. The stanzaic form of eddic verse is described, with a detailed account of its main metres and scansions based on Sievers’s ‘five types’. Next, the forms of skaldic poetry are outlined, with an account of lausavísur or ‘loose stanzas’, and the different kinds of stanza sequences, such as the flokkr and the drápa. The primary metre of skaldic verse, dróttkvætt or ‘court metre’, is defined and illustrated, together with some of its many variations, and then attention turns to the rímur, a later form of rhyming and alliterative poetry in extended sequences of stanzas. The chapter concludes with a discussion of how metrical considerations may have affected scribal practice in the Middle Ages and have impacted editorial processes by modern scholars.

This chapter traces the history of Christian poetry in Old Norse-Icelandic from the tenth century to the fourteenth century. Beginning with Hallfreðr Óttarsson, it describes how poets began to incorporate Christian material into their verse during the conversion period in Norway, avoiding pagan imagery and developing new kennings for Christian concepts. It then discusses poetry composed by Icelandic skalds in praise of St Óláfr Haraldsson and his successors, including Einarr Skúlason’s twelfth-century poem Geisli. From the twelfth century onwards the body of Christian poetry is sizeable, and this chapter sets such important works as Harmsól, Sólarljóð and Lilja in the context of this developing poetic tradition. It also outlines the history of Old Norse-Icelandic poetry dealing with saints, including the Virgin Mary, apostles and virgin martyrs. It is suggested that the composition of poems on Christian subjects in praise of God, Christ and the saints was a continuation of the pre-Christian encomiastic tradition, with appropriate modifications of subjects, style and metres.

This chapter focuses on a major subgroup of Islendingasögur, the poets’ sagas or skalds’ sagas. While many Íslendingasögur include skaldic verses placed in the mouths of characters, in poets’ sagas the verses are attributed to and spoken by known poets, who were predominantly Icelanders. The role some of these Icelanders played as court poets to rulers of Norway is often depicted in short narratives or þættir, and is here argued to represent the beginnings of the development of poets’ sagas. Four sagas are concerned with the more personal aspects of the poets’ lives back in Iceland, and the narrative follows a distinct and repeated pattern of rivalry with another man, in some cases also a poet, who marries the object of the protagonist’s desire. These sagas, Kormáks saga, Hallfreðar saga, Bjarnar saga Hítdœkappa and Gunnlaugs saga ormstungu, are analysed in detail to highlight the centrality and similarity of the love-triangle pattern, with Egils saga displaying a vestigial element of it. Themes of love, grief and insult (nið) are discussed, and the chapter concludes by contrasting the bitterness of the poets’ rivalries with the strength of their devotion to their patrons.

The mythology of Scandinavia as the inspiration for a significant amount of Old Norse poetry, from pre-Christian times and on into the Christian period, is the subject of this chapter. It begins with a critical analysis of the main mythological poems in the first twenty leaves of the Codex Regius: Þrymskviða, Hymiskviða, Lokasenna, Skírnismál, Alvíssmál, Vafþrúðnismál, Hárbárðsljóð, Grímnismál, Völundarkviða and Hávamál, before moving on to consider Völuspá, the poem which opens the collection. The discussion then considers the ways in which mythological thinking also informs some of the poems in the so-called ‘heroic’ section, the Helgi poems, the Sigurðr poems, and poems such as Helreið Brynhildar. Eddic poems from outside the Codex Regius, such as Hyndluljóð, Baldrs draumar and Grottasöngr, are also discussed. Particular attention is paid to metre, poetic language and kennings, and mythological references in skaldic poetry are also described.

This chapter deals with the processes of conversion and Christianization as they are explored in Old Norse literature, focusing on skaldic verse composed in Norway and Iceland in the tenth and eleventh centuries. It begins by discussing the poetry of Hallfreðr Óttarsson vandræðaskáld as a representation of a poet’s experience of conversion, through looking at the poems Hallfreðr composed for the pagan Norwegian ruler Hákon jarl and the Christianizing king Óláfr Tryggvason. It then considers the prominent role played by skaldic verse in the conversion of Iceland, in which skaldic poems gave voice both to pagan resistance and to Christian attacks on the pagan gods. Finally, the chapter discusses how poets in eleventh-century Norway were able to adapt their verse to reorient it away from its associations with paganism, allowing them to praise the Christian king Óláfr Haraldsson while preserving the cultural value their art form had traditionally possessed.

This chapter focuses on Snorri Sturluson’s Prose Edda, providing a thorough introduction to this important text. It argues that few books have been as foundational to several fields of study as Snorri’s treatise has been for the investigation and appreciation of Norse myth, poetry and religion. The opening section of the chapter discusses the work’s title, structure and authorship, and describes the most significant manuscripts and modern translations of the text. It emphasizes the heterogenous character of the Edda, suggesting that the work’s variegated and intertextual nature has given rise to sharply divergent critical impressions of the text and competing theories about its origins and function. The most notable of these different perspectives are summarized, with a comparison of contrasting views on how the Edda came together and what its purpose may have been. Each section of the text is then considered in turn, discussing in detail its content, sources, form and purpose, and the relationship of each section to the compilation as a whole.

This chapter discusses the interactions between Latin learning and Old Norse-Icelandic vernacular literature between the twelfth and fourteenth centuries. Beginning with the arrival of Latin textual culture in Iceland with the introduction of Christianity, it describes how oral literary culture was transformed by contact with these new forms of learning. It takes as case-studies manuscripts which reveal the influence of learned material, first considering the relationship between Ari’s Íslendingabók and the study of computus, chronology and geographical learning, and then discussing encyclopaedic handbooks attributed to two lawmen, Sturla Þórðarson’s Resensbók and Haukr Erlendsson’s Hauksbók. To explore the interaction between Latin learning and skaldic poetry, it then focuses on Codex Wormianus, a compilation of vernacular grammatical literature and skaldic poetics. It argues that skaldic verse was reconciled with Christian textual culture by functioning in vernacular grammatical literature in the same way as classical verse did in Latin culture, and analyses an example from the Third Grammatical Treatise to show how a skaldic stanza could be used in this way.