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The origin of skald's poetry Part 7

All these barbaric manifestations of hypertrophy forms were natural authorship, it is inevitable that an archaic personal poetry.

According to the assumption, similarities cultures old Irish old Norse effect relations prevailing in the Viking age between Scandinavia Ireland. However, a much more plausible seems to be the opposite: ties between Scandinavians and Irish in the Viking age (the difference in language) a consequence of the significant similarities between this era cultures.

The origin of skald's poetry Part 3

The consequences that this awareness entails are so large that the compositions lying on the opposite side of the border that separates folklore literature, refer to two fundamentally different areas are objects of two different Sciences. However, in genetic terms, is one of the most dark areas of the total available to the literary critic. This boundary, like the boundary in the sense that this notion in the early middle ages, when the word "frontier" meant dramatizes or a desolate wilderness, dividing the inhabited land.

The origin of skald's poetry Part 2

But a more important objection to the theory of Mubenga is that, although his work called "the Origin of the old Norse", in reality it is not explained how poetry, but only an attempt of the geographical skalds, though the attempt is unconvincing. So, for example, ancient skalds and Eastern (Middle Sweden). And mash, and his father in Earp were associated with the East-Scandinavian kings. That in verses Braga meet and that his father's name Boddi.

The origin of skald's poetry Part 4

Inferiority the creative self-consciousness is reflected in style scale, namely in an extremely characteristic desire expression of canning when the absolute immutability of his internal circuitry, enclosed in it the "image". With few exceptions, the scalds. Like folklore, they are accumulated stereotypical poetic schemes. By substituting synonyms they verbal expression of canning, but its contents, enclosed in it the "image" remains absolutely unchanged. Characteristic of folklore and fossil poetic expression turns out to have only partially.

The main theory of the origin and development of Homeric epics Part 4

Little known author the individuality of Achilles from the unique edition the spectacle at this meeting together with Aeneas (Canto XX), at which at the mouth the very previous extended discourse regarding the remaining portion of this Trojan, patiently hear Achilles. This epic fight of Achilles along with the lake God, in track XXI has obtained a appendage of after source - that the taming of this lake God of passion and also "Theomachy" (struggle between dinosaurs).

The main theory of the origin and development of Homeric epics Part 5

Even the Genesis of this task, its own slow clearance Wilamowitz believes therefore: the very first theory was "Achilleid" - a poem that currently creates the cornerstone of music XVIII - XXIII. It extended out of the nighttime which followed closely the passing of Patroclus, until the passing of Achilles. In that particular poem have lived undamaged bits in music of XX (along with this 3 main gains) along with also the music XXII-XXIII (around to. 256).

The main theory of the origin and development of Homeric epics Part 3

In tune fighter the pops of Diomed, together with all the crash of this protagonist with all the gods themselves, are still completely independently. Agents of their "notion of their fundamental kernel", with one accord each of the scenes obtained out of around the mid-eighth century into the current, since they comprise allusions into the subsequent cultural and governmental state of Greece compared to all the more early regions of the decoration.

The main theory of the origin and development of Homeric epics Part 2

The faculty Lachmann ongoing to entice most fans, one of which the absolute most well-known Bonitz, Lauer, etc.

The center stance between those instructions has been obtained by way of a Professor K. Lers, to comprehend that the motto of every one of those poems, but refused their partnership with one another. This opinion was voiced more by a few grammars of Alexandria, that received in their contemporaries the identify of "flat" (separators).