Tag: Simon Brett

From The Saga Of Dietrich Of Bern

This is Part Two of Book Two of Legends of the Ring. It “was most likely composed in Norway somewhere between 1230 and 1250 by a well-travelled or well- read Norwegian, writing in Norse for the culturally flourishing court of Hakon IV.” (Magee).

This Folio Society selection, focussing on the Siegfried story, does not include the whole of the Dietrich saga, but the last in a series of duels is one between the two heroes. The main thread stitches together bloodthirsty battles between the Nibelungs and the Huns. The translation is by Edward R. Haymes.

In my review of The Nibelungenlied I state that “The powerful prose narrative lacks the beauty of the Icelandic poetry of Book one, although it presents the tale in considerably more detail.” https://derrickjknight.com/2024/08/04/the-nibelungenlied/. Maybe the more fluent and attractive prose in this saga of a now familiar story reflects the writing of someone more akin to the Scandinavian Source.

Dietrich is described thus: “He was long-faced and regular of features, light in colour, and had the best eyes of all men, dark brown in colour. His hair was light and fair and fell in curls. He had no beard, no matter how old he got. His shoulders were so broad that they measured two ells across. His arms were stout like a great trunk and hard as stone. He had fair hands. In the waist he was slender and well-formed, and his hips and his thighs were so stout that everyone thought that it was very strange how the man had been shaped. His legs were fair and well-shaped. And his calves and ankles were so stout that they could have belonged to a giant. His strength was greater than any man knew and he himself scarcely tested it. He was cheerful and modest, generous and a giver of great gifts, so that he did not hold back from his friends with gold or silver or treasure or with almost anything they would accept.”

The birth of Siegfried and his fostering by a hind is beautifully expressed: “A hind came along and took the [baby] boy in her mouth and carried him home to her lair. There she had two fawns. She put the boy down and let him drink for her. She raised him like her own young and he was with the hind for twelve months. Then he was as strong and big as other boys four years old.” Growing thereafter into a perfect match for Dietrich. When Mimir found the youngster and took him in “a hind came running up, went up to Mimic’s knees and licked the face and head of the boy. From this Mimir knew that the hind must have fostered the boy. For this reason he did not want to kill the hind and he took the boy and kept him with him. He intended to raise him as his son and he gave him a name and called him Siegfried.”

This is an example of the greater detail given in this saga to the material covered in previous sections of Legends of the Ring.

We also have more details of lengthy individual duels and battles with fast moving action described.

The position of women in this society obsessed with beauty and strong men of honour is somewhat complex. It was a fate worse than death for a man to be beaten by a woman and fathers are always speaking of giving their daughters to valued suitors. Yet queens and wives can be powerful, scheming and influential. We have clear indication of this in Chapter 5 of the saga extracts, The Bride-Winning of Siegfried and Gunther.

The first of Simon Brett’s illustrations to this section of the book has been placed above the relevant quotation. The others are in this gallery.

The Mythological Poems Of The Elder Edda

This is Part Four of Book One of Legends of the Ring; like the Heroic ones it has been translated by Patricia Terry. I read it today.

“The mythological poems feature all the well-known Norse gods: Odin [often disguised, as for example a ferryman in the Lay of Harbard.], Fridge, Frey and Freyja, Thor, Loki and the fair god Balder. Giants and dwarfs have their share too. Sometimes the poems tell genuine stories about these characters. Both the ‘Lay of Thrym’ and the ‘Lay of Hymir’ are comic tales involving Thor, and the ‘Lay of Skirmir’ succeeds as a tale of romance.

“….knowledge is at the hub of the majority of these poems…..[which] convey knowledge of places, people, and events throughout the cosmos. They act as guides to the beginning of the universe, and its end, and contain the names and doings of all the major players on its many worlds.

“As with the heroic poems, much of the poetry takes the form of speech. Gods, giants and dwarfs, in turn act as the poems’ mouthpiece, climaxing in the great cosmic vision of the vala or sybil. Consequently knowledge, too, comes in spoken form: sometimes in monologue, more often in dialogue, principally in question-and-answer exchanges.” (Magee)

The first set of these poems is entitled WISDOM AND KNOWLEDGE.

‘The High One’ who offers the opening monologues ‘Sayings’ and the ‘Lay of Lloddfafnir’ is Odin, who, disguised as Gagnrad enters into a full dialogue with the giant Vafthrudnir in that eponymous lay. The advice given in the first of these reflects those given by Snorri, for example “if a man takes with him a mind full of sense/ he can carry nothing better;/ nothing is worse to carrot your way/ than a head heavy with beer.” The repetition of the first lines of a string of these verses is a common element in these lays. “Don’t stay for ever when you visit friends,/ know when it’s time to leave;/ love turns to loathing if you sit too long/ on someone else’s bench.” contains the now familiar penchant for alliteration. There are some nice similes in this verse: “Thus you’ll find the love of a faithless woman:/ like a smooth shod horse on slippery ice – / a sprightly two-year-old not yet trained,/ or sailing with no rudder in a frantic storm/ or a lame man on an icy hill running after reindeer.”

Then we have COMEDY AND INSULT.

“The Eddic interpretation of comedy is many-faceted: incongruous, preposterous, ridiculous; sometimes salacious, often insulting, and occasionally spiteful or downright cruel.”

In ‘The Lay of Thrym’ “Thunder-weilding Thor woke in a rage – / someone had made off with his mighty hammer;/ his hair stood upright, his beard shook with wrath,/ wild for his weapon the god groped around” (Again the alliteration).

The final selection represents QUEST AND PROPHESY.

This closes with ‘Sybil’s Prophesy’ quoted in “The Prose Edda”, describing the creation of the cosmos, its disastrous destruction by fire and tempest, and its ultimate hope of regeneration.

These two of Simon Brett’s engravings are relevant to this last section.

This evening, from tables in front of the TV while watching the Women’s rugby sevens Olympic match between Australia and Great Britain; the first round Olympic tennis doubles match between Britain’s Andy Murray and Dan Evans and Japan’s Taro Daniel and Kei Nishikori; followed by highlights of the third day of the third cricket test match between England and West Indies, we dined on roast pork, brambly apple sauce, Yorkshire pudding, boiled new potatoes, cabbage, cauliflower, carrots, broccoli and meaty gravy cooked perfectly by the Culinary Queen, with which I drank Bajoz Tempranillo 2022.

The Prose Edda

This is Part Three of Book One of Legends of The Ring: The Prose Edda by Snorri Sturluson (1179-1241) “an Icelander living during the remarkable literary flowering of the twelfth and thirteenth centuries which produced among other things the great Icelandic sagas” (Magee).

The translation is by Jean I. Young.

It was the rich heritage of poetry, much of which he quotes, that provided Snorri’s material for his Edda. He blends Norse history and mythology in this work. “His opening ‘Delusion of Gylfi’, in which the main mythological events and characters are depicted, is presented inside an elaborate framework of illusion and deception, conforming to the Church image of heathendom as trickery.” (Magee)

“King Gylfi ruled the lands that are now called Sweden….[he] was a wise man and skilled in magic” says Snorri. Disguised as an old man he visited Asgard (home of the gods) to discover the secrets of the Aesir (the main body of the Norse gods). By question and answer he is fooled by Loki, the mischief maker, as a device for explaining the creation and ultimate destruction of the universe. Taking the poem “Sibyl’s Prophesy” as his source we learn that ‘In the beginning/ not anything existed,/ there was no sand nor sea/ nor cooling waves;/ earth was unknown/ and heaven above/ only Ginnungagap [primal void] / was – there was no grass’. Thus the sun and stars, the seasons, the winds, humanity, and everything else. The main Aesir are named and their stories told.

We learn of Yggdrasil and its meaning. This is the ash tree “the best and greatest of all trees; its branches spread out over the whole world and reach up over heaven. The tree is held in position by three roots that spread far out; one is among the Aesir, the second among the frost ogres where once was Ginnungagap, and the third extends over Niflheim [the Underworld]….[the serpent] Nidhogg gnaws at the root from below….the hart devours it from above…”

Here are more of Simon Brett’s powerful engravings.

Predictions of the end of the world include “Surt will fling fire over the earth and burn up the whole world” and “the serpent churns up waves”, but there is hope that “While the world is being burned by Surt, in a place called Hoddmimir’s Forest, will be concealed two human beings called Lif and Lifthrasir [Life and Desire for Life]. Their food will be the morning dews, and from these men will come so great a stock that the whole world will be peopled…..”

The second part of The Prose Edda tells of the deaths of Fafnir, Regin, Sigurd, Brynhild, and the last of the Volsungs.

The Saga Of The Volsungs

This is Part One of Book One of The Ring Legends of Scandinavia. “We begin with what promises to be the furthest-reaching, fullest possible version on the human side of the Ring legends. The Saga of the Volsungs stretches from end to end of the story, telling of the two great families: the Volsungs, into which Sigurd is born, and the Gjukungs, into which he marries….. The Saga… was composed by an anonymous author between 1200 and 1270, probably 1260 and almost certainly in Iceland. As such it belongs to the flourishing Icelandic saga culture of the late twelfth and thirteenth centuries.” (Elizabeth Magee)

This version is based on the text edited and translated by R.G. Finch in London 1965.

This story involves myth, magic, superstition, deception, trickery, treachery, love triangles, family history, bloodthirsty conflicts, rivalry, and mystery.

Reminiscent of the death of William Rufus on a deer hunt in England’s New Forest, the tale begins with Bredi’s murder by Sigi, reputed to be a son of Odin. Throughout the saga Odin appears as a “man” with various descriptions and significant actions. Thus reality merges with myth, and magic, as in “….a large pair of stocks was fetched, and at a certain spot in the forest the ten brothers had their legs clamped in, and there they sat all day, and night came on. And at midnight an old she-wolf came out from the forest to where they were sitting in the stocks. She was large and evil-looking. What she did was to bite one of them to death, thereupon devour him, then go away…….on nine consecutive nights the same wolf appeared at midnight, and each time she she killed and ate one of them until all were dead and Sigmund alone remained.” Trickery is employed by Signy, daughter of King Volsung to outwit and destroy the wolf.

“Numerous spears hurtled through the air, and arrows, too, but his norns looked after him, so he remained unscathed….”. “Norns, according to Magee, “are semi-divine female beings who weave the web of fate: past, present and future; the valkyries are Odin’s wish-maidens, who ride through the heavens, sway battles, select those heroes selected for Valhall, and serve the inexhaustible brew of ale to them when they arrive. Some are said to be Odin’s own daughters….”

Most confusing for readers such as me is that names are variable and interchangeable. The Icelandic Sigurd is the German Siegfried. The Sigmund of the above paragraph is the father of Sigurd who also has a son Sigmund. I doubt that I will get my head around all these, although the translation is fluent and very readable, and there is a good glossary of names in the appendices; it is splendid story anyway.

In addition to the fluid prose we have much poetry such as “Gold is now rendered,/ recompense for you,/ much for my head./’Tis not luck will be/ the lot of your son:/ Death to you both it brings.” put in the mouth of Loki, the mischief maker of the gods. Brunhild’s comprehensive advice to Sigurd, beginning “War runes you must know/ if wise you would be. / On sword-guard grave them,/ on hilt sockets, / on hilt’s iron grip, / and twice say Tyr’s name” and continuing with such stanzas as “Speech runes you must know,/ to be spared, if you wish/ repayment of grief rendered./ Wind them about,/ weave them around,/ side by side set them/ there at that Thing/ where throngs shall come,/ all to full session faring”. Tyr is the god of war; Thing is the parliament. Further such advice such as “Watch out for trickery from your friends” is delivered in fluent prose.

As I explained earlier, Simon Brett’s powerful illustrations are given in a block between pages 360 and 361. This is because there is so much overlap in the stories that each engraving could serve more than one part of the book.

Here are today’s offerings which may well be repeated as we progress through the work.

This evening we dined on more of the roast lamb with the addition of mushrooms and fresh vegetables. Neither of us imbibed.

Reading And Listening

This afternoon Elizabeth visited for a while wishing me well as she was at a wedding on my birthday.

After this I listened to the Test Match between England and West Indies on BBC News when not reading the introduction to

The first of these images is of the boards, back and front, of my edition; the second the Title Page and Frontispiece by Simon Brett.

Elizabeth Magee has gathered and woven together the array of saga, myth, and legend from the Germanic and Scandinavian peoples drawn on by Wagner in his Ring series. Because of the nature of the collection, involving similar but differently told stories from differing sources, Simon Brett’s powerful illustrations are gathered together in one block.

In Scandinavian mythology Yggdrasil, the frontispiece image, is most significant. “Underlying it is a whole cosmos, a universe created by the interaction of fire and ice and embedded in the great void. Central to the cosmos is the World Tree, Yggdrasil. According to Snorri, the three roots securing it reach down to the underworld Niflheim, out to the frost ogres and up to the sky among the gods and light elves. Its branches spread up to heaven and over the earth. The world is formed of concentric circles, surrounded by sea. Midgard is the home of humankind; rimward are the giants, and right at the hub is Asgard, seat of the gods on earth. Bifrost, the rainbow bridge, brings the gods every day from earth to heaven. Within the earth dwell dwarfs and dark elves.” (Magee)

I will follow the editor’s sections and add the pictures as I work my way through the book.

This evening we dined at The Lazy Lion in Milford on Sea, where I enjoyed fish pie with a minted melange of peas and other green veg followed by a summer fruits créme brulée with which I drank Flack’s Double Drop; Jackie’s choice was sun-dried tomato and pesto with halloumi cheese with which she drank Diet Cola.

Clarissa

I spent much of a dull but dry day finishing my second reading of

prompted by the ‘Richardson’s Novels’ essay in Leslie Stephen’s ‘Hours in a Library’, in which he praises this as the best of the author’s works.

Originally published in serial form during 1747-48, then in eight bound volumes, The Folio Society edition has been packed into two volumes comprising

1,500 tightly compressed pages containing well over a million words, of which this is an example.

If you are able to cast your mind back almost 300 years to a time without television soaps, with no internet, devoid of printers or photocopiers; when reading was done by candlelight and sedan chairs served as taxis; if you are satisfied with the leisurely journey offered by the lengthy prose which entertained those of that era you may well be entranced by this novel.

If you enjoy a fast pace of economical language leading to a quick conclusion; if you prefer watching your serials on streamed television freeing you from deferred gratification before you race ahead to the next, you probably wouldn’t last the course.

Yes, this is a long haul, and perhaps you would need to be an ex-marathon runner forced to slow down to take it on. The first time I read it I was commuting for an hour and a half each way on an intercity train.

Nevertheless this tragic tale presented in the form of exchanges of letters of varying lengths relaying differing perspectives on the same events is in fact compelling reading, if you don’t nod off. It is difficult to write without spoilers – as regular followers will know I try not to reveal the story, but perhaps I can point out that Richardson begins and ends with a duel, an example of his neatly tying up all the strands.

Each of the main protagonists details events and their inner thoughts to a trusted friend with whom they are not necessarily in agreement. Thus morals, honour, deception and devious devices are explored. The language, grammar, and sentence construction is not so different from today, but it is necessary to understand how the writers express themselves. Several copies of the correspondence were sometimes made and passed backwards and forwards to recipients. All this without modern reproductive devices.

A woman, once married, had no rights to property – any she owned became that of her husband, whom she was bound to obey. Although there is now no uniform marriage service in UK it is only 100 years since the female partner was no longer expected to “obey”. Jackie and I can’t quite remember, but we believe that when we first married in 1968, she vowed to obey me; not so in 2017.

It can be seen then, that one motive for marriage was the acquisition of assets and thus the potential enrichment of a family. This is one of Richardson’s themes, as is the domination of the husband.

Angus Wilson’s introduction to this edition is knowledgable and informative.

I am still limited in the number of illustrations I am able to include in posts, so I cannot feature every one of Simon Brett’s drawings.

This one ‘Meeting at Dusk’, appears opposite the sample page 166 above, which conveys the lady’s sensible mistrust.

‘Mr Solmes at Breakfast’ accurately conveys the oppressive atmosphere;

while ‘Miss Howe Writes a Letter’

has, on the reverse, an indication of the deception being employed.

Skilled as these illustrations are, they are rather too evocative of the text for me to include some of the more upsetting ones.

Late this afternoon Becky brought Flo and Ellie home and stayed the night.

We dined on another of Jackie’s shepherd’s pies with similar vegetables as yesterday with which she finished the Sauvignon Blanc, I drank more of the Douro, and the others abstained.