Post 1, W1-3

Post 1 Weeks 1-3

1. What genres do the following texts belong to, and how do their intended period contexts, purposes, and intended audiences differ?
Voluspa is an example of a mythological poem. With its many references to the ‘gods’ defining its genre, “Far-famed Thor”, “the son of Odin”, (Terry, 1990, 1966). Put to writing around the 10^th century it is thought to be much older and originating within the oral traditions. The old Norse text appears in a few sources, The Codex Regius, the Hauksbók manuscripts and the Prose Edda. Not a lot is known about the history of Voluspa, but it clearly details the creation of the world and its ultimate destruction (Voluspa Translations, 2012). Its purpose was probably to remind those listening or reading of their creation story, and inform them about the end of the world, and what the warning signs of that end would be. (Gay, 2015)  

Volsunga Saga is a legendary saga by genre, we see this because instead of it dealing with mythology and the gods like Voluspa, it deals with the legends of heroes, in particular the hero Sigurd. “Now crept the worm down to his place of watering, and the earth shook all about him, and he snorted forth venom on all the way before him as he went; but Sigurd neither trembled nor was adrad at the roaring of him.” (Morris, Magnussun, 1888) Volsunga Saga is thought to be written around the 13^th century, but again very little is known of its history (Killings, 1997). There are modern arguments however, suggesting possible correlations to culturally significant ethics, or I suppose in a way, a type of parable or lesson text, as this saga perhaps originated from oral traditions. For example the idea of the acquisition of wealth in relation to power and wisdom and how that relationship was viewed in a cultural sense (McGillivray, 2015). With this argument, perhaps it was not only purposed for entertainment, but for informing and enlightening too, as it was put into written text around the time that Iceland was undergoing a Christian conversion (McGillivray, 2015)     

Beowulf is an epic poem in genre of the legendary literature kind, we see this again, as in the case of Volsunga Saga, through a storyline which frames a hero rather than the gods. “The wide kingdom reverted to Beowulf. He ruled it well for fifty winters, grew old and wise as warden of the land.” (Heaney, 1999) while the Beowulf has no actual mention in history that we know of, some of the events depicted are historically documented and are viable, from around the time of the 6^th century. (The Editors of Encyclopaedia Britannica, 2019). It was thought to have been an oral text, being passed down through memory to listeners before it was written down. The author or authors’ are unknown however the oldest manuscript of Beowulf survives in the “Nowell Codex” and was composed around the 10^th century (British Library, n.d.) It can be assumed that Christian influences could have altered the original text in the form of interpolations, as the poet themselves where probably Christians, and the people who used the Old English language, had been under heavy Christian influence with the Roman occupation (Mastin, 2009).         

The Hobbit and LOTR can be grouped together I feel in the genre of Epic Fantasy, though technically The Hobbit is also classed as Children’s Fantasy. The LOTR can also fall under High Mythology, due to its extensive material. We can see it’s Within the realms of fantasy by the use of a fantastic or magical setting, in which the ordinary world could not exist. In The Hobbit we see it with the dragon Smaug’s appearance from the mountain 'Before long, so great was his speed, they could see him as a spark of fire rushing towards them and growing ever huger and more bright, and not the most foolish doubted that the prophecies had gone rather wrong.’ (Tolkien, 1997,1937) and within the LOTR we see it in the conversation between characters in which the passing of time is deduced 'Seven mounds upon the left, and nine upon the right,' said Aragorn. 'Many long lives of men it is since the golden hall was built." 'Five hundred times have the red leaves fallen in Mirkwood in my home since then,' said Legolas, 'and but a little while does that seem to us.' (Tolkien, 1993, 1954) Unlike the previous three texts, these two are well places in history. The Hobbit was written after WWI and LOTR written after WWII. They were written for entertainment, but also to fill a hole in English Mythology, as Tolkien was of the idea that the English had simply forgotten their history and oral traditions with time and the spreading of Christianity. (Cook. S.J, 2018).   

2. What are some possible features of residual (or "secondary") orality preserved in Voluspa, according to the criteria Ong (1982) advances?

Ong sites many features of orality "additive rather than subordinative"; "aggregative rather than analytic” (Ong, 1982) This is the use of words or turns of phrase which would have helped a person in a Primary Orality society to remember the story and recall details. Within the Secondary Orality Society however, these turns of phrase are rendered redundant. Though the fact they are written down proves they had a function at one point in history, an example of one of these phrases is “and night’s children,” (Terry, 1990, 1966) meaning the stars.
Another feature is "homeostatic” (Ong, 1982) this is the order of things, keeping everything neat, and in its place, this in oral form is making sure you reference and keep face while speaking for example in Voluspa The Volva would be sure to uphold custom and tradition as in the quote “Far-famed Thor, the son of Earth, the son of Odin,” (Terry, 1990, 1966) where she names Thor in all his tile and honours Odin.     

3. Identify a central incident that happens in at least four of the above texts and discuss how it is both similar and different in each example (remember to cite from the original texts).
The slaying of the dragon is a theme found within all these works. Within Voluspa the theme refers to one sharp paragraph in which Thor slays the World serpent and he himself perishes within 6 lines, “nine steps beyond the Serpent’s body, Thor, wounded, walks in pride.” (Terry, 1990, 1966)  
Volsunga Saga is far more drawn out, this takes up the entirety of chapter 18 but still it holds a similar reference and ultimately fate “So whenas the worm crept over the pits, Sigurd thrust his sword under his left shoulder, so that it sank in up to the hilts; then up leapt Sigurd from the pit and drew the sword back again unto him, and therewith was his arm all bloody, up to the very shoulder.” (Morris, Magnussun, 1888)
Beowulf is again a drawn-out ordeal, as with Volsunga Saga, we learn however early doors that Beowulf will not survive the fight “After many trials, he was destined to face the end of his days in this mortal world; as was the dragon, for all his long leasehold on the treasure.” (Heaney, 1999)
The Hobbit is by far the most straight forward of the drawn-out tales, although in this instant our hero, Bard, did not perish along with the beast. “In it smote and vanished, barb, shaft and feather, so fierce was its flight. With a shriek that deafened men, felled trees and split stone, Smaug shot spouting into the air, turned over and crashed down from on high in ruin.” (Tolkien, 1997,1937). Bard is the only dragon slayer to survive their story.

4. How did Tolkien draw on the Old Norse and Old English texts in his The Hobbit and The Lord of the Rings fantasy novels? Provide some concrete examples.

The story of Bilbo Baggins within The Hobbit is quite blatant in its replication from its roots in the thief within the Beowulf text who angered the dragon and unleashed its fury upon the nearby villages. When we see the two text side by side we can draw no other conclusion than the scene where Smaug destroys lake town is heavily drawn from Beowulf.
“Then, to his delight, the day waned, and he could wait no longer behind the wall, but hurtled forth in a fiery blaze. The first to suffer were the people on the land.” (Heaney, 1999). Vs. “Before long, so great was his speed, they could see him as a spark of fire rushing towards them and growing ever huger and more bright” (Tolkien, 1997,1937).

“The dragon began to belch out flames and burn bright homesteads; there was a hot glow that scared everyone, for the vile sky-winger would leave nothing alive in his wake. Everywhere the havoc he wrought was in evidence.” (Heaney, 1999). Vs. “Fire leaped from the dragon's jaws. He circled for a while high in the air above them lighting all the lake; the trees by the shores shone like copper and like blood with leaping shadows of dense black at their feet. Then down he swooped straight through the arrow storm, reckless in his rage, taking no heed to turn his scaly sides towards his foes, seeking only to set their town ablaze. (Tolkien, 1997,1937).”

6. Identify some recent films, TV shows and/or games which have brought back some of the old gods and heroes from obscurity. What place do the old myths have in the modern world?

With the rise of the Marvel Superhero it would be hard not to at least know the names of some of the key gods in Norse Mythology. With the very charming characters such as Thor, Odin and Loki, gracing our popular culture and discourse as a result of such films and comics, it is safe to say that for the majority within society Thor and co, are just that, charming characters. It is highly unlikely that you will ever hear the names of the old gods in the way they once were spoken of. However, we still seem obsessed by consuming them in our media. Thor: Ragnarok, (Feige & Waititi, 2017) is a prime example of this intertextuality. Voluspa in no way pans out the way Thor: Ragnarok would have you believe, but yet the story is familiar to us, even though it dose not follow the Mythology exactly. It’s just meant to be popcorn shoveling, feel good, mass consumption. And Thor: Ragnarok dose it very well, I have to say.   

8. Discuss what you think any of these texts desire (in the sense of their intention, how they wish to be received, what pleasures they offer, etc).

Voluspa for me personally has a desperate feeling to it, almost like the Volva is trying so hard to communicate her warnings, without stepping on toes or evoking the wrath of either gods and/or man. She has to prove herself worthy of foretelling the future, and uphold respect for traditional customs of address, all while telling a frankly horrific laundry list of how all the gods listening will die. And then telling the humans present that no matter what their dead, along with their hero. It seems an impossible task, yet she rises to it. It’ll be desperate but there is also a clear feeling strength in her words, she’s not afraid to say what needs to be said but there is a longing for her audience to understand. And with the way the seas are rising to meet us now in the modern day, I have to say, she may have gone about it in a different way that her audience would understand, but she has a point.   

References

Ong, W. (1982) Orality and Literacy: the technologizing of the word. Retrieved from, https://blackboard.aut.ac.nz/bbcswebdav/pid-4703463-dt-content-rid-6652318_4/institution/Papers/ENGL600/Publish/Desire_Critical%20Reader_2019.pdf

Terry, P. (1990, 1966) (trans).  Poems of the Elder Edda. Philadelphia. Retrieved from, https://blackboard.aut.ac.nz/bbcswebdav/pid-4703463-dt-content-rid-6652318_4/institution/Papers/ENGL600/Publish/Desire_Critical%20Reader_2019.pdf

Morris, W. and Magnussun, E. (Trans.) (1888). The Story of the Volsungs (Volsunga Saga). Retrieved from, https://blackboard.aut.ac.nz/bbcswebdav/pid-4703463-dt-content-rid-6652318_4/institution/Papers/ENGL600/Publish/Desire_Critical%20Reader_2019.pdf

Heaney, S. (1999) (trans). Beowulf: a new translation. Retrieved from, https://blackboard.aut.ac.nz/bbcswebdav/pid-4703463-dt-content-rid-6652318_4/institution/Papers/ENGL600/Publish/Desire_Critical%20Reader_2019.pdf

Tolkien, J.R.R. (1997; 1937). The Hobbit. Retrieved from, https://blackboard.aut.ac.nz/bbcswebdav/pid-4703463-dt-content-rid-6652318_4/institution/Papers/ENGL600/Publish/Desire_Critical%20Reader_2019.pdf

Tolkien, J.R.R. (1993;1954). The Lord of the Rings: The Two Towers. Retrieved from, https://blackboard.aut.ac.nz/bbcswebdav/pid-4703463-dt-content-rid-6652318_4/institution/Papers/ENGL600/Publish/Desire_Critical%20Reader_2019.pdf

Voluspa Translations. (2012) Retrieved from, http://heathengods.com/voluspa/index.htm

Gay. D. E. (2015) Review: The Nordic Apocalypse: Approaches to Völuspa and Nordic Days of Judgement. Retrieved from, http://www.indiana.edu/~jfr/review.php?id=1785

Killings. D. B. (1997). THE STORY OF THE VOLSUNGS (VOLSUNGA SAGA). Retrieved from, http://mcllibrary.org/Volsunga/

McGillivray. A. (2015) The Best Kept Secret: Ransom, Wealth, and Power in Völsunga saga. Retrieved from
https://www.academia.edu/23235901/The_Best_Kept_Secret_Ransom_Wealth_and_Power_in_V%C3%B6lsunga_saga._Scandinavian_Studies_87.3_2015_365-382

British Library (n.d.) Cotton MS Vitellius A XV. Retrieved from http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=cotton_ms_vitellius_a_xv  

The Editors of Encyclopaedia Britannica. (2019). Beowulf, Old English Poem. Retrieved from, https://www.britannica.com/topic/Beowulf

Mastin. L. (2009). Other Ancient Civilizations - Beowulf. Retrieved from, https://www.ancient-literature.com/other_beowulf.html

Cook. S.J. (2018). Tolkien’s English Mythology. Retrieved from, https://thehistoryvault.co.uk/tolkiens-english-mythology/  

Feige. K. (Producer), & Waititi. T. (Director). (2017). Thor: Ragnarök [Motion picture]. Walt Disney Pictures, Marvel Studios, Screen Queensland.