1. What genres do the following texts belong to?
Voluspa, Volsunga Saga, Beowulf, The Hobbit and Lord of the Rings.
Give some examples from these texts that support your identification (for example: "Voluspa is an example of the _____ genre, as the following references to gods from the poem illustrate: "Hear my words / you holy gods' (l.1) "By Odin's Will I'll speak the ancient lore" (l.3), etc).
2. What are some possible features of residual (or "secondary") orality preserved in Voluspa, according to the criteria Ong (1982) advances?
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 site from the original texts).
4. How did Tolkien draw on the Old Norse and Old English texts in his Hobbit and Lord of the Rings fantasy novels? Provide some concrete examples.
5. Discuss how Tolkien's use of "tradition" (e.g. older literary sources) differs from the techniques and agendas of modernism (see Week 7 in your Reader).
6. What place do the old myths have in the modern world?
7. How does the film Beowulf and Grendel "problematise" the hero-myth of Beowulf ?
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).
Answering question 2:
ReplyDeleteAccording to Ong (1982), secondary orality “depends on writing and print for its existence” (p. 3) as opposed to primary orality, which is ascribed to “persons totally unfamiliar with writing” (p. 6) indicating a language only spoken and unwritten. From reading through the first few verses of Völuspá, it can be surmised that this story-poem was first and foremost, shared through voice and passed down through the generations by recitation, with the use of the first person with phrases such as “Hear my words”, “I’ll speak the ancient lore”, “I remember” and “I know” (Terry, 1990). Therefore, this story-poem would be categorised under primary orality. However, it is important to note that without a written record of this poem, its existence may not have survived up to the present day at all. As Ong (1982) discusses, only a small number of languages out of the many thousands spoken have also been written, and generated actual literature. So the fact that this story-poem has been put to paper, and not only that, but translated into another language no less, is an example of secondary orality. Also, translations are always subject to the translator’s interpretation of the text, choice of style and vocabulary, as evidenced by the translation done by Terry (1990) compared with Pálsson’s 1996 translation (as cited in Kremer, 2004). An example of the difference in translation is the last lines of the first stanza of the poem. While Terry’s (1990) translation says “by Odin’s will, I’ll speak the ancient lore, the oldest of all that I remember” (para. 1), Pálsson’s translation says “It is your wish, Óδinn [sic], that I relate well the old lore of men as far back as I can remember” (Kremer, 2004, p. 21). This difference in translation and interpretation of the original spoken poem could also be a feature of secondary orality as it affects the reading of the poem and therefore the experience of the poem for new readers.
References:
Kremer, J. W. (2004). Mythic Storytelling: Re-envisioning Stories from the North. ReVision, 27(1), 19-30. Retrieved from http://revisionpublishing.org
Ong, W. (1982). Orality and Literacy: the technologizing of the word. London, England: Methuen. pp.1-15
Terry, P. (trans). (1990, 1966). Poems of the Elder Edda. Philadelphia: University of Pennsylvania Press
Ong (1982) also goes on to say that our understanding of orality, and cultures of primary orality, is skewed because we are so literate, it's diffcult for us to conceive of orality "except as a variant of a literate universe" (p.2). Academics especially considered oral creations as belonging beneath written texts, because of the fundamental relationship between studying and writing. Studying requires "abstractly sequential, classificatory, explanatory examination of...truths" (p.8) which is hardly possible without writing and reading. Oral cultures learn by "apprenticeship" (p.9) in participating in listening and repeating what is said with another person.
DeleteHowever, writing is derived from the "world of sound" (p.8). Upon reading a text, the reader is converting the written words into sound, "syllable-by-syllable" (p.8) (aloud or in their minds), therefore Ong states that writing depends on oral speech to exist, and that oral expression can exist without writing (p.8)- as long as the person or culture that practices the specific type of orality exist.
Völuspá, produced in the 13th century, came at a time of cultural transition from a primarily oral culture to one which utilised written records in Latin as well, albeit by a very select few (clerics, ruling class). For Old Norse poetry, like Völuspá , which represent a thoroughly Pagan world-view, to be taught in the formal curriculum, a century after the Conversion (Christianization of Iceland), had to mean that, irrelevant to the subject matter there is poetic value and value in it's ability to teach poetic grammar/ style (Holstad, 2007). So Völuspá can be seen as a combination of orality and literary learning.
DeleteOld Norse myths, which serve as inspiration for Völuspá, pre-date written language so it relied entirely on oralty for it's continuation. But we need to be critical whilst reading any texts which claim to represent an oral culture. According to Gurevich (1984), texts which stem from 'secondary orality' (Ong, 1984) can only be a indirect reflection of the original source, which is "inevitably transformed, distorted and filtered" (as cited in, Holstad, 2007, p.6). This applies to Völuspá because it's many copies and transcripts (not to mention the various language translations) were created by Christian scholars, monks, and had to endure censorship from the Medieval church.
References:
Holstad, M.M.N. (2007). Orality, Literacy, and the making of 13th century Eddic Poetry. Oslo, Norway: Universiy of Oslo
Ong, W. (1982). Orality and Literacy: the technologizing of the word. London, England: Methuen. pp.1-15
high quality discussion thread here. I like the way you commentators have come to grips with Ong's theories, and provide examples.
DeleteAnd, do we unconsciously assume that a 'pre-literate' culture is inferior to our own, literate culture?
I think there will always exist a notion of pre-literate cultures as more primitive, therefore more inferior, than literate cultures (not that I necessarily agree with it). Because looking back on the early history of literacy, literacy was something that belonged to the privileged class (whether political, religious, wealthy). And unlike our literate culture, with our psychological obsession to record our experiences as human beings, the pre-literate culture's experience is more 'effervascent'. No written texts exist about pre-literate cultures (that hasn't been created by a literate culture) in which we can study it in-depth, so I think we assume that it's not as worthy because of it's fleeting nature. Writing and literacy has been so internalized into our consciousness (even though orality has existed for so much longer) that it's difficult for us to consider anything else except as inferior.
DeleteThis comment has been removed by the author.
DeleteFalse assumptions of inferiority can be inferred from the view that orality has limits to what it can achieve. Ong (1982) compares the substantial vocabulary available for a literate language such as Standard English, which may include up to 1.5 million words plus, with each word having its own meaning as well as words that have had their meanings changed over the course of time. In contrast, oral dialects may only have the use of a few thousand words, of which its speakers would “have virtually no knowledge of the real semantic history of any of these words.” (p. 8)
DeleteHowever, this does not indicate that an oral culture would be inferior to a literate culture. Oral cultures are very capable of producing “powerful and beautiful verbal performances of high artistic and human worth” (Ong, 1982, p. 14) that could never have been created and expressed in the same way with writing. Rather, it would be better to see writing and literacy as a natural development from primary orality, to tap into the further potential of the human consciousness, to move into a phase of new wonderful creations and in the process, also advance orality itself. The development of science, history, philosophy, literature and the arts are an example of the potential of literacy (Ong, 1982, p14-15). Orality is the foundation through which literacy has been formed and developed. Each supports the other and therefore both are important.
References:
Ong, W. (1982). Orality and Literacy: the technologizing of the word. London, England: Methuen. pp. 1-15
Excellent, Rowana. Ong is a wonderful thinker. You have been able to identify the oral elements of the Voluspa. Use of references excellent also. It is a paradox that our only knowledge of these oral texts comes from written versions!
ReplyDeleteQ7. The film 'Beowulf and Grendel' (Gunnarson, 2005) "problematise" the hero-myth of Beowulf, through a different portrayal of the hero-protagonist Beowulf and the antagonist Grendel.
ReplyDeleteThe film begins with Grendel as a child, and his giant father who are driven into a ciffside by the invading Danes as they begin colonizing the area. King Hrthogar slays Grendel's father but allows the young child to escape. Grendel drags his father's corpse from the ciffside and cuts off his head, which he keeps as a memento- part in sentimental remembrance of his kin, and also to avenge his murder. Straight away Grendel's motives in terrorizing the mead-hall and killing of the Danes become clear. Throughout the film Grendel's actions, such as killing only the strong warrior-type Danish men, and not women, children or the elderly, "he could’ve killed more, he killed the ones in blame" (Gunnarson, 2005), taking pleasure in activities akin to bowling, communicating through speech, and engaging in intercourse with Selma, the outcast Seeress, just once to sire an offspring, shows an interior life of a character which is not very different to those who hunt him. Therefore, unlike Grendel from the epic Anglo-saxon poem 'Beowulf', described as "the God-cursed brute...creating havoc: greedy and grim" (Heaney, 1999, line.21-22), he is not driven by instinctual desire for carnage, but is able to make choices grounded on logic and humanity.
This serves as a problem for hero- Beowulf, who begins to see the interior life of Grendel, "What is a troll? This thing is no more worm than you and I" (Gunnarson, 2005). And the consequences of accepting the hero's-challenge, "I led my men into this, now I see doom, doom on someone I brought" (Gunnarson, 2005), closely reflects Tolkien's criticism of the Beowulfian hero, "[he] wished for disaster, or for glorious death, and courted disaster." (as cited in Glenn, 1991).
He begins to question how this antagonistic relationship between Grendel and the Danes began, "What had he done to you", to which King Hrthogar replies, "He (Grendel and his father) crossed our path, took our fish". Beowulf comes to emphatise and sympatise Grendel, "He needs to know, I know he was wronged but if he doesn’t leave, here I cant stop"(Gunnarson, 2005). Unlike Beowulf in the original poem, who relishes at the chance to kill a monster or any threat to his kin, and to compile the hero-legend built by his own boasting, "no call to go looking for some lesser champion...I risked my life often when I was young...I shall pursue this fight for the glory of winning" (Heaney, 1991, p.77), Beowulf in the film tries to dispel any heroic talk of his actions in battle by fellow Geat-warriors, and shows hesitation in killing Grendel. The film is able to expand upon the somewhat limited and one dimensional characteristic of the Beowulfian hero and monster, allowing each character to feel more complex emotions, which hinders the traditional hero-moster archetypes created and enforced in old myths and legends.
References:
Glenn, J.A. (1991). "To Translate a Hero: The Hobbit as Beoquf Retold." PAPA 17: 13-34
Heaney, S. (1999) (trans). Beowulf: a new translation. London: Penguin
Stephens, P., & Gunnarsson, S. (2005). Beowulf & Grendel. Canada: Truly Indie
Great close reading, Hannah. You have this one sorted out. i notice that modern culture tends to problematise monsters. Vampires become sex objects, Frankenstein evokes pity and even zombies can fall in love...!
DeleteIs nothing truly scary any more?
I think it's great writers (or modern culture) problematises monsters. I consider vampires scary because of their enticing sexual allure, if you watch old vampire films like 'Carmilla' these female vampires are extremely sexualized objects that almost hypnotize their victims, with their sexuality, into submission. And I feel like problematising mosters like Frankenstein and Grendel is like giving the marginalized a voice, and perspective. What scares me is things evil things which hide under the veneer of normalcy because it's insidious nature to assimilate so well into society and wreck havoc, like the suburban family that go ape shit in the film 'The Purge'.
DeleteWith the case of Frankenstein (which technically should be referred to as Frankenstein's "monster"), having read the novel before, Frankenstein's creation does evoke some pity, especially since Frankenstein the creator, after finishing his creation and giving it life, looked upon the creature and regarding it as repulsive, rejected it/him and ran away from his responsibility towards his creation. The "monster's" actions afterwards are understandable, including, from memory, demanding Frankenstein to create a female companion for him.
DeleteQuite right, Roanna. Much of Mary Shelly's novel is narrated by the 'monster' which helps to make him sympathetic.
DeleteVampires have always been sexily scary, but the 'Twilight' view of Vampires as more human than monster is a new development – perhaps!
In 'Frankenstein', the monster,which supposed to be the evil character, portrayed in sympathetic view as well. The monster was abandoned from his creator, Victor and the society. So he had to ran away from people even he helped them. Even if the monster's physical appearance was 'monster' and killed people, he wasn't all evil. In the movie 'Frankenstein', although Victor abandoned and thought the monster was evil. The monster still calls him 'father'.
Delete1. fantasy fiction based on Northern Europe mythology
ReplyDeletefor example, "Beowulf" was influenced by Odin.
Deleteepic heroic saga included
Deletewe can discuss about myth=fantasy?
DeleteElleSon, these brief notes are meaningless. Context determines meaning! Full sentences please, with explanations
Deleteyes, so I re-wrote them in the next comment
Delete1. fiction Epic heroic saga based on Northern Europe mythology
DeleteMythology itself is not a genre but mythology poem like Voulspa is a genre.
Genre have to have both content and form.
Voulspa – poetry, orality, talking to God
"Hear my words, you holy gods”
Voulspa is come mouth to mouth, oral tradition poems.
Voulsunga Saga – “Saga” novel, talking about the adventures of a hero
The Hobbit – fiction, fantasy, epic and children’s literature
The characters in “the hobbit” are imaginary which appears in the old myths such as elves, dwarves, the magicians such as Gandalf and the hobbit.
It is a good fantasy fiction novel for children because it shows that half-size human like dwarves and the hobbit, Bilbo Baggins can take an adventure, defeat giant spiders, goblins.. and become a hero.
The lord of the rings - fiction, fantasy, adventure and high fantasy
For example, "Beowulf" was influenced by Odin who is god of war and poetry. He trades his one eye for knowledge and wisdom.
We can argue that if myth is equal to fantasy. The theory is, myth is based on cultural and historical background and the fantasy is only imagination which cannot happen in real life.
So, the texts we are looking at are not fantasy they are all myths. It shows their beliefs and values.
The genre requires both form and content. For example, historical (content) + fiction (form).
Voulspa is a song mythological poem/song to gods and semi-gods.
Vulsunga saga is a "saga" genre as it refers ti the title.
Beowulf is epic saga poem/prote, theme is about heroic humans like Grendel.
Question one and four )"The Hobbit" and "the Beowulf" comes from Northern myths. The writer of "the Hobbit", Tolkien even says that Northern mythology helps him to name the dwarves in the novel.
"Tolkien, then, creates an alternative to the heroic hierarchy of Northern story. For the Warrior he
substitutes the Adventurer; for the Hero himself, the Leader. Using "structural quotations" from
Beowulf and its analogue Hrólfssaga Kraka at key points in The Hobbit's plot, Tolkien creates in Bilbo
Baggins his answer to the defects of a Beowulf or a Beorhnoth or a Bothvar Bjarki--creates, that is, a
person who chooses and acts according to his stature, who learns to make his way in the Wide World
when he must, but who--in a way the Beowulfs of the world never can--comes home again, to be "only
quite a little fellow in a wide world after all" (287).
Glenn, Jonathan A. (1991). "To Translate a Hero: The Hobbit as Beowulf Retold." PAPA 17: 13-34 (page 31)
answer to question 1, they are all fantasy fiction based on european mythology.
ReplyDeleteIt was also the oldest / earliest literacy text . Dating back to the 8th and 9th centuries. One of the only insular epic cycle preserved.
Delete6. Mythology has a huge impact on modern society. The Christian on Europe is bulit on Greek and Roman Mythology. Even the names of things are influenced by the mythologies. "Mythology is everywhere! Daily you run across instances of words, city names, companies, literary allusions - and the Zodiac, planets and constellations - that take their name or borrow their theme from Greek myths.Myth Man's Greek Mythology Today. (n.d.). Retrieved from http://greekmythologytoday.com/
ReplyDelete7. In the hero-myth original "Beowulf", Beowulf was just a monster who has to be destroyed by a hero. But in a film's version, we have sympathy view of him.
ReplyDeleteAlso, the film shows that even Beowulf has a family and feelings.
Angelina Jolie who acted as a mother of Beowulf, she tries to protect him as a son
"he will pay the price" and he is angry and afraid of blonde Vikings who tires to kill him.
in the modern times, filmmaker tries to evoke sympathy to evil characters and tries to show both sides of the stories, rather than just simple story of "the hero kills the monster".
Deleteno, not the Beowulf - protagonist
DeleteGrendel- the devil (A demon descended from Cain)
8. All the texts have desire to become a hero. For example, in "the Hobbit" (J.R.R. Tolkien), the half-size hobbit became takes the adventure and become the hero.
ReplyDeleteIn "Beowulf", Beowulf kills the Grendel and become the king. "Not only do they generate desire (such as the desire to read on), but they are generated by it (by the desire, for example, to tell)." The texts are based on their inner desire to become the hero and save the people.
Reference:Bennett, A. & Royle, N (1999). Introduction to Literature, Criticism and Theory. London: Prentice Hall, p.170-171.
J.R.R Tolkien (Orchard , 2003) criticized Beowulf suggesting that the actual historical relevance was over looked because of it's excessive poetic nature.
DeleteThe desire then of Beowulf could have been to focus more intently on spreading an interest in story telling rather than the actual content of the story.
Reference
Orchard, Andy (2003), A Critical Companion to Beowulf, Cambridge: DS Brewer
J.R.R Tolkein also desired to bring the old myths into the modern age through LOTR.
DeleteNote that the Beowulf/Grendel story also reflects the desire for land and conquest, and the suppression of indigenous people.
DeleteWhich continues on with what you said . The desire to read on and enjoy the story.
ReplyDeleteyes, referring to reader's point of view is also important.
DeleteQ3. A central incident in four texts (Voluspa, Volsunga, Beowulf & The Hobbit) and a reoccurring motif in most fantasy/ epic literary texts are slaying of the dragon (or serpent) by the hero.
ReplyDeleteIn three texts (Beowulf, The Hobbit & Volsunga) the dragons are guardians of great treasure- both in terms of financial value (gold, precious gems) and power (Arkenstone). However the hoard does not originally belong to the dragon, “forgotten person had deposited the whole rich inheritance…in this ancient cache” (Heaney, 1999), “the King beneath the mountain…his wealth is like the sun…his river golden runs” (Tolkien, 1937).
The dragon is an ancient ‘elemental’ (Glenn, 1991) monster of force, described as greedy and ferocious in nature, for example Thorin describes Smaug as "a most specially greedy, strong and wicked worm" (Tolkien, 1937), and Fafnir (Volsunga) was once a human turned into a dragon by his possessiveness over the cursed gold.
Jormungandr (Voluspa), son of Loki and giantess Angrboda, is tossed into the ocean by Odin and grew so large that he became the World Serpent, surrounding earth by grasping its tail. Rather than greed, Jormungandr symbolizes the chaotic and destructive forces of nature and "can be considered in many ways to be the king of all dragons from this part of global culture" (Chris, unknown).
In all four texts slaying of the dragon becomes the catalyst of impending doom. In 'The Hobbit' death of Smaug brings disintegration of the band of dwarves, men and elves by greed, although they rejoin forces to fight successfully against armies of Bolg in the 'Battle of Five Armies'. In Volsunga, the hero Sigurd and all who come in contact with the cursed "treasure, will be the death of whoever owns it" (Morris, 1888), by murder or suicide, for their greedy nature to possess a loved one or gain power takes over, which echoes the action of dragon Fafnir who killed his father to claim the hoard. The fight between Beowulf and the dragon brings about his own death, and the Geats are left to defend against invading enemies without Beowulf. The battle between Thor and Jormungandr and eventual death of both brings about Raganarok, in which the world becomes submerged under water.
The dragons in 'The Hobbit' and 'Volsunga' mirror man's greed (for gold, love & power) and destructive nature, while the battle with the dragon in 'Beowulf' reflects the hero's critical character flaw of arrogance. In 'Voluspa' the death of Jormungandr shows the importance of the cyclic nature of life and death, with the world being "reborn and regenerated" (Racial Nationalist Library, unknown).
References:
Chris, N. (unknown). Midgard Serpent. Retrieved March 13, 2014 from : http://asgardian.shrine.angelfire.com/midgard-serpent.html
Glenn, J.A. (1991). "To Translate a Hero: The Hobbit as Beoquf Retold." PAPA 17: 13-34
Heaney, S. (1999) (trans). Beowulf: a new translation. London: Penguin
Morris, W. & Magnussun, E. (Trans.) (1888). The Story of the Volsungs (Volsunga Saga). London: Walter Scoot Press.
Racial Nationalist Library. (Unknown). Prophecy of the Seeress: Poetic Edda. Retrieved March 13, 2014 from: http://library.flawlesslogic.com/voluspa.htm
Tolkien, J.R.R. (1997;1937). The Hobbit. London: HarpersCollins.
Q.1
ReplyDeleteThe story “Voluspa” is identified under the genre of historical poetry. The genre was identified once I understood the context by visualising myself within the story. According to Terry (1990, 1966) states “Then the holy Gods met to give judgement, the holy gods took counsel together: they named night and night’s children, gave names to morning and night afternoon and evening, ordered time by years”. The historical poetry is mythological, as an example it is referring to the high authority that the Gods have within their power of judgement.
The “Volsunga saga” is identified under the genre of Epic poetry. The reason for my understanding of the genre is based on the ancient oral tradition, and the length of the poem. The genre of epic poetry is highly based around the heroic perspective of the story. A character who defines heroic poetry within the story is Sigurd, also known as “Sigurd the dragon slayer”. Sigurd is a character who is courage’s and bold in what he wants to accomplish. Morris and Magnussun (1888), provides a description of Sigurds character, as stated “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 afraid at the roaring of him”.
Beouwulf is the oldest epic poem of old English, which falls under the genre of a Narrative heroic poetry. The genre is somewhat similar to the context of the vulsunga saga. The narrative is based around the protagonist “Beowulf” who is troubled by the antagonist Grendal. Grendel’s power is mentioned in abundance throughout the story which gives Beowulf reason for his “heroic” actions. According to Henry (1999), the story states “When the dragon awoke, trouble flared again. He ripped down the rock, writhing with anger when he saw the footprints of the prowler who had stolen too close to his dreaming head.”
The Hobbit is identified under the genre of fictional fantasy. The hobbit book is based on a serious of events compiling a storyline and a plot. The genre of fiction and fantasy is identified by the unrealistic events within the story which is a possible reason why it may cater to kids. For example, the book refers to material objects such a ring that enables Bilbo to receive the power of invincibility (Tolkein, 1997; 1937).
A story that preceded from the hobbit was the lord of the rings, which is defined by the genre of high fantasy adventure. A scene of adventure within the novel is identified as according to Tolkien (1993;1954), Gandalf states “Behold! We are come to the great barrows where the sires of Theoden sleep”.
Terry, P. (Trans).(1990, 1966). Poems of the Elder Edda. Philadelphia: University of Pennsylvania Press
Heaney, S. (Trans). (1999). Beowulf: a new translation. London: Penguin,pp 70-80.
Morris, W. & Magnussun, E. (Trans.).(1888). The Story of the Volsungs (Volsunga Saga). London: Walter Scott Press, pp.58-62.
Tolkien, J.R.R. (1997; 1937). The Hobbit, London: HarperCollins, pp.ix; 233-242,
Tolkien, J.R.R. (1993;1954). The Lord of the Rings: The Two Towers. London, HarperCollins, pp.495 – 513
1. fiction Epic heroic saga based on Northern Europe mythology
DeleteVoulspa – poetry, orality, talking to God
"Hear my words, you holy gods”
Voulspa is come mouth to mouth, oral tradition poems.
Voulsunga Saga – “Saga” novel, talking about the adventures of a hero
The Hobbit – fiction, fantasy, epic and children’s literature
The characters in “the hobbit” are imaginary which appears in the old myths such as elves, dwarves, the magicians such as Gandalf and the hobbit.
It is a good fantasy fiction novel for children because it shows that half-size human like dwarves and the hobbit, Bilbo Baggins can take an adventure, defeat giant spiders, goblins.. and become a hero.
The lord of the rings - fiction, fantasy, adventure and high fantasy
For example, "Beowulf" was influenced by Odin who is god of war and poetry. He trades his one eye for knowledge and wisdom.
We can argue that if myth is equal to fantasy. The theory is, myth is based on cultural and historical background and the fantasy is only imagination which cannot happen in real life.
So, the texts we are looking at are not fantasy they are all myths. It shows their beliefs and values.
Question one and four )"The Hobbit" and "the Beowulf" comes from Northern myths. The writer of "the Hobbit", Tolkien even says that Northern mythology helps him to name the dwarves in the novel.
Delete"Tolkien, then, creates an alternative to the heroic hierarchy of Northern story. For the Warrior he
substitutes the Adventurer; for the Hero himself, the Leader. Using "structural quotations" from
Beowulf and its analogue Hrólfssaga Kraka at key points in The Hobbit's plot, Tolkien creates in Bilbo
Baggins his answer to the defects of a Beowulf or a Beorhnoth or a Bothvar Bjarki--creates, that is, a
person who chooses and acts according to his stature, who learns to make his way in the Wide World
when he must, but who--in a way the Beowulfs of the world never can--comes home again, to be "only
quite a little fellow in a wide world after all" (287).
Glenn, Jonathan A. (1991). "To Translate a Hero: The Hobbit as Beowulf Retold." PAPA 17: 13-34 (page 31)
continue on Q1..
DeleteThe genre requires both form and content. For example, historical (content) + fiction (form).
Voulspa is a song mythological poem/song to gods and semi-gods.
Vulsunga saga is a "saga" genre as it refers ti the title.
Beowulf is epic saga poem/prote, theme is about heroic humans like Grendel.
Mythology itself is not a genre but mythology poem like Voulspa is a genre.
DeleteGenre have to have both content and form.
Hi Kaush i have to agree with you in all your answers.
Deletehowever we should consider and try and elaborate on the difference between epic narratives and fantasy.
i believe the time when text was written is very important. epic texts tend to have been written thousands of years ago, while fantasy texts seem to be fairly more recent.
q4. in the introduction of the hobbit , book J RR Tolkien , uses old english writing in both the first paragph and on the side, bar of the title page. on the map in the front of both lord of the rings , the two towers and the hobbit, Tolkien has used old ruin text as map markers.
ReplyDeleterefereence
DeleteTolkien, J.R.R. (1997; 1937).
The Hobbit
, London: HarperCollins,
pp.ix; 233-242,
This comment has been removed by the author.
DeleteThis comment has been removed by the author.
DeleteYour answer for question 4 is in relation to my first comparison for my answer to question 3.
Delete3. 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 site from the original texts).
The Hobbit and The lord of the rings share similarities in relation to the characters within the narrative. An example is the selection of dwarfs and the troll’s throughout the adventure. Differences are also acknowledged through text which is in relation to the plot of both of the stories. According to Tolkein (1997; 1937), The plot of the Hobbit is based on the adventure of the dwarves with Bilbo as they are on their way to the destination of the lonely mountains .Whereas the lord of rings plot refers to the story of the process to destroy the legendary ring, (Tolkein, 1993; 1954).Even though the context is of similarity, the adventure is of difference.
The Volsunga Saga and Beowulf have similar features in relation to the characters such as the protagonist and antagonist. The poetry’s are more so based on a heroic perspective as the protagonist. (Beowulf and Sigurd) are on a mission to defeat the antagonist (Fafnir and Grendal). However, there are also differences which can be identified through text. For example, according to Morris & Magnussun (1888), Sigurd battles with Fafnir and Regin which results with Sigurd gaining the riches of Gold that was previously protected from Fafnir. The volsunga saga’s protagonist Sigurd had survived his battle with the dragons whereas beuwulf had not. According to Heaney (1999) Beuwulf had been outmatched and wounded by the outraged dragon which eventually resulted in Beuwulfs death. The differences identified is Survival of protagonist in the Volsunga Saga and death in Beuwulf.
Heaney, S. (Trans). (1999). Beowulf: a new translation. London: Penguin,pp 70-80.
Morris, W. & Magnussun, E. (Trans.).(1888). The Story of the Volsungs (Volsunga Saga). London: Walter Scott Press, pp.58-62.
Tolkien, J.R.R. (1997; 1937). The Hobbit, London: HarperCollins, pp.ix; 233-242,
Tolkien, J.R.R. (1993;1954). The Lord of the Rings: The Two Towers. London, HarperCollins, pp.495 – 513
2. secondary orality
ReplyDeleteWalter Ong (1982) says “Writing is the fundamental shift”
Because in writing we can do categorizing, listing and expressed in higher level than primary orality.
In Voulspa used written language features to illustrate the writer’s prayers to God.
For example, the use of repetition “The sun climbed; the moon’s companion
the moon did not know what would be its might.
the sun did not know where its hall would stand,
the stars did not know where they would be set,” He emphasizes on “did not know”
6. Mythology has a huge impact on modern society. The Christian on Europe is built on Greek and Roman Mythology. Even the names of things are influenced by the mythologies. "Mythology is everywhere! Daily you run across instances of words, city names, companies, literary allusions - and the Zodiac, planets and constellations - that take their name or borrow their theme from Greek myths.
Myth Man's Greek Mythology Today. (n.d.). Retrieved from http://greekmythologytoday.com/
7. In the hero-myth original "Beowulf", Grendel was just an evil monster, descended from Cain, who has to be destroyed by a hero. But in a film's version, we have sympathy view of him.
Also, the film shows that even Grendel has a family and feelings. Not just showing about how Beowulf (the protagonist) killed Grendel and become the hero.
Angelina Jolie who acted as a mother of Grendel, she tries to protect him as a son
"he will pay the price" and he is angry and afraid of blonde Vikings included Beowulf who tries to kill him.
In the modern times, filmmaker tries to evoke sympathy to evil characters and tries to show both sides of the stories, rather than just simple story of "the hero kills the monster".
8. All the texts have desire to become a hero. For example, in "the Hobbit" (J.R.R. Tolkien), the half-size hobbit became takes the adventure and become the hero.
“the nature of heroism in Tolkien's fiction and The Hobbit's relationship to Beowulf--are not new. The former has received particularly lavish attention--from Roger Sales, for instance, in his Modern Heroism and more recently from James Hodge in his essay "The Heroic Profile of Bilbo Baggins." Bilbo takes his journey with Gandalf and dwarves. At the beginning, he was little and timid character who didn’t like journey. But at end, he saves Thorin and show his courage and bravery. Bilbo’s Heroism is the main point of “the Hobbit”.
In "Beowulf", Beowulf kills the Grendel and become the king. "Not only do they generate desire (such as the desire to read on), but they are generated by it (by the desire, for example, to tell)." The texts are based on their inner desire to become the hero and save the people.
Reference: Bennett, A. & Royle, N (1999). Introduction to Literature, Criticism and Theory. London: Prentice Hall, p.170-171.
Glenn, Jonathan A. (1991). "To Translate a Hero: The Hobbit as Beowulf Retold." PAPA 17: 13-34. (page 23).
Q2) primary texts refers to oral texts and secondary orality refers to written texts.
ReplyDeleteHan Seul (Elle) Son
DeleteElleSon, Are all written texts examples of secondary orality?
ReplyDeleteNo, secondary orality should have delivered in both written and spoken in from.
DeleteOng describes “essentially a more deliberate and self-conscious orality, based permanently on the use of writing and print” (Ong, 1982, p. 136).
Therefore, secondary orality has a larger audience than primary orality.
"Secondary orality is both remarkably like and remarkably unlike primary orality. Like primary orality, secondary orality has generated a strong group sense, for listening to spoken words forms hearers into a group, a true audience, just as reading written or printed texts turns individuals in on themselves. But secondary orality generates a sense for groups immeasurably larger than those of primary oral culture--[Marshall] McLuhan's 'global village.' Moreover, before writing, oral folk were group-minded because no feasible alternative had presented itself. In our age of secondary orality, we are group-minded self-consciously and programmatically. . . . In a like vein, where primary orality promotes spontaneity because the analytic reflectiveness implemented by writing is unavailable, secondary orality promotes spontaneity because through analytic reflection we have decided that spontaneity is a good thing. We plan our happenings carefully to be sure that they are thoroughly spontaneous."
(Walter J. Ong, Orality and Literacy: The Technologizing of the Word. Methuen, 1982)
4. How did Tolkien draw on the Old Norse and Old English texts in his Hobbit and Lord of the Rings fantasy novels? Provide some concrete examples.
ReplyDeleteTolkien used the direction of the old myths from Old Norse. He undoubtedly reproduced a story of heroic acts through the tale of the dragon. "We would make him a king. Bard the Dragon-shooter of the line of Girion! Alas that he is lost!" (Tolkien, 1997; 1937). Following the thread of tales where the hero of the situation always ends up giving his life. As if one life for another is given. One evil, the dragon, and one great, the hero, must perish together. Yet in the slaying of the dragon more than one life was saved . The life of one good hero, compared with one evil one is more valuable. So a true hero knows that in order to save multiple lives, he ( in all these the hero is male) must give up his own. Drawing on the complete unselfishness that is needed for real heroism.
References
Tolkien, J.R.R. (1997; 1937).The Hobbit
, London: HarperCollins.
Tolkien was heavily inspired by the Norse mythological texts and its influence goes beyond the general theme of heroic action. Many of the names that Tolkien used for his characters are inspired by the Norse language. The world in which Tolkien weaved his stories, The Hobbit and The Lord of the Rings, is named “Middle-earth”, which is “Midgard” in Norse (Zarins, 2003), one of the nine worlds that are part of the World Tree in Norse mythology (Vinson, n.d., ‘Strophe 2’ para. 3) and also mentioned in Völuspá. The wizard Gandalf’s name means “Staff-Elf” in the Norse language, while Bombur, a dwarf character from The Hobbit, is Norse for “tubby” (Zarins, 2003), and indeed Bombur is true to his name. Another character from The Lord of the Rings, Gimli the dwarf, also receives his name from Völuspá, where it is the name of a hall in heaven “…fairer than the sun, thatched with gold…” (Terry, 1990).
DeleteOther names such as Thorin and Fili, are very similar to the names of Norse gods in Völuspá, Thor and Vili, although Fili’s name could also be compared to another Norse god, Vali. Both Vili and Vali are mentioned in Völuspá, Vili being the brother of Odin and a creator god (Vinson, n.d., ‘Strophe 18’ para. 2) and therefore Thor’s uncle. Vali is another one of Odin’s sons, half-brother to Thor and the god who would take revenge on Balder’s killer (Vinson, n.d., ‘Strophe 32’ para. 2). It seems Tolkien made reference to the importance of familial relationships as well. In The Hobbit, Fili, and his brother Kili, are Thorin Oakenshield’s nephews, Thorin’s “sister-sons”. In Norse culture, the relationship between an uncle and his sister’s son is a strong one (Vinson, n.d., ‘Strophe 45’ para. 1). Another example of this is in The Lord of the Rings, where King Théoden of Rohan has a deep bond with his “sister-son” Éomer and names him his heir (p. 511).
According to Zarins (2003), the character Gandalf is very similar to Odin. “The appearance of the two as cloaked old men in broadrimmed [sic] hats conceals their mysterious power. They seek wisdom, guide other characters, and use their magic to fight evil.” In Völsunga Saga, as Sigurd was digging a pit in preparation to slay the “worm”, “there came to him an old man with a long beard, and asked what he wrought there, and he told him.” The old man then gave Sigurd some advice before vanishing (Morris and Magnusson, 1888). This old man is suspected to have been Odin in disguise.
References:
Morris, W. & Magnusson, E. (trans). (1888). The Story of the Volsungs (Volsunga Saga). London, England: Walter Scott Press, pp. 58-62
Terry, P. (trans). (1990, 1966). Poems of the Elder Edda. Philadelphia: University of Pennsylvania Press.
Tolkien, J.R.R. (1993, 1954). The Lord of the Rings: The Two Towers. London, England: HarperCollins.
Vinson, I. (n.d.). Prophecy of the Seeress. Retrieved March 20, 2014, from library.flawlesslogic.com/voluspa.htm
Zarins, K. (2003). Lords of the Rings: Tolkien, Wagner, and Norse Mythology. Calliope, 13(5), 46.
Another character in The Hobbit, the shape-changer named Beorn, is also influenced by the Norse mythological texts. His ability to change into a bear alludes to “Loki’s or Odin’s Eddaic abilities to take on other forms”, (Burns, 1990, p. 56) while his name suggests a reference to Beowulf. Burns (1990) explains that the name “Beowulf” literally translates to “bee-wolf”, which represents the one that eats honey, or the “bear”. The Old English form for this is “beorn”, and interestingly, “beorn” is also a heroic word for “man” in Old English. Beorn’s personality shifts from his ferocity as a bear, to a peaceful lord of his hall, can be compared to Beowulf’s skill as a warrior, evidenced by the phrase “With Beowulf against them, few could hope to return home” (Heaney, 1999), as well as his ability as a ruler. “…the wide kingdom reverted to Beowulf. He ruled it well for fifty winters, grew old and wise as warden of the land…” (Heaney, 1999).
DeleteReferences:
Burns, M. (1990). J.R.R. Tolkien: The British and the Norse in Tension. Pacific Coast Philology, 25(1), 49-59. Retrieved from http://www.jstor.org/stable/1316804
Heaney, S. (trans). (1999). Beowulf: a new translation. London, England: Penguin, pp. 70-80
Question 6
ReplyDeleteMyths have existed for thousands of years and continue to have a strong influence in the modern world. The mythological context has an influence how fantasy games are produced. An example is the game “Max Payne” which is revolved around a Norse mythological context. According (The age of mythology Past and present, 2001) “certain conspiracy in the game was named Project Valhalla, Valhalla being the hall of Odin, to those acquainted with the pantheon.”
The order of society in relation to inequality of the sexes has also been influenced by myths. Often males have portrayed the image of superiority over females. An example according to (The age of mythology Past and present, 2001), states “The first approach of justification of male superiority can be seen from the common practice in many tribes even today. It is the practice of male initiation, which mythology dictates for males in a society which reach a certain age. The male is required to go and perform some act that would raise his status in society from boy to man, and effectively above that of women who lack such an avenue of self-improvement, due to the inherent bias in the mythologies”.
The age of mythology Past and present. (2001) Retrieved 2001, from http://library.thinkquest.org/C0118142/text/pastandpresent.htm
It is said that if you are either English or German, there is a high chance that you have Germanic blood in you. Meaning that your ancestors would have practiced religions described in Norse Myths. (McCoy, 2010). Seeing as all the things die in the Norse myths, including the gods. It can be portrayed as quite an uninspiring way of living life through tales about death. However the only god to be resurrected is the god of peace and light. And then takes his light and shines over the new world. Bringing forth happiness in the fresh start. Does this mean they craved a world like this? Could they be referring to a start that they could only wish for? Do we here and now live in a world that is joyous in this modern times? (Seigfried , 2011).
DeleteThe Norse Mythologies also have a heavy influence in our lives today. Everyday words that are used have been formed and sculpted into a language over the centuries. The days of the week are said to have come from the ancient myths. (pitt, 2012)
References
http://norse-mythology.org/
K, E. H, Seigfried (2011) The Norse Mythology Blog retrieved :http://www.norsemyth.org/2011/11/high-school-student-asks-about-norse.html
http://www.fogs.com/articles/how-norse-mythology-shaped-the-modern-culture-1492
Q 8
ReplyDeleteReferring to the Poem of Voluspa, the intention of the texts is to acknowledge the importance of Mythological beings also known as Gods. The pleasure that is offered to the reader is to provide the opportunity for the reader to think the unrealistic and get creative with their imagination. In society, Gods aren’t visible, but the story of Voluspa provides details through text which develops an image of these Gods and their objects in the readers head. For example according to Terry (1990,1966) states, “Surt moves northward, lord of the fire giants, his sword of flame gleams like the sun; crashing rocks drag demons to their doom, men find their way to Hel, the sky splits open”. Reference
Terry, P. (Trans).(1990, 1966). Poems of the Elder Edda. Philadelphia: University of Pennsylvania Press
Having a go at question 5:
ReplyDeleteLiterary modernism, as explained by Ames (1992), is an international movement that began in the late nineteenth century and occurred due to the desire of its champions to reform literature as art, in opposition to the increasing amount of writing in journalist and populist works such as newspapers and magazines.
Attention to the aesthetics of language, symbolism/imagery, interior monologue, temporal shifts and complex narratives are some examples of techniques used in modernist literature, and are all a part of the modernist literary perspective, where the author is “more concerned with formal properties and symmetrical designs” and “less concerned with plot than character” (Ames, 1992).
In seeking to modify traditional ways of representing the psychological state of characters, in areas such as consciousness, emotion or perception, modernist novelists would use methods such as interior monologues or irresolution to bring the “complex, abstract or introspective” into their writing (Ames, 1992).
Tolkien’s use of ‘tradition’ such as older literary sources as a reference point for his written style goes against the “pursuit of an individual style” which is stated by Ames (1992) as the “essence of modernism”. Modernist literature seeks to set itself apart from traditional genres and writing form and therefore is seen as “self-consciously experimental and formally complex” (Ames, 1992). With the use of character personalities from older literature as a template to build his own characters, a clear separation between opposing sides (good vs. evil) and an uncomplicated narrative, Tolkien’s works could not be further from modernism. The importance placed on plot and the continuation of the story can be evidenced by the addition of appendixes in The Lord of the Rings, namely Appendix A and B (p. 1009-1072), where the history of characters before the events of the book and the aftermath are all recorded.
References:
Ames, C. (1992). Modernism and tradition: the legacies of belatedness. Studies in the literary imagination, 25(2), 39-62.
Tolkien, J.R.R. (1993, 1954). The Lord of the Rings. London, England: HarperCollins.
1. What genres do the following texts belong to?
ReplyDeleteVoluspa, Volsunga Saga, Beowulf, The Hobbit and Lord of the Rings.
Voluspa
I believe that Voluspa is a mythological poem as by the fact that this text is related to Gods links it to mythology. The text is read in a narrative form by Volva, a prophetess and involves conversation with Odin.
“Hear my words, you holy gods.” (Extract 1 Line 1)
Shows of somewhat of a prayer or request to the Gods from Volva emphasizing their authority and judgement.
As this poem was said to be written at a changing time with the introduction of Christianity in modern Iceland, the idea of creation of the Norse mythological world can be noticed from the first extract.
“I know how nine roots form nine worlds” (Extract 1Line 7)
The text also has Gods as the protagonist/heroes of the world emphasizing the authority of the Gods.
“Far famed Thor, the son of Earth, the son of Odin, goes forth to fight the snake.” (Extract 3 Line 1-2)
The use of stanzas can confirm that this text is also a poem. There is no specific rhyme scheme yet each line is finished off with a comma/ or semi colon giving the structure of a poem.
Therefore I believe this text fits under the genre of a mythological poem and arguably preserves features of primary orality.
Volsunga Saga
I believe this text is a “saga” based poetry which features narratives with various elements of the supernatural involved. It is a saga as it involves a tale or story in which portrays man as the protagonists of the world, not Gods unlike Voluspa.
In “Sirgurd the Dragon Slayer” the character of Sirgurd is depicted as a brave and courageous man in where he makes the decision of slaying the dragon Fafnir to reach the life of fame.
“There sits, Sigurd, roasting Fafnir's heart. Better he should eat it himself", implies how man (Sirgurd) is dominant in this epic and shows heroic deeds, which are common in epic sagas.
Beowulf
Beowulf is an “epic” narrative/poem set in Scandinavia, commonly cited as one of the most important works of Anglo-Saxon literature. I believe that it is quite similar to the Volsunga saga in how a narrative is featured with man being the protagonist and a heroic deed and overcoming the impossible is featured, fitting into the epic narrative genre.
“The dragon began to belch out flames and burn bright homesteads; there was a hot glow that scared everyone.”
Slaying the dragon was Beowulf’s last heroic deed. Similar to Sirgurd, Beowulf reached feats of fame and showed how he overcame the antagonist Grendel in showing his heroism.
The Hobbit and the Lord of the Rings
The Hobbit is different to the prior texts as I consider the text to be more of a fantasy genre rather than an epic narrative. As the text is considered to be a childrens novel, the use of magic and the supernatural and fantastical elements can be seen, which are commonly seen in fantasy novels.
Due to unrealistic events happening we can consider this text to be under the genre of a fantasy novel.