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).
Sarah Hosking.
ReplyDeleteQuestion 1
Voluspa, Volsunga Saga and Beowulf are examples of the oldest form of fantasy literature, and as oral literature they are styled differently from fantasy literature of today and the 19th century, like The Hobbit and The Lord Of The Rings.
Voluspa, Beowulf and Volsunga Saga are epic poems and because of this the structure of story telling is different from the likes of J.R.R Tolkien's written works. The genre for Voluspa and Volsunga Saga is Poetic Oral Fantasy because of stock phrases like "Hear My Words, you hold gods," which are standard in Orality. Beowulf in particular is a fantastic example of fantasy "The Dragon began to belch out flames and burn bright homesteads; there was a hot glow that scared everyone." The inclusion of mythical creatures like dragons are an excellent example of fantasy. Both The Hobbit and Lord of the Rings have Dragons and similar mythical creatures like Smaug from The Hobbit and The Elves and Orcs from The Lord of The Rings.
Hi Sarah,
DeleteYou make good reference to text from Voluspa with a good example. I agree that Volupsa, Volsunga saga and beowulf are written in an oral poetic tradition which differs to the more modern styles of J.R.R. Tolkeins 'The lord of the rings'. You have mentioned Voluspa to be an epic poem however, in class i remember it to have been associated with the genre of a Mythological poem as it features more with exploits of gods than with the story and adventures of a hero.
In regards to 'The Hobbit' and 'Lord of the rings' you have categorized them as fantasy however, these can be broken down further. 'The Hobbit' can be considered in the genre of children's fantasy novel and 'The lord of the rings' in the genre of a high fantasy novel. A high fantasy genre is where the world in the text is a completely different world to the one we are living in and cannot be accessed via 'our' world (ie. Asgard). These are just a more niche way of categorizing the fantasy genre otherwise really good examples from the texts.
Hi Sarah,
DeleteI think you make an interesting point when you contrast ancient fantasy literature with the more current literature (i.e., Lord of the Rings). I agree that there is a definite distinction in the rhetoric between both old and new literature, especially because the heroes of old literature address the audience in an eloquent, flowery, and often lengthy speeches. This is significant because it illustrates the importance of orality in old literature, whereas in modern literature descriptive narrative is more typical.
However, it seems curious that modern fantasy authors such as J.R.R. Tolkien who were so inspired and passionate about mimicking the aforementioned classic fantasies that he didn't imitate the oral traditions of fantasy. Does this mean his books are in a sub-genre of fantasy different from the "classic" poetic fantasy? What is the significance of Tolkien and other modern fantasy authors abandoning the previous traditional poetic template?
A2:
ReplyDeleteAccording to Ong thoughts are constructed on paper (also known as writing) through a combination of visual stimulation and 'decoders', connecting the picture with its appropriate word and therefore leaving 'residue' on the page. Ong suggests it is nearly impossible to extract primary orality anymore because of our innate ties with the literate language; every culture knows of writing and has had some experience with it. Although Voluspa cannot be deemed an example of primary orality (since the conception of the written form contradicts that argument), there are certain lines that trigger a sense of orality. For example, lines such as "Hear my words, you holy gods" and "by Odin's will, I'll speak the ancient lore" suggest that this poem was created in a preliterate culture.
6. What place do the old myths have in the modern world?
ReplyDeleteThe old myths have survived the centuries and are still prevalent in our modern world today, majorly through popular culture such as films, television and comic books (Thor, Xenia, Hercules, Lord of the rings as examples). The old myths originate from Norse mythology, which comes from the northernmost part of Europe, Scandinavia: Sweden, Norway, Denmark, and Iceland. Norse mythology is grim, shadowed by long, sunless winters and the darkness is mixed with shimmers of grandeur. The myths depict a universe in which gods and giants battle among themselves in a cosmic conflict fated to end in the destruction of the world.
Norse mythologies inspired the poems and sagas that were written down during the late Middle Ages and like many of our films and television series today focus on mythical events or figures. The main theme to Norse mythologies apart from the fate of world destruction would be bravery in the face of death (or an ill fate), therefore arousing the ‘hero’ of the story. In the earliest recorded Norse mythologies such as the god Odin from Voluspa who is slain by the evil wolf Fenrir. Sigard, from Volsunga saga, who slays a dragon, then meets his destiny at the fate of a sleeping beauty. He is considered to have bravely met his destiny such as Beowulf, from Beowulf, and they both triumph over the forces of evil and chaos by slaying a monster.
Hundreds of years after these stories were written they are still popular works today and have been adapted in many ways. This is because they are exciting and well structured adventures with monsters, dragons and heroes. The most famous modern works drawn from these old myths would be J.R.R. Tolkien the lord of the rings. In one way or another Norse gods have found a way to survive ‘the end of the world’.
Hi Shay,
DeleteIt's interesting that the fantasy genre holds such strong roots to ancient myths; ironically, it almost seems as though fantasy, a world of pure imagination, has hints of history embedded within the language of traditional myths. Furthermore, I find it interesting that Norse mythology has a sort of formula to their stories (mass destruction, the apocalypse, heroes, glory, etc.). Do you think Tolkien's writing evolved significantly from traditional Norse mythology? Do you think his books derive from the popular Norse mythology formula or do they adapt into a more modern template?
7. How does the film Beowulf and Grendel "problematise" the hero-myth of Beowulf?
ReplyDeleteThe film Beowulf and Grendel problematises the hero-myth Beowulf because of the creative liberties that are often taken in interpreting archaic literature. The original story of Beowulf is especially prone to distortion because of the various translations (in language) it has withstood. Moreover, producing the epic into a film most likely lends a condensed, abridged version of the original poem. This is problematic because those who have not read or understood the text rely on the film to provide a synopsis when instead it may be an abstract version of the original. Though the film may popularise the poem, the preservation of the story is in the hands of the media. This yields to creative liberties that are likely to construct an altered version of the story, a version that many viewers depend on to understand the myth. For example, in the movie Beowulf and Grendel, the plot deviates from the original as there are three characters included in the film that were not part of the traditional poem (Grendel's father, Grendel's son, and Selma the witch). Furthermore, the character Selma creates a love interest for Beowulf, which romanticises the epic as well as shifts the central focus of the original story's theme. This exemplifies the relationship between the original piece of literature and its film, where the myth is a mere inspiration to the popular films and may not truly mirror the actual myth.
Anna,
DeleteYou make some very interesting points and have done a great job in elaborating with examples. I think the media has a huge impacted on the way texts are interpreted and perceived by viewers. The theme of the original Beowulf story is loosely heroism and to romanticise this archaic text with the introduction of Selma the witch, is a sad reflection on modern literature. Really good analysis of how the film 'Beowulf and Grendel problematises the hero-myth of Beowulf.
:)
Greetings collages
ReplyDeleteI choose to have a go with question number 2.
2. What are some possible features of residual (or "secondary") orality preserved in Voluspa, according to the criteria Ong (1982) advances?
Ong (1982) talks about how cultures in the past were only able to preserve their heritage through stories that meticulously passed down through the years (41). He says that since type was invented, importance has moved from the wise old man or woman to someone who can "discover new things" (Ong, 1982, 41). However, societies still deem some things as too important to completely lose their oral tradition. He talks about the residual orality of having to memorize certain things through mnemonic devices (Ong, 1982, 41).
However, he also talks of residual or secondary orality in another way also. He says that secondary orality is "an orality not antecedent to writing and print, as primary orality is, but consequent on and dependent upon writing and print" (Ong, 1982, 167). His analysis of the practice here means that there is a type of spoken language that is dependent on what was written. This can be seen in the practices of people with other ancient texts. The Bible is a good example. People take the passage from Psalm 119:11, "Thy Word I have hid in mine heart that I might not sin against You", to mean that they must rehearse and memorize the words of the Bible so that they do not "sin against" God. This could be exactly what Ong is talking about.
The song was written so that the people who came after would remember it exactly the way that the story teller who wrote it down wanted it remembered. But, once it was written down, it lost some of its power. That is until subsequent people had memorized it. The power of secondary orality is not in the written word as much as it is in the memorization of that word. To the Norse who would read this legend, it was could be as powerful as the writing in any religion.
Features of secondary orality are that the speech depends on the written word. Just like when a news anchor talks, they are not speaking from memory, but from the words that someone has written and placed in a teleprompter. "Voluspa" is written in a singsong way so that it is easier for those who want to memorize it, to do so. Another feature of the "Voluspa" that could add to its value in the spoken form, is that it is a historical sketch of what people were like in centuries past. It presents the language of the people as it could not be presented today because, as with Old English, people do not talk that way anymore. People memorize the King James version of the Bible, but they do not then continue to speak that way in normal conversations. It is the way these documents are written that dictates the way they are spoken and memorized.
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).
ReplyDeleteEach of the books talks about a time when disaster will either come (as in the future tense) or did come upon the people of the Earth. The "Voluspa", talks about it in epic words, as if it is the doom of mankind. "Beowulf" talks about the dragon's scorched earth policy after he discovers that someone has come to steal his treasure. In "The Story of the Volsungs", Sigurd takes on a vicious worm whose job is to cause as much havoc as possible to the world around him. The final of the four books, "The Hobbit", talks about how a dragon that was plaguing the land was killed.
The "Voluspa" says "Far famed Thor…goes forth to fight the snake/ Midgard's defender dies triumphant." The same sort of story is related in "Beowulf" and it is relates that the hero said "Now I am old, but as the king of the people I shall pursue this fight for the glory of winning, if the evil one will only abandon his earth-fort and face me in the open". The hero shows himself again in the guise of Sigurd. The text says that "Sigurd neither trembled nor was adrad at the roaring of him." Finally is the action of the hero against the dragon in "The Hobbit". In this account the hero releases and arrow at the dragon. It says "The black arrow sped straight from the string, straight for the hollow of the left breast where the foreleg flung wide…he…crashed down from on high in ruin."
In each of these snippets, a hero has to rescue people from an "evil" beast. The beast is always seen as something that is selfish regarding its own passions (such as the dragon in "Beowulf" or the worm in "The Story of the Volgsungs"), and it needs to be dealt with harshly because it is killing innocent people. The similarity is that a hero always steps up to defend those who, seemingly, cannot defend themselves, and that it is always some despicable creature (snake, worm, dragon). The stories are similar in their quest for a hero who will save mankind, or at least that part of it for which they are responsible.
A1:
ReplyDeleteAs discussed in lecture, Voluspa belongs to the mythological poem genre in that it often makes references to gods. Beowulf is considered an epic poem because it deals with heroes and it structured. Like Beowulf, Volsunga Saga is also in the epic genre however it is considered an epic prose since it does not adhere to the same regimented line structure as Beowulf. Fantasy novels take a different approach to storytelling since most of the story (if not entirely) comes from a different world. The Hobbit is considered a children’s fantasy novel. The Lord of the Rings is a ‘high’ fantasy novel since its story lies in a completely separate universe (there is no magic portal on Earth to get to the ‘other side’).
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.
ReplyDeleteJ. R. R. Tolkien wrote his tales based on some of the old stories that had been told in Celtic and Norse legends. It is easy to see the influence of these tales in his discussion of elves and dwarves which were a constant in Germanic and Norse mythology. A common tale in the German describes seven dwarves.
In "The Hobbit" there is a scene where a dwarf says about a light seen in the mountains in front of them "Perhaps the king under the mountain is forging gold." This is a direct reference to Norse tales which talked about the dwarves as forgers of metal and especially gold. The "Voluspa" and "The Songs of the Volsunga" each have pieces that are borrowed in the writing of the Tolkien. Many of the names that he uses, especially Middle Earth, are borrowed directly from Voluspa, and he also borrowed the idea for his entire work ("the one ring to bind them all, the one ring to rule them") from "The Songs of the Volsunga."
Because he was a professor of Mythology at Oxford, this should come as no surprise. He borrowed certain aspects of the story, but the writing was original as was the story. He even borrowed some from the ancient Celtic myths that were closer to home for him, but he also used Anglo-Saxon tales. The humans in the story who are excellent horsemen are supposedly from Rohan. This is probably borrowed from the Anglo-Saxon because these people have names that are historically Anglo-Saxon in origin, and can easily be placed in that period. Again, the author is simply borrowing the names and some of the characteristics from the ancient myths without completely retelling them.
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).
ReplyDeleteThe debate between traditionalist and modernists is that of which it is better to ascribe to. The traditionalist would probably say that the old masters in whatever artistic medium one wishes to describe are better than any new method that can be devised. Why change something that is not broken. The modernists would counter with the fact that times do change, so art should change with it. Tolkien was a traditionalist because he was a student of the mythology of old, and the writers of this same genre. He did not want to use new methods to describe scenes that could better be seen through ancient eyes.
Modern writers, and other artists, say that they are trying to get at the very essence of the medium. Writers like Faulkner and Joyce pared the language down. Faulkner was one of the first experimental writers to use a character who was mentally challenged to tell a story in "The Sound and the Fury", and Joyce told a story, that some consider the greatest novel ever written, by starting in the middle and ending at the beginning ("Ulysses"). These techniques were meant to tell a story from the very bones of the tale and let the reader experience life from the depths. It was also meant to get at the meaning of words and phrases in such a way that they could be viscerally understood.
Traditionalists like Tolkien believed that the beauty of the language was to story. There was no need for techniques or means of telling a story from the very bones of it, the story was the thing, not how it, or the words that it contained, should truly be felt. Modern writing would have rung false to a writer like Tolkien because he would not have been able to tell his story without using the work of old master story teller who wanted to entertain rather than educate. That is the difference between Joyce/Faulkner types and Tolkien. One group believes, in its arrogance, that it has a better grasp of the language than anyone else; while the other, the traditionalists, do not speak down to their audience in the guise of education, they try to tell them a story that they can enjoy.
6. What place do the old myths have in the modern world?
ReplyDeleteMythology has always had a place because they are meant to be passed down as stories that can either have a moral underpinning or they can be told simply as entertainment. When they were devised, they generally had some amount of moral value, or at least they were supposed to. Reading through the tales that the Grimm brothers collected or those written by Hans Christian Andersen, it is easy to see this thread. Although, Andersen was not retelling old Norse myths, he was using the same technique that they used.
The myths are also a way of describing the history of a people. Norse myths talk about the beginnings of Odin, Thor, Loki, and others as they were when the world began. They talk about how the world was created and how the heroes saved the world, multiple times from certain destruction. These tales were used to make sure that people did not forget who they were or where they came from,
This is the very use they can still be put to. A saying often repeated is that those who forget their history are doomed to repeat it. It can also be said that a people that forgets its cultural underpinnings is doomed to become acculturated somewhere else. These myths are meant as an education, but they are also meant as a rock which a people could cling to when they start to forget where they came from. The myths may seem silly and childish in some ways, but they are, in many ways, the history of a people. Modern science seems to try and blind people to the fact that there are other ways of thinking. Blind allegiance to one train of thought can be dangerous. In many myths a fire breathing dragon tries to burn down a village. A hero arises, and slays the dragon to save all the people of the region. What is different in the Arab Spring that just took place. A dragon, various governments, tried to destroy and enslave a people. Heroes from the people themselves took out their figurative swords and slew the beast. One person said that the importance of fairy tales (myths) was not that a child learned the myth, but that they learned that dragons can be killed.