That Fishy Place

A recent ramble took me further north than I had ever been before, to the Lofoten Islands. We were staying at the splendid Nyvågar Rorbuhotell on Austvågøy, at more than 68° N (even Iceland only just scrapes 66° N by virtue of the offshore island of Grímsey). Obviously the seminar included the obligatory excursion to the fabulous site of Borg on Vestvågøy, where we enjoyed the exhibition and indulged our inner Vikings with mead and a nice thick lamb soup inside the reconstructed chieftain's hall.
 
Many other beautiful sights were seen, the weather was kind (except for the day we were supposed to have a boat trip into Trollfjorden, which caused some real disappointment) and interesting discussions were had. But what particularly piqued my curiosity was all the stockfish drying (see picture above), and my realisation that the very district of Vågan where we were staying is quite widely mentioned in Old Norse texts, where it is known as Vágar ('Bays').
 
Accounts of the renowned battle of Hjǫrungavágr (c. 985) mention that one of the supporters of Hákon jarl was a chieftain called Þórir hjǫrtr (‘Hart’) from Vágar. Hákon was a noted pagan, and his followers were too, and when Hákon had been killed and Norway was ruled by the Christian missionary king Óláfr Tryggvason, Þórir reappeared as one of the northern chieftains who attempted to resist Óláfr’s Christian mission and political ambitions, though they were ultimately unsuccessful and Þórir was killed by Óláfr.

 The religious history of the region is then obscure until over a century later when the Norwegian king Eysteinn Magnússon (d. 1122) is said to have built many churches in different parts of Norway, including one at Vágar. The fact that he bothered suggests the importance of the place already then, if not before. The same king was also responsible for revising the laws  regulating the economic activities, including fishing and the fur trade, of the people of Hálogaland. The enactment mentions that ‘every man who catches fish in Vágar’ must give five fishes to the king. A  royal order of 1384 names Vágar as one of the three most important trading centres of western and northern Norway, alongside Bergen and Trondheim.

 

The importance of this district as fishing station and trading centre resonates through several sagas of Icelanders, where it is presented as having had that status already in the ninth and tenth centuries, including Egils saga, Hallfreðar saga and Grettis saga. The question is whether this represents what Icelanders thought of Vágar in the thirteenth and fourteenth centuries, or whether the stockfish trade could have been older. I will discuss this question at greater length in something I am working on at the moment, so watch this space!

There is also a glimpse of Vágar in Konungs skuggsjá (‘The King’s Mirror’), an instructional text for ambitious young men by a thirteenth-century Norwegian, for whom Vágar is characterised not by paganism or by fishing but by its latitude. To this up-to-date and scientifically-minded observer, instructing the future seafarer, Vágar is the land of midday stars in winter and the midnight sun in summer. In early May, when I was there, it was a bit too early for the midnight sun, but it certainly did not get completely dark at night and sleep was difficult. But who could sleep in such a beautiful place?

Gather Ye Groaties

The work of the Kirkwall draper, conchologist and poet Robert Rendall (1898-1967) may not be to everyone's taste - the poetry is traditional in style and often about God. But he really has a way with words, in my view, and it's nice to see that there is now an edition of his Collected Poems (ed. John Flett Brown and Brian Murray, 2012). In addition to his four published collections, this includes poetry never published or published only in newspapers or other ephemera. As with most Orkney poets, there is always an undercurrent of fascination with the islands' Norse heritage in Rendall's poetry. Here is a snippet from the rather fine and stately 'King Hakon's Dirge', published in Orkney Variants (1951, pictured):

Death comes, alas,
On raven wings,
And even kings
Like shadows pass
From mortal things.

But some of his most delightful writing comes in the autobiographical prose pieces collected in Orkney Shore (1973), mainly about his development as a naturalist, but with some nice poetical snippets, too, here musing on the vernacular names of the sea-shells that were his life's work, in particular the 'shell names from farm animals [which] have a northern provenance':

The common mussel with its outline of folded wings and up-turned neb was soon transformed into a 'kraa' with blue-black plumage. The finely corrugated ribs of a cockle, which in Norway became a sheep's fleece, was with us replaced by similar ribs on a scallop shell, and so recognized as the mark of a gimmer-shell. A cat's face could be seen in the obtuse 'cattibuckie' and that of a dog in the neb of a spired winkle ...' (Orkney Shore, pp. 19-20).

A 'gimmer' is a year-old ewe, according to the Dictionary of the Scots Language and comes from Old Norse, though the word is not just Orcadian but is quite widespread in both Scottish and northern English dialects. The picture shows some scallop shells I found on the beach between Grit Ness and the Sands of Evie last week.

As a conchologist, Rendall of course picked up (Orkney Shore, p. 18) on the fact that the three-year old Egill Skallagrímsson (in ch. 31 of his saga), refers to the 'three silent dogs of the surf swell' that the juvenile poet got from his grandfather as payment for his first poem. The saga prose interprets this kenning as referring to kúfungar, or sea-snails, a term used for a large and diverse group of animals - it's a pity the Orcadian poet-conchologist didn't speculate a little more on just what shells these were, though he was fascinated by spiral shells:

The mind rests on its sheer loveliness, content, it may be, with the harmony of aesthetic values; or if so disposed, wanders in the dangerous but delightful labyrinth of speculative thought. This wonderfully contrived object, so specialised as to differ from all others in its class, yet not excelling in any intricacy of design, each in its own way being unique, what is it? (Orkney Shore, p. 122).

Material for a Poem

Here I am back in the Orcades on another busman's holiday. Next week it will be all business (though very pleasurable business, of course), but I came up a few days early to revisit old haunts and discover new ones. First off was Sanday, which was beautiful and fascinating in snow, rain, hail, sleet, wind and sun (or indeed all of those at the same time). But today I'm in a poetical mood and minded to blog about Wyre, which I visited yesterday in the most glorious spring sunshine (the photos show more cloud than I saw for most of the day).

Wyre was something of a pilgrimage for me. Since my last visit in 1989, I have come to know a lot more about its most famous inhabitants Kolbeinn hruga, who built the castle (pictured above), and especially his son, Bishop Bjarni Kolbeinsson. Bjarni was of course the well-travelled bishop who spent a lot of time in Norway (where his father probably came from). He may have built the lovely little chapel next to the castle pictured below. Bjarni is also the author of a fascinating narrative poem about the Jómsvíkingar, of all things, and their heroic defeat at the battle of Hjörungavágr - his literary activity was probably the last gasp of Orkney's twelfth-century renaissance. Having once translated his poem for a general readership, and having also written more academically about both the saga (some time ago), and various poems about the Jómsvíkingar (in a forthcoming article), I couldn't miss an opportunity to visit the place this learned man came from, though perhaps he, too, like his successor Edwin Muir, many centuries later, had to leave it to reach his full literary potential. Still, the castle (probably the oldest stone castle in Scotland) suggests that Wyre in the twelfth and thirteenth centuries was not then the rather modest place of eighteen inhabitants it is today. But they still appreciate their poets, and the small heritage centre has a display about 'Wyre's Poets', mentioning not only Bjarni Kolbeinsson and Edwin Muir, but also a descendant of Rögnvaldr's called Snækollr Gunnason, who is mentioned in Hákonar saga Hákonarsonar and probably also had a connection with Wyre, though his surviving poetic output is a bit meagre, to say the least.

On returning from Wyre, I went to a lecture in the splendid Pier Arts Centre in Stromness about Margaret Tait, previously known to me as an experimental film maker. She gets a mention here partly because she made a film 'The Driftback' in the 1950s about farmers returning to live in Wyre, against the tide which then was all about leaving small islands, and partly because it turns out she was a poet, too. The lecture (by Sarah Neely of the University of Stirling) was about the importance of poetry to Tait's films, and the development of her films into what could be described as 'film-poems', but she also published quite a few poems on the page. Many of both her films and poems are about Orkney and it turns out that no Orkney poet can avoid turning their hand to Norse and Viking themes now and again. Here's a snippet from what I think is one of her better ones, originally published in the Orkney Herald in 1959 (and now in Sarah Neely, ed., Margaret Tait: Poems, Stories and Writings, Carcanet 2012, p. 113):

The equinox excited the Vikings out of their winter stupor,
Made other lands seem desirable,
Made the roving sea and the turning world all a prod, a birch upon them, an unknown waiting welcoming motion to receive them,
And in they went
With the prows of their vessels high and proud,
Their weapons clanging against their shields,
With the swift sides of their long ships entering between two lips of water
And at speed rushing -
Yelling off to fight the Irish.

Yesterday was just such a spring day, soon after the equinox, which would have excited the Vikings. Bjarni Kolbeinsson said, slíkt eru yrkisefni 'such matters are material for a poem', and, as a chronicler of similar deeds himself, I'm sure he would have approved.

Coursing Through the Deepest Snow

It's nearly the end of the cross-country skiing season. I used to indulge in this wonderful sport but lack of time, snow and other things have intervened these last few years. Nevertheless, frequent visits over the last few months to my family where they have Eurosport on the telly have enabled me to indulge vicariously by watching the racers, whose technique is lightyears ahead of anything I could once produce. I particularly enjoyed the many successes of the Norwegians, with their fetching red outfits and stars like Therese 'Duracell Bunny' Johaug, with her amazing performance in the Holmenkollen 30 km last weekend. That did make me nostalgic, since many years ago I lived up on Holmenkollveien and skied around those same tracks myself.

Of course the Norwegians should be best at skiing since they seem to have invented it, as suggested by Stone and Bronze Age rock carvings. Adam of Bremen, from whom the title quotation comes, associated skiing with the Scritefingi, the northern neighbours of the Norwegians and Swedes, or Saami as we might call them. He doesn't seem to have associated the Norwegians themselves with skiing, but then what do you expect, as his information mostly came from the King of the Danes, and when were they ever any good at skiing? (See my comments on Danish eminences in one of last year's blogs, and they don't get that much snow, either.)

Another non-skiing nation appears to have been the Icelanders. Clearly, they were familiar with the concept of skiing, from their regular trips to Norway, but they don't seem to have indulged in it themselves. Skiing gets a mention in ch. 163 of Sverris saga when King Sverrir sends a company of lads from eastern Norway to spy on his opponents because 'there was a lot of snow and good skiing conditions, while walking conditions were so bad that one would sink into deep snowdrifts as soon as one left the track' - an exact description of why skiing is necessary in some places, possibly written by an Icelander who, lacking skiing skills, had tried the walking in the snow lark. A slightly odd skier is Earl Rögnvaldr of Orkney who famously boasts in his poetry of his nine skills, one of which is skiing. Orkney doesn't get that much snow and when it does, it mostly blows away! But of course Rögnvaldr grew up in southern Norway, near the mountains of Agder, perhaps even in Telemark, that real home of skiing.

My favourite skiing anecdote is from Snorri Sturluson's Heimskringla, where he has a  bit of a cheerful dig at his own countrymen. In ch. 141 of the saga of St Óláfr, we're told of an Icelander called Þóroddr Snorrason who, along with a companion, comes across an archetypal Norwegian backwoodsman, Arnljótr gellini, who helps them to escape after many adventures on a tax-collecting expedition to Jämtland. Trouble is, it's winter, and he's hoping to help them escape by skiing, but they just can't do it. So in the end he puts both Icelanders on the back of his own skis and, we're told, 'glided as fast as if he were unburdened', as wonderfully illustrated in Halfdan Egedius' woodcut interpretation (pictured) for the 1899 Norwegian edition of Snorres kongesagaer.

Location, Location, Location

Today's Guardian review of BBC 1's Shetland, based on Ann Cleeves' Red Bones, concludes that 'Sometimes ... a place is as compelling as a plot'. Which is pretty much what I said on this blog some time ago.

I suppose it was the need to establish the place more obviously that led the producers to introduce an Up-Helly-Aa subplot, making it all somewhat incongruous, since the story revolves around an archaeological dig (hardly likely in Shetland in January). Still, let's not get too fussy. This also gives the producers a chance to introduce various Norse mythology references that weren't in the original book. Shetland is, after all, as Viking as they come.

Coo-coo-ca-choo

©Trustees of the British Museum

As was recently pointed out on Twitter by Dave Gray, star presenter of Radio Orkney, 'Folk under the age of 50 are reading Walrus tweets containing the phrase "Coo-coo-ca-choo" and wondering what's going on'. Has John Lennon been reincarnated? I refer of course to the young male walrus that had a brief holiday on North Ronaldsay in Orkney the other day, just as I did almost a year ago.

Walruses are iconic in Norse and Viking culture. My esteemed colleague in Aarhus Else Roesdahl has written extensively about the export of ivory from their tusks from Greenland and across medieval Europe, and of course this ivory is the material of the Uig playing pieces or everyone's favourite 'Lewis chessmen'. But walruses are iconic in early medieval texts, too, such as the account of Ohthere, a Norwegian at King Alfred's court in the late ninth century, who said he travelled north for þæm horshwælum because they had such excellent bone in their teeth. Walruses rarely appear in Iceland (let alone North Ronaldsay), but the place-name Rosmhvalanes in the south-west of the country confirms some archaeological finds which suggest that the early Icelandic immigrants found and exploited breeding colonies.

There seem to be three different words for this creature in Old Norse. Rosmhvalr is an old word which survives mainly in the place-name and in legal provisions, in which it is sometimes confused with hrosshvalr. The Old English horshwæl mentioned above seems to be a calque on Old Norse hrosshvalr, which does occur in some texts, though there wasn't always a clear distinction between walruses and whales, and the Old English loan is perhaps the best evidence for this word meaning 'walrus' in Old Norse. Snorri, in his Edda (trans. Faulkes, p. 162), lists 27 different creatures which include various kinds of whales, including both hrosshvalr, which Faulkes translates as 'horse-whale' and rostungr, the more common term for walrus. The thirteenth-century Norwegian author of Konungs skuggsjá 'King's Mirror' is aware of the problem - he notes that the Greenlanders consider the rostungr to be like a whale, while he considers it more to be like a seal. And some Icelandic legal provisions also make a clear distinction between whale, which can be eaten along with fish on meat-free days, and walrus (and seal), which cannot. Rostungr is also a common nickname, and one can easily imagine the corpulent, buck-toothed or mustachioed chaps who would deserve such a nickname!

Sword-Girl

Most Vikingologists will already be aware of the small metal figurine (apparently it's silver) found by a detectorist last year on the island of Fyn in Denmark, and depicted on Martin Rundkvist's Aardvarchaeology blog earlier this month (from where I have 'borrowed' the photo, taken by Jan Hein). It is there described as a 'valkyrie' and indeed the figure, as far as I can tell from the photo, has long hair and is wearing a long dress with an apron (?), while carrying a shield in its left hand and holding a drawn sword in its right. I say 'its' because I do think we always have to reserve judgement, and I was amused to see that the first comment on Martin's blog post asks whether we are sure it isn't a man. Good question. Having said that, it looks fairly female to me, so let's go with the idea that it does indeed represent a valkyrie, that enigmatic figure who plays a wide variety of roles in Old Norse literature and mythology. The interesting question is, how to link the various material 'valkyries' found in recent years with their literary sisters. Now there's a fruitful topic for some aspiring student...

 

One thing that struck me about the Hårby figure is that it is holding a sword, as is the one on another, rather indistinct, brooch from Jutland also pictured in Martin's blog (where I do think there is a greater chance the figure is intended to be male). For some reason, I had always had it stuck in my head that swords were very much a male weapon, and that valkyries, when armed, were armed with shields and spears (the latter a weapon particularly associated with Odin), as well as protective armour, but not swords. I'm not sure where I got this idea from, though probably from st. 15 of Helgakviða Hundingsbana I. There, the valkyrie Sigrún arrives with some of her mates in the middle of Helgi's battle with Hundingr, and they are said to have helmets, blood-spattered mailcoats, and shiny spears. Later on, in st. 54, the valkyries are said to be 'helmet-creatures'.

 

But clearly I wasn't paying that much attention, since there is in fact a valkyrie-kenning sverðman 'sword-girl' in a poem I once wrote an article about. Oops. The poem is Hallvarðr háreksblesi's Knútsdrápa (to be published next month, edited by Matt Townend in vol. I of Skaldic Poetry of the Scandinavian Middle Ages). There, the valkyrie-kenning is embedded in a raven/eagle kenning ('gull of the sword-girl'), but the sword is clearly there. There is at least one other valkyrie kenning with a sword-word as a determinant in a Viking Age poem, so the connection exists, even if it is not especially common.

 

Finally, I did wonder whether this detectorist find was genuine - it's almost too good to be true. But archaeologists I have asked seem to have no doubts. It will be great to read a detailed analysis of it some time. In the meantime, it provides lots of food for thought in the emerging discipline of valkyrieology.