"Undir ilmöndum laufum ok nýsprungnum blómstrum": Sensual Pleasure in Old Norse Arthurian Romance

(Jorgensen 1999, 32) the entire crowd gathered together in cornwall in a forest and beside a lake. there were beautiful fields, spacious and flat, adorned with fine herbs in bloom. Because this place was the most delightful due to its many pleasures, King Markis had large tents set up and furnished...

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Published inScandinavian studies Vol. 87; no. 1; pp. 107 - 128
Main Author Jacobs, M. A.
Format Journal Article
LanguageEnglish
Published Champaign University of Illinois Press 22.03.2015
Subjects
Acculturation
Arthurian legend
Arthurian literature
Audiences
Bird songs
Ethnic Studies
Herbs
History
Languages
Literary characters
Medieval literature
Medieval period
North Germanic languages
Norwegian
Pleasure
Romance languages
Sagas
Scandinavian Studies
Sensory perception
Translations
University presses
Visual perception
Scandinavia
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Abstract (Jorgensen 1999, 32) the entire crowd gathered together in cornwall in a forest and beside a lake. there were beautiful fields, spacious and flat, adorned with fine herbs in bloom. Because this place was the most delightful due to its many pleasures, King Markis had large tents set up and furnished in yellow and green, blue and red-and richly decorated, gilded and embroidered with golden thread-under fragrant foliage and bursting blossoms.
AbstractList (Jorgensen 1999, 32) the entire crowd gathered together in cornwall in a forest and beside a lake. there were beautiful fields, spacious and flat, adorned with fine herbs in bloom. Because this place was the most delightful due to its many pleasures, King Markis had large tents set up and furnished in yellow and green, blue and red-and richly decorated, gilded and embroidered with golden thread-under fragrant foliage and bursting blossoms.
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References 9. While the five-sense system was developed by Aristotle and predominated in the Middle Ages, there was some variation. Touch and taste were sometimes linked, while speech was considered by some to be a sense as well (Woolgar 2006, 12).
14. All translations are the author’s unless otherwise indicated.
3. For the Scandinavian context in particular, see Marti (2012); and Sif Rikhardsdottir (2012).
21. For the distinction, or lack thereof, between the earthly and heavenly paradises, see Ashurst (2006).
4. See, for example, Biernoff (2002); Carruthers (2006); Denery (2005); Martin (2010); Nichols, Kablitz, and Calhoun (2008); Singer (2011); Stewart (2003); and Woolgar (2006).
11. This is based on citations in the Ordbog over det norrøne prosasprog and Fritzner (1886-1896), and does not take verse into account.
6. See Micillo (1993) as well as Haugen (1950, 41-7).
25. He is not bad or evil, however; in fact, he acts politely, a contrast that Tony Hunt (1977) argues is designed to provoke questions in the audience as to the nature of true courtliness.
13. See Lindow (2001, 170).
17. See Jacobs (2014) as well as JShanna Katrín FriðriksdSttir (2013, 66-7).
23. It may have been intentional that these two tropes overlapped; Carolyne Larrington points out that "the two topoi cannot be clearly distinguished at the level of feature" (2004, 97n31). While much of the elaborate description characteristic of the translated romances has been stripped out of Janual, the garden where the queen makes her move on Janual is described as smelling of sweet herbs, while extant French manuscripts do not include this detail (Rychner 1966, 79, 212). It is impossible to know whether this is an example of the amplification not uncommon in the Strengleikar, or a preservation from a lost French exemplar.
5. To these studies, we might add Lois Bragg’s (2004) discussion of disability in Old Norse saga and mythology, as well as Kevin Wanner’s (2012) examination of mouths in Old Norse mythology. The latter, however, looks primarily at silence and speech–in particular, defamation–as well as biting, and touches on eating only to mention Loki’s impregnation after eating a heart in HyndluljSð.
19. For example, the layout of the farms and the creek in Gísla saga, which allows Gísli to escape from SæbSl without leaving tracks in the snow (Björn K. þSrSlfsson and Guðni JSnsson 1943, chap. 16).
26. According to Kalinke (2009), the characteristics and configuration of the statues in the building also allow Tristram to "comment on and interpret past events" (234) and invite the audience to contemplate the story (225).
18. See, for example, the killing of Stígandi in chapter 37 of Laxdæla saga (Einar Ól. Sveinsson 1934).
8. For a thorough discussion, see Woolgar (2006). See also the prevalence of miracles in the Passio et miracula beati Olavi (Phelpstead and Kunin 2001) involving the restoration of sight, hearing, or speech, the loss of which, in some instances, was due to sin.
2. See Müller (2008), who discusses the trope of portraiture and its subsequent subversion.
12. For example, Saint Óláfr, Sigurðr Fáfnisbani, and þorsteinn Egilsson in Gunnlaugs saga. Vision can also be threatening, as in the case of the Miðgarðsormr, sorcerers, or giantesses. For a thorough discussion, see Lassen (2001; 2003).
30. A representative example is Lee Hollander’s well-known statement that "one fresh from the reading of the Icelandic family sagas will be depressed when persuing [sic] one of the Riddara sögur. It is like passing from the fresh and vital atmosphere of the outdoors to the sultry and stale air of the boudoir" (1968, 780).
16. The events leading up to Grettir’s arrival to fight the draugar typically involve loud, frightening noises as well; see chaps. 33 and 64. Similarly, at the end of Gylfaginning there is also a "dyni mikla" (Faulkes 2005, 54) [great din], when the three kings in their hall disappear and Gylfi is left alone in a field.
1. See the discussion of escalation and retardation in Andersson (1967, 38-43); as well as Cook (1982-1985, 136). On typical saga style, see Springer (1939).
29. Perhaps indicating health.
27. Why audiences might want to identify with characters like Tristram and Ísönd, who experience hardship and sorrow, is suggested by Thomas of Britain’s epilogue to Tristan, which has not been preserved in Old Norse. He states that the story is intended not just to please, but to offer comfort: "Pur essamplë issi ai fait / Pur l’estorië embelir/Quë as amanz deive plaisir, / E que par lieus poissent troveir / Chose u se puissent recorder. / Aveir em poissent grant confort / Encuntre change, encontre tort, / Encuntre painë e dolur, / Encuntre tuiz engins d’amur!" (Gregory 1998, ll. 3135-43) ["I composed both narrative and verse / in such a way as to serve as an example, / so that, by being made beautiful, / it might please lovers, / and that they might find here and there within it / something to reflect upon. / May they derive great comfort from the tale / when they are the victims of fickleness and wrong, / when they suffer pain and sorrow, / when they are ensnared by all the wiles of love!" (Gregory 1998, 145)].
28. Similarly, the description of þorsteinn singing is filtered through what Spes says about the experience (Guðni JSnsson 1936, 274; see above). Furthermore, Gísli’s dreams have been interpreted as a window into his psychological state during his outlawry (Crocker 2012), and they, too, are primarily related through conversations that Gísli has with his wife and verses he recites (Björn K. þSrSlfsson and Guðni JSnsson 1943).
22. Minor changes have been made to this and the following quotations from the Elucidarius solely for the purpose of clarity.
10. Remarks on the experience of touching and tasting are rare in sagas of all types. Despite the fact that touching and tasting are important phenomena–for example, building community through feasting, or embracing a lover–there is rarely any description of how things taste or feel.
24. See Kalinke (2009).
7. Rainer Warning notes that Augustine’s "often quoted critique of the pleasure of sight . . . should not make us forget that Augustine criticizes here only an exercise of sight fallen to the state of ’curiositas’ and, thus, losing itself in the visible world without a sufficient memory of its creator" (2008, 107).
15. The implications of speech are largely situational. Much is neutral, simply conveying information, but there can also be positive speech, as in a just judgment or a rousing speech to troops before battle, as well as negative speech, such as the curse of a sorceress. The moral weight of speech, however, is far less clear-cut than other examples of sensory phenomena.
20. For further discussion on the importance of hearing for witnessing the word of God, see Jütte (2005, 66-7).
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SubjectTerms Acculturation
Arthurian legend
Arthurian literature
Audiences
Bird songs
Ethnic Studies
Herbs
History
Languages
Literary characters
Medieval literature
Medieval period
North Germanic languages
Norwegian
Pleasure
Romance languages
Sagas
Scandinavian Studies
Sensory perception
Translations
University presses
Visual perception
Title "Undir ilmöndum laufum ok nýsprungnum blómstrum": Sensual Pleasure in Old Norse Arthurian Romance
URI https://doi.org/10.5406/scanstud.87.1.0107
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