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 cite 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).
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 cite 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).
Comments section now working!
ReplyDeleteQuestion 2
ReplyDeleteThe features of residual orality that are preserved in the song Völuspá, show key differences between spoken and written stories. In Ong’s (1982) essay, Orality and Literacy: the technologizing of the word, he emphasizes features that are specific to oral stories; how many are lost in the translated versions of oral stories, as well as in written pieces. These differences Ong discusses encompass not only the format and stylistic devices used, but also how important the sense of sound is to oral pieces.
A major feature of residual orality described by Ong, is the use of a major sense: sound. Hearing is a major sense lost in literacy, in which verbal communication of this song plays an important role in how this song is presented by the performer, as well as the interpretation by the listener. Völuspá is meant to be sung, using various verbal techniques and tactics that cannot be translated through writing. Ong states that ‘oral cultures indeed produce powerful and beautiful verbal performances of high artistic and human worth, which are no longer even possible once writing has taken possession of the psyche.’ (pg. 15) The way in which this song performed will never be known, and therefore hinders the accurate interpretation of it.
It is evident throughout Völuspá, that it was intended to be verbally communicated through the use of declarative communication. This is shown in the first line, ‘Hear my words, you holy gods’, as well as in the third line, ‘by Odin’s will, I’ll speak the ancient lore’. These lines show the use of verbal words that can only be used in oral communication, and are therefore out of place in the written version. These declarations are also used by the singer to to try to grab the attention of the listener, and could have had a verbal device included to make it a declarative statement. This feature of residual orality is also used in the end of the song; after describing the fate the earth has received, the singer asks ‘Seek you wisdom still?’, before continuing with the description of the aftermath of the events that she describes. This question could be interpreted as a way to make the audience view the events that have just happened, and show interest in the continuation to the end of the story.
The use of various stylistic devices are also features of residual orality that are preserved, according to Ong . Alliteration and rhythm are important for the performer in enabling memory, as well as captivating the listener. Ong has described them as a ‘strategy for the transformation of logical sequences’. (pg. 16) Alliteration is not very common throughout this song, and is used sparingly: ‘Woe to the world then, wedded to whoredom’. This could possibly be done so the performer can get a reminder of the rhythm of the song, as the example above was taken from the middle of the song.
cont. in comments
Another stylistic device is the semiotic rhythm of the song. This is largely due to the signified structure, and use of poetic language. The lyrical format does not allow for long descriptive sentences but instead, uses short descriptive words. This style ties in with how the song is performed; using other oral features such as rhythm and volume to enhance various sections of the song. An example of this is the last verse of the song:
DeleteThere comes the dark dragon flying
flashing upward from Nidafells;
on wide swift wings it soars above the earth
carrying corpses. Now she will sink down.
The description of the dragon is short, but provides enough detail to give depth as well as dramatization. This dense amount of description also provokes thought and imagination for the listener, which is a key feature in storytelling. It will remain unclear however, if the performer intensifies this verse with the strength of their voice, which would add to the interpretation of this song.
It is clear that many distinct features are lost in the progression of oral pieces to written. However, Ong notes that many are also gained; specifically in the development of history, science and philosophy. Although we have lost the full interpretation of this song, written language has solved this issue for literary works.
The way in which you had described the language techniques used in voluspa demonstrates the way in how the this tale is told. What I don't understand is how you found out that this text was initially sung rather than read, from reading this text, I feel as if it is better read than sung as you don't take notice to the way in which the language used is meant to tell a tale rather than entertain others. It's quite rhythmic as you mentioned from the way the author has used descriptive words to get the point across. "The sun climbed", "The sky splits open", "the earth sinks below the sea" "The sun did not know" these human qualities seemed to have personified giving it life as the world ends.
DeleteI did some further research into this piece, to find out that it was originally written as a song. This was the form of literature in this period, where song was the way in which people entertained/could be entertained. In more recent literature, this piece would be considered a poem or tale. However, this is what I focused on in the last paragraph; we will never know all of the elements that were used in this piece, and therefore cannot fully understand the full effect and style of this piece.
DeleteI completely agree that when reading this, it comes across as a tale. This was the form of this song, in which oral performance was how tales were passed along.
Some points on comments above:
DeleteLlene, Angelica is right, as far as we can tell. These texts would not be read out, as they had no written form until the versions we have now, that were later written down.
Angelica, great work here. Thoughtful and considered answers.
This comment has been removed by the author.
ReplyDeleteThis comment has been removed by the author.
ReplyDeleteQuestion 3: Identify a central incident that happens in at least four of the above texts, and discuss how it is both similar and different in each example (remember to cite from the original texts).
ReplyDeleteVoluspa(the song of the volva) tells a tale of the creation of the world and the destruction of the world. The central incident highlights the battle between good and bad as it is quoted that “the sky splits open”, therefore stating the end of the world. The bravery of “Far-famed thor, the son of earth, the son of ordin, goes forth to fight the snake.” Although he dies in the end, his bravery and courage is asknowledged for the slaugher of the snake. In addition to this the central problem identified in Lord of the Rings is known to be the ring that is created to destroy the earth. The text revolves around the mythical creatures that journey to protect the ring from the dark master that is determined to claim his ring back. It is Identified through the use of the dialogue spoken from Legolas “Now the road lies plain to see before us. But we must ride more warily; for war is abroad, and the Rohirrim, the horse-lords, do not sleep, even if it seem so from afar.” This dialogue spoken carries the urgency of the world at state, what the road lies is portrayed in a sense of mystery initially saying that no one knows what would happen. It creates the sense of a prophecy that war is about to happen, both these texts revolving around a group or individual that goes forth to try and save the world from total destruction.
The text Beowulf produced between the years 975 and 1025 sets in “a wide kingdom reverted to Beowulf. He ruled it well for fifty winters, grew old and wise as warden of the land until one began to dominate the dark.” Initially the incident that is focused on this text is the dragon that has awoken from his sleep in which the “country would soon discover”. Based on the dragon awakening from his sleep, it sets the tale of Beowulf and the battle that would soon arise in attempts to save the kingdom. The hobbit written by Tokien published in 1937 revolves around a hobbit and his adventures with a band of dwarves. A central incident in this text begins in the city of dwarves which is now described to be “lost and gone, blotted in the dark”. This is all resulted to the actions of “the marauding fire of the dragon, the only kind under the mountain.” Based on the actions of the dragon, the lives of the many dwarves are impacted as well as a reserved hobbit named Bilbo who is dragged into an adventure of his lifetime.
Although the two texts Beowulf and Voluspa(the song of the volva) were written in similar time frames, they both have a strong influence towards modern fantasy texts like Lord of the Rings (1954) and The Hobbit (1937). Beowulf written many years earlier portrays a strong influence on the hobbit detailing the incident that leads the protongonst to persue an adventure. In these four texts, the central incident that happens in the beginning all result in a battle of total destruction as the prontongonists, brave and determined fight in order to save their world. Lord of the Rings and The Hobbit set in a different time and era, with different characters and plot carries the same central influence of Beowulf and Voluspa as they are more relatable towards the younger audience selling more than 150 copies worldwide.
I really like how in depth you have answered this question, as well as the quotes you have used.
DeleteI agree that the central incident in all four texts you have mentioned leads to the result of a battle and total destruction. If you were to write this in a longer essay, I think you could have gone more in depth on the last paragraph; highlighting the specific points in each text that indicate the destruction of the world, and then the protagonists wanting to save the world. You have been able to highlight and understand specific points in the texts, by providing quotes that are explained clearly.
Hi Ilene,
DeleteYes, I agree with Angelica, your answer has some real depth. And her advice is good too! Comparisons between the four text could have been more explicit and better developed.
Q1. What genres do the following texts belong to? Give some examples from these texts that support your identification.
ReplyDeleteVoluspa, Volsunga Saga, Beowulf, The Hobbit and Lord of the Rings.
------------------------------
Voluspa
Voluspa is the example of Old Norse poetry. It is derived from the Norse mythology that tells the tale of the world’s creation and the world’s end. Old Norse poetry includes a collection of verse forms written in Old Norse. It is broken up into stanzas and is distinguished by its use of alliteration and use of kenning.
Alliterative Verse Example:
Stanza 4 Then Bur’s sons | lifted up the land
And made Midgard, | men’s fair dwelling;
The sun shone | out of the south,
And bright grass grew | from the ground of stone.
Kenning Example:
Stanza 45. Storm-cleft age of wolves | until the world goes down,
Stanza 50. Lashing at the waves; the bright-beaked eagle
Stanza 55. Far-famed thor, | the son of Earth,
-------------------------
Volsunga Saga
The genre of Volsunga Saga is in the name itself. It’s an Icelandic (Scandinavian language) interpretation of the Volsung clan’s fall. A legendary saga is a tale of heroic achievement and is characterised by elements such as: linear, episodic narratives; Nordic setting; and supernatural themes.
This saga contains a series of chapters (episodic narrative) that tell the story of the generations that came before Sigurd (central character) and ends long after his death. This is an example of a linear narrative.
Throughout the Volsunga Saga, supernatural elements were shown in the story line. One example of this is shown through Odin. In Norse mythology, Odin is connected with healing, death, battle, and sorcery, along with many other things. In the saga, Odin appears numerous times to help other characters by using his powers.
-------------------------
Beowulf
Possibly the longest surviving poem written in Old English, Beowulf is an Old English epic poem. Set in Scandinavia, this epic poem tells the heroic tale of Beowulf, the hero of the Geats. Much like the saga genre, Old English epic poetry was written using alliterative verse. Beowulf contains 3182 alliterative lines and is known as one of the most important works in Old English literature. Examples of this can be found throughout the text.
Line 2201. and the shelter of Heardred's shield proved useless
against the fierce aggression of the Shylfings:
ruthless swordsmen, seasoned campaigners…”
------------------------------
The Hobbit and The Lord of the Rings
The Hobbit and The Lord of the Rings were written by the same author and are from the same universe. However, they fall under separate genres. The Hobbit is a children’s fantasy novel while The Lord of the Rings falls under the epic-high fantasy genre.
The Hobbit follows the narrative model of children’s literature as shown through the characters in The Hobbit. The characters are small and naïve, something children can relate to. It also shows the difference between what’s safe and what’s dangerous in terms of the novels setting. Both these features a key to children’s literature.
The Hobbit and The Lord of the Rings include many elements from the fantasy genre. These include supernatural elements such as its mythical/magical creatures. These creatures include hobbits, wizards, elves and dragons.
The high-fantasy genre is a sub-genre of fantasy. It is often defined by its fictional setting or its characters. The Lord of the Rings is a high fantasy novel set in the fictional world of Middle-Earth. Because it is a sequel to The Hobbit, it includes the same fantasy elements including its characters.
In regards to the Hobbit and the lord of the Rings, you mentioned that The Hobbit falls under children's literature while Lord of the Rings falls under high fantasy. You mentioned that it was because the characters are portrayed in a innocent manner. But why wasn't lord of the rings classified under this genre ? Based on my knowledge, The Hobbit has some explicit scenes in which I don't reckon children should be exposed to as well as the hobbit portraying features of fantasy elements as it is a sequel.
ReplyDeleteI guess it is debatable whether The Hobbit would fall under a children's fantasy novel or not. To my knowledge, the Hobbit has nothing inappropriate for kids other than its violence and I do believe that if written right, violence can be included in children's literature. Much like how the Harry Potter series and The Hunger Games trilogy is. This is something Tolkien has done well in The Hobbit. I also think that if comparing it to the LOTR trilogy, it is more kid friendly. LOTR also has much more substance which makes it more suitable for adults. This is because they were both written for different audiences in mind. The Hobbit was published before LOTR and was written specifically for children. While the LOTR trilogy started out as a sequel to The Hobbit, it turned into something much more and can stand alone. It has a less humorous tone than The Hobbit. The writing in LOTR is more complex and so are the themes which is why I wouldn’t consider it to be the same genre as The Hobbit.
DeleteI understand where you're coming from in regards to what you're saying. but I don't think children's literature alone should contain so much voilence. To my knowledge The Hobbit is several hundreds words long as well as LOTR, Children would initially not read stories with the length of it. Therefore I reckon that the hobbit shouldn't just be classified as children's lit as many adults would read this trilogy. It is a matter of perspective but this is the way I see it personally.
DeleteAlthough I know of a few children's literature that contains violence, I totally understand your point on it. I agree that it comes down to personal perspective. However, in regards to the length of the book, many children's literature have similar length. I agree that at first glance, the average child may not pick up The Hobbit and read it due to the length, but keep in mind that a child reading The Hobbit themselves isn't the only way for them to absorb the information. Parents and teachers having been reading children's literature such as The Hobbit to their children for years. It is specifically created for children and their enjoyment and from what I can tell, that's how The Hobbit has been received. However, it could be because we may have slightly different descriptions of what children's literature is.
DeleteHave**
DeleteI personally work at Whitcoulls and can confidently say that there are a large variety of age groups that come in looking for Tolkien's works. I do notice that children (like 9-13) are way more likely to go for The Hobbit over LOTR but i think that's purely influenced by the difference in size of the novels. There is so much violence in children's literature these days and The Hobbit is honestly pretty mild for it's category.
DeleteGood work Sela, for laying the basis for this discussion. In both cases, the movies are more violent than the books.
DeleteBoth LOTR and The Hobbit are high fantasy, with the Hobbit being aimed at a lower age group.
I have to say it is clear to me when people are commenting on a book they have not read, at least in part.
Yes I agree, it could be because we have slightly different perceptions of what children's literature is, but in regards to what you're saying I think we may have different perceptions towards children as I think of children being 5-12, initially the demographic of these children would initially not be picking up The Hobbit and reading the text. Yes, I agree that parents and teachers may be reading these texts but because they are adults, The Hobbit and LOTR I believe is more popular with the adult demographic than it being "children's literature"
ReplyDeleteOld myths have place in the modern world as they have helped to define and shape the world we live in today. A large majority of cultures have their core values and beliefs embedded in their myths and legends. Myths are crucial to the modern world as not only do they hold onto beliefs from another time but they pave the way for many creative endeavours.
ReplyDeletePopular culture has taken on mythology and redefined it through a vast majority of mediums, books, video games, movies and all kinds of other modern media have based their storylines around myths and legends of ancient cultures.
A good example of this can be found in both Lord of The Rings (1954) and The Hobbit (1937) which are two of the most influential pieces of literature in our history, both stories have their roots in Norse mythology. Tolkien took inspiration from the old Norse legends and recreated his version of the Elves, Dwarfs and modernised the concept of the nine worlds to create his famous middle earth.
Thor, Loki and Odin, three of the greatest Norse gods were also reinvented in popular culture through marvel comics and eventually a film franchise, although claimed to be inaccurate to the mythological gods, they were intentionally modelled from the myths.
Mythology as a method of culture sharing may be slightly out of reach in the modern world, but the myths themselves whether used for education or entertainment remain timeless in our society. If many modern forms of media/entertainment were analysed to an extent it is more than likely that they will find roots within mythology, as mythology was the original story-telling for many cultures.
As society progresses it has become as though myths and legends have gone from strongly respected stories used to focus and guide belief and instead turned into a still equally respected form of entertainment for our modern societies.
Instead of giving us knowledge about things we cannot understand they instead show insight into another way of life, a way of life that we are too far from to comprehend.
The old myths remind us that there are things to be respected and honoured, no matter how much time has passed or how vastly society has changed. The old myths also provide a unique and malleable canvas in which we can only ever expand and explore, creating our own personalised versions of such iconic myths and legends.
A great answer, Ruby. We humans need our myths to feel at home in the world!
Delete