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SAGA-BOOK - Viking Society Web Publications

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Skaldic Poetry and Modern Painting 135<br />

a structure at the same time as unified and as variable and<br />

as concerned with its structural laws as the skaldic<br />

helming or half-stanza and later on the skaldified rimur<br />

quatrain in Icelandic. The sound pillars of this four<br />

verseline composition are marked by alliteration, assonance,<br />

internal or end-rime. The alliteration connects two<br />

stressed syllables in the odd lines with the first stressed<br />

syllables of the even line, combining the two to make an<br />

alliterative couplet. For the purpose any consonant<br />

could alliterate with itself, as well as the special<br />

combinations sp, st, sk. But any vowel could alliterate,<br />

and preferably did, with some other vowel, making the<br />

task of the alliterator considerably easier than that of the<br />

rhymester. The first line of each couplet should have<br />

a consonantic assonance, like bend: band, the second a full<br />

rime, like round : sound. Usually the skaldic metre,<br />

counting six syllables to a line to make up a helming of<br />

the magically potent twenty-four syllables, would have<br />

a disyllabic ending to each line, usually not riming,<br />

although a row-rime might occur, but never alternate<br />

rimes. The rimur quatrains would have either alternate<br />

end-rimes or row-rimes: aa bb or aaaa. This is, of course,<br />

purely a composition of sound effects: one could imagine<br />

the alliteration words coloured green, the assonance blue,<br />

and the full rime yellow. In the quatrain of the rimur<br />

poetry the assonances and internal rimes are worked to an<br />

ever greater artistic degree in hundreds of variations until<br />

one can, in the so-called slettubond, end up with every word<br />

in the second half of the stanza riming with every word<br />

in the first, and one can read the stanza in a great many<br />

ways, sometimes backward and forward with or without<br />

change of meaning. 9 This may remind one of paintings<br />

that can be hung many ways on the wall.<br />

o The following example of Slettubiind, by Hallgrimur Petursson, is changeable<br />

in 96 ways, see Helgi Sigurosson, Safn til bragfrCEoi islenzkra rimna<br />

(r89r), II4-128; he prints 48 of the variants.<br />

Mattur rettur snjalla snill<br />

snara farra kynni<br />

hattur Iettur valla vill<br />

vara tzera minni.

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