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20 Saga-Book of the <strong>Viking</strong> <strong>Society</strong> for the company, as kings with their own fingers choose the best pieces from a dish to show favour to honoured guests. Outwardly, she is an attentive hostess, proud of her hospitality, but beneath the control is disgust and revulsion - revulsion against the food, revulsion against the Huns, pallid with the drink she has zealously plied them with. Her antagonism, her inner segregation from the others in the hall, is expressed by the repeated abrupt juxtapositions, afkd» dis, iofrom . . . . natttJug, neffolom. The poet delights in placing words so as to exploit them to the full, and his art reaches its climax here. When Gul'5nin tells Atli the truth, her terms are sickeningly plain: he is chewing, digesting, roast human meat. When he believed he was showing royal favour to his warriors by graciously sharing with them the delicacies of his table, he was drawing them too into his crime of cannibalism, his last sacrilege. His wife has defiled him as a father and a king. Neckel, in his labyrinthine Beitrdge zur Eddaforschung (p. 133), after giving his own summary of AtlakvitJa, remarks: "Even from this summary, I think we cansee indications that our poem is not originally a unity, that it is held together only by the partial restoration of lost parts of the poem that are essential to its structure. The stanzas concerning the Burgundian brothers in general breathe a different spirit from those which treat of Gul'5nin and Atli." He failed to see the logical and insistent structure of the poem; he saw complexity and thought it a tangle. A more willing attention to the motivation of the poem as it stands, and an open sympathy towards the notion that a poet might have composed in a manner we have not met before, may lead us nearer to solving the problems of AtlakvitJa. Subjective pitfalls lie on either side, but those who dogmatically criticise the unity of the poem are as likely to fall into them as those who interpret it with too admiring an imagination. Had Genzmer tried to recreate for himself the reasoning of the poet who shaped the plot of Atlakoioa, rather than study statistics of
The Lay of Attila 21 sentence-structure and compound words.s" he could not, on grounds of style, have attributed to the same scald the Hrafnsmdl, as floridly static as carved mahogany, and Atlakoioa, a work astounding for its speed, delicacy of line and force of passion. 29 F. Genzmer, 'Der Dichter der Atlakvioa', Arkiv for nordisk jilologi XLII (1926), 97 ft. Cf. Helgason op, cit. 136 ft.
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Page 5 and 6: THE LAY OF ATTILA By URSULA DRONKE
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Scandinavian Names in English Place
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"ON DEATH'S UNCERTAIN HOUR" By HALL
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TWO LITTLE-KNOWN RENDERINGS OF THE
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BOOK REVIEWS EARLY ENGLISH AND NORS
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ANTI-NATURALISM, TOUGH COMPOSITION
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Skaldic Poetry and Modern Painting
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Skaldic Poetry and Modern Painting
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Kattar Sonr 145 makellos":" Neckel
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Kattar Sonr 147 poem the men Gunnar
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Kattar Sonr 149 too, as was mention
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Kattar Sonr says gives en Iortrseff
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Kattar Sonr 153 have the reply abou
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Kattar Sonr 155 son and foster-son,
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Latin I nftuence on the Norwegian L
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Latin Influence on the Norwegian La
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SOME OBSERVATIONS ON THE DISCOVERIE
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Observations on the Discoreries of
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Obseruaiions on the Discoueries of
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Cathedral Priory of Odense in the M
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Scandinavicafor the I 8th-century C
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A NOTE ON THE FOLKTALE MOTIF OF THE
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Book Reviews 27 1 LUCAS DEBES: FlER
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MARGRETAR SAGA AND ITS HISTORY IN I
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Margretar Saga and its History in I
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M argreiar Saga and its History in
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Treatment of Sources in the Vgls1tn
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Treatment of Sources in the Vplsung
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Book Reviews 373 handbook of theolo
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Book Reviews 375 GRADED READINGS AN
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Book Reviews 377 the saga of St Edm
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Book Reviews 379 coinages antedate
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