178:, or ritualistic insulting, as there is a clear instance of it contained within the þættir. It suggests that the structure of the senna was not as ritualistic but rather more colloquial than thought, as there are examples of appeals to both the arbiter and the crowd. Additionally, it breaks the classic structure by the inclusion on an entire complete narrative within one of the retorts rather than the classical allusions to known events. It's believed that Halli's and Thjodolg's status as Icelanders in a
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version, but is less explicit in both its language and its story. In addition the style is more subtle and the narrative leaves more to the audience's intuition. The story ends with Sneglu-Halli returning to the
Norwegian king's court on a ship, after he frightens a group of German merchants in order
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Halli, in an attempt to punish an overbearing man named Einar the Fly, falsely claims he slew his brother. The man, known never to pay compensation, initially threatens Halli but eventually concedes after Halli threatens to ruin his name with insulting verses. Einar offers him three silver marks that
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Halli soon becomes a critic of the king and his dining practices, as the king would start eating first and remove all food after he was full, often before everyone else was satisfied. The king confronts him over a bowl of porridge, which inspires his punishment to force Halli to eat porridge until he
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Halli goes to
Denmark where he tricks a man, Raud, out of a golden arm ring and recites a very poor poem to the King of Denmark, in an attempt to receive money. The king takes well to the poem. The king offers to pour silver on his head, and Halli can keep what sticks to his hair. The plan backfires
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Halli receives an axe when he is caught staring at it. The king offers to have sex with him for it, to which Halli replies “No, but it seems understandable that you should sell the axe for the same price you paid for it." When king
Haraldr gets word of Halli's death, he jokes that this was probably
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has been used to characterized King Harald’s love of
Icelanders, Icelandic poets, and rude-crude humor even if he is the subject of said humor, most notably the scene with the axe. This point has been contested, and this same story has been suggested as an example of King Harald’s growing contempt
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Sarcastic Halli, an
Icelander named for his sharp wit, entered into King Harald’s service and into competition with the court's master-poet, Thjodolf, to see who was the best. After quickly composing an insulting verse of the court's dwarf, Halli’s great skill is acknowledged by the king.
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He is tested again by being forced to compose a poetic verse before the dwarf can carry a roast pig to him. Halli succeeds and is much praised. He enters into conflict with
Thjodolf again after Thjodolf accuses Halli of lying about his poem for the king. They engage in a
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outside of its courtly setting, and for its comedic as opposed to its praise-giving effects. It is believed that skaldic poetry can be used to illustrate mundane activities as myths and legends, to not only insult the subject but maintain the poetic verse as high art.
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that despite being criticized for its lack of proper structure, has been praised for its strong comedic effect. The þáttr tells the tale of a battle of wits between
Sarcastic (or Skinny) Halli and Thjodolf master-poet in their attempts to appeal to
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The interactions between King Harold and Halli in the axe scene has been used to demonstrate Nordic gift-giving practices and the fundamental importance between the words used for "to give" and "to sell".
249:- “‘What a Bitch!’: Genre, Genitalia, and Social-Climbing in the Tale of Sarcastic Halli (SnegluHalla Þáttr).” Medieval Studies Conference, Cornell University, February 19, 2005
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court, and therefore the absence of the common knowledge of these individuals' histories, is the driving force for allowing a break in the senna structure.
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are in his wallet. When Halli retrieves the wallet there are four, of which he takes three to avoid stealing so Einar has no way of taking legal recourse.
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Culture. In effect, the ability, or lack thereof, to understand and differentiate quality from poor poetry and the complexity of the
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has also been used to suggest that how the complexity of skaldic poetry has been used as a buffer between groups of
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THE TRANSFORMING SELF AND OTHERWORLDLY WISDOM: SOURCES OF POETIC INSPIRATION IN MEDIEVAL NORTHWEST EUROPE
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Scolding the Skald: The
Construction of Cultural Memory in Morkinskinna’s Sneglu-Halla þáttr
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445:, ed. Jeffrey Turco, 185-241. Islandica 58. Ithaca: Cornell University Library, 2015.
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Audun and the Polar Bear: Luck, Law, and
Largesse in a Medieval Tale of Risky Business
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379:"From Accusation to Narration; The transformation of the senna in Íslendingaþættir"
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The tale has been used as an example of the strangeness of
Icelandic food culture.
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223:"Performance and Norse Poetry: The Hydromel of Praise and the Effluvia of Scorn"
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bursts or be decapitated. Halli calls him on his bluff and the king backs down.
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New Norse Studies: Essays on the Literature and Culture of Medieval Scandinavia
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266:. 668 Mt Hope Acenne, Rochester, NY, 14620 USA: D.S. Brewer. pp. 114–120.
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The tale suggests alternative structures to the Nordic practice of
405:"Banking on Borealism: Eating, Smelling, and Performing the North"
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333:. Germany: Walter de Gruyter GmbH & Co.KG. pp. 150–160.
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within stands as a litmus test for esoteric or exoteric status.
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348:. ATHENS, GEORGIA: The University of Georgia. pp. 23–28.
319:." European Journal of Scandinavian Studies 47.1 (2017): 3.
295:. New York, New York: Penguin Books. pp. 694–712.
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51:, which is the basis for the English translation.
366:. NV, Leiden, The Netherlands: Koninklijke Brill.
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39:. The þáttr is contained in the kings' saga
439:, and the Case for a Skaldic Prosaics.” In
166:for poets in the latter half of his life.
447:http://cip.cornell.edu/cul.isl/1458045715
264:A History of Old Norse Poetry and Poetics
103:This less known version, included in the
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477:Cultural depictions of Harald Hardrada
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412:Presses de l'Université du Québec
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403:Schram, Kristinn (2011).
230:Journal of Oral Tradition
92:over a bowl of porridge.
377:GUREVICH, ELENA (2009).
362:Miller, William (2008).
344:HANNON, TIMOTHY (2010).
331:Medieval Oral Literature
276:: CS1 maint: location (
467:13th-century literature
435:Turco, Jeffrey. “Loki,
293:The sagas of Icelanders
262:Ross, Margaret (2005).
291:Clark, George (2001).
329:Reichl, Karl (2012).
194:Gift-giving practices
170:The practice of senna
27:Sneglu-Halla þáttur
437:Sneglu-Halla þáttr
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186:Food culture
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105:Morkinskinna
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61:Flateyjarbók
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37:King Harald
456:Categories
203:References
107:kings saga
272:cite book
180:Norwegian
23:Icelandic
152:kennings
148:English
99:version
63:version
462:Þættir
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144:Danish
140:Nordic
408:(PDF)
226:(PDF)
176:senna
78:senna
32:þáttr
419:2015
390:2015
297:ISBN
278:link
237:2015
146:and
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