Metafiction, Myth and Language: A World in Words (and Pictures)

 Recent tutorial discussions having inspired me to try reciting - performing - some of the Saga , earlier tonight I gave it a go. Four passages, of varying length and dramatic import, were tested out, to see how they might be presented in a live, public-facing environment.  So here follows a short reading of the 'Song of Haeleth of the Dawn's Light', which I think is my favourite 'poem-within-the-poem' if only for its deeply sincere elegaic tone, and the fact it was inspired by a Celtic, rather than Germanic, source - in which an elegy is sung for a brave swordswoman of the Ylfu people, Haeleth. Her vengeful sister, Gwearyffeth, has more than a hint of Gwalchmai (the Welsh prototype of Sir Gawain) about her. Inspired by the 12th Century Welsh bardic song 'The Killing of Hywel ab Owein' (Peryf ap Cedifor, 1170): And now for the beginning of the whole thing...   In classic Old English formulaic fashion, the story begins not with the central character

 A few thoughts (and collected fragments of research) regarding oral, written, and recorded texts and stories… Whilst the printed text of the Gyldlandsaga can best be described as an ‘epic saga’, I decided to deconstruct the meanings of both those descriptive terms (both of which can also be used as nouns). Namely: epic ( derived from) Epos < L. < Gk. epos = “word, song”; stem of eipein = “say” → early unwritten narrative poetry celebrating incidents of heroic tradition. saga < O. Norse (Icelandic) 2. Partly after G. “sage” – mythical story, handed down by oral tradition; historical or heroic legend. (Source: The Shorter Oxford English Dictionary, 3 rd . ed., BCA, 1988). The interesting connection here is the oral nature, or unwritten aspect of [what has become] the text. The origins of the epic are in song – that which is spoken or sung – and numerous references to songcraft are made throughout the text. Several times, Sigfri recites (or sings) to an audience; a