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48. “Lyr is it called, | and long it shall
On the tip of a spear-point tremble;
Of the noble house | mankind has heard,
But more has it never known.”
Svipdag spake:
Fjolsvith spake:
[248]
Svipdag spake:
Svipdag spake:
Fjolsvith spake:
Svipdag spake:
Svipdag spake:
Fjolsvith spake:
[250]
Svipdag spake:
Fjolsvith spake:
Mengloth spake:
Svipdag spake:
Mengloth spake:
[234]
[Contents]
NOTES
[235]
1. Svipdag (“Swift Day”): the names of the speakers are lacking in
the manuscripts.
7. Urth: one of the three Norns, or Fates; cf. Voluspo, 20. [237]
8. Horn and Ruth: these two rivers, here used merely to symbolize
all dangerous streams, are not included in the catalogue of rivers
given in Grimnismol, 27–29, for which reason some editors have
changed the names to Hron and Hrith.
10. This stanza is a close parallel to Hovamol, 150, and the fifth line
may well be an interpolation from line 4 of that stanza. [238]
16. At this point Groa’s song ends, and Svipdag, thus fortified, goes
to seek Mengloth. All the link that is needed between the poems is
approximately this: “Then Svipdag searched long for [239]Mengloth,
and at last he came to a great house set all about with flames. And
before the house there was a giant.”
17. Most editors have here begun a new series of stanza numbers,
but if the Grougaldr and the Fjolsvinnsmol are to be considered as a
single poem, it seems more reasonable to continue the stanza
numbers consecutively. Bugge thinks a stanza has been lost before
17, including Fjolsvith’s name, so that the “he” in line 1 might have
something to refer to. However, just such a prose link as I have
suggested in the note on stanza 16 would serve the purpose. Editors
have suggested various rearrangements in the lines of stanzas 17–
19. The substance, however, is clear enough. The giant Fjolsvith
(“Much-Wise”), the warder of the house in which Mengloth dwells,
sees Svipdag coming and stops him with the customary threats. The
assignment of the [240]speeches in stanzas 17–20, in the absence of
any indications in the manuscripts, is more or less guesswork.
24. Svafrthorin: who he was, or what his name means, or who his
son was, are all unknown.
26. Thrymgjol (“Loud-Clanging”): this gate, like the gate of the dead,
shuts so fast as to trap those who attempt to use it (cf.
Sigurtharkvitha en skamma, 68 and note). It was made by the
dwarfs, sons of Solblindi (“Sun-Blinded”), the traditional craftsmen,
who could not endure the light of day. [242]
32. Gering suggests that two stanzas have been lost between
stanzas 15 and 16, but the giant’s answer fits the question quite well
enough. The fruit of Yggdrasil, when cooked, is here assumed to
have the power of assuring safe childbirth.
36. Gif and Geri: both names signify “Greedy.” The first part of line 3
is conjectural; the manuscripts indicate the word “eleven,” which
clearly fails to make sense. [245]
46. Sickle: i.e., tail feather. With this the circle of impossibilities is
completed. To get past the dogs, they must be fed with the wing-
joints of the cock Vithofnir; the cock can be killed only [247]with the
sword in Sinmora’s possession, and Sinmora will give up the sword
only in return for the tail feather of the cock.
50. Loki, the one god named, was the builder of the hall, with the aid
of the nine dwarfs. Jari, Dori, and Ori appear in the Voluspo
catalogue of the dwarfs (stanzas 13 and 15); Delling appears in
Hovamol, 161, and Vafthruthnismol, 25, in the latter case, however,
the name quite possibly referring to some one else. The other
dwarfs’ names do not appear elsewhere. The manuscripts differ as
to the forms of many of these names. [248]
[Contents]
VÖLUNDARKVITHA
The Lay of Völund
[Contents]
Introductory Note
Between the Thrymskvitha and the Alvissmol in the Codex Regius
stands the Völundarkvitha. It was also included in the Arnamagnæan
Codex, but unluckily it begins at the very end of the fragment which
has been preserved, and thus only a few lines of the opening prose
remain. This is doubly regrettable because the text in Regius is
unquestionably in very bad shape, and the other manuscript would
doubtless have been of great assistance in the reconstruction of the
poem.
There has been a vast amount written regarding the Weland tradition
as a whole, discussing particularly the relations between the
Völundarkvitha and the Weland passage in Deor’s Lament. There
can be little question that the story came to the North from Saxon
regions, along with many of the other early hero tales. In stanza 16
the Rhine is specifically mentioned as the home of treasure; and the
presence of the story in Anglo-Saxon poetry probably as early as the
first part of the eighth century proves beyond a doubt that the legend
cannot have been a native product of Scandinavia. In one form or
another, however, the legend or the smith persisted for centuries
throughout all the Teutonic lands, and the name of Wayland Smith is
familiar to all readers of Walter Scott, and even of Rudyard Kipling’s
tales of England.
Once let a figure become popular in oral tradition, and the number
and variety of the incidents connected with his name will increase
very rapidly. Doubtless there were scores of Weland stories current
in the eighth, ninth, and tenth centuries, many of them with very little
if any traditional authority. The main one, however, the story of the
laming of the smith by King Nithuth (or by some other enemy) and of
Weland’s terrible revenge, forms the basis of the Völundarkvitha. To
this, by way of introduction, has been added the story of Völund and
the swan-maiden, who, to make things even more complex, is
likewise said to be a Valkyrie. Some critics maintain that these two
sections were originally two distinct poems, merely strung together
by the compiler with the help of narrative prose links; but the poem
as a whole has a kind of dramatic unity which suggests rather that
an early poet—for linguistically the poem belongs among the oldest
of the Eddic collection—used two distinct legends, whether in prose
or verse, as the basis for the composition of a new and
homogeneous poem.
[Contents]
[254]
[256]
2. . . . . . . . . | . . . . . . . .
Hlathguth and Hervor, | Hlothver’s children,
And Olrun the Wise | Kjar’s daughter was.
3. . . . . . . . . | . . . . . . . .
One in her arms | took Egil then
To her bosom white, | the woman fair.
[257]