Fróðskaparrit - 01.01.1978, Qupperneq 30

Fróðskaparrit - 01.01.1978, Qupperneq 30
38 Sniolvs kvæði the tættir about Sniolv, Sniolvs táttur and Ásmundar táttur, and thus give evidence for the existence of an independent ballad about Sniolv in Faroese tradition. But no matter what prehistory this frame structure might suggest for Svabo’s ver- sion of Sniolvs kvæði, it functions to bind the four txttir into a compact unit that gives the impression of a story completely told. Although we do not know where or from whom Svabo collected Sniolvs kvæði in 1781—1782, we nonetheless do know that his text is not a fragment. When Johannes Clemensen recorded Sniolvs kvæði for Hent- ze’s collection in 1819 from an anonymous singer on Sandoy, it consisted of no less than seven tættir: (1) Rana táttur, (2) Sniolvs táttur, (3) Golmars táttur, (4) Hildibrands táttur, (5) Virgars táttur, (6) Ásmundar táttur, and (7) Gríms táttur. Not only does Clemensen’s text contain three more tættir than Svabo’s, but it has also reversed the order of Golmars táttur and Sniolvs táttur. Furthermore, to complicate matters, Cle- mensen recorded Sniolvs kvæði again in 1821, but this time identifying his singer as Peder Lukassen from Skálavík on Sandoy. Clemensen’s 1821 text is not the same as his 1819 text — besides differences in wording and stanza order, it contains two additional tættir, Hildardalsstríð and Risin á Blálandi, which were sung immediately preceding the last tátt- ur, Gríms táttur. The Sniolv cycle as it was known from Clemensen’s Sandoy texts of 1819 and 1821 contained roughly twice as many tættir as Svabo’s text from 1781—1782. Since it has already been established that Svabo’s text represents not a fragmentary but rather a complete and probably stable form of the cycle, then the Sandoy texts by comparison must reflect a vigorously ex- panding, popular tradition. If this is so, then where did the additional tættir comprising Sniolvs kvæði as it was known on Sandoy come from? Were they already extant ballads that came to be incorporated into the Sniolv cycle, or were they new compositions? All five of the additional tættir found in the Sandoy texts
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