고대영시에 내재된 오락의 의미와 시인의 기능
The Iimplication of Entertainment and the Role of Scop in Old English Poetry
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It seems inappropriate to employ a sense of entertainment to heroic poetry which is characterized by a solemn mood reinforced with a dignified tone where its major subject matter is that of life and death through battle. This seeming incongruity becomes a double-headed coin since the contents of heroic poetry is formed of a series of scenes from banquet and battle. The primary function of the banquet hall where audiences would enjoy entertainment is not to entertain the members of comitatus but to consolidate the loyalty between the lord and his thanes. One way of expressing the lord’s generosity is to provide a banquet for his warriors. I assume that in the heroic society the mood of entertainment might be provoked by the heroic spirit embedded in the heroic lay, in that case the modern sense of merriment or joy in the feast has some remoteness from that in the heroic society. There are two streams of entertainment in Anglo-Saxon literature: the one can be found in the banquet scenes in heroic poetry and the other in Old English Elegy. The joy of entertainment in Elegy works as representative for worldly value as opposed to the spiritual awakening which is aimed at in Elegy whilst in heroic poem the role of entertainment is to conjure up heroic spirit amongst warrior-attendants. The poet or scop was a key figure in the culture of comitatus in Anglo-Saxon period. The scop was not a mere entertainer but had a clear and crucially important function in the political and military culture of the heroic society. Their primary role is to draw pure pleasure from the audience by evoking the mood of joy. Hrothgar’s scop or poet creates(composes) a new song, this time in praise of Beowulf’s deeds. This highlights the importance of the scop, literally ‘the creator’, who is supposed to conjure up heroic spirit amongst members of comitatus. His services would help ensure the immortality of the hero, and in the heroic society this would have been vital.
Abstract
It seems inappropriate to employ a sense of entertainment to heroic poetry which is characterized by a solemn mood reinforced with a dignified tone where its major subject matter is that of life and death through battle. This seeming incongruity becomes a double-headed coin since the contents of heroic poetry is formed of a series of scenes from banquet and battle. The primary function of the banquet hall where audiences would enjoy entertainment is not to entertain the members of comitatus but to consolidate the loyalty between the lord and his thanes. One way of expressing the lord’s generosity is to provide a banquet for his warriors. I assume that in the heroic society the mood of entertainment might be provoked by the heroic spirit embedded in the heroic lay, in that case the modern sense of merriment or joy in the feast has some remoteness from that in the heroic society. There are two streams of entertainment in Anglo-Saxon literature: the one can be found in the banquet scenes in heroic poetry and the other in Old English Elegy. The joy of entertainment in Elegy works as representative for worldly value as opposed to the spiritual awakening which is aimed at in Elegy whilst in heroic poem the role of entertainment is to conjure up heroic spirit amongst warrior-attendants. The poet or scop was a key figure in the culture of comitatus in Anglo-Saxon period. The scop was not a mere entertainer but had a clear and crucially important function in the political and military culture of the heroic society. Their primary role is to draw pure pleasure from the audience by evoking the mood of joy. Hrothgar’s scop or poet creates(composes) a new song, this time in praise of Beowulf’s deeds. This highlights the importance of the scop, literally ‘the creator’, who is supposed to conjure up heroic spirit amongst members of comitatus. His services would help ensure the immortality of the hero, and in the heroic society this would have been vital.
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