Broken Water Law? Put Some Icelandic on It

Last week, a small newspaper in Storm Lake, Iowa won the 2017 Pulitzer Prize in Editorial Writing for the editor, Art Cullen. Cullen’s campaign against agricultural run-off into the Raccoon River was praised as “editorials fuelled by tenacious reporting, impressive expertise and engaging writing that successfully challenged powerful corporate agricultural interests in Iowa.”[1] Unfortunately, last month the judge dismissed the Des Moines Water Works’s legal suit against Sac, Buena Vista, and Calhoun Counties because agricultural drainage doesn’t count as “point source” pollution covered under section 301 of the federal Clean Water Act (1972).[2] The utility has no legal recourse for the damage of nitrate pollution to the drinking water source for 500,000 Iowa residents.

Water is different from most other legally protected resources because of its mobility and mutability. It doesn’t respect political boundaries despite legal statutes; water cannot be separated out from the physical world we inhabit – not even our own bodies. Stacy Alaimo emphasizes the ineluctable character of material agencies, “the often unpredictable and always interconnected actions of environmental systems, toxic substances, and biological bodies,” that cannot be ignored no matter how hard we try to control our environments. Ursula Heise, analyzing systems rather than agentic intra-action, argues that “what is crucial for ecological awareness and environmental ethics is arguably not so much a sense of place as a sense of planet—a sense of how political, economic, technological, social, cultural, and ecological networks shape daily routines.”[3] In other words, the local environment experienced by an individual cannot be separated from the multifarious aspects of global networks, nor can the global be understood without the local experience of limited primary interaction. We need a system that recognizes the physical and social interconnectivity of water as a part of our bodies, our basic rights, our livelihoods, and our common good.

Since our modern legal system is ill-equipped to deal with these challenges, I suggest an alternative model from the medieval period when people were more cognizant of their dependence on nature. Jónsbók represents an integration of the pre-existing Icelandic legal codes – primarily known to us from the Grágás law codes – and the Norwegian law code, Nyere Landslov (1271-74).[4] The Grágás law codes developed from an oral tradition whereby one-third of the legal code was recited each year at the annual Alþingi, or national legislative meeting where legal claims were resolved. The Jónsbók laws were written down in 1117 by unanimous consent (as the story goes) and two early fragmentary copies survive: Konungsbok (Copenhagen, Royal Library, GKS 1157 fol, c. 1260) and Staðarhólsbók (Reykjavik, Árni Magnússon Institute, AM 334 fol, c. 1280). A later manuscript – Reykjavik, Árni Magnússon Institute, AM 351 fol, fol. 1ra-64rb – provides the best manuscript witness since it includes the complete text of Jónsbók along with the 1294, 1305, and 1314 amendments.[5]

The most significant difference between the medieval Icelandic law code and modern U.S. water laws is in the rights and significance given to in-stream use of water, particularly fishing rights. To understand the U.S. system of water law one must first understand the 100th meridian division and how the landscape and precipitation patterns influenced the historical development of the law. Essentially, riparianism in the Eastern states functions through “the sharing of a watercourse by all of the landowners bordering it, regardless of whether a user had ever put water to work previously.”[6] West of the 100th meridian, precipitation is significantly less due in part to the impact of the Rocky Mountains on rainfall patterns.[7] Prior appropriation – qui prior est in tempore potior est in jure as the California Supreme Court wrote in the seminal case Irwin v. Phillips (1855) – holds that whoever is first to use the water has the first right to the water regardless of land ownership. Over time states began to protect certain uses or adapt riparian principles into the prior appropriation system, but although “[a] states constitutions or statutes declared water to public, … nearly all water was appropriated for private gain.”[8] Neither the riparian nor the prior appropriation systems originally included in-stream usage.

Jónsbók VII,56 creates a community obligation when it delineates the process for reclaiming one’s rights when in-stream rights have been compromised. Blocking the stream and passage of fish triggers the community obligation:

Each man may place nets in his part of the stream, but in such a way that the fish are able to swim up into every part of the stream. God’s gifts [i.e., fish] are to go to the mountain as well as to the shore, if they want to go. If, however, a man blocks the stream, then those men who own the stream higher up are to issue a five days’ notice summons from the assembly to the one who blocked the river to come and remove the blockage. If he refuses to move the blockage, then they are to ask for help to remove it. Each householder who refuses to go with him is fined an ounce-unit to the king. Those who illegally blocked the stream are to pay a mark to each man who lives higher up and who lost the right to fish because of the obstruction in the stream.[9]

Unlike earlier passages which limited recompense to the damages done (to land and animals) and a trespassing fee, persons who block the passage of fish in the river are required “to come and remove the blockage” upon notice by the local assembly. If the offender refuses to remove it, the burden passes to the community at large. Jb. VII,56, therefore, creates a community obligation to correct the damage to the free movement of fish within the river, presumably because it affects all the householders in the assembly regardless of whether they utilize their fishing rights. The damages owed are extended not just to the individual who lost the right to fish but to the king and to “each man who lives higher up” due to the obstruction. In this way, community obligation for the shared right for in-stream supersedes the diversion or obstruction needs of individual users while explicitly recognizing the necessity of river passage for fish populations. The fishing rights section of Jónsbók makes clear that while primary water rights conflict occurs at the immediate interpersonal level, the ripples of such actions impact other riparian owners, local householders, district assemblies, and the super-national treasury, as well as impacting the ability of fish populations to survive human intervention.

Medieval Icelandic code of water rights represents a more ethical and holistic perspective on water rights. Jónsbók-style limitations on water removals and blockages that impede fish migration and movement might have served as a restraining force on the proliferation of dams, water treatment facilities, and industrial waste discharge on the waters of the U.S. by requiring proponents to more thoroughly take into consideration not just other human users, but also the impact on nonhuman organisms, i.e. the flora and fauna that developed within and alongside the riparian biomes.[10] While the Clean Water Act (1972) has attempted to redress the problem of longterm environmental damage due to human actions, it is fighting an uphill battle against long-established rights where individual (mostly corporate) extraction rights are privileged over in-stream usage, the local community’s needs, the larger public good, and environmental concerns. We would be better served by a legal code that recognizes the intersections of needs and rights and Jónsbók provides us with a foundation to build on.[11]

Mae Kilker
University of Notre Dame

[1] Staff & Agencies, “Tiny, Family-Run Iowa Newspaper Wins Pulitzer for Taking on Agriculture Companies,” The Guardian, April 10, 2017, sec. US news, https://www.theguardian.com/us-news/2017/apr/11/tiny-family-run-iowa-newspaper-wins-pulitzer-for-taking-on-agriculture-companies.

[2] Donnelle Eller, “With Water Works’ Lawsuit Dismissed, Water Quality Is the Legislature’s Problem,” Des Moines Register, sec. Money, accessed April 15, 2017, http://www.desmoinesregister.com/story/money/agriculture/2017/03/17/judge-dismisses-water-works-nitrates-lawsuit/99327928/.

[3] Ursula Heise, Sense of Place and Sense of Planet: The Environmental Imagination of the Global, (Oxford, UK: Oxford University Press, 2008), 55.

[4] Jana K. Schulman, Jónsbók: The Laws of Later Iceland, (Saarbrücken, Germany: AQ-Verlag, 2010), xv.

[5] Schulman, Jónsbók, xxii-xxiii. The amendments, in manuscript order, are King Erikr’s Amendments (1294/1295), King Hakon’s Amendments (1305), King Hakon’s Amendments (1314), and King Hakon’s Amendments (1308), which latter pertain only to Norwegian law. It excludes only three sections: royal women’s inheritance, the earl’s oath, and the presiding judge’s oath. Schulman terms the three omitted sections “unnecessary” in the new legal context of the late 14th century.

[6] “A Universal Sense of Necessity and Propriety” in History of Water Rights, n.p.

[7] Excluding, of course, portions of the Pacific Northwest where the biome is a temperate rainforest.

[8] “A Universal Sense of Necessity and Propriety” in History of Water Rights, n.p.

[9] Schulman, Jónsbók, VII.56 (263).

[10] For more on the co-evolution of human culture and nonhuman species within specific geophysical boundaries, see Wendy Wheeler, “‘Tongues I’ll Hang on Every Tree’: Biosemiotics and the Book of Nature,” in Cambridge Companion to Literature and the Environment, ed. Louise Westling. Cambridge, UK: Cambridge University Press, 2014, 121-35.

[11] I’ll be presenting more on water law issues and the approach codified in Jónsbók at the ASLE biennial conference in Detroit (June 20-24).

Grendelkin

Most of us in the English-speaking world have read Beowulf, in translation and in high school. It is generally taught as an ancient text with insights into Anglo-Saxon culture, whispering from our distant past. But can these whispers speak meaningfully to us today, aside from mining historical gems from the text?

Beowulf is a medieval poem about heroes and monsters. But it also a poem cautioning against the destructive forces of violence and greed, the very same combination of forces which most trouble the world today.

For those who read the text in the original language, Beowulf is a playful, at times suspenseful, poem which masks its monsters in ambiguous language and draws verbal parallels between the heroic protagonists and their monstrous antagonists in ways that challenge a reader’s assumptions. And, of course, it was performed!

Are there ways of performing Beowulf, which speak both to then and now? This is the mission behind Grendelkin.

“Grendelkin” at Notre Dame, produced by Richard Fahey and sponsored by the Medieval Institute.

Grendelkin is an upcoming two day production sponsored by Notre Dame’s Medieval Institute, which seeks to highlight the ethical concerns expressed in Beowulf through professional storytelling and avant-garde performance. Grendelkin interrogates the function of reciprocal and sanctioned violence within the text and challenges tribalism and the warrior ethos of the poem, while keeping a modern audience and their contemporary concerns in focus.

Cost: The event is free (no ticket charge) and open to the public. Tickets will be given at the door and programs will be available at the venue.

Dates: 4/7 & 4/8, 2017

Time: 7:30-9:00 with refreshment the following hour both evenings

Place: Washington Hall (third floor), University of Notre Dame


Event Schedule and Artist Biographies:

DAY 1 (Friday, 4/7): Beowulf: A Poem for Our Time
Performance by Chris Vinsonhaler

An award-winning performance, Beowulf: A Poem for Our Time, will roar to life on Friday, April 7, in a program that is free and open to the public. This performance frames her version of Beowulf in both an Anglo-Saxon historical context and in conversation with contemporary current events and cultural knowledge.

The general public is invited, and high school classes are expressly invited. However, because of the sophisticated and violent content, the performance is recommended for adults and young adults only.

Awarded a fellowship funded by the National Endowment for the Arts, Chris Vinsonhaler is an internationally touring artist who also serves as a professor with the City University of New York.

Chris Vinsonhaler performing her piece “Beowulf: A Poem for Our Time.”

Her performance work has received praise from scholars, poets, teachers, storytellers, and armchair readers. “You made Beowulf come alive even for those who hated reading it,” said Rosemary DePaolo, President of the University of North Carolina, Wilmington. “You made the audience feel that Beowulf, Grendel, and Hrothgar were with us—in the room, and in our time.”

“Vinsonhaler’s Beowulf bristles with an energy and enthusiasm that is both captivating and infectious,” said Andy Orchard, Professor of Anglo-Saxon at Oxford University.

Beowulf does indeed have something for everyone,” said Vinsonhaler. “It is a dazzling work of poetry, and it is also a knock-em, sock-em piece of pop culture about a Dark Ages super hero. It is somber and thought-provoking, but it is also a lot of fun. That’s what great storytelling has always been about.”

Yet those who are familiar with Beowulf should expect to be surprised. “Beowulf has many surprises in store,” Vinsonhaler said. “The poem is ironic, subversive, grotesque, and darkly comic; and it may even lay claim to be the world’s first murder mystery. Yet, above all, Beowulf is a prophetic work about the death of nations. It presents a world overshadowed by the image of a burning tower and by monstrous acts of avarice, envy, deceit, and revenge. It is very much a poem for our time.”

Now fifteen years into the project, Vinsonhaler has completed a Ph.D. in pursuit of the project. And she believes the secret of the poem is revealed through performance.

“As a professional storyteller, I wondered what would happen if Beowulf were seriously examined and interpreted through performance. Although many questions remain unanswered, one thing that is almost certainly true: Beowulf was meant to be heard, not read. What excites me most, and what I hope to share with others, is that the poem does indeed take on a life of its own when returned to spoken form.”

Chris Vinsonhaler is currently working to revise her translation and has a website designed to help students of Beowulf access the “bones” of the language in order to better understand the poem and its performed context.


DAY 2 (Saturday, 4/8):
 Haunting Tales of Grendelkin

Act 1: Giedd in Geardagum “Songs of Yore”
Recitations by Richard Fahey
with instrumentation accompaniment by Chris Vinsonhaler (harp)

This first act will be comprised of three recitations of short episodes from Beowulf in the original Old English language and accompanied by the bardic harp.

  1. The Lay of Scyld “Terror and Tribute” is the first of the three lays, and the shortest. Scyld’s Lay establishes a paradigm for heroic kingship in the poem. It tells of the heroic deeds of Scyld Sceffing, as he terrorizes the surrounding nations and exacts his tribute from them.
  2. The Lay of Sigemund “Murder and Plunder” is the second lay in the series, and tells of the heroic deeds of Sigemund (from the Vǫlsunga saga and associated literature), especially his slaying of a mighty dragon and plundering his treasure. This episode foreshadows the later dragon episode and describes Sigemund in terms similar to the monsters in the poem.
  3. Grendel’s Approach “Becoming a Monster” is the last section of Beowulf, and describes how Grendel comes from the dark night, through the swamps and into the hall to feast on the men there. Grendel’s Approach isolates the terrifying moments in which the monster finally arrives and confronts both characters and readers for the first time in the narrative.
Richard Fahey, PhD candidate in English at the University of Notre Dame

Richard Fahey is a PhD candidate in the English Department at the University of Notre Dame where his research interests include monstrosity, syncretism, rhetoric and intertextuality in Old English, Old Norse literature and Anglo-Latin literature. In addition to producing Grendelkin, Richard is currently working on his dissertation “Enigmatic Æglacan: Riddling the Beowulf-monsters” which brings the Exeter Book riddles into conversation with Beowulf through lexicographical and stylistic analysis. Richard is also an editor and contributor to Notre Dame’s medievalist blog The Chequered Board and for the affiliate Old English Poetry translation and recitation project.

Act 2: Sceadugenga
Avant-garde performance by ❨❨❨:: Of The Sun ::❩❩❩
with instrumentation by Tom Fahey, Adam Blake and CJ Carr
and dance accompaniment by Wisty Andres, embodying the character of Grendel

Boston sound artist Tom ‘Totem’ Fahey started working with sound and becoming invested in music as far back as elementary school. Forming several bands in his youth, he eventually found himself at Massachusetts College of Art and Design in the S.I.M. program [Studio for Interrelated Media]. Here he took to avant-garde compositions and developed his ear and vision for studio and live event production.

Since then Tom has performed in numerous projects ranging from folk music to experimental noise to black metal, and has done various sound installations and sound design work for local artists and musicians. Tom has worked also as art director for Boston’s annual New Year’s art festival First Night from 2011-2015.

(((::OF THE SUN::))) was started in June 2010 by Tom Fahey and Adam Blake from the ashes of an experimental improvisational sound project called Fractillian, which performed around the Boston area from 2007- 2010. Having taken on the visual projection art of Andrew Goldman, they performed live for the first time in November 2010. (((::OF THE SUN::))) is influenced by Norwegian Black Metal and avant-garde Drone music.

Boston sound artists “❨❨❨:: Of The Sun ::❩❩❩ performing two acts in Grendelkin.

Shortly after forming, the vocal and performative force of CJ Carr joined Fahey and Blake and they performed as a trio for the first time in February of 2011.

In 2012 (((::OF THE SUN::)) started performing with acro-yoga artists Adam Giangregorio and Nicole Leland, which became a regular part of the experience, and in 2015 joined forces with the movement artist Wisty, performing with Grendelkin.

Wisty Andres, originally from Tokyo, Japan, started dancing in Columbus, OH at age 7. She has trained in classical ballet, modern, jazz, latin dancing, stilting, and tumbling. She is an alumna of Interlochen Arts Academy where she performed Les Patineurs, Sleeping Beauty, Viva Vivaldi, Serenade, and other classical and contemporary works. Andres holds an AA in Dance from New World School of the Arts College in Miami, FL.

Wisty Andres, Boston performing artist in ❨❨❨:: Of The Sun ::❩❩❩ and Grendelkin.

Andres moved to Boston in June 2013 and performed solo work (Satta under Vatten) at the Boston Contemporary Dance Festival 2013 and has also been involved in several projects with 1000virtuesdance since July 2013. Andres previously worked with Penumbra:Movement as a guest choreographer at the 2014 Dance for World Community Festival and a guest artist in the 2014 Spring aMaSSit concert.

Andres is currently dancing with Urbanity Dance Underground Company, and also a dancer and Resident Choreographer for Penumbra:Movement. She has been presenting works all over the Greater Boston Area as an independent choreographer in various venues, including NACHMO Boston 2014 and 2015, Third Life Studios Choreographer Series, Urbanity NEXT showcases, and Green Street Studios.

The second act, Sceadugenga is inspired by Grendel’s haunting approach to Heorot, and the psychology and mythology surrounding a monster. This piece incorporates the Old English language and raises some of the questions discussed in the current scholarship.


Act 3: Umberhulk
Avant-garde performance by ❨❨❨:: Of The Sun ::❩❩❩
with instrumentation by Tom Fahey, Adam Blake and CJ Carr
and dance accompaniment by Wisty Andres, embodying the character of Grendel

❨❨❨:: Of The Sun ::❩❩❩ performing with Shri Rajuli at “First Night” Boston, TRIBE VIBE (12/31/14).

For those interested in previewing a performance, there is video footage corresponding with the above image of❨❨❨:: Of The Sun ::❩❩❩ performing their song “Light” at Boston’s “First Night” in an event called Tribe Vibe.

The third act, Umberhulk, explores the parallelisms between heroes and monsters, such as is found in descriptions of Beowulf and Grendel during their epic battle in the hall.


​​Act 4:
 Wrecend 
Movement art piece by Shri Rajuli
with instrumentation accompaniment by Tom Fahey (drums and throat singing)
to music by Eivør Pálsdóttir

“Shri” Rajuli (Rajuli Khetarpal Fahey) dances with a spirit that is rooted and ancient. Every movement piece is a ritual for Rajuli. Over time, a fusion of movement influences from around the world has blossomed into her ever evolving dance style, which Rajuli describes as “Temple Tribal Fusion.”

Rajuli has performed and taught for over ten years. She has studied and collaborated with dance professionals all across America. Rajuli is an active movement and installation artist from Boston, and received BFA with Distinction from the Studio for Interrelated Media from the Massachusetts College of Art and Design and is a Rachel Brice 8 Elements Initiate. Her movement art incorporates elements of Indian folk, Ballet, Jazz, African, Haitian, Flamenco, Gothic, Butoh and Modern and modern dance style.

Movement artist Shri Rajuli. Rajuli will be performing her piece “Wrecend” and embodying the character of Grendel’s mother.

Rajuli has produced movement art shows in the past, such as her recent event Immaculate Portal (7/22/15), which celebrates the experience and journey of motherhood through interpretive dance. Links to additional performances may be found on her website.

Rajuli will be performing the final act of the evening, her piece titled Wrecend, which explore the experience of maternal loss and grief from the perspective of Grendel’s mother.

After the final act, there will be a brief panel discussion of performers in Grendelkin, discussing their art in relation and conversation with some trends in scholarship. At this time, audience feedback and questions are welcomed!

Whether you are a medievalist, an artist, an educator or an enthusiast, we hope you will join us for Grendelkin!

Special thanks to Chris Abram, John Van Engen, Thomas Burman, Megan Hall, Peter Holland, Sara Maurer, the English Graduate School, and especially the Medieval Institute for their support of this project.


Richard Fahey
Art Director and Producer
PhD Candidate
Department of English
University of Notre Dame

 

Resources for accessing Beowulf in Old English and its manuscript context

Critical edition: Frederick Klaeber’s critical edition
Student edition: George Jack’s student edition
Electronic edition: Kevin Kiernan’s electronic edition
Digitized Manuscript: British Library, Cotton Vitellius A.xv (Nowell Codex).

Reading Runes in the Exeter Book Riddles

Riddles and runes go together, at least in some of those found in the medieval codex known as the Exeter Book of Old English poetry (Exeter Cathedral Library MS 3501).

J. R. R. Tolkien puts their cryptic association to creative use when, in The Hobbit, the dwarves’ map reveals to Elrond in runic ‘moon-letters” a riddle describing how King Thorin Oakenshield’s company will discover the secret door and enter the Lonely Mountain of Erebor once they arrive to reclaim their stolen treasure-hoard from the dragon Smaug.

Moon-letters revealing the riddle of the secret door into Smaug’s lair from Peter Jackson’s film adaption, The Hobbit: An Unexpected Journey (2012).

As with Tolkien’s moon-letters, runes found in the Exeter Book Riddles serve to both obscure and illuminate their riddle and its solution. This is to say—if you are literate and can read the runic alphabet—you have an important clue to solving the puzzle. If not, the riddle’s solution is even further obscured from the solver.

While certainly not every Exeter Book riddle contains runes, and indeed most do not, there is a higher frequency of runes in riddles than elsewhere in the extant corpus of Old English poetry, suggesting that perhaps runes offered something useful to the playful, puzzling, at times comical, Old English riddle.

Moreover, there is a general instability in the consistency of runic characters, and this further adds another enigmatic layer of obscurity to a riddle, since no runic standard of writing—or carving—ever truly existed in any standardized form. Rather, form and style of runic inscriptions (as well as the orientation of runic characters) varied wildly in medieval England and Scandinavia, which makes reading runes especially difficult even to those with some runic literacy.

So how do runes enhance a riddle? If one can determine what letter a given runic character corresponds to in the Latin alphabet, how does this knowledge illuminate the riddle and its solution? By looking carefully at Exeter Book Riddle 19 and Riddle 24, we will now explore how runes operate within a broader riddling framework.

Riddle 24 on folio 106v, Exeter Cathedral Library MS 3501.

Ic eom wunderlicu wiht,         wræsne mine stefne,
hwilum beorce swa hund,         hwilum blæte swa gat,
hwilum græde swa gos,         hwilum gielle swa hafoc,
hwilum ic onhyrge         þone haswan earn,
guðfugles hleoþor,         hwilum glidan reorde
muþe gemæne,         hwilum mæwes song,
þær ic glado sitte.         G mec nemnað,
Swylce. A ond R         O fullesteð,
H ond I.         Nu ic haten eom
swa þa siex stafas         sweotule becnaþ.

“I am a wondrous thing—I change my voice:
sometimes I bark like a hound
sometimes I bleat like a goat,
sometimes I squawk like a goose,
sometimes I screech like a hawk,
sometimes I imitate the grey eagle,
the sound of birds of prey,
sometimes I utter with my mouth the kite’s voice,
sometimes the gull’s song,
where I gladly sit.

G names me,
also A and R.
O supports me,
H and I.

Now I am called as those six letters clearly show.”

The solution to Riddle 24 is higora, or ‘magpie’ in Old English, as the runes indicate when spelled out. In this riddle, runes function to obscure the solution from anyone unable to read these cryptic characters, but paradoxically they function also to illuminate the solution for the literate solver able to read the runes. However, as mysterious as the runes might appear to some, for those who understood them they aided in solving the puzzle.

Another riddle that uses runes is Riddle 19. In this enigma, there is a game of misdirection:

Riddle 19 on folio 105r, Exeter Cathedral Library MS 3501.

Ic seah on siþe    S R O
H hygewloncne,         heafodbeorhtne,
swiftne ofer sælwong         swiþe þrægan.
Hæfde him on hrycge         hildeþryþe
N O M         nægledne rad
A G E W.         Widlast ferede
rynestrong on rade         rofne C O
F O A H.         For wæs þy beorhtre,
swylcra siþfæt.         Saga hwæt ic hatte

“I saw, on a journey,
S R O H,
proud in spirit, head-bright,
running very swiftly over the fruitful plain.
It had battle-glory on his back,
N O M,
A nailed road,
A G E W.
Traveled the far-paths,
run-strong on the road,
brave C O F O A H.

The journey was the brighter, that very expedition.

Say what I am called”

Riddle 19 contains one of the prosopopoetic riddling challenges, enigmatic formulae which conclude many in the Exeter Book collection and prompt the reader to solve the puzzle: saga hwæt ic hatte “say what I am called.”

In order to answer this enigmatic challenge, one must first understand the riddle of the runes. In this case, if one deciphers and reverses the runic characters, the letters spell out a number of Old English words that allows the solver to understand the riddle in its entirety. The runic words are decoded as follows:

S R O H = hors (horse)
N O M = mon (man)
A G E W = wega (way)
C O F O A H = haofoc (hawk)

Now the riddle becomes more comprehensible, though not totally, as the runic words create syntactic breaks in the poem:

“I saw a horse on a journey,
proud in spirit, head-bright,
running very swiftly over the fruitful plain.
It had battle-glory on his back,
a man.
A nailed road,
the way
traveled the far-paths,
run-strong on the road,
a brave hawk.

The journey was the brighter, that very expedition.

Say what I am called”

With these words semantically integrated into the riddle, some resemblance of sense is gained. The solver of Riddle 19 may now better comprehend the riddle’s meaning; however, its solution is by no means as clear for the literate rune-reader as higora is for Riddle 24. With the runes deciphered, Riddle 19 presents an image of a man riding a horse along a nailed road with a brave hawk. But this image seems to fall short of a proper solution to the riddle. Although answers have been put forth, none has proven satisfactory. Riddle 19 remains unsolved, a puzzle yet to be fully unriddled.

Richard Fahey
PhD Candidate
Department of English
University of Notre Dame

Further reading:

Bitterli, Dieter. Say What I am Called: The Old English Riddles of the Exeter Book and the Anglo-Latin Riddle Tradition. Toronto: Toronto University Press, 2009.

Murphy, Patrick J. Unriddling the Exeter Riddles. University Park, PA: Pennsylvania State University Press, 2011.

Spurkland, Terje. “Literacy and ‘Runacy’” in Medieval Scandinavia in Scandinavia and Europe 800-1350: Contact, Conflict and Coexistence, ed. Jonathan Adams and Katherine Holman. Turnhout, Belgium: Brepols, 2004.