172
The second session was concerned with Old
Irish and Old Norse lament traditions. The first
talk, “‘No Feigned Grief Mine’: Emotion and
Expression in the Irish Lament Traditions”,
was delivered by Alexandra Bergholm of the
University of Helsinki. Bergholm’s main
argument was that as was true for the Ancient
Greeks, the tradition of lamenting for the dead
was associated with women in medieval
Ireland. While she noted that it is harder for
scholars of lament to research how the tradition
was carried out in Ireland due to the scarcity of
extant sources, Bergholm claimed that lament
was a controversial art form, pointing out that
medieval Irish penitentials made lamenting the
dead punishable by up to fifty days on bread
and water. Bergholm ended her presentation by
returning to the perception of lament as a
female practice: acording to her, lamenting
was seen as a woman-dominated art form in a
male-dominated world. Thus, by extension, the
question of how the restriction of lament served
as a way to control women was introduced.
Bergholm’s paper was followed by another
enlightening talk, given by Joseph Harris
(Harvard University). His talk, “Beginnings
and Endings in the
Elegiac Poetry of the Early
Medieval North”, examined a set of motifs
occurring in Old Norse elegiac poetry.
Special
attention was given to what Harris called the
“Ragnarök motif”, whereby Norse poems
depict cataclysmic disasters laying waste to the
world. Harris also discussed another motif
present in Norse elegiac poetry, which he
dubbed the “never better” motif; he likened
this poetic feature to when a wife memorializes
her dead husband and declares that no one will
ever surpass him. Harris discussed the
expression of grief in a selection of
erfidrápa,
a type of Norse ode, before analyzing several
eddic elegies, paying careful attention to how
the Guðrún poems utilize elegiac tropes. He
noted the presence of the Ragnarök motif in
these poems and ended his lecture by
delivering two points: that elegy emerges out
of profound loss, and that the conclusions of
elegiac poems stylistically align with the
Ragnarök motif, evoking the end of the world.
The final panel focused on the Karelian
lament tradition and modern revival of lament
traditions
in
Finland.
Eila
Stepanova
(University of Helsinki) presented a paper
entitled “The Poetry of Everlasting Grief and
Separation”. Combining historical and cultural
research
with
linguistic
investigation,
Stepanova provided expert insight into the
special language used by traditional Karelian
lamenters. The language she described was
designed for poetry, filled with rhythm and
repetition, and relied heavily on allusion. She
discussed the decline in usage of this language,
relating the story of an elderly woman who
wrote her own funeral lament knowing that
there would be no one to do it for her. It was
remarkable to hear the recording of this
woman’s lament, and although the audience
could not understand her words, the artful
language was universally appreciated.
The second presenter was revival lamenter
Pirkko Fihlman, President of the Finnish
Lament Society. Her presentation, entitled
“Reviving Finnish Lament”, artfully combined
history and personal anecdotes to provide a
thorough overview of how traditional lament
has been reintroduced in the contemporary
experience. It was actually her late husband
who first introduced Fihlman to the tradition of
Karelian lament through his own research in
the region’s history for a play he was writing.
Fihlman spent much of her early childhood
living in Sweden to escape the conflicts of
World War II, and her family’s history with
lament was not revealed to her until she began
to lament herself, and her mother mentioned
that she sounded just like her grandmother.
Now, lament is being reintroduced to modern
Finnish culture through Fihlman’s work with
the
Finnish
Lament
Society.
Overall,
Fihlman’s presentation was a historical
retelling artfully laced with pathos and applied
effectively to contemporary discourse.
The conference concluded with a round-
table discussion featuring all panelists. This
stimulating discussion provided a unique
opportunity for audience participation and
touched on topics ranging from the historical
and literary quality of the
Kalevala to gender
roles in global lament tradition. This open-
ended dialogue was perhaps the highlight of
the entire conference, allowing for candid
intellectual exploration by a group of
extremely diverse academic backgrounds.
173
Versification: Metrics in Practice
25
th
–27
th
May 2016, Helsinki, Finland
Erika Laamanen,
University of Helsinki
The
international
and
multidisciplinary
conference
Versification: Metrics in Practice
was held in Helsinki, Finland from 25
th
to 27
th
May 2016. The conference was a meeting of
NordMetrik (Nordic Society for Metrical
Studies). Scholars from a variety of disciplines
and from fifteen different countries gathered in
the Great Hall of the Finnish Literature Society
and the Topelia building of the University of
Helsinki to discuss questions of metrics. The
conference was organized by the Department
of Folklore Studies and the Department of
Finnish, Finno-Ugrian and Scandinavian
Studies at the University of Helsinki, the
Academy of Finland project “Oral Poetry,
Mythic
Knowledge
and
Vernacular
Imagination”, and the Finnish Literature Society.
The theme of the conference was ‘metrics in
practice’. Versification, that is, the art of
making verses, refers to the conventions and
techniques that poets have employed when
practicing their art. Meter is, however, often
discussed in abstract terms. Efforts have been
made to formalize the way words and sounds
connect with rhythm. The aim of the
conference was to highlight the inseparability
of meter and language and to call attention to
meter in different social language practices.
The five keynote speakers of the conference
approached the theme from different angles.
Tomas Riad (Stockholm University, Swedish
Academy) argued against the idea that meter is
an abstract pattern filled with language – the
idea supported by, for example, generative
metrics. Instead, he suggested that in the case
of meter we are dealing with the same kind of
phenomenon as prosodic morphemes and that
meter should therefore be treated at root as a
linguistic object. The central idea of his lecture
was
meter as improvement. According to Riad,
improvement occurs when metered discourse
obeys one or more linguistic constraints or
conventions more regularly than other forms of
language use.
Paul Kiparsky (Stanford University), a
pioneer
of generative metrics,
considered inter-
relations between a meter and the language in
which it is used. He spoke about how meters,
in addition to historical context, adjust to
functional preferences. For example, genre is a
factor affecting the choice of meter. Epic and
dramatic forms use flexible meters that have a
simple underlying pattern but complex
correspondence constraints, the combination
of which offers a variety of realization options.
Sung lyric poems, on the other hand, consists
of a wide range of
complex metrical structures
with simple correspondence constraints. In
each case, the correspondence constraints and
the types of flexibility that they evolve
dependencies on the language of performance.
Poet and philologist Jesper Svenbro
(Swedish Academy) provided a practitioner’s
perspective on Sapphic and Alcaic stanzas,
linking his philological research on these
poetic forms to the reflective analysis of his
own uses of them and resultant choices in the
composition process. In addition to his own
poetry, he presented examples from Sappho,
Friedrich Hölderlin and Tomas Tranströmer
proving the vitality of Sapphic and Alcaic
stanzas in modern poetry.
Kati Kallio (Finnish Literature Society)
discussed the relationship between meter,
music and performance in oral poetry. Kallio
began by stating that with oral poetry it is
problematic to consider meter exclusively as
an abstract pattern. Illustrated with many
examples, she presented ways in which Finnic
language-speaking peoples have sung poetry
and varied meter according to a given
performance situation.
Jarkko Niemi (University of Tampere) gave
a lecture based on his research project
involving the musical traditions, and especially
sung expression, of the indigenous ethnic
groups living in western Siberia and Northwest
Russia, looking especially at peoples speaking
Samoyedic and Ob-Ugrian languages. He