composing

mod. dans, n. a word of for. origin; [cp. mid. Lat. dansare; Fr. danser; Ital. danzare; Engl. dance; Germ. tanz, tanzen.] This word is certainly not Teutonic, but of Roman or perhaps Breton origin: the Icel. or Scandin. have no genuine word for dancing,—leika means ‘to play’ in general: the word itself (danza, danz, etc.) never occurs in the old Sagas or poetry, though popular amusements of every kind are described there; but about the end of the 11th century, when the Sagas of the bishops (Bs.) begin, we find dance in full use, accompanied by songs which are described as loose and amorous: the classical passage is Jóns S. (A. D. 1106–1121), ch. 13. Bs. i. 165, 166, and cp. Júns S. by Gunnlaug, ch. 24. Bs. i. 237—Leikr sá var kær mönnum áðr en hinn heilagi Jón varð biskup, at kveða skyldi karlmaðr til konu í danz blautlig kvæði ok rægilig; ok kona til karlmanns mansöngs vísur; þenna leik lét hann af taka ok bannaði styrkliga; mansöngs kvæði vildi hann eigi heyra né kveða láta, en þó fékk hann því eigi af komið með öllu. Some have thought that this refers to mythical (Eddic) poetry, but without reason and against the literal sense of the passage; the heathen heroic poems were certainly never used to accompany a dance; their flow and metre are a sufficient proof of that. In the Sturl. (Hist. of the 12th and 13th century) dancing is mentioned over and over again; and danz is used of popular ballads or songs of a satirical character (as those in Percy’s ballads): flimt ( loose song) and danz are synonymous words; the Sturl. has by chance preserved two ditties (one of A. D. 1221, running thus—Loptr liggr í Eyjum, bítr lunda bein | Sæmundr er á heiðum, etr berin ein. Sturl. ii. 62, and one referring to the year 1264—Mínar eru sorgirnar þungar sem blý, Sturl. iii. 317) sufficient to shew the flow and metre, which are exactly the same as those of the mod. ballads, collected in the west of Icel. (Ögr) in the 17th century under the name of Fornkvæði, Old Songs, and now edited by Jon Sigurdsson and Svend Grundtvig. Danz and Fornkvæði are both of the same kind, and also identical with Engl. ballads, Dan. kæmpeviser. There are passages in Sturl. and B.S. referring to this subject — færðu Breiðbælingar Lopt í flimtun ok görðu um hann danza marga, ok margskonar spott annat, Sturl. ii. 57, cp. 62; Danza-Bergr, the nickname of a man (Stud, ii), prob. for composing comic songs; danza-görð, composing comic songs; fylgðar-menn Kolbeins fóru með danza-görð, … en er Brandr varð varr við flimtan þeirra, iii. 80; þá hrökti Þórðr hestinn undir sér, ok kvað danz þenna við raust, 317.

β. a wake, Arna S. ch. 2; in Sturl. i. 23; at the banquet in Reykhólar, 1119, the guests amused themselves by dancing, wrestling, and story-telling; þá var sleginn danz í stofu, ii. 117; í Viðvík var gleði mikil ok gott at vera; þat var einn Drottins dag at þar var danz mikill; kom þar til fjöldi manna; ok ríðr hann í Viðvík til danz, ok var þar at leik; ok dáðu menn mjök danz hans, iii. 258, 259; honum var kostr á boðinn hvat til gamans skyldi hafa, sögur eða danz um kveldit, 281;—the last reference refers to the 21st of January, 1258, which fell on a Sunday (or wake-day): in ballads and tales of the Middle Ages the word is freq.:—note the allit. phrase, dansinn dunar, Ísl. Þóðs. ii. 8: the phrases, stiga danz; ganga í danz; brúðir í danz, dansinn heyra; dans vill hun heyra, Fkv. ii. 7. Many of the burdens to the mod. Icel. ballads are of great beauty, and no doubt many centuries older than the ballads to which they are affixed; they refer to lost love, melancholy, merriment, etc., e. g. Blítt lætur veröldin, fölnar fögr fold | langt er síðan mitt var yndið lagt í mold, i. 74; Út ert þú við æginn blá, eg er hér á Dröngum, | kalla eg löngum, kalla eg til þin löngum; Skín á skildi Sól og sumarið fríða, | dynur í velli er drengir í burtu riða, 110; Ungan leit eg hofmann í fögrum runni, | skal eg í hljóði dilla þeim mér unm; Austan blakar laufið á þann linda, 129; Fagrar heyrða eg raddirnar við Niflunga heim; Fagrt syngr svanrinn um sumarlanga tíð, | þá mun list að leika sér mín liljan fríð, ii. 52: Einum unna eg manninum, á meðan það var, | þó hlaut eg minn harm að bera í leyndum stað, 94; Svanrinn víða. svanurinn syngr viða, 22; Utan eptir firðinum, sigla fagrar fleyr | sá er enginn glaður eptir annan þreyr, 110; Svo er mér illt og angrsamt því veldur þú, | mig langar ekki í lundinn með þá jungfrú, Espol. Ann. 1549. The earliest ballads seem to have been devoted to these subjects only; of the two earliest specimens quoted in the Sturl. (above), one is satirical, the other melancholy; the historical ballads seem to be of later growth: the bishops discountenanced the wakes and dancing (Bs. l. c., Sturl. iii), but in vain: and no more telling proof can be given of the drooping spirits of Icel. in the last century, than that dancing and wakes ceased, after having been a popular amusement for seven hundred years. Eggert Olafsson in his poems still speaks of wakes, as an eyewitness; in the west of Icel. (Vestfirðir) they lasted longer, but even there they died out about the time that Percy’s ballads were published in England. The Fornkvæði or songs are the only Icel. poetry which often dispenses with the law of alliteration, which in other cases is the light and life of Icel. poetry; vide also hofmaðr, viki-vakar, etc. In the 15th century the rímur (metrical paraphrases of romances) were used as an accompaniment to the danz, höldar danza harla snart, ef heyrist vísan mín; hence originates the name man-söngr ( maid-song), minne-sang, which forms the introduction to every ríma or rhapsody; the metre and time of the rímur are exactly those of ballads and well suited for dancing. An Icel. MS. of the 17th century, containing about seventy Icel. Fornkvæði, is in the Brit. Mus. no. 11,177; and another MS., containing about twenty such songs, is in the Bodl. Libr. no. 130.

(-s, -ar), m.

1) ring, armlet (of gold or silver) worn on the wrist, esp. the sacred ring (stallahringr) on the altar in heathen temples, cf. baugeiðr;

2) in olden times, before minted gold or silver came into use, such rings were commonly used as a medium of payment; hence ‘baugr’ simply means money;

3) fine of varying amount for manslaughter, weregild;

4) gaff-hook?

5) in the phrase, eiga (kost) á baugi, to have a (single) chance left; ef sá væri á. baugi, if there were no other chance; þú munt eiga slíkan á baugi brátt, thou wilt soon have the very same chance or lot (viz. death);

6) the painted circle on a round shield.

* * *

m. [the root bjúg—baug—bog; A. S. beág; O. H. G. pouc = armilla; lost in N. H. G. and in Engl.]

I. a ring, armlet, esp. in olden times to be worn on the wrist plain, without stones:

α. the sacred temple ring (stallahringr) on the altar in heathen temples; all oaths were’ to be made by laying the hand upon the temple ring; at sacrificial banquets it was to be dipped in the blood, and was to be worn by the priest at all meetings. The ring was either of gold or silver, open (mótlaus), its weight varying between two, three, and twenty ounces (the last is the reading of Eb. new Ed. p. 6, v. 1., the classical passages in the Sagas are—Eb. l. c. (and cp. 44), Glúm. 388, Landn. (Hb.) 258, Þórð. S. 94 (Ed. 1860); cp. also the note at the end of the new Ed. of Eb., referring to an interesting essay of the Norse Prof. Holmboe upon the matter, Christiania, A. D. 1864.

β. baugr is at present in Icel. used of a spiral ring without a stone (e. g. a wedding ring); the third finger is called baugfingr, transl. from Lat. digitus annuli, for the wearing of wedding rings is not in use in Icel. (unless as a Dan. imitation). Icel. also say einbaugr, tvibaugr, a single or double spiral ring.

II. metaph. in olden times, before minted gold or silver came into use, the metals were rolled up in spiral-formed rings, and pieces cut off and weighed were used as a medium of payment; hence, in old times, baugr simply means money, used in the poets in numberless compounds; hringum hreytti, hjó sundr baug, Rm. 35; cp. baugbroti, baugskyndir, baugskati, baughati, one who breaks, throws, hates gold, epithets of princes, etc., v. Lex. Poët. A. S. poetry abounds in epithets such as, beaggeafa, dator auri; the Heliand speaks of ‘vunden gold.’ In the law the payment of weregild is particularly called baugr, v. the compounds: baugatal is the Icel. section of law treating of the weregild, Grág. ii. 171–188; höfuôbaugr, lögbaugr ( a legal baug, lawful payment). In the Norse law vide esp. N. G. L. i. 74 sqq., 184 sqq.

2. the painted circle on the round shield (clypeus); á fornum skjöldum var títt at skrifa rönd þá er b. var kallaðr, ok er við þann baug skildir kendir, Edda 87, Eg. 699; often embellished with scenes from the mythical age. Some poems arc preserved or on record, describing such shields, two Berudrápur by Egil (bera, a shield), Haustlöng by Thjodolf, Ragnarsdrápa by Bragi Gamli (of the 9th and 10th centuries). Some of these poems were among the chief sources used by Snorri in composing the Edda. The shield is metaph. called baugr, Edda (Gl.)

3. a fish-hook; man eigi þú draga Leviathan á öngli eðr bora kiðr hans með baugi (very rare, if not an απ. λεγ.), Post. 686 C. 2.

4. the phrase, eiga (kost) á baugi, to have (a single) chance left; þótti þat vera et mesta hætturáð at berjast, en sá mun á baugi, ef eigi er sæzt, there will be no other chance unless we come to terms, Sturl. iii. 244; þú munt eiga slíkan á baugi brátt, thou wilt soon have the very same chance (viz. death), the turn will come to thee, Nj. 58; nú mun ek eiga þann á baugi, at …, there will be no other chance for me, than …, Orkn. 46; cp. einbeygðr kostr, dira necessitas, 58; kvaðst þá heldr vilja liggja hjá henni, ef sá væri á baugi, if there were no other chance, Fas. ii. 150. The explanation of this metaphor is doubtful, cp. Vkv. verses 5 and 7 (?), or is the metaphor taken from the weregild?

5. baugr also occurs in mod. usage in many compds, astron. and mathem., spor-baugr, the ecliptic; hádegisbaugr, a meridian.

COMPDS: baugabrot, baugamaðr, baugatal, baugshelgi.