Summary
Snorri's own skaldic poem in 102 stanzas, each illustrating a distinct verse form. The poem is addressed to Hákon Hákonarson and Skúli Bárðarson, with prose commentary.
Verse forms
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Dróttkvætt (court metre)
Stanzas 1-8 demonstrate dróttkvætt, the classical court metre that dominates Old Norse skaldic poetry. Each stanza has eight lines with six syllables per line, regulated alliteration and internal rhyme (hendingar).
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Dróttkvætt: variants
Stanzas 9-16 demonstrate variants of dróttkvætt, including detthent (with full rhyme in all lines) and stamhent (with stem-rhyme). Snorri shows how the basic form's rules can be modified while preserving metrical integrity.
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Hrynhent (the flowing metre)
Stanzas 17-20 demonstrate hrynhent, a metre with eight syllables per line instead of six. This gives a more flowing and solemn rhythm that Snorri describes as suited to praise of particular dignity.
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Tøglag and runhent (end-rhyme forms)
Stanzas 21-28 cover extended metres and end-rhyme forms. Tøglag involves drawn-out, elongated lines, while runhent uses end-rhyme instead of the internal rhyme characteristic of the dróttkvætt family.
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Hálfhnept and dunhent
Stanzas 29-36 demonstrate hálfhnept, where each line is shortened by one syllable compared to the standard form, and dunhent, a metre with a deep, thundering sound. Snorri explains how these technical constraints create distinct poetic effect.
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Fornyrðislag (old story metre)
Stanzas 37-44 demonstrate fornyrðislag, the ancient epic metre used in the Poetic Edda and the eddic poems. It is a simpler metre without hendingar but with strict alliteration and four stressed syllables per line.
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Fornyrðislag: variants and málaháttr
Stanzas 45-52 show variants of fornyrðislag, including málaháttr (the speech metre) which has more syllables per line and is used in heroic poems like Atlamál. Snorri carefully distinguishes the rhythmic character of the different epic variants.
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Ljóðaháttr (song metre)
Stanzas 53-60 demonstrate ljóðaháttr, the metre of the wisdom poems used in Hávamál, Vafþrúðnismál and Grímnismál. It is a six-line metre with alternating bound and free lines, adapted for speech, dialogue and gnomic poetry.
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Ljóðaháttr: variants
Stanzas 61-68 present extended and modified forms of ljóðaháttr. Snorri shows how the basic metre's six-line structure can be varied with additional lines, changed alliteration and modified rhyme structure, without losing its fundamental character.
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Kviðuháttr and lesser metres
Stanzas 69-80 deal with kviðuháttr and a range of shorter metres with mixed rhythm. Kviðuháttr is an asymmetric metre with alternating lines of different length, common in eddic poems about the gods. The other shorter metres demonstrate the diversity of Old Norse versification.
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Exotic and experimental metres
Stanzas 81-95 display the rarest forms in Snorri's catalogue: syllabic metres with a fixed number of syllables per line regardless of stress, forms with foreign influence and purely experimental constructions. Snorri closes with a reflection on the limits of Old Norse versification.
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Final metres and conclusion
Stanzas 96-102 conclude Háttatal with the final demonstrations of metre and Snorri's own closing remarks on the art of versification. Snorri reflects on the relationship between technical mastery and poetic merit, regarding the work as a tribute to both the king and the traditions of Old Norse skaldic art.