Lokka Táttur
3. Direct English translation & Notes
Translation & commentary by Denise Vast for Mimisbrunnr.info December 2021.
Updated March 2025.
Quick attribution:
Vast, Denise. 2019. “Lokka Táttur: 3. Direct English Translation & Notes”. Mimisbrunnr.info. URL: https://www.mimisbrunnr.info/lokka-tattur-direct-translation-vast-2021
Editor’s note: The present translation provides a rendering of the Faroese text into English with the objective of being more ‘direct’, and is presented alongside discussion about complexities surrounding the text. For a more approachable translation designed for general readership, see the stylized translation of Alexa Duir, Math Jones, & Denise Vast here.
3. 1. Abbreviations
Da, Db, Dc, & Dd: Four different Faroese manuscripts featuring the poem. These are viewable online at the website of Dansifelagið í Havn. A Faroese folk dance organization, readers can more find information about Dansifelagið í Havn here. (Last accessed November 28, 2021.)
Eg: Egils saga Skalla-Grímssonar, unknown author. Ed. Guðni Jónsson. 1946. vol. 2. Íslendingasagnaútgáfan.
Hb: Venceslaus Ulricus Hammershaimb. 1851. Færöiske kvæder, Vol.1, p. 140-145 & 210-212. Brødrene Berlings bogtrykkeri. Viewable online at Archive.org. Danish language translation. (Last accessed November 28, 2021.)
Ly: Lyngbye, Hans Christian. 1822. Færøiske Qvæder om Sigurd Fofnersbane og hans Æt, p. 500-519. Randers. Viewable online at Archive.org. Lyngbye’s edition consists of a phonetic transcription of the poem presented with a translation into Danish. (Last accessed November 28, 2021.)
YC: Young, G. V. C. & Cynthia R. Clewer. 1985. Faroese-English Dictionary. Mansk-Svenska Publishing Co. Ltd.
3. 2. Translator’s notes
Hans Christian Lyngbye’s version of the text, as the oldest collected example, was used as the basis for the translation. Lyngbye was working while Faroese had no established orthography, and so used a phonetic spelling which would be extremely difficult to read without the aid of other versions of the ballad, collected later and written with modern orthography. His knowledge of Faroese was limited, but he was ably corrected by Johan Henrich Schrøter, as is evidenced by the similarities between the texts, and this therefore need be of little concern. Of the four versions on the website of Dansifelagið í Havn (collected by Svend Grundtvig and Jørgen Bloch, and published in Føroya Kvæði: Corpus Carminum Færoensium), Dc & Dd are very similar to Lyngbe’s text, as is Hammershaimb’s. Da, and especially Db, are different, though more so regarding verses included and the order of them than the content of individual verses.
3. 3. English text & notes
1.
A giant and a farmer set up a game (1.a.).
The farmer lost and the giant won.
Refrain:
What use to me is this harp
under my hand:
does the bold one not want to follow me
to another land (1.b.)?
* * *
1.a.: Ly has lajgdi lajg, which appears to say (‘laid/placed/set’) a lease (idiomatic phrase for ‘made a wager’?). Maybe a corruption of (laid/placed/set) a game, referring to either setting out the gaming pieces or arranging the match? See: Knattleikr var lagiðr á Hvítár-Völlum (Eg 40). Verse not present in Da and Db. Dd has leikaðu leik (‘played a game’). Dc has leiktu leik, and I am not sure whether this is a variant spelling carrying one of the previous meanings, or maybe one meaning ‘ended a game’. My choice here is therefore somewhat arbitrary, but I have considered a mistake by Lyngybe not unlikely and have emended accordingly.
1.b.: Ly and Dc have the singular annað land, whereas the plural onnur lond, found in Dd, would rhyme better (Hb also has the plural).
2.
"I have completed my challenge,
now I intend to take your son.
3.
I intend to have the boy from you,
unless you hide him from me (3.a.)."
* * *
3.a.: Da and Db have the following as a second line: “Do you not know how to hide him from me?”
4.
The farmer calls on the two lads(4.a.):
“You two, bid Óðin to appear(4.b.) before me.
* * *
4.a.: The identity of the two sveinar (‘boys, lads, servants’) is opaque. One possibility is that the farmer has at least one other, unwagered, son.
4.b.: Strictly speaking, inngá would mean to enter (a dwelling).
5.
"I have completed my challenge,
now I intend to take your son.
6.
I intend to have the boy from you,
unless you hide him from me (3.a.)."
* * *
6.a.: The word mín (‘my’) next to the gods’ names is a marker of familiarity and/or affection. Northern British English can have a similar use of “our”, though a translation of “I wish our Odin were here” may have perplexed many English speakers.
7.
Before they had the words half-said,
then Óðin was before the gaming-board (7.a.).
* * *
7.a.: Or table: both are equally plausible, and the one may be lying atop the other in any case.
8.
"Heed me,(8.a.) Óðin, I speak to you:
you shall hide my son."
* * *
8.a.: The imperative construction hoyr tú literally translates as ‘hear-you’, with the verb hoyra primarily meaning ‘hear’ or ‘listen’, but also possibly ‘obey’ or ‘grant a prayer’ (YC).
9.
Óðin went out with the boy,
the wife (9.a.) and the farmer grieved.
* * *
9.a.: The presence of a wife who turns up in some verses, and at least one extra lad who turns up in others, makes it tempting to propose that bruður (‘bride, woman’) may be a corruption of brøður (‘brothers’).
10.
Óðin asks a field of grain,
to quickly spring up in one night.
11.
Óðin asks the boy to now be,
one ear of grain in the middle of the field.
12.
One ear of grain in the middle of the field,
one barley-grain in the middle of the ear.
13.
“Stay inside with no pain,
if I call, come to me.
14.
Stay inside with no distress,
if I call, come out here.”
15.
The monster has a heart as hard as horn,
reaps (15.a.) now an arm-full of grain.
* * *
15.a.: The verb ripa means to ‘tear the ears of grain off the stalks’ (YC).
16.
Rips now grain into his grasp,
and carried a sharp sword in his hand.
17.
And carried a sharp sword in his hand,
he intends to hew the boy there.
18.
Then the boy was distressed,
the barley grain crept out of the fist.
19.
Then the boy was in pain,
Óðin called him to himself.
20.
Óðin travelled home with the boy,
the farmer and his wife welcome them.
21.
“Here is your (21.a.) young child,
now my custody is over.”
* * *
21.a.: Tín (‘your’) is singular. Óðin is addressing only one person, though this may be in order to rhyme.
22.
The farmer calls on the two lads:
“You two, bid Hønir to appear before me.
23.
I wish that Hønir were present,
to find out, how the safekeeping should proceed.”
24.
Before they had the words half-said,
then Hønir was before the gaming-board.
25.
“Heed me, Hønir, I speak to you:
you shall hide my son.”
26.
Hønir went out with the boy,
the wife and the farmer grieved.
27.
Hønir walks on the green ground,
Seven swans, they flew over the sound.
28.
Eastwards flew two swans,
they set down beside Hønir.
29.
Hønir asks the boy to now be
one feather in the middle of the head.
30.
“Stay inside with no pain,
if I call, come to me.
31.
Stay inside with no distress,
if I call, come out here.”
32.
The giant bounds over (32.a.) the green ground,
seven swans, they flew over the sound.
* * *
32.a.: Á would not usually translate as ‘over’, but the dative case of grønari grund indicates movement within rather than to it.
33.
The giant falls onto his knee,
the foremost swan he got from them.
34.
The foremost swan he bit off,
tore off the neck down to the shoulder.
35.
Then the boy was distressed:
the feather slipped out of the mouth.
36.
Then the boy was in pain,
Hønir called him to himself.
37.
Hønir travelled home with the boy,
the farmer and his wife welcome them.
38.
“Here is your young child,
now my custody is over.”
39.
The farmer calls on the two lads:
“You two, bid Lokki to appear before me.
40.
I wish that Lokki were present,
to find out, how the safekeeping should proceed.”
41.
Before they had the words half-said,
then Lokki was before the gaming-board.
42.
“You know nothing of my plight,
the monster intends the death of my son.
43.
Heed me, Lokki, I speak to you:
you shall hide my son.
44.
Hide him well, as you are able,
allow not the monster to get hold of him.”
45.
“Should I hide your son,
you will meet my conditions.
46.
You shall build a boathouse,
while I will be away.
47.
Cut a wide opening in it,
place in there an iron bar.”
48.
Lokki went out with the boy,
the wife and the farmer grieved.
49.
Lokki walks along the strand,
where a skiff floats by the shore.
50.
Lokki rows now to the furthest fishing ground,
so it is said in an old poem.
51.
Lokki doesn’t have more words,
he throws hook and sinker overboard.
52.
Hook and sinker (52.a.) dropped to the fishing bank,
careful Lokki (52.b.) quickly pulled out a halibut.
* * *
52.a.: The first line of this is somewhat puzzling. The verb is vaða (‘wade’) and is in the singular, while stein is an accusative form, and one solution would be an unusual transitive use of vaða that I have no evidence for: “[Lokki] waded hook and sinker over the fishing bank”. Another that would make grammatical sense is “[Loki] waded the fishing bank using hook and sinker (to do the wading)”, but this requires the word order to be messed up significantly more than I see elsewhere here. Hb treats vóð við grunnið as meaning ‘touched the bottom’ and sees stein as subject despite the spelling, which I have partially followed here with reference to vaða being used for the sun sinking into the sea (YC).
52.b.: The adjective hyggin (‘careful, cautious, thoughtful)’ modifies the pronoun hann (‘he’), but “careful he” would sound a little awkward.
53.
He pulled out one, and he pulled out two,
the third one, it was black to behold.
54.
Lokki asks the boy to now be,
one grain in the middle of the roe.
55.
“Stay inside with no pain,
if I call, come to me.
56.
Stay inside with no distress,
if I call, come out here.”
57.
Lokki rows now back to land,
the giant stands before him on the sand.
58.
The giant soon spoke words thus:
“Lokki, where have you been tonight?”
59.
“Will I have a little peace,
[I’ve] wandered and travelled about the whole sea.”
60.
The giant launches his iron boat,
Lokki calls out, that there are breakers.
61.
Lokki speaks thus for himself:
“Giant, let me accompany you.”
62.
“You know nothing of my plight,
the monster intends the death of my son.
63.
Heed me, Lokki, I speak to you:
you shall hide my son.
* * *
63.a.: I have interpreted this as Loki using his oarsmanship to make sure that the boat takes a crooked course, not getting far from its place of origin, but I am uncertain if it might rather mean that he rows a long distance very slowly, having (or pretending to have) trouble impelling the heavy boat.
64.
Lokki swears by his fidelity,
“I know how to steer better than you.”
65.
The giant took to the oars to row,
the iron boat went (65.a.) over the whole sea.
* * *
65.a.: Dd has fleyg (‘rushes, darts, hurries’) here, whereas fleyt more properly means ‘floated’.
66.
The giant rows with a long reach, (66.a.)
nearly to Lokki back by the sternpost. (66.b.)
* * *
66.a.: Favnur (‘fathom’ or ‘armspan’): I interpret this as describing the length of his oarstroke, somewhat uncertainly given the many different uses of the preposition við.
66.b.: Or “behind the stem”—since Loki is steering I have assumed that the term stavnur (‘stem’) is being used in an undifferentiated manner, to refer to the end-post at either end of the boat.
67.
The giant rows now to the furthest fishing ground,
so it is said in an old poem.
68.
The giant doesn’t have more words,
he throws hook and sinker overboard.
69.
Hook and sinker drop to the fishing bank,
the careful giant quickly pulls out a halibut.
70.
He pulls out one, and he pulls out two,
the third one, it was black to behold.
71.
Lokki swears by his cunning:
"Giant, give the fish into my hands."
72.
The giant replied and said no:
"No, my (72.a.) Lokki, you won’t get it."
* * *
72.a.: The same term of familiarity that I omitted when the farmer spoke it. A more idiomatic translation would be “my friend”.
73.
He placed the fish between his knees,
counted each grain [which] was in the roe.
74.
Counted each grain [which] was in the roe,
he intended to catch the boy there.
75.
Then the boy was distressed,
the grain crept out of the fist.
76.
Then the boy was in pain,
Lokki called him to himself.
77.
“Sit down behind me,
do not let the giant see you.
78.
You must leap so light onto land,
do not mark footprints into the sand.”
79.
The giant then rows back to land,
straight towards the white sand.
80.
The giant rows to the land then,
Lokki turns the iron boat around.
81.
The giant runs the sternpost onto the beach,
the boy springs so light onto the land.
82.
The giant looks up to the land,
the boy stands before him on the sand.
83.
The boy leapt so light on to land,
marked no footprints into the sand.
84.
The giant leapt so heavy onto the beach,
up to [his] knees down into the sand.
85.
The boy leapt as he was best able,
bounded through his father's boathouse.
86.
He bounded through his father's boathouse,
the giant behind with equal pace. (86.a.)
* * *
86.a.: A somewhat arbitrary choice from among the likes of “excellent strength/stamina”.
87.
The giant stuck fast in the opening,
the iron bar burst into his skull.
88.
Loki was then not delayed,
he cut one leg off the giant.
89.
The giant considers this amusing,
the wound healed quickly together.
90.
Loki was then not delayed,
he cut the other leg off the giant.
91.
He cut the other leg off him,
threw a log and a stone between [the pieces].
92.
The boy looks on with pleasure,
[at] how the giant sprang both apart and together.
93.
Lokki travelled home with the boy,
the farmer and his wife welcome them.
94.
“Here is your young child,
now my custody is over.
95.
Now my custody is over,
I have solved your problem.
96.
I have kept faith for certain,
now the giant has lost his life”.
* * *
86.a.: A somewhat arbitrary choice from among the likes of “excellent strength/stamina”.