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Bersi Skáldtorfuson composing poetry while in chains after being captured by King Óláfr Haraldsson. Christian Krohg's illustration from Heimskringla, 1899-edition

The skald was a member of a group of poets, whose courtly poetry (Template:Lang-il) is associated with the courts of Scandinavian and Icelandic leaders during the Viking Age, who composed and performed renditions of aspects of what we now characterise as Old Norse poetry (the complementary aspect being the anonymous Eddaic poetry).

The most prevalent metre of skaldic poetry is dróttkvætt. The subject is usually historical and eulogic, detailing the deeds of the skald's king. It is not known whether the skalds employed musical instruments, though some speculate they may have accompanied their verses with the harp or lyre.^[1]

The technical demands of the skaldic form were equal to the complicated verse forms mastered by the Welsh bards and Irish ollaves, and like those poets, much of the skaldic verse consisted of panegyrics to kings and aristocrats, or memorials and testimonials to their battles. The kings and nobles, for their part, were not only intelligent and appreciative audiences for gifted skalds; some of them were poets in their own right.

Etymology[link]

The West Germanic counterpart of the skald is the scop. Not unlike the scop, which is related to Modern English scoff, the name skald is continued in English scold, reflecting the central position of mocking taunts in Germanic poetry. The word is perhaps ultimately related to Proto-Germanic *skalliz "sound, voice, shout" (OHG skal "sound"). OHG has skalsang "song of praise, psalm". skellan means "ring, clang, resound". The OHG variant stem skeltan etymologically identical to the skald- stem (Proto-Germanic *skeldan) means "to scold, blame, accuse, insult". The person doing the insulting is a skelto or skeltāri. This bears striking similarities to the Dutch verb "schelden" which means "shouting abuse" or "calling names."

History[link]

Skaldic poetry can be traced to the earlier 9th century with Bragi Boddason and his Ragnarsdrápa, the oldest surviving Norse poem besides the poem preserved epigraphically on the Eggjum stone. Þorbjörn Hornklofi's Glymdrápa of the late 9th century is the oldest surviving poem in the dróttkvætt metre, and the Karlevi Runestone from the late 10th century has the oldest surviving text in the metre. From the 10th century, the poems begin to syncretize pagan and Christian elements. In the 11th century, the professional skald is extinct in continental Scandinavia with the progressing Christianisation of Scandinavia, but survives in Iceland into the 13th century. As the profession was threatened with extinction in Iceland as well, Snorri Sturluson compiled the Prose Edda as a manual with the aim to preserve an appreciative understanding of their art. Snorri's Heimskringla also preserves many poems.

Skaldic poetry[link]

Most Nordic verse of the Viking Age came in one of two forms: eddic or skaldic. Eddic verse was usually simple, in terms of content, style and metre, dealing largely with mythological or heroic content. Skaldic verse, conversely, was complex, and usually composed as a tribute or homage to a particular Jarl or king. Performance of skaldic poetry was spoken, not sung or chanted.

Unlike many other literary forms of the time, much skaldic poetry is attributable to an author (called a skald), and these attributions may be relied on with a reasonable degree of confidence. Many skalds were men of influence and power, and were thus biographically noted. The meter is ornate, usually dróttkvætt or a variation thereof. The syntax is complex, with sentences commonly interwoven, with kennings and heiti being used frequently and gratuitously.

Skaldic poetry was written in variants and dialects of Old Norse languages. Technically, their verse was usually a form of alliterative verse, and almost always using the dróttkvætt stanza (also known as the Court or Lordly Metre). Dróttkvætt is effectively an eight line form, where each pair of lines is an original single long line which is conventionally written as two lines.

Forms of skaldic poetry[link]

Forms of skaldic poetry are:

• Drápa, a long series of stanzas (usually dróttkvætt), with a refrain (stef) at intervals.
• Flokkr, vísur or dræplingr, a shorter series of such stanzas without refrain.
• Lausavísa, a single stanza of dróttkvætt said to have been improvised impromptu for the occasion it marks.

Skalds also composed insult (níðvísur) and very occasionally, erotic verse (mansöngr).

Kennings[link]

The verses of the skalds contain a great profusion of kennings, the fixed metaphors found in most northern European poetry of the time. Kennings are devices ready to supply a standard image to form an alliterating half-line to fit the requirements of dróttkvætt; but the substantially greater technical demands of skaldic verse required that these devices be multiplied and compounded in order to meet its demands for skill and wordplay. These images can therefore become somewhat hermetic, at least to those who fail to grasp the allusions that lie at the root of many of them.

Skaldic poems[link]

Most of the skaldic poetry we have are poems composed to individual kings by their court poets. They typically have historical content, relating battles and other deeds from the king's career.

• Glymdrápa - The deeds of Harald Fairhair
• Vellekla - The deeds of Hákon Hlaðajarl.
• Bandadrápa - The deeds of Eiríkr Hlaðajarl.
• Knútsdrápa - The deeds of Cnut (I) the Great

A few surviving skaldic poems have mythological content.

• Þórsdrápa - A drápa to the god Thor telling the tale of one of his giant-bashing expeditions.
• Haustlöng - Relates two tales from the mythology as painted on a shield given to the poet.
• Ragnarsdrápa - Relates four tales from the mythology as painted on a shield given to the poet.
• Húsdrápa - Describes mythological scenes as carved on kitchen panels.
• Ynglingatal - describes the origin of the Norwegian kings and the history of the House of Yngling. It is preserved in the Heimskringla.

To this could be added two poems relating the death of a king and his reception in Valhalla.

• Hákonarmál - The death of king Hákon the Good and his reception in Valhalla.
• Eiríksmál - The death of king Eiríkr and his reception in Valhalla.

Some other were composed as circumstance pieces, such as those by Egill Skallagrímsson

• Sonatorrek - A lament on the death of Egill's sons
• Höfuðlausn - a praise for King Eiríkr Bloodaxe, that saved its author's head
• Arinbjarnarkviða - In praise of the poet's friend Arinbjörn

Notable skalds[link]

More than 300 skalds are known from the period between AD 800 and 1200. Many are listed in the Skáldatal, not all of whom are known from extant material. Notable names include:

• Bragi Boddason "the Old" (early 9th century), author of Ragnarsdrápa
• Þorbjörn hornklofi (9th century)
• Þjóðólfr of Hvinir (fl. c. 900), author of Haustlöng and Ynglingatal
• Eyvindr Finnsson (10th century), known also as Eyvindr skáldaspillir, or Eyvindr the Plagiarist, the author of Hákonarmál and Háleygjatal
• Egill Skallagrímsson (10th century), author of Sonatorrek, Höfuðlausn and Arinbjarnarkviða
• Kormákr Ögmundarson (mid-10th century), the main character of Kormáks saga
• Eilífr Goðrúnarson (late 10th century), author of Þórsdrápa
• Þórvaldr Hjaltason (later 10th century), a skald of king Eric the Victorious
• Hallfreðr Óttarsson (late 10th century, court poet of King Óláfr Tryggvason
• Einarr Helgason "Skálaglamm" (late 10th century), "of the gleaming coins" - author of Vellekla
• Úlfr Uggason (late 10th century), author of the Húsdrápa
• Tindr Hallkelsson (fl. c. 1000), one of Hákon Sigurðarson's court poets
• Gunnlaugr Illugason (10/11th century), nicknamed Ormstunga "Worm-tongue" on account of his propensity for satire and invective
• Sigvatr Þórðarson (earlier 11th century)
• Þórarinn loftunga (earlier 11th century)
• Óttarr svarti (earlier 11th century), a skald at the court of king Olof Skötkonung and Olaf the Stout
• King Haraldr Harðráði (mid-11th century)
• Arnórr Þórðarson (mid-11th century), Jarlaskald "the Earls' Skald"
• Einarr Skúlason (12th century)), author of Geisli
• Snorri Sturluson (12/13th century)
• Þórir Jökull Steinfinnsson (13th century)

See also[link]

• Old Norse poetry
• Alliterative verse
• Scop
• Nīþ Puts the role of the skald into context as one who "shouted in their faces what they were in most derogatory terms".
• The griots perform similar functions in West African societies.

References[link]

External links[link]

• Dróttkvæði, skjaldkvæði og rímur from heimskringla.no.
• Finnur Jónsson, ed. Den norsk-islandske skjaldedigtning, from heimskringla.no.
• Finnur Jónsson, ed. Den norsk-islandske skjaldedigtning. 4 vols. Copenhagen: Villadsen og Christensen, 1912-15. Photographic reprint Copenhagen: Rosenkilde og Bagger, 1967. Still the definitive edition.
• Skaldic Project homepage: Skaldic poetry currently under edition (Clunies Ross et al.).
• Index of Old Norse/Icelandic Skaldic Poetry at the Jörmungrund database
• Sveinbjörn Egilsson and Finnur Jónsson, eds. Lexicon poeticum antiquæ linguæ septentriolanis: ordbog over det norsk-islandske skjaldesprog. 2nd ed. Copenhagen: Det kongelige nordiske oldskriftselskab, 1913-16 Also in partial form at the Jörmungrund database

v t e Icelandic language Features Alphabet Phonology Orthography Grammar N-rule Vocabulary Names Patronymic names Street names List of exonyms History and literature History Old Icelandic Literature Proverbs Sagas Poetic Edda Skaldic poetry Promotion and purism Árni Magnússon Institute for Icelandic Studies Icelandic Language Day Icelandic Language Council Icelandic Language Fund Icelandic Language Institute Icelandic Naming Committee Linguistic purism (High Icelandic) Related topics Icelandic Sign Language

v t e Norse mythology Deities, heroes, and figures Æsir Baldr Bragi Forseti Dellingr Freyr Heimdall Hermóðr Höðr Hœnir Kvasir Lóðurr Loki Meili Mímir Móði and Magni Njörðr Odin Óðr Thor Týr Ullr Váli Víðarr Vili and Vé Ásynjur Bil Eir Freyja Frigg Fulla Gerðr Gefjon Gná Hlín Ilmr Iðunn Irpa Jörð Lofn Nanna Njörun Rán Rindr Sága Sif Sigyn Sjöfn Skaði Snotra Sól Syn Þorgerðr Hölgabrúðr Þrúðr Vár Vör Others Ask and Embla Dís Norns Valkyries Dwarf Einherjar Elves Light elves Dark elves Black elves Fenrir Hel Jörmungandr Jötunn Níðhöggr Sigurd Völundr Vættir Locations Asgard Bifröst Fólkvangr Ginnungagap Hel Jötunheimr Midgard Múspellsheimr Niflheim Valhalla Vígríðr Wells Mímisbrunnr Hvergelmir Urðarbrunnr Yggdrasil Events Æsir–Vanir War‎ Fimbulvetr Ragnarök Sources Gesta Danorum Poetic Edda Prose Edda Runestones Sagas Tyrfing Cycle Völsung Cycle Old Norse language Orthography Later influence Society Blót Félag Germanic calendar Heiti Hörgr Kenning Mead hall Nīþ Norse pagan worship Numbers Seiðr Skald Viking Age Völva See also Norse gods Mythological Norse people, items and places Germanic paganism Ásatrú

Blind Guardian
Blind Guardian in Malmö, Sweden, September 21, 2006. L-R: Olbrich, Ehmke, Kürsch, Siepen, Schüren, Holzwarth
Background information
Origin	Krefeld, Germany
Genres	Power metal, progressive metal, speed metal, thrash metal
Years active	1984–present
Labels	No Remorse, Virgin, Century Media, Nuclear Blast
Associated acts	Demons and Wizards, Gamma Ray, Helloween, Iced Earth, Iron Savior, Savage Circus, Schattentantz, Power Quest
Website	www.blind-guardian.com
Members
Hansi Kürsch André Olbrich Marcus Siepen Frederik Ehmke
Past members
Thomas "Thomen" Stauch Markus Dörk Christof Theißen Hans-Peter Frey Mathias Wiesner

Blind Guardian is a German power metal band formed in the mid-1980s in Krefeld, West Germany.^[1] They are often credited as one of the seminal and most influential bands in the power metal and speed metal subgenres.^[2][3] Blind Guardian is a part of the German heavy metal scene that emerged in the mid-1980s.

The band's lyrics, written by vocalist Hansi Kürsch, are inspired by the fiction of fantasy authors such as J. R. R. Tolkien, Michael Moorcock, Robert Jordan and George R. R. Martin as well as traditional legends and epics.^[4] Over the years, a running theme has developed personifying the band members as travelling bards, leading some fans to refer to the band affectionately as "The Bards".

Biography[link]

Formation as Lucifer's Heritage (1984–1987)[link]

Blind Guardian was formed in 1984 in Krefeld, Germany, by Hansi Kürsch (vocals, bass) and Andre Olbrich (guitar) under the name Lucifer's Heritage. The band first released two demos in 1985 and 1986, despite undergoing chaotic lineup changes: Markus Dörk (guitar) and Thomen Stauch (drums) were replaced by Christof Theißen and Hans-Peter Frey, respectively. Finally, in 1987, Marcus Siepen joined and Thomen came back to form the lineup which would stay consistent for the next 18 years.

Name change and rise to success (1988–1996)[link]

After Lucifer's Heritage signed a contract with No Remorse Records, the band changed their name to Blind Guardian to avoid any speculations about Satanism (in a bio it was stated that they also wanted to distance themselves from the black metal movement, as their demos were placed in with black metal albums at local record shops). They released their debut album Battalions of Fear in 1988, which was essentially a speed metal album heavily influenced by Helloween.^[5] These two German bands had close ties, and Helloween founder Kai Hansen made a guest appearance on Blind Guardian's second LP, Follow the Blind (1989), where the band revealed some thrash metal influence.^[6][7] Their third LP, Tales from the Twilight World (1990), had a much more melodic and "epic" feeling, with usage of choir and classical music influence.

Blind Guardian signed with Virgin Records in 1991, and released their fourth studio album Somewhere Far Beyond in 1992 and the live album Tokyo Tales in 1993. Flemming Rasmussen, former Metallica producer, began working with the band in 1994, producing their fifth studio album Imaginations from the Other Side, released in 1995, and The Forgotten Tales, an album that contained half covers and half original work, released in 1996.

Later years and departure of Thomen Stauch (1997–2009)[link]

In 1998, Blind Guardian released their epic album Nightfall in Middle-Earth. "Complete with anthemic choruses, spoken word story lines, and plenty of bombastic power metal punctuating every dramatic turn", says Allmusic's Vincent Jeffries, "Nightfall in Middle-Earth is perhaps Blind Guardian's most triumphant".^[8] A concept album based on J. R. R. Tolkien's The Silmarillion,^[4] Blind Guardian's music demonstrated some folk rock influence, but also featured heavy use of Queen-style layered backing vocals. Since Nightfall, bass guitar has been played by sessional member Oliver Holzwarth, and Hansi has been able to devote all his attention to singing. Nightfall was also the last Blind Guardian album produced by Rasmussen.

Lead vocalist Hansi Kürsch

A Night at the Opera, named after the Queen album, was released four years later. On this album, the band's sound lacked almost all influence of their original speed metal. Power and progressive metal abound, with over the top orchestral backing and a consistent vocal and guitar layering throughout.^[9] Though not a true concept album, many of the lyrics dealt with the common themes of religion and relations between human and divine powers. It was followed by a live album in 2003 and a DVD, Imaginations Through the Looking Glass, in 2004, which was the last recorded Blind Guardian material to feature Thomen Stauch on drums. He left the band due to musical differences and was replaced by Frederik Ehmke. The first album with Ehmke was A Twist in the Myth, which came out in 2006.

Blind Guardian participated in the soundtrack for the In the Name of the King: a Dungeon Siege Tale fantasy movie (Uwe Boll), which came out in 2008.^[10] The band also recorded a theme song for Sacred 2 Fallen Angel role-playing video game, the prequel to Sacred.^[11]

Recent events (2010–present)[link]

André Olbrich performing in 2009

"A Voice in the Dark" was the next single from Blind Guardian that was released 25 June 2010. On July 30, 2010 the album followed, called At the Edge of Time. The band started "The Sacred Worlds and Songs Divine Tour 2010", the European dates will have the opening acts Enforcer and Steelwing. The 22 October in Gothenburg, Sweden only Steelwing was the opening act. The US dates will have Holy Grail and Seven Kingdoms and later they were announced that they would play at Wacken Open Air in 2011.

On July 21, 2011, Hansi Kürsch announced on Blind Guardian's official website that they are working on an orchestral album.^[12][13] On September 1, 2011, Oliver Holzwarth joined Rhapsody of Fire as a full-time member, after 13 years as Blind Guardian's session bass player.^[14] On January 27th, 2012, the band released a compilation album, titled Memories of a Time to Come, containing re-recorded and remixed songs from the band's entire discography.^[15]

Musical style[link]

Blind Guardian with the band's definitive scenery in background

Blind Guardian's first two albums, Battalions of Fear and Follow the Blind, were more in the style of speed metal than their following works. Beginning with their third album Tales from the Twilight World, Blind Guardian gradually began to write more complicated compositions focusing less on speed. As of their sixth album, Nightfall in Middle Earth, Hansi stopped playing bass to focus on singing. At this point the band began to incorporate large amounts of orchestral arrangements, and utilized the technique of overdubbing, heavily influenced by the English rock band Queen.^[16]

Blind Guardian's music features the staccato guitars and double bass drumming characteristic of power metal, as well as the use of overdubs and numerous backing vocals to create a dense sound. This technique, especially notable in the guitar and vocal tracks, creates the impression of a vast army of musicians playing in unison and singing in harmony. This proved significant on all albums after the first two but most particularly on A Night at the Opera.

Another definitive feature of Blind Guardian music is frequent use of folk tunes and instruments, especially in power ballads such as "Lord of the Rings", "The Bard's Song", "A Past and Future Secret", "Skalds and Shadows" and "Curse My Name", among others.

Side projects[link]

Along with Jon Schaffer, the leader and founder of Iced Earth, Kürsch is a member of Demons and Wizards, where he is the lead singer.

Blind Guardian have been working on and off for eight years on an orchestral project writing music about The Lord of the Rings (negotiations failed to be included on the famous The Lord of the Rings film trilogy as the soundtrack, because the band wanted to concentrate on their next album). Although it will not be a power metal album, it will be published under the name of Blind Guardian because it matches the theme of the band's lyrics, according to Hansi.^[17]

Due to the tsunami that struck Japan on March 11, 2011, Blind Guardian began working with their former record company, EMI Music, and auctioned off an exclusive studio session for two in the Twilight Hall Studio in Grefrath, Germany for charity in which 100% of proceeds would be donated to the tsunami relief efforts.^[18] The auction ended on April 22, 2011 with a final bid of £1,171.00.^[19]

Line-up[link]

Current members[link]

• Hansi Kürsch – lead vocals (1984–present), bass (1984–1996)
• André Olbrich – lead guitar, backing vocals (1984–present)
• Marcus Siepen – Rhythm guitar, backing vocals (1987–present)
• Frederik Ehmke – drums, percussion, flute and bagpipes (2005–present)

With:

• Thomas Hackmann (sessional member) – backing vocals (1990–present)
• Oliver Holzwarth (sessional and live member) – bass, backing vocals (1997–present)
• Michael Schüren (sessional member) – keyboards, grand piano (1997-present)
• Olaf Senkbeil (sessional member) - backing vocals (1998–present)
• Pat Bender (sessional member) – keyboards, sound effects (2002–present)

Former members[link]

• Thomas "Thomen" Stauch – drums (1984–1985, 1987–2005)
• Markus Dörk – Guitars (1984–1985)
• Christof Theißen – Rhythm guitar (1986)
• Hans-Peter Frey – drums (1986)
• Mathias Wiesner – keyboards, effects (studio) (1989–2002)

Discography[link]

• Battalions of Fear (1988)
• Follow the Blind (1989)
• Tales from the Twilight World (1990)
• Somewhere Far Beyond (1992)
• Imaginations from the Other Side (1995)
• Nightfall in Middle-Earth (1998)
• A Night at the Opera (2002)
• A Twist in the Myth (2006)
• At the Edge of Time (2010)

References[link]

Blind Guardian-Battlefield is the theme song for Robot Unicorn Attack heavy metal version

External links[link]

Wikimedia Commons has media related to: Blind Guardian

Wikiquote has a collection of quotations related to: Blind Guardian

• Official website
• Blind Guardian on Myspace
• Blind Guardian discography at MusicBrainz
• Hansi Kurskch Interview With Metal Rules