[{"@context":"http:\/\/schema.org\/","@type":"BlogPosting","@id":"https:\/\/wiki.edu.vn\/en\/wiki41\/vefarinn-mikli-fra-kasmir-wikipedia\/#BlogPosting","mainEntityOfPage":"https:\/\/wiki.edu.vn\/en\/wiki41\/vefarinn-mikli-fra-kasmir-wikipedia\/","headline":"Vefarinn mikli fr\u00e1 Kasm\u00edr – Wikipedia","name":"Vefarinn mikli fr\u00e1 Kasm\u00edr – Wikipedia","description":"before-content-x4 Vefarinn mikli fr\u00e1 Kasm\u00edr (The Great Weaver from Kashmir) is the third novel by Halld\u00f3r Kiljan Laxness, published in","datePublished":"2015-06-07","dateModified":"2015-06-07","author":{"@type":"Person","@id":"https:\/\/wiki.edu.vn\/en\/wiki41\/author\/lordneo\/#Person","name":"lordneo","url":"https:\/\/wiki.edu.vn\/en\/wiki41\/author\/lordneo\/","image":{"@type":"ImageObject","@id":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","height":96,"width":96}},"publisher":{"@type":"Organization","name":"Enzyklop\u00e4die","logo":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":600,"height":60}},"image":{"@type":"ImageObject","@id":"https:\/\/upload.wikimedia.org\/wikipedia\/en\/thumb\/9\/90\/VefarinnMikliFr%C3%A1Kasm%C3%ADr.jpg\/220px-VefarinnMikliFr%C3%A1Kasm%C3%ADr.jpg","url":"https:\/\/upload.wikimedia.org\/wikipedia\/en\/thumb\/9\/90\/VefarinnMikliFr%C3%A1Kasm%C3%ADr.jpg\/220px-VefarinnMikliFr%C3%A1Kasm%C3%ADr.jpg","height":"326","width":"220"},"url":"https:\/\/wiki.edu.vn\/en\/wiki41\/vefarinn-mikli-fra-kasmir-wikipedia\/","wordCount":1416,"articleBody":"     (adsbygoogle = window.adsbygoogle || []).push({});before-content-x4  Vefarinn mikli fr\u00e1 Kasm\u00edr (The Great Weaver from Kashmir) is the third novel by Halld\u00f3r Kiljan Laxness, published in 1927 by the Reykjav\u00edk publisher Forlagi\u00f0. The theme of the work is a young man’s soul and search for truth, faith and love, and his choice between love and faith. It is particularly noted as the seminal modernist novel in Icelandic.[1]       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4Table of ContentsStyle and synopsis[edit]Reviews[edit]English translation[edit]References[edit]Style and synopsis[edit]The novel to a large extent is an epistolatory novel, comprising letters and sometimes literary works (both prose and verse) or monologues by its characters. It is littered with untranslated epigraphs and quotations by characters of material in other European languages. The modernist narrative mode was characterised by Peter Hallberg as ‘very consistently’ implying ‘an abrupt break with the native Icelandic tradition of narrative art. The story is freely subjective; its rhythm varies like an unstable temperature curve. The principal character, the young Icelandic poet Steinn Elli\u00f0i, who shares many essential experiences with his author, engages the reader in a whirl of often paradoxical and conflicting ideas.’[2]       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4The novel is divided into eight books and one hundred chapters; the number of the chapters echoes the number of cantos in Dante’s Divine Comedy, and it too ‘records its young protagonist’s own heaven, hell, and purgatory’.[3]Book 1 introduces us to the family of Valger\u00f0ur Ylfingam\u00f3\u00f0ir and Elli\u00f0i: their sons \u00d6rn\u00f3lfur and Gr\u00edm\u00falfur, Gr\u00edm\u00falfur’s wife J\u00f3fr\u00ed\u00f0ur, and their own son Steinn Elli\u00f0i.Book 2 is largely a series of epistolatory monologues by Steinn’s childhood friend and sweetheart Dilj\u00e1 \u00deorsteinsd\u00f3ttir, and his mother J\u00f3fr\u00ed\u00f0ur, exploring their dependence on Steinn and their frustrations with life.Book 3 follows Steinn’s travels in Continental Europe and Britain in 1921\u201325, and his grappling with Christian theology.       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4Book 4, which is mostly third-person narrative, explores Dilj\u00e1’s ultimately unhappy marriage to \u00d6rn\u00f3lfur.Book 5 continues to follow Steinn’s travels in Europe and Egypt, and his soul-searching.Book 6 sees Steinn desperately seeking spiritual meaning by entering a Benedictine monastery at Sept Fontaines in Frankophone Belgium. In the end, however, he decides not to take holy orders and to return to Iceland.Book 7 recounts Steinn’s return to Iceland, where he discovers Dilj\u00e1’s marriage to \u00d6rn\u00f3lfur and fails to find satisfaction among his family in Reykjav\u00edk. It is again dominated by third-person narrative.Book 8 sees Steinn returning to a monastic life in Continental Europe. Dilj\u00e1, who has parted from \u00d6rn\u00f3lfur, pursues him, and meets him in Rome. Steinn rejects her, and the novel closes with the image of Dilj\u00e1 abandoned in Rome.Reviews[edit]The Great Weaver from Kashmir had diverse effects on readers when it came out. Two critics are the most famous. Kristj\u00e1n Albertsson wrote a review of ten pages that appeared in the magazine Vaka the same year as the book was published. It opened thus:Loksins, loksins tilkomumiki\u00f0 sk\u00e1ldverk, sem ris eins og hamraborg upp \u00far flatneskju \u00edslenzkrar lj\u00f3\u00f0a- og sagnager\u00f0ar s\u00ed\u00f0ustu \u00e1ra! \u00cdsland hefir eignazt n\u00fdtt st\u00f3rsk\u00e1ld \u2014 \u00fea\u00f0 er bl\u00e1tt \u00e1fram skylda vor a\u00f0 vi\u00f0urkenna \u00fea\u00f0 me\u00f0 f\u00f6gnu\u00f0i. Halld\u00f3r K. Laxness hefir rita\u00f0 \u00feessa s\u00f6gu \u00e1 24. aldurs\u00e1ri s\u00ednu. \u00c9g efast um a\u00f0 \u00fea\u00f0 komi fyrir einu sinni \u00e1 aldarfj\u00f3r\u00f0ungi a\u00f0 sk\u00e1ld \u00e1 \u00feeim aldri semji jafn snjallt verk og \u00feessi saga hans er. \u00c1 64. gr\u00e1\u00f0u nor\u00f0l\u00e6grar breiddar hefir \u00fea\u00f0 aldrei fyr gerzt.[4]At last, at last, an impressive literary work, that rises like a cliff-city from the flatness of Icelandic poetry- and narrative-production in recent years! Iceland has begotten a new great writer \u2014 it is our duty to acknowledge it with joy. Halld\u00f3r K. Laxness has written this story in the 24th year of his life. I doubt that it will happen once in a quarter of a century that a poet of that age makes an equally ingenious work as this story of his is. At a 64 degree north latitude this has never been done.However, Kristjan’s judgment is not all of one character, and he also says that the work is “no masterpiece”, “in some places contrived, fake, unscrewed, its metaphors tasteless or ugly” (“ekkert meistaraverk”, “sumsta\u00f0ar tilger\u00f0arlegt, falskt, forskr\u00fafa\u00f0, l\u00edkingar brag\u00f0lausar e\u00f0a \u00f3fagrar”), but it continues: “the development of today’s Icelandic narrative style takes half a century’s jump with this book of H. K. L.” (\u00der\u00f3un t\u00edmaborins \u00edslenzks s\u00f6gust\u00edls tekur h\u00e1lfrar aldar st\u00f6kk me\u00f0 \u00feessari b\u00f3k H.K.L.”).In the same paper was a review by Gudmundur Finnbogason, which was far shorter, and runs as follows: “V\u00e9lstrokka\u00f0 tilberasmj\u00f6r. G. F.”.[5] Hard to translate, this means something like ‘machine-churned witch-butter’.English translation[edit]Halld\u00f3r Laxness, The Great Weaver From Kashmir, trans. by Philip Roughton (Brooklyn, NY: Archipelago, 2008).References[edit]^ Halld\u00f3r Gu\u00f0mundsson, Loksins, loksins: Vefarinn mikli og upphaf \u00edslenskra n\u00fat\u00edmab\u00f3kmennta (Reykjav\u00edk: M\u00e1l og menning, 1987).^ Peter Hallberg, ‘Halld\u00f3r Laxness and the Icelandic Sagas‘, Leeds Studies in English, n. s. 13 (1982), 1-22 (p. 4).^ Hallberg Hallmundsson, ‘Halld\u00f3r Laxness and the Sagas of Modern Iceland‘, The Georgia Review, 49.1 (Spring 1995), pp. 39-45 (p. 39).^ \u201eVefarinn mikli fr\u00e1 Kasm\u00edr. Tveir ritd\u00f3mar. I.\u201c Vaka, 3 (1927), p. 316.^ \u201eVefarinn mikli fr\u00e1 Kasm\u00edr. Tveir ritd\u00f3mar. II.\u201c Vaka, 3 (1927), p. 316.     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