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5 BETWEEN FICTION AND FALSEHOOD: THE ETHICS OF LYING IN THE SAGAS OF ICELANDERS ENTRE FICTION ET FAUSSETÉ: L'ETHIQUE DU MENSONGE DANS LES SAGAS D'ISLANDAIS Dr. Brian McMahon1 Abstract: This paper discusses a series of episodes from the Sagas of Icelanders in which one character attempts to deceive another. In each case the presentation of the incident is explored to establish whether the deception can be justified according to the internal ethics of the semi-fictionalised Saga Age depicted. On the basis of these examples, drawn from a range of sagas but with a particular emphasis on Grettis saga and Njáls saga, it goes on to argue that the saga authors consistently distinguish between the ethical justification for different attempts to deceive based on: the circumstances in which they take place, the degree to which they might be described as audacious, and the level of success which their instigators enjoy. It posits a distinction between “active” deception (incorporating slander, oath-breaking and níð) and “passive” deception (entrapping an interlocutor into deceiving himself), and concludes with a comparison of the saga hero's skill in bending the truth and the saga author's attempt to be truthful to his source material while also sustaining his reader's interest. Keywords: Truth, Lies, Fictionality, Sagas. Resumé: Cet article traite d'une série d'épisodes des Sagas d'Islandais dans laquelle un personnage tente de tromper un autre. Dans chaque cas, la présentation de l'incident est explorée pour établir si la tromperie peut être justifiée en fonction de l'éthique interne de l'Age Saga semi-fictionnalisé représenté. -
The Grettis Saga Through Time and Space: an Exploration of Topics in Old Norse Sagas
Academic Journal 157 of Modern Kornelia Lasota Philology University of Silesia in Katowice ISSN 2353–3218 The Grettis Saga through Time and Space: An Vol. 10 (2020) s. 157–162 Exploration of Topics in Old Norse Sagas. Abstract The paper provides a brief summary of the Old NorseGrettis Saga and examines it in terms of research aspects outside of the field of literary studies. It highlights the historical, cultural, social, and religious contexts of the work, giving explanation as to where indications of them can be found in the saga. At the same time it tries to explain some of the more obscure aspects, such as the supernatural elements, in order to give clarity to the method of interpretation. Vital information on the grouping of Old Norse sagas, as well as the importance of ancestry in the texts, are provided and elaborated. Definitions of key terms essential to understand the source material are provided and kept on a level clear to a reader not fluent in the topic. Categorizations of the mentioned saga genre are also provided, with the hope to spark interest in the vast variety of motifs and key aspects of the Old Norse sagas. Further suggestions for research outside of the field are presented; however, they are not taken up completely. The paper shows the Old Norse sagas as potent, yet often overlooked, literary works worthy of attention as possible research material in the field of humanities. Keywords: Old Norse saga, Grettis Saga, literature, medieval studies, sagas of the Icelanders The aim of the following paper is to present the Old NorseGrettis Saga highlighting some of the many aspects in which the text can be useful in research, even outside of purely literary theses. -
Old Norse/Icelandic Myth in Relation to Grettis Saga
Old Norse/Icelandic Myth in Relation to Grettis saga Russell Poole Massey University 1. Grettis saga is exceptionally rich in both psychological and mythological terms. Its account of the protagonist shows a diversity of forces combating within him (Vi›ar Hreinsson 1992:105). Equally, it is replete with allusions to mythological figures. In this respect Grettir is notably polysemous (cf. Hastrup 1986:310), having in his composition something of Ó›inn, something of fiórr, something of Loki, something of the giants. The proposition that the pre-Christian mythic world continued to form an implicit frame of reference for medieval Icelanders as they sought to understand and represent human life and behaviour (Clunies Ross 1998:23; cf. Gu›rún Nordal 1998:221) can readily be supported with reference to this saga. Just like the gods and giants upon whom he is styled, Grettir behaves in ways that are more extreme and more flamboyant than people allowed themselves in their quotidian existence (cf. Clunies Ross 1998:24). The story of Grettir, in its extant realizations, can be understood, I shall argue, as a fourteenth-century mythicization of tensions and pressures, fears and 398 11th International Saga Conference 399 desires, within Icelandic culture.1 Here I propose to concentrate on familial relationships within Grettir’s “primary group”, developing the proposition that the figure of Glámr personifies crucial aspects of that dynamic.2 2. The unfolding of Glámr’s character within the story can be summed up if we describe him as at first a merely reckless and godless Swedish stranger, come to labour on the farm of one fiorhallr; then an “undead” who disrupts property and lives; and finally the pronouncer of a decisive curse upon Grettir. -
A Study of the Figure of Prominent Woman in the Sagas of Icelanders
A STUDY OF THE FIGURE OF THE PROMINENT WOMAN IN THE SAGAS OF ICELANDERS, WITH A PARTICULAR FOCUS ON NJÁLS SAGA, LAXDÆLA SAGA, AND GUNNLAUGS SAGA ORMSTUNGU. The figure of the prominent woman is a common image throughout the Sagas of Icelanders, often resulting in some of the most memorable female characters found on Old Norse literature. The prominent woman is characterised by some admirable qualities, for example, wisdom, beauty, determination, and strong-mindedness. However, she is also often attributed with some less desirable characteristics, such as spite, greed, a vengeful nature, and a taste for violence. These women function in different ways in the sagas, sometimes appearing as the beautiful temptress, the whetter, or the wise woman, but all ultimately cause tragedy as a consequence of their actions. In this essay I am going to argue that the prominent women of the sagas represent the male’s misogynistic fear of the powerful masculine woman who threatens male dominance. I will focus on the prominent women in Njáls saga, Laxdæla saga, and Gunnlaugs saga ormstungu, particularly the figures of Hallgerd Hoskuldsdottir, Gudrun Osvifsdottir, and Helga Thorsteinsdottir (the Fair). In the texts, all of these women deviate from the societal norms expected of medieval Icelandic women, albeit in different ways. Indeed, all of these women have similar functions in the texts, appearing as scapegoats for male weakness and serving as a warning for both men and woman alike against the destructive power of the strong female figure. Women in medieval Icelandic society were under the control of the men in their family, whether that be a husband, father, or brothers.1 Indeed, women had little say in the important events of their lives and were expected to marry whomever the men in their family decided. -
Pilgrims to Thule
MARBURG JOURNAL OF RELIGION, Vol. 22, No. 1 (2020) 1 Pilgrims to Thule: Religion and the Supernatural in Travel Literature about Iceland Matthias Egeler Ludwig-Maximilians-Universität München Abstract The depiction of religion, spirituality, and/or the ‘supernatural’ in travel writing, and more generally interconnections between religion and tourism, form a broad and growing field of research in the study of religions. This contribution presents the first study in this field that tackles tourism in and travel writing about Iceland. Using three contrasting pairs of German and English travelogues from the 1890s, the 1930s, and the 2010s, it illustrates a number of shared trends in the treatment of religion, religious history, and the supernatural in German and English travel writing about Iceland, as well as a shift that happened in recent decades, where the interests of travel writers seem to have undergone a marked change and Iceland appears to have turned from a land of ancient Northern mythology into a country ‘where people still believe in elves’. The article tentatively correlates this shift with a change in the Icelandic self-representation, highlights a number of questions arising from both this shift and its seeming correlation with Icelandic strategies of tourism marketing, and notes a number of perspectives in which Iceland can be a highly relevant topic for the research field of religion and tourism. Introduction England and Germany have long shared a deep fascination with Iceland. In spite of Iceland’s location far out in the North Atlantic and the comparative inaccessibility that this entailed, travellers wealthy enough to afford the long overseas passage started flocking to the country even in the first half of the nineteenth century. -
The Role of the Dead in Medieval Iceland: a Case Study of Eyrbyggja Saga1
CM 2011 ombrukket7_CM 22.03.12 12:50 Side 23 The Role of the Dead in Medieval Iceland: A Case Study of Eyrbyggja saga1 kIRSI kANERVA The article concerns the ghost story of Eyrbyggja saga, the so-called ‘wonders of fróðá’ (fróðárundr), and examines the symbolic meanings of this episode as they were interpreted in medieval Iceland. The analysis presupposes that, although the restless dead could be understood as ‘real’ by medieval readers and as part of their social reality, the heterogenic nature of the audience and the learning of the writers of the sagas made possible various interpretations of the ghost-scene, both literal and symbolic. It is argued that the living dead in Eyrbyggja saga act as agents of order, whose restlessness is connected to past deeds of those still living that have caused social disequilibrium. In fróðárundr these actions involve expressions of disapproved sexuality and birth of offspring with indeterminate social status. for the ghost-banisher the hauntings represent an opportunity to improve his own indeterminate status. In this article I intend to discuss the role of the malevolent restless dead in medieval Iceland by making a case study of the so-called wonders of fróðá, the Fróðárundr episode in Eyrbyggja saga. In general, for the living such creatures seem to be a source of various forms of malice and fear. They can make people lose their minds, become ill or even die. Their strength often exceeds that of the living, but it is not limitless, and is always ultimately challenged and conquered by the hero, who with great strength and skill banishes the monster for good. -
Elements of Superstition in the Icelandic Family Sagas
ELEMENTS OF SUPERSTITION IN THE ICELANDIC FAMILY SAGAS by George J. Houser 1 ~ 1 l J o Elements of Superstition in the Ieelandie Family Sagas by George J. Houser A thesis submitted to the Faeulty of Graduate Studies and Researeh in partial fulfilment of the requirements for the degree of Master of Arts. Department of English, MeGill University, Montreal. o August, 1966. ; (ê) George. J. Houser 1967 ffiEFAOE The Icelandic family sagas were cammitted to vellum fram oral traditions during the twelfth and thirteenth centuries. Con- cerned primarily with actual persons and events from about A.D. 825 to the middle of the eleventh centur,r, they also embo~ tales of supranatural occurrences and accounts of superstitious beliefs and practices, an analysis of which is the subject of this essaye A discussion of superstition in the family sagas neces- sarily entails references to the ~thical and heroic sagas, the l:. sagas of the Norse kings, and the Eddic literature. The appended list of Icelandic MSS. and Engl1sh trans- lations has been extracted fran the bibliographies of classic Ice- / landic literature campiled by Heldor Hermannsson and published in various issues of Islandica between 1908 and 1920, with supplements , by Professor Hermannsson in 19~5 and 19;7, and by Johann S. Hanneuon in 1955 and 1957. (Full details of the pertinent isques will be found in the appended list or reference works cited). This list embracea all the family sagas which have been rendered into English, but it inc1udes only those ~thical and heroic sagas and those Eddas which are actually cited in the essay, or which have been pub1ished in English since the completion of the work of Professora Hermannsson and Hannesson and up to the year 1965, the lut year for which in- formation was available at the time of writing •. -
Three Icelandic Outlaw Sagas
THREE ICELANDIC OUTLAW SAGAS THREE ICELANDIC OUTLAW SAGAS THE SAGA OF GISLI THE SAGA OF GRETTIR THE SAGA OF HORD VIKING SOCIETY FOR NORTHERN RESEARCH UNIVERSITY COLLEGE LONDON 2004 Selection, introduction and other critical apparatus © J. M. Dent 2001 Translation of The Saga of Grettir and The Saga of Hord © J. M. Dent 2001 Translation of The Saga of Gisli © J. M. Dent 1963 This edition first published by Everyman Paperbacks in 2001 Reissued by Viking Society for Northern Research in 2004 Reprinted with minor corrections in 2014 ISBN 978 0 903521 66 6 The maps are based on those in various volumes of Íslensk fornrit. The cover illustration is of Grettir Ásmundarson from AM 426 fol., a late seventeenth-century Icelandic manuscript in Stofnun Árna Magnússonar á Íslandi, Reykjavík Printed by Short Run Press Limited, Exeter CONTENTS Preface ............................................................................................ vii Chronology .................................................................................... viii Introduction ..................................................................................... xi Note on the Text .......................................................................... xxvi THE SAGA OF GISLI ..................................................................... 1 THE SAGA OF GRETTIR ............................................................. 69 THE SAGA OF HORD ................................................................ 265 Text Summaries ........................................................................... -
Speech Acts and Violence in the Sagas*
FREDERIC AMORY Speech Acts and Violence in the Sagas* “Tunga er hçfuôs bani” (“The tongue is the death of the head”) Old Icelandic proverb The American sociolinguist William Labov, who has been collecting and studying anecdotal narratives of street life among gangs of black youths in Harlem and the Philadelphia slums, also published a short paper (Labov, 1981) on the interaction of verbal behavior and violence in the experiences of white informants of his from other areas. As I have pointed out once before (Amory, 1980), but without denting the surface of Old Norse narrato- logy,1 both the materials and the methods of Labov are highly relevant to the Icelandic sagas and their folk narratives. In this paper Labov has addressed himself to the very contemporary social problem of “senseless violence” in American life, in the hopes of pinning down wherever he can some of the verbal clues to its psychological causes in the story-telling of his white informants - above all, in any of the spoken words between them and their assailants that might have led to blows. Such an approach to violent actions through narrative and dialogue would miss of its mark were the words that led to blows not “loaded”, i.e., possessed of the social or psychological force to make certain things happen under appropriate conditions. Words that “do things” this way are in the category of speech acts,2 and Labov’s paper draws * This paper, of which a lecture version was read to various university audiences in Scandinavia, Germany, and Switzerland during the first three months of 1989, has benefited by many comments and criticisms from fellow Scandinavianists such as John Lindow, Robert Cook, Anne Heinrichs, Donald Tuckwiller, John E. -
Studies in English Language and Early Literature in Honour of Paul Christophersen
No. 8 August 1981 Studies in English Language and Early Literature in Honour of Paul Christophersen Edited by P.M. Tilling The New University of Ulster ISSN 0308 - 2075 ] D.J. Beard 13 A >A BITU ENGI JARN A Brief Note on the Concept of Invulnerability in the Old Norse Sagas D. J. Beard During his description of the battle of Hafrsf jord, the author of Grettis saga writes: Haraldr konungr Iag3i at skipi )joris haklangs, J?vi at J>orir var inn mesti berserkr ok fullhugi. Var pai in haröasta orrosta af hvarumtveggjum. ba het konungr a berserki sina til framgöngu. beir varu kallaäir ulfheBnar, en a ba bitu engi j arn, en er beir geystust fram, ba heizt ekki viö. (Grettis sagaf eh. 2) . The use of a very similar phrase to describe the invulnerability of King Harald's berserks in the description of the battle of Hafrsfjord contained in Egils saga may possibly be due to both descriptions being taken from a common source, but the fact remains that the idea that 'iron could not bite1 on a berserk is very common in the Sagas. This type of invulnerability is also associated with 'semi-troll' men and certain heroes. The idea of a warrior such äs a berserk, who fought in a state of frenzy, being accredited with invulnerability is hardly surprising. During a frenzied fighting fit (berserksgang) such a warrior would likely be unaware 14 D.J. Bearä of pain; and it is a short step from the idea of a warrior who cannot feel pain inflicted by weapons to the idea of a warrior who cannot be harmed by weapons. -
History Or Fiction? Truth-Claims and Defensive Narrators in Icelandic Romance-Sagas
History or fiction? Truth-claims and defensive narrators in Icelandic romance-sagas RALPH O’CONNOR University of Aberdeen Straining the bounds of credibility was an activity in which many mediaeval Icelandic saga-authors indulged. In §25 of Göngu-Hrólfs saga, the hero Hrólfr Sturlaugsson wakes up from an enchanted sleep in the back of beyond to find both his feet missing. Somehow he manages to scramble up onto his horse and find his way back to civilisation – in fact, to the very castle where his feet have been secretly preserved by his bride-to-be. Also staying in that castle is a dwarf who happens to be the best healer in the North.1 Hann mælti: ‘… skaltu nú leggjast niðr við eldinn ok baka stúfana.’ Hrólfr gerði svâ; smurði hann þá smyrslunum í sárin, ok setti við fætrna, ok batt við spelkur, ok lèt Hrólf svâ liggja þrjár nætr. Leysti þá af umbönd, ok bað Hrólf upp standa ok reyna sik. Hrólfr gerði svâ; voru honum fætrnir þá svâ hægir ok mjúkir, sem hann hefði á þeim aldri sár verit. ‘He said, … “Now you must lie down by the fire and warm the stumps”. ‘Hrólfr did so. Then he [the dwarf] applied the ointment to the wounds, placed the feet against them, bound them with splints and made Hrólfr lie like that for three nights. Then he removed the bandages and told Hrólfr to stand up and test his strength. Hrólfr did so; his feet were then as efficient and nimble as if they had never been damaged.’2 This is rather hard to believe – but our scepticism has been anticipated by the saga-author. -
Icelandic Folklore
i ICELANDIC FOLKLORE AND THE CULTURAL MEMORY OF RELIGIOUS CHANGE ii BORDERLINES approaches,Borderlines methodologies,welcomes monographs or theories and from edited the socialcollections sciences, that, health while studies, firmly androoted the in late antique, medieval, and early modern periods, are “edgy” and may introduce sciences. Typically, volumes are theoretically aware whilst introducing novel approaches to topics of key interest to scholars of the pre-modern past. iii ICELANDIC FOLKLORE AND THE CULTURAL MEMORY OF RELIGIOUS CHANGE by ERIC SHANE BRYAN iv We have all forgotten our names. — G. K. Chesterton Commons licence CC-BY-NC-ND 4.0. This work is licensed under Creative British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library. © 2021, Arc Humanities Press, Leeds The author asserts their moral right to be identi�ied as the author of this work. Permission to use brief excerpts from this work in scholarly and educational works is hereby granted determinedprovided that to thebe “fair source use” is under acknowledged. Section 107 Any of theuse U.S.of material Copyright in Act this September work that 2010 is an Page exception 2 or that or limitation covered by Article 5 of the European Union’s Copyright Directive (2001/ 29/ EC) or would be 94– 553) does not require the Publisher’s permission. satis�ies the conditions speci�ied in Section 108 of the U.S. Copyright Act (17 USC §108, as revised by P.L. ISBN (HB): 9781641893756 ISBN (PB): 9781641894654 eISBN (PDF): 9781641893763 www.arc- humanities.org print-on-demand technology.