Tag Archives: The Complete Sagas of Icelanders

Fiction, Reviews

Saga reading report, three sagas

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A venerable custom on this blog is my post-Viking event saga review. During reenactment events I like to (at least most of the time) read from The Complete Sagas of Icelanders, to keep myself from (further) violating authenticity standards through reading off my Kindle device. During the Scandinavian Festival in Moorhead I read three sagas, two of them connected, all of them weird to various degrees. We’re getting into late sagas here, and weirdness goes with the territory.

The Saga of the People of Kjalarnes

The first one is The Saga of the People of Kjalarnes, which deals with early settlers in the area around Reykjavik. It’s also interesting because it depicts early Christian-heathen conflicts, and features one of the few saga descriptions of a heathen temple (historians consider this description pretty much worthless as evidence).

Helgi Bolan is an early Iceland settler, and we’re told he welcomed a group of Irish immigrants who were Christian. (I believe these people should probably be considered mixed Norse-Irish, ones who fled Ireland following military reverses in the Emerald Isle. These people would have thought of themselves as Norse, but had converted to Christianity.)

Every saga begins with a can of genealogical worms, and this can finally brings forth the saga’s main hero, Bui Andridsson. Bui is an open “Christian,” and is actually prosecuted at the Thing assembly for false religion. He is outlawed but (interestingly) simply ignores it. Nobody seems to be able to do much about it, because he’s such a skillful fighter. He has a foster-mother who keeps egging him on to desperate acts, justifying it by saying that his fate is already determined, so there’s no point playing safe. He finally burns Helgi Bolan’s temple down, killing a man in the process. (I think we’re supposed to sympathize with Bui, but objectively he sounds like a jerk.)

Outlawed, he flees to Norway, where the king sends him on a quest to the giant Dofri (identified with Dovre mountain in Norway; this element connects this saga to lesser-known legends about King Harald Fairhair). While staying with Dofri, Bui cohabits with the giant’s daughter, who is (we are told) very tall but very beautiful. (The mind boggles.)

Later he returns to Iceland where he’s finally killed fighting with Jokul, his own son, born to the giant’s daughter, whom he’s never met. The saga ends by telling us that they don’t know what happened to Jokul, but read on…

Jokul Buason’s Tale

Somebody must have wanted a sequel about the patricide Jokul, because that’s the next story in the collection. This is a saga that seems to have no historical basis at all, and so it runs wild along fairy tale lines. In his adventures, Jokul encounters a couple of giant sisters. He and his companion kill one, but spare the other, and she becomes their useful and devoted slave (giant psychology would seem to be somewhat different from human psychology).

The saga goes on to take Jokul, in the end, to the land of the Saracens, where he rescues a prince and princess. He marries the princess and succeeds her father as king of the Saracens.

To live, one assumes, happily ever after.

Gold-Thorir’s Saga

Gold-Thorir’s Saga returns us, tenuously, to some connection with the real world. Gold-Thorir is Thorir Oddsson, who as a young man vows sworn-brotherhood with a group of other young men. They go out to have adventures. They rob a grave mound, where the ghost prophecies great wealth but a bad end for Thorir. After that, we’re told, Thorir’s personality changes.

They go on to assault a clutch of dragons in a cave, managing to kill the dragons and seize their treasure. As their leader, Thorir is awarded the larger share of the loot.

[One peculiarity of this saga is that a few pages are missing. They weren’t lost, but were erased, probably with the intention of re-using them (not uncommon with old book manuscripts). Someone wrote in a summary of the missing material, but we don’t know if it’s authentic.)

In his old age, we are told, Gold-Thorir becomes increasingly sour and antisocial. Finally, according to the saga, he actually turns into a dragon. And his treasure disappears.

That, you must admit, is a dramatic ending.

Fiction, Reviews

‘The Saga of Finnbogi the Mighty’

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It is my custom sometimes, during Viking events, to read sagas from The Complete Sagas of Icelanders instead of something off my Fire device, as if that made me more historically authentic. This past weekend, at the iFest in St. Paul, I read The Saga of Finnbogi the Mighty. Finnbogi’s Saga is not one of the great ones, but it does (as Sherlock Holmes used to say) present certain points of interest.

All the sagas tend to settle into what I would call tropes (scholars no doubt have a better term for them). But the later sagas become both implausible and predictable. Finnbogi’s Saga contains a number of boilerplate elements, combined with what seem to be genuine family anecdotes.

We begin in fairy tale (or even mythological) mode with the familiar theme of the abandoned child. The hero’s father, miffed at his wife, orders her to “expose” their next baby (that means to leave the child out on a hillside for wild animals to kill; it was a common choice for deformed babies or ones whose parents couldn’t afford to raise them). Sorrowfully she does so, building a sort of hollow cairn on a scree-covered hill and leaving the child inside. Of course a poor couple discover him and raise him as their own. They name him “Urdacott” (Scree-cat). However, no one believes this strong and handsome baby could be theirs – from the beginning people suspect who the real father is. Eventually, the real father’s brother convinces him to accept the boy. Later on, Urdacott is fortunate enough to rescue a shipwrecked Norwegian merchant who – when he later dies – leaves both his wealth and his name – Finnbogi – to the boy.

Then young Finnbogi, like most saga heroes, sails off to Norway (this is in the time of Jarl Haakon), proves his strength and courage in various fantastic adventures, and gains the jarl’s favor along with more wealth. After that he goes home to Iceland, where his exploits gradually become more prosaic. He gets involved in a long feud but is eventually reconciled with his enemies.

An intriguing element here is that Finnbogi’s final feud is also dealt with in another saga, Vatnsdal’s Saga. Some scholars believe it was composed in response to Finnbogi’s negative portrayal in that story.

There was a scene that amused me in the section describing Finnbogi’s time in Norway. In one adventure, Finnbogi comes up against a dangerous bear that’s been marauding in a certain neighborhood. The local residents begin their countermeasures with a legal proceeding:

So it came about that Bard called together an assembly, outlawed the bear, and placed a price on his head.

The bear is in fact treated as semi-human. It would be fun to draw the conclusion that people in those days thought of bears as a wilder kind of human being, but I suspect it’s just a narrative device.

I also noticed that in a couple cases, over the course of the feuding, people are killed, but nobody bothers to prosecute for homicide, because the victims didn’t have enough status to make it worth anyone’s trouble. A reminder that the majesty of the law becomes injustice when everyone isn’t equal in its sight.

Not a great saga, The Saga of Finnbogi the Mighty is nonetheless intriguing in many ways.

Non-fiction, Reading, Reviews

‘The Saga of the Sworn Brothers’

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A scene from Ravnsborg in Missouri, which sadly no longer exists. The man addressing the feast is not a skald, but Sam Shoults, the owner of the place. But you get the idea.

I have apparently survived my first Viking weekend of the “summer season.” It’s not quite summer yet, of course, as was made abundantly clear by events. The skies were overcast, the breeze (though fortunately light) was a-chill. I don’t wear my fine woolen tunic a lot, as Viking reenactment in the country is mostly a warm-weather activity, but I was glad of it this weekend. The crowds at the Fantasy of the Lakes Renaissance Festival in Lindstrom, MN were not large, but that’s hardly the fault of the organizers, who did their best. Oddly enough, my book sales were better on Saturday (the colder day) than on Sunday.

Instead of reading from my Kindle in my abundant free moments, I chose to bring along my current volume of The Complete Sagas of Icelanders. I had a long saga to read, and one I’d read before – at least in the variant recorded in Flatey Book. The version printed in this edition is compiled from four source texts, including some variant passages, which are clearly marked.

This one is The Saga of the Sworn Brothers, quite a famous saga. It seems to be based on a skaldic poem by a man who you may recall if you’ve read my novel The Baldur Game – the poet Thormod Kolbrunarskald (Coal-Brow’s Skald). (I’ve blogged about the Flatey Book version before in this space). The poem, of which this saga preserves passages, celebrates the achievements of Thormod’s friend and sworn brother, Thorgeir Havarsson. Sworn brotherhood was a serious matter in Viking society – once the oath was sworn, each brother was honor-bound to avenge the other’s death. Judging by the poem, and the saga built on it, Thormod was likely from the git-go to be called on to do just that – because Thorgeir seems to have been a complete psychopath. Thormod says of him that he never knew fear – not even bothering to call for help while clinging for life to nothing but a clump of angelica at the brink of a cliff.

The saga is episodic, as sagas tend to be, but it follows the two friends as they carom from one adventure to another, casually killing men and getting outlawed here and there on the way. In time they part company. Thorgeir (the psychopath) enters the household of King (Saint) Olaf Haraldsson, but leaves him eventually to meet his fate. Thormod, when he learns of Thorgeir’s death (at the hands of several killers, of course), sets out to get revenge, a quest that will take him as far as Greenland. Later he enters Saint Olaf’s service in his own right. He is a prominent figure in the legends of Olaf’s death at Stiklestad. His death from an arrow wound after the battle takes place here (as well as in Flatey Book, which I’d forgotten) in a barley barn. I made it a cattle byre in The Baldur Game – Snorri’s Heimskringla does not specify what kind of building it was.

Another difference from Heimskringla is Thormod’s famous last words. In Heimskringla, he pulls an arrowhead out of his chest, looks at it, and says, “The king has fed us well – I am fat at the heart-roots.” Then he dies. He does not say that in this version, but dies in the midst of the last line of a poem he composes on the spot, which is finished by Olaf’s brother Harald (later King Harald Hardrada). This reinforces my guess, which I employ in The Baldur Game, that Harald must have been present at Thormod’s death, and would have been the source of the story.

(The veracity of the “heart-roots” line is also questionable due to the fact that the same line occurs in other sagas, notably when Leif Eriksson’s brother Thorvald is dying after a fight with Native Americans in Vinland.)

The Saga of the Sworn Brothers is an intriguing one, notable for being based on the recollections of a man who’s fairly honest about himself and his dead friend. The sworn brothers are not high heroes, but reckless, feckless youths who do as much harm as good in the world. Thormod’s death in Saint Olaf’s service is regarded as a grace. (The saga writer is not shy about inserting little moral homilies here and there.)

The Sworn Brothers is an intriguing – and valuable – saga.

Fiction, Reading, Reviews

Saga reading report: ‘Killer-Glum’s Saga’

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Reading on in Volume 2 of The Complete Sagas of Icelanders. This one was fairly long – “Killer-Glum’s Saga”. (Also known as Viga-Glum’s Saga, which is just the same thing translated.)

I struggle to describe Killer-Glum’s Saga, as it really left no strong impression on me. Most great sagas feature some kind of powerful motivation for the main character – vengeance or a woman’s love or the righting of some great wrong. Killer-Glum has none of those things. He’s just a guy who goes through his life, and happens to have a talent for man-killing.

The saga writer seems to sense this lack, because he begins Glum’s tale with a trope borrowed from a thousand sagas, folk tales, and fairy tales: The hero starts out as his father’s least promising son, showing no initiative and often being taunted for his laziness. But when it comes down to cases, he proves extremely adept at fighting and killing, and before long he is the most powerful man in his district. We are told that he maintained this power for an unusual length of time. But eventually his enemies get the best of him, and he loses his property and has to move elsewhere. In the end he is converted to Christianity and dies in old age.

There are many incidents here, and a hundred characters to try to keep track of, but not much of a central narrative line. The situation is not improved by the fact that the text is somewhat corrupt.

One interesting scene did strike me – at one point Glum’s son kills a man, and Glum wants that fact not to be known. So he compliments a thrall on doing the killing, repeating the praise so may times that the stupid thrall begins believing it himself. Early medieval brainwashing.

My final evaluation is that Killer-Glum’s Saga is not one to read if you’re new to saga reading. This one is for the saga buffs; it demands a little effort.

Fiction, Reviews

Saga reading report: ‘Bard’s Saga’

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There was a king named Dumb. He ruled over the gulfs that stretch north across Helluland and are now called Dumbshaf after King Dumb. He was descended from giants on his father’s side, a good-looking people and larger than other men; but his mother was descended from the tribe of trolls….

When I made my one visit to Iceland involving more than a stopover in the airport, I took a day trip out to the Snæfellsnes peninsula, to see locations I’d be using in West Oversea, which I was working on at the time. At one point we visited the construction/statue shown on the cover of the book shown above (which is not the one I’m reviewing). Our guide told us this was a guy named Bard, who did things like wading across fjords. I’d never heard of this Bard, and it meant nothing to me at the time.

Years later, Bard came up again in some material I translated for Saga Bok Publishing (not likely, alas, ever to see publication now). Bard, it turned out, was the subject of one of Iceland’s legendary sagas – a late saga full of folkloric elements.

The saga opens with the regrettably named King Dumb mentioned in the quotation above. Dumb and his wife have a son named Bard, the hero of this saga. Bard is, for a time, foster son to the giant Dofri, for whom Dovre Mountain in Norway is named (Dofri features in certain legends concerning the youth of King Harald Fairhair, legendary uniter of Norway, which Snorri Sturlusson quite understandably omitted from Heimskringla), but eventually, unable to get along with that same King Harald, he emigrates to Iceland and settles on the Snæfellsnes. Later, unable to live at peace with lesser men, he retires to dwell in a cave in the mountain, becoming a legendary figure (“the god of Snæfell”) who comes at the nick of time to rescue friends when they are in need. In time he has a son named Gest who is effectively identical to himself and performs the same kinds of feats.

In the end, Gest goes to Norway to meet King Olaf Trygvesson. The king exhorts him to adopt the true faith, but he resists. Later, in a scene reminiscent of Sir Gawain and the Green Knight, an armored troll (or giant) shows up at Olaf’s court and challenges him to send a hero to claim his (the troll’s) treasure. Gest accepts the challenge, traveling in company with a priest, who eventually baptizes him. But Gest (perhaps because of his other-worldly family roots) cannot survive long as a Christian.

It’s a peculiarity of the Icelandic sagas that the genre did not generally improve with time. Later sagas (and Bard’s Saga is one of the latest ones we have) lack the verisimilitude and psychological insight of the classic sagas. Bard’s Saga is interesting for its legendary elements, and also for the geographical assumptions that seem to be in play (the author appears to think North Norway and Greenland are close to each other).

We tend to think of Norse mythology as a sort of closed canon, as in Christian theology. Stories like Bard’s Saga offer abundant clues to whole branches of pre-Christian belief that are remembered, if at all, only in fragmentary or distorted form.

Fiction, Reviews

Saga reading report: ‘The Saga of Hord and the People of Holm’

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Southeast across Hvalfjörður toward the mountains north of Þingvellir (left) and Esja (right), November 21 09:00 Iceland, November 2007 Photo by me user debivort (or friend, with permission given to upload and license freely). CC BY-SA 3.0.

Back to the sagas, from The Complete Sagas of Icelanders. Today’s report is on “The Saga of Hord and the People of Holm.” This is one I’d never heard of – perhaps because it’s so perfectly typical of the form that it doesn’t stand out a lot. This is a saga of which we only have late copies, and it certainly shows the effects of generations of artistic embroidery.

Hord Grimkelsson is a young man of good family, living in the neighborhood of present-day Reykjavik. We’re told that he was a late bloomer in terms of his development, but eventually he grew into the kind of tall, strong, handsome figure a saga demands. He develops a close relationship with his foster-brother, who is his constant companion to the end. And he has a sister with a strange background – rejected by her father, forced to live with beggars for a while, then finally returned to her own family with a chip on her shoulder. She will impact the story eventually, in a bloody way.

Eventually, Hord joins a merchant expedition. One interesting element of the story is an encounter Hord’s friend Geir has in Bergen, Norway (which did not actually exist as a town, I’m pretty sure, at that time). He runs into one of King Harald Greycloak’s men, who tries to steal his vararfeldir cloak (vararfeldir was a woolen cloth with short threads woven through the fabric, to produce a fleecy appearance). Defending himself, Geir kills the king’s man, which forces the whole crew of Icelanders to flee to Gotland, where Hord marries the jarl’s daughter. (This sounds like a romantic invention, but may actually have been true, as the wife returns to Iceland with him and bears his sons.)

What’s interesting about this cloak incident is that it seems to be inspired by a famous episode in Heimskringla, the kings’ sagas – a much more genial anecdote explaining King Harald’s nickname. In that story, the king himself chats with an Icelandic merchant, who complains that no one is buying his wool cloaks. The king then asks him to give him one of them. He wears it, and of course it becomes the height of fashion. The merchant is then able to sell off his whole stock at a good profit.

In any case, Hord and his companions finally return to Iceland, where he proceeds to live prosperously for some years, until he gets involved in a feud. His enemies use witchcraft to ruin his luck, and he and his household end up holding out on an island in the Hvalfjord, until their final violent end.

Some sagas, such as Egil’s and Grettir’s, seem to be written by authors with enough honesty, or understanding of human nature, to admit that their heroes are partly responsible for their own tragedies. But more commonly, the hero is portrayed as pretty much blameless, victim to either fate or witchcraft, the only things that could overcome so outstanding a man. That’s how I read “The Saga of Hord.” The unvarnished record looks pretty ugly – to survive on a desolate island, Hord and his people steal valuable supplies and foodstuffs from the people in the area – and this is in a marginal economy. Hunting Hord down was a matter of survival for his victims.

Sagas are commonly loaded with characters, many of whom come complete with genealogies. This makes it hard for English readers to keep track of the players. I found this one heavier loaded than most in that way. Hord fills out most of the conventional saga tropes – he digs for treasure in a grave mound and overcomes the revenant there, who curses the sword Hord takes from him. He visits foreign courts where the lords entreat him to stay with them because of his noble qualities. And all his failures are blamed on bad friends or supernatural forces.

In fact, I’d say “The Saga of Hord” probably qualifies as a good representative saga. It’s not the cream of the literary form, but it checks most of the boxes.

Fiction, Reviews

‘The Saga of Grettir the Strong,’ part 2

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The father and son parted with little love lost between them. Many people wished Grettir a safe journey, but few a safe return.

I have finished reading The Saga of Grettir the Strong, in The Complete Sagas of Icelanders. I have much to say about it, though I fear a lot of it strays into the deep grass.

My main takeaway from the saga, as I stated yesterday, is that the real-life hero, Grettir Asmundarsson, seems to have been a psychopath, very likely suffering from PTSD. Even in a book written in the 14th Century, his status echoes ancient tribal attitudes. The heroes of ancestral times were not admired for their moral virtue. A remnant of this world view remains, in residual form, even in our English language. Our word “great” has two meanings. The common one (in our time) is that of “important” or “admirable.” But its older meaning was “large.” We still speak of a Great Hall or a greatcoat. In the same way, old heroes like Sigurd the Dragon Slayer could massacre whole villages of innocent people and still be considered heroes and great men. Because greatness was about magnitude, not virtue. Likewise, Grettir is a hero because he does things in a big way, whether it’s killing men or lifting heavy objects.

Reading the saga from a historical perspective, I noted that most of the episodes where Grettir comes off as heroic by our standards – a virtuous hero – are implausible scenes involving either invulnerable berserkers or supernatural creatures like witches or ghosts. Even the scenes of Grettir’s death, which are likely to have some factual base, are embroidered with elements of witch’s curses, which the saga writer found necessary in order to explain his invulnerable hero’s death at the hands of common men. (Though in an odd interpolation, Grettir finds a friend who’s even stronger than himself. No actual magic is attributed to this character, but one gets the feeling he’s not entirely human.)

The only plausible episode where Grettir exhibits mercy is one calculated to advance his own interests. He spares the life of a son of Snorri the Godi [Chieftain] (an important saga character who makes a brief appearance in my novel, West Oversea), who has come out after him as a sort of bounty hunter. Grettir understands that winning Snorri’s friendship through letting his son live could win him a powerful friend, something he badly needs by now.

Indeed, one remarkable thing about Grettir’s saga is the fact that he had all kinds of prominent connections – “Almost all the chieftains in the country were related to Grettir… either by blood or by marriage.” He’s related to the Norwegian royal family too. And yet he can’t seem to catch a break with the law. (For all I’ve written and said about the importance of the Law to the Norse, your father’s status and who you knew counted for a lot. Rich men’s sons could usually find a way to wiggle out of legal scrapes with their skin intact, even as today. The fact that Grettir couldn’t make this old boy network work for him, seems to have convinced his family and friends that he must have been under some unique curse).

There’s a hint of character development in the later chapters, when Grettir, formerly entirely reckless of consequences, now searches for a way to attain a peaceful life. He’s been outlawed, which means he can’t leave the country and is legal prey for killing. In the end, he will hold the record for survival in an outlaw state – 20 years (though there’s some inconsistency about that figure in the text here). He holes up on the natural fortress of Drangey island, where he fights off repeated attacks. It’s at this point that he becomes a more sympathetic character. He’s terrified of the dark and of being alone – though he knows from experience that few men are to be trusted. Still, I couldn’t help wondering what his killers’ real story is – Grettir has been living by robbery, and he never hesitated to use violence. Stealing sheep and other food could have serious consequences in a marginal economy  The charge that his killers employed witchcraft is not impossible (at least technically – I don’t believe their magic actually worked), but it seems to me more likely the witchcraft stuff was added by the author (who was possibly related to Grettir) in order to make his hero more sympathetic. No small task, with this guy’s record.

An element in the saga which I’d never noticed before (perhaps it was bowdlerized in previous translations I’ve read, or maybe I just forgot) is a couple sexual situations. In one scene, which would have played better in the 14th Century than it does today, a serving woman makes fun of Grettir’s physical endowment, so he rapes her to teach her a lesson. In another, he spends some time sharing a house with a woman whose husband is away, saving her from a monstrous troll woman who’s been ravaging the farm. He leaves a souvenir behind:

Towards the end of that summer, Steinvor from Sandhaugar gave birth to a boy named Skeggi. At first he was said to be the son of Kjartan…. Skeggi was distinguished from all his brothers and sisters by his strength and build. By the age of fifteen he was the strongest person in north Iceland, and then his paternity was attributed to Grettir. Everyone thought he would grow into an outstanding man, but he died at the age of sixteen and there are no stories about him.

In sum, the Saga of Grettir the Strong is a powerful and memorable tale, and an amateur psychologist like me can spend unlimited time picking out clues concerning its underlying facts. That game can go on forever, because there’s no way to prove them wrong.

Fiction, Reviews

‘The Saga of Grettir the Strong,’ part 1

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This is a partial review. The book I’ve been reading is one of the longer sagas in The Complete Sagas of Icelanders, and (as I’ve said before) my reading time has been limited lately. But I’m about half way through with this one, so I thought I’d do what I’ve done with some other longer works in the past. This is an incremental review, my thoughts on what I’ve read so far. The saga under consideration is The Saga of Grettir the Strong, one of the great classics.

I’ve read Grettir’s Saga at least three times before, so the material is familiar. But my response this time is a little different from previous ones. Perhaps it’s this translation, which is more literal than most. I’m not generally a booster of literal translating, but possibly it’s conveying some nuances I’ve missed in the past. In any case, I find I have less sympathy for the hero this time around.

The Icelandic sagas are classic stories of violence on the frontier, stories that anticipate the American Western. One of the standard themes of the Westerns is, “What do we do with violent men, who are valuable but expensive?” We want the gunfighter to come in and clean up the town, but then we’d prefer him to ride off into the sunset and bother somebody else.

Grettir Asmundarsson is often referred to in the saga as “an accomplished man.” But the only accomplishments of his (aside from composing poetry) that we observe are fighting and lifting heavy objects. His family and friends support him (cautiously) because of his value in a brawl, but his impulse control seems poor, and he shows little indication of ever being domesticated, or wanting to be.

In fact, he shows all the signs of PTSD. He’s quick to react violently, he’s suspicious and socializes poorly, and he suffers night terrors. In the saga, this weakness is explained by a nightmarish fight with a revenant, what I called a “walker-again” in my novels – the Scandinavian ghost that’s kind of like a vampire or zombie. Grettir’s nightmarish fight with Glam, the ghost, is portrayed as an experience of such overwhelming horror that even our bold hero can’t undergo it without emotional scars (though he does, needless to say, “kill” the ghost.) What happened to the real-life Grettir we’ll never know, but fighting monsters is a pretty good metaphor for a traumatic experience in combat.

And that’s about all I can really say in Grettir’s defense. The rare occasions in the saga where he appears sympathetically are the most fantastic and implausible – like the ghost-fight, or his rescuing of a houseful of defenseless women from rapist berserkers. These are saga set pieces, the kind of episodes that show up again and again in sagas to keep things lively. I doubt they actually happened in the man’s life.

What I do believe is the stories of his murders, which generally seem to be acts of impulse and overkill.

More on Grettir tomorrow.

Fiction, Reviews

Saga reading report: ‘Gisli Sursson’s Saga’

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Gisli, his wife Aud, and their foster-daughter from Dasent’s 1866 translation. The weird headdress is (I believe) based on a much later Icelandic folk costume.

Today, we return to the world of the sagas as I report on Gisli Sursson’s Saga from The Complete Sagas of Icelanders. It’s one of the more popular sagas, though the manuscript versions we have (there are three) exhibit a fair number of textual problems.

The story begins, as so many sagas do, with the hero’s ancestors in Norway. One of those ancestors, also named Gisli, borrows a sword from a thrall (how did a thrall get a sword? Outside of one of my novels, I mean?). He refuses to return the sword, he and the thrall kill each other, and the sword ends up broken. The shards are kept, and are later forged into a spearhead. But the metal carries the thrall’s curse.

The family relocates to Iceland, where Gisli is born. He grows up to be a tall man and a great warrior. But he finds himself in a classic honor dilemma – his sister’s husband kills his wife’s brother (who is also his best friend), and Gisli is torn between loyalties (Note: this line has been edited, thanks to a correction by Matt McKendrick). He finally kills his sister’s husband, in his bed, with the cursed spear.

This is an odd element in the saga for me, because I’ve often read that a murder at night was considered shameful murder among the Norse. However, in this translation, it’s explained that if the weapon is left in the body, that mitigates the crime.

In any case, eventually the truth comes out, and Gisli is outlawed. He manages, with the help of a couple rich friends and (especially) his wife, to avoid the avengers for many years – surviving second longest of any Icelandic outlaw, after Grettir the Strong. His last stand is legendary, and his killers go home without honor.

Gisli’s Saga has a high reputation among Icelanders, though there are elements that make it hard for the modern reader to appreciate. Part of the trouble is moral. Gisli (and he’s not alone among saga heroes) has a sense of humor that looks pretty cruel to us. In particular, on two occasions he switches clothes with a thrall to confuse avengers – in one case getting the thrall killed. In both cases, the thralls are described as very stupid – to the original saga readers, the killing of a stupid thrall seemed a triviality.

Another problem is story gaps. At one point, we’re told that Gisli drops his sword as he’s fleeing his enemies. Later on, he has it again. How that happens is not explained. Twice Gisli receives leg wounds under identical circumstances, but they lead to nothing.

What sets the saga apart for the modern reader, I think, is the prominence of Gisli’s wife Aud in the plot. That’s especially remarkable considering that Gisli killed her brother. Aud is utterly faithful, even refusing a large bribe to betray him, and he acknowledges at one point that he wouldn’t have lasted so long without her help.

Gisli Sursson’s Saga is an important outlaw saga, but I don’t think it’ll ever be one of my favorites.

Writing

A skald’s reward

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Egil Skallagrimsson, from a 17th Century Icelandic manuscript.

Egil sat down and put his shield at his feet. He was wearing a helmet and laid his sword across his knees, and now and again he would draw it half-way out of the scabbard, then thrust it back in. He sat upright, but with his head bowed low…. He wrinkled one eyebrow right down onto his cheek and raised the other up to the roots of his hair…. He refused to drink even when served, but just raised and lowered his eyebrows in turn.

King Athelstan was sitting in the high seat, with his sword laid across his knees too. And after they had been sitting there like that for a while, the king unsheathed his sword, took a fine, large ring from his arm and slipped it over the point of the sword, then stood up and handed it over the fire to Egil. Egil stood up, drew his sword and walked out onto the floor. He put his sword through the ring and pulled it towards him, then went back to his place. The king sat down in his high seat. When Egil sat down, he drew the ring onto his arm, and his brow went back to normal. He put down his sword and helmet and took the drinking horn that was served to him, and finished it. Then he spoke a verse….

The passage above comes from the Saga of Egil Skallagrimsson (from The Complete Sagas of Icelanders). It’s a rather famous scene, in which we get to observe some of the nuances of the ancient poet-king dynamic. Egil is considered the greatest poet (skald) in the world, and he’s well aware of it. Even at the court of Athelstan the Great of England, one of a skald’s A-list gigs, he feels entitled to a certain level of appreciation. At this point he doesn’t feel he’s been getting it, and his passive-aggressive show produces a mollifying response from the great king. Egil is a prima donna, and prima donnas must have their due.

All of this is only vaguely connected with my theme tonight, but it came to my mind as an illustration. My own case is that I don’t feel unrewarded. I feel rewarded in the very best way.

It came to me during my morning writing session today. There are few satisfactions in life to match that of reading something you’ve composed and being able to say, “You know, that’s pretty good. That’s what I’d like to read in a book myself.”

And I thought, what rewards do I have as a author? There’s the pleasure of seeing my work published (though I have to admit there’s less satisfaction in viewing an e-book than in holding a genuine printed volume. But I’ve had that pleasure too). There’s money – though my books have brought little of that. There’s fame – which has eluded me thus far. Has the king withheld my gold ring?

No, I realized. The work itself is my best reward. I know I’m writing this book for myself when I was twelve years old, desperately longing for a good Viking novel to read. And I think I’m getting the job done. No amount of money could buy that satisfaction.

Don’t get me wrong. I’ll take money and fame if they’re offered. But in a pinch this is enough.