Saga

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Sagas are prose stories and histories, composed in Iceland and to a lesser extent elsewhere in Scandinavia.

The most famous saga-genre is the

contemporary Icelandic politics; and chivalric romances
either translated from Continental European languages or composed locally.

Sagas originated in the Middle Ages, but continued to be composed in the ensuing centuries. Whereas the dominant language of history-writing in medieval Europe was

Latin, sagas were composed in the vernacular: Old Norse and its later descendants, primarily Icelandic
.

While sagas are written in prose, they share some similarities with epic poetry, and often include stanzas or whole poems in alliterative verse embedded in the text.

Etymology and meaning of saga

The main meanings of the Old Norse word saga (plural sǫgur) are 'what is said, utterance, oral account, notification' and the sense used in this article: '(structured) narrative, story (about somebody)'.[1] It is cognate with the English words say and saw (in the sense 'a saying', as in old saw), and the German Sage; but the modern English term saga was borrowed directly into English from Old Norse by scholars in the eighteenth century to refer to Old Norse prose narratives.[2][3]

The word continues to be used in this sense in the modern Scandinavian languages: Icelandic saga (plural sögur), Faroese

semi-legendary kings of Sweden, who are known only from unreliable sources.[5]

Genres

Snorri Sturluson, portrait by Christian Krohg: Illustration for Heimskringla 1899-Edition

Norse sagas are generally classified as follows.

Kings' sagas

skaldic verse
.

Sagas of Icelanders and short tales of Icelanders

The

Egils saga).[6]: 107–12  Key works of this genre have been viewed in modern scholarship as the highest-quality saga-writing. While primarily set in Iceland, the sagas follow their characters' adventures abroad, for example in other Nordic countries, the British Isles, northern France and North America.[7][6]: 101  Some well-known examples include Njáls saga, Laxdæla saga and Grettis saga
.

The material of the

short tales of Icelanders
(þættir or Íslendingaþættir) is similar to Íslendinga sögur, in shorter form, often preserved as episodes about Icelanders in the kings' sagas.

Like kings' sagas, when sagas of Icelanders quote verse, as they often do, it is almost invariably skaldic verse.

Contemporary sagas

Contemporary sagas (samtíðarsögur or samtímasögur) are set in twelfth- and thirteenth-century Iceland, and were written soon after the events they describe. Most are preserved in the compilation Sturlunga saga, from around 1270–80, though some, such as Arons saga Hjörleifssonar are preserved separately.[8] The verse quoted in contemporary sagas is skaldic verse.

According to historian Jón Viðar Sigurðsson, "Scholars generally agree that the contemporary sagas are rather reliable sources, based on the short time between the events and the recording of the sagas, normally twenty to seventy years... The main argument for this view on the reliability of these sources is that the audience would have noticed if the saga authors were slandering and not faithfully portraying the past."[9]

Legendary sagas

Eddaic verse
.

Some legendary sagas overlap generically with the next category, chivalric sagas.[10]: 191 

Chivalric sagas

chansons de geste as well as Icelandic compositions in the same style. Norse translations of Continental romances seem to have begun in the first half of the thirteenth century;[11]: 375  Icelandic writers seem to have begun producing their own romances in the late thirteenth century, with production peaking in the fourteenth century and continuing into the nineteenth.[10]

While often translated from verse, sagas in this genre almost never quote verse, and when they do it is often unusual in form: for example,

Saints' and bishops' sagas

bishops' sagas (biskupa sögur) are vernacular Icelandic translations and compositions, to a greater or lesser extent influenced by saga-style, in the widespread genres of hagiography and episcopal biographies. The genre seems to have begun in the mid-twelfth century.[14]

History

Excerpt from Njáls saga in the manuscript Möðruvallabók (AM 132 folio 13r) c. 1350.

Icelandic sagas are based on oral traditions and much research has focused on what is real and what is fiction within each tale. The accuracy of the sagas is often hotly disputed.

Most of the medieval manuscripts which are the earliest surviving witnesses to the sagas were taken to Denmark and Sweden in the seventeenth century, but later returned to Iceland. Classical sagas were composed in the thirteenth century. Scholars once believed that these sagas were transmitted orally from generation to generation until scribes wrote them down in the thirteenth century. However, most scholars now believe the sagas were conscious artistic creations, based on both oral and written tradition. A study focusing on the description of the items of clothing mentioned in the sagas concludes that the authors attempted to create a historic "feel" to the story, by dressing the characters in what was at the time thought to be "old fashioned clothing". However, this clothing is not contemporary with the events of the saga as it is a closer match to the clothing worn in the 12th century.[15] It was only recently (start of 20th century) that the tales of the voyages to North America (modern day Canada) were authenticated.[16]

Most sagas of Icelanders take place in the period 930–1030, which is called

Sverrir's saga had met the king and used him as a source.[17]

While sagas are generally anonymous, a distinctive literary movement in the 14th century involves sagas, mostly on religious topics, with identifiable authors and a distinctive Latinate style. Associated with Iceland's northern diocese of Hólar, this movement is known as the North Icelandic Benedictine School (Norðlenski Benediktskólinn).[18]

The vast majority of texts referred to today as "sagas" were composed in Iceland. One exception is Þiðreks saga, translated/composed in Norway; another is Hjalmars och Hramers saga, a post-medieval forgery composed in Sweden. While the term saga is usually associated with medieval texts, sagas — particularly in the legendary and chivalric saga genres — continued to be composed in Iceland on the pattern of medieval texts into the nineteenth century.[19][10]: 193–94 

Explanations for saga writing

Icelanders produced a high volume of literature relative to the size of the population. Historians have proposed various theories for the high volume of saga writing.

Early, nationalist historians argued that the ethnic characteristics of the Icelanders were conducive to a literary culture, but these types of explanations have fallen out of favor with academics in modern times.[20] It has also been proposed that the Icelandic settlers were so prolific at writing in order to capture their settler history. Historian Gunnar Karlsson does not find that explanation reasonable though, given that other settler communities have not been as prolific as the early Icelanders were.[20]

Pragmatic explanations were once also favoured: it has been argued that a combination of readily available parchment (due to extensive cattle farming and the necessity of culling before winter) and long winters encouraged Icelanders to take up writing.[20]

More recently, Icelandic saga-production has been seen as motivated more by social and political factors.

The unique nature of the political system of the Icelandic Commonwealth created incentives for aristocrats to produce literature,

social differentiation between them and the rest of the population.[22][23] Gunnar Karlsson and Jesse Byock argued that the Icelanders wrote the Sagas as a way to establish commonly agreed norms and rules in the decentralized Icelandic Commonwealth by documenting past feuds, while Iceland's peripheral location put it out of reach of the continental kings of Europe and that those kings could therefore not ban subversive forms of literature.[20] Because new principalities lacked internal cohesion, a leader typically produced Sagas "to create or enhance amongst his subjects or followers a feeling of solidarity and common identity by emphasizing their common history and legends".[21] Leaders from old and established principalities did not produce any Sagas, as they were already cohesive political units.[21]

Later (late thirteenth- and fourteenth-century) saga-writing was motivated by the desire of the Icelandic aristocracy to maintain or reconnect links with the Nordic countries by tracing the ancestry of Icelandic aristocrats to well-known kings and heroes to which the contemporary Nordic kings could also trace their origins.[22][23]

Editions and translations

The corpus of Old Norse sagas is gradually being edited in the Íslenzk fornrit series, which covers all the Íslendingasögur and a growing range of other ones. Where available, the Íslenzk fornrit edition is usually the standard one.[6]: 117  The standard edition of most of the chivalric sagas composed in Iceland is by Agnete Loth.[24][10]: 192 

A list, intended to be comprehensive, of translations of Icelandic sagas is provided by the

National Library of Iceland's Bibliography of Saga Translations
.

Popular culture

Many modern artists working in different creative fields have drawn inspiration from the sagas. Among some well-known writers, for example, who adapted saga narratives in their works are Poul Anderson, Laurent Binet, Margaret Elphinstone, Friedrich de la Motte Fouqué, Gunnar Gunnarsson, Henrik Ibsen, Halldór Laxness, Ottilie Liljencrantz, Henry Wadsworth Longfellow, George Mackay Brown, William Morris, Adam Oehlenschläger, Robert Louis Stevenson, August Strindberg, Rosemary Sutcliff, Esaias Tegnér, J.R.R. Tolkien, and William T. Vollmann.[25]

See also

References and notes

  1. ^ Dictionary of Old Norse Prose/Ordbog over det norrøne prosasprog (Copenhagen: [Arnamagnæan Commission/Arnamagnæanske kommission], 1983–), s.v. '1 saga sb. f.' Archived 18 December 2019 at the Wayback Machine.
  2. ^ "saw, n.2. Archived 2 May 2023 at the Wayback Machine", OED Online, 1st edn (Oxford: Oxford University Press, December 2019).
  3. ^ "saga, n.1. Archived 2 May 2023 at the Wayback Machine", OED Online, 1st edn (Oxford: Oxford University Press, December 2019).
  4. ^ J. R. R. Tolkien's The Lord of the Rings series was translated into Swedish by Åke Ohlmarks with the title Sagan om ringen: "The Saga of the Ring". (The 2004 translation was titled Ringarnas herre, a literal translation from the original.) Icelandic journalist Þorsteinn Thorarensen (1926–2006) translated the work as Hringadróttins saga meaning "Saga of the Lord of the Rings".
  5. ^ "Untitled Document". www.fotevikensmuseum.se. Archived from the original on 12 September 2022. Retrieved 12 September 2022.
  6. ^ a b c d e f Vésteinn Ólason, 'Family Sagas', in A Companion to Old Norse-Icelandic Literature and Culture, ed. by Rory Mcturk (Oxford: Blackwell, 2005), pp. 101–18.
  7. ^ "heimskringla.no". www.heimskringla.no. Archived from the original on 2 May 2023. Retrieved 11 January 2015.
  8. ^ "Sagas of Contemporary History (Blackwell Reference Online)". Archived from the original on 22 December 2015. Retrieved 11 January 2015.
  9. from the original on 2 May 2023. Retrieved 3 January 2022.
  10. ^ a b c d Matthew, Driscoll, 'Late Prose Fiction (Lygisögur)', in A Companion to Old Norse-Icelandic Literature and Culture, ed. by Rory McTurk (Oxford: Blackwell, 2005), pp. 190–204.
  11. ^ Jürg Glauser, 'Romance (Translated Riddarasögur)', in A Companion to Old Norse-Icelandic Literature and Culture, ed. by Rory McTurk (Oxford: Blackwell, 2005), pp. 190–204.
  12. ^ Aðalheiður Guðmundsdóttir, 'How Icelandic Legends Reflect the Prohibition on Dancing', ARV, 61 (2006), 25–52.
  13. ^ 'Þjalar-Jóns saga', trans. by Philip Lavender, Leeds Studies in English, n.s. 46 (2015), 73–113 (p. 88 n. 34).
  14. ^ Margaret Cormack, 'Christian Biography', in A Companion to Old Norse-Icelandic Literature and Culture, ed. by Rory Mcturk (Oxford: Blackwell, 2005), pp. 27–42.
  15. ^ "Clothing In Norse Literature (HistoriskeDragter.dk)". Archived from the original on 23 November 2014. Retrieved 15 November 2013.
  16. ^ "Skaldic Poetry of the Scandinavian Middle Ages (The Skaldic Project)". Archived from the original on 8 December 2014. Retrieved 11 January 2015.
  17. ^ "AM 657 a-b 4to | Handrit.is". handrit.is. Archived from the original on 12 September 2022. Retrieved 12 September 2022.
  18. ^ Matthew James Driscoll, The Unwashed Children of Eve: The Production, Dissemination and Reception of Popular Literature in Post-Reformation Iceland (Enfield Lock: Hisarlik Press, 1997).
  19. ^ a b c d "Sagnfræðingafélag Íslands » Archive » Hlaðvarp: Gunnar Karlsson: Ísland sem jaðarsvæði evrópskrar miðaldamenningar". Archived from the original on 16 March 2017. Retrieved 15 March 2017.
  20. ^
    S2CID 143890402
    .
  21. ^ .
  22. ^ a b Tulinius, Torfi (2002). The Matter of the North. Odense University Press. Archived from the original on 2 May 2023. Retrieved 1 January 2020.
  23. ^ Agnete Loth, ed., Late Medieval Icelandic Romances, Editiones Arnamagaeanae, series B, 20–24, 5 vols (Copenhagen: Munksgaard, 1962–65).
  24. ^ "Database of medieval Icelandic saga literary adaptations". Christopher W. E. Crocker. 23 February 2019. Archived from the original on 12 November 2022. Retrieved 17 November 2022.

Sources

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Further reading

In Norwegian:

External links

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