Norse saga
A Norse saga, Viking saga, (Icelandic) Íslendingasögur, are stories about the immigration to Iceland, early Viking voyages ("crusades") and feuds between families. Something noticeable is that they are written in prose poetry; something that was common first in the 17th century in Europe.The text is a generally very romanticised, fantastic epic tale (a saga, often epic poetry usually either prose poetry or alliterative verse) of heroic deeds of days long gone, tales of worthy men, who were often Vikings, sometimes Pagan, sometimes Christian, always frightfully real, and not that different from us.
There are plenty of tales of kings (e.g. Heimskringla), every-day people (e. g. Bandamanna saga) and larger than life characters (e. g. Egils saga). It covers history of all Nordic countries where some groups, especially the pre-historic country Kvenland, have questionaried researchers for a long time and still do. It also covers e.g. England and North America, where it is not until recently (start of 20th century) the latter tale has been found to be authentic through archeological evidence.
The time covered in most Norse sagas runs from about 930 to 1050. Most were written down between 1190 to 1320, often existing as oral traditions long before.
Some Norse Sagas live between Christianity and Paganism (both Beowulf and Njál's saga are examples; see also Norse mythology.) Aside from Christian influence, the world of the sagas is strongly pagan, and fate plays a central role, a key line in Njal's Saga (chapter 6, as translated by Magnus Magnusson; references below) is
The civilization of Norse sagas is complex, many-layered, with often-contradictory agents sometimes acting as forces for good, sometime evil, and always grippingly human.
The writing style tends towards the impersonal, terse, with no explanation of why's. Things happen; no one questions fate. Characters are often but briefly introduced, There was a man named ..., followed by brief biographies, genealogy, and all-important relations to other figures in the saga. Personalities are shown through action, seldom through analysis any deeper than offhand lines like He was an utter scoundrel, or, He was a powerful chieftain. Often a prominent agent figures in other sagas, and one may draw information from them, which saga writers simply assumed. Relationships between individuals are complex, by friendship, blood, marriage, and immediate geography.
One must often and at disadvantage overcome fantastic enemies, as in Beowulf. Life is short, uncertain, and men's worth is determined by glory in arms; the code of honor was described in Beowulf as follows:
Any slight to one's honor (or that of one's family) had to be avenged, by blood or money. Men could easily be goaded to fatal violence over a (real or imagined) slight to their honor.
The concept of luck is simple, certainly in one such as Njal's Saga: one is born with a certain store of good luck. When your good luck runs out, you're doomed.
Fate (wyrd in Old English) is unavoidable, no matter what an agent does. If one learns through a seer that one is fated to die in a coming battle, one does not run away. It is fate: you go to the battle; you are slain. Part of lines 2421-23 from Heaney's translation of Beowulf (references) follow:
Basic information
The (English) saga, (Swedish/Danish/Norwegian) saga orginates from (Icelandic) saga, pl sögur and refers to 1) "what is said, statement" or 2) "story, tale, history". Icelandic sagas are based on oral traditions and the research has been focused on what is real and fiction. Its accuracy is disputed, and have both been overestimated as well as underestimated. Most of the books were in 17th century borrowed to Denmark and Sweden but have in later time been returned to Iceland. On the plots and writing style
While Njal's Saga covers the year 1000 when Iceland was Christianized, and Beowulf is entirely Christian, a pagan ethos pervades both sagas.
Critical concepts to the Norse saga technique are honor, luck (or destiny), and fate, the supernatural, and character. Behavior is often not explained, as within the world of the saga it is what must be done, and early listeners of sagas had no need of questions.
The supernatural often plays a major role as well. Oneiric (i.e., relating to prophetic dreams) factors may also play a role.
Do agents have the character to surmount their difficulties, or do they succumb to vices such as evil, cowardice and pride?
As a final stylistic point, Magnus Magnusson beautifully notes in his introduction to Njal's Saga,
- In the midst of such economy, one spendthrift sentence can speak volumes: 'two ravens flew with them all the way' (Chapter 79) as Skarp-Hedin and Hogni set out at night to avenge Gunnar ...
The saga is not strictly a Norse literary technique. Similar styles around the world were either independently developed or were derived from the style of the Norse sagas. For example:
The saga as a literary technique
Even some religious writings such as the Bible and the Bhagavad Gita have saga overtones.
Of Tolkien, the name of Gandalf, is found in the Edda; indeed, Gandalf is reminiscent of Odin, the principle Norse god, though in the Edda the name belongs to a dwarf, Gandálfr. Tolkien's name Middle-earth comes from Norse mythology.
Wagner's Der Ring des Nibelungen drew inspiration from sources including the Norse Saga, Edda, The Saga of the Volsungs and the German epic The Nibelungenlied.
Norse Sagas are generally classified as:
Modern parallels
Classification of sagas
Wikipedia links: see also
External links and references