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Hrafnkel's Saga and Other Icelandic Stories
Written around the thirteenth century AD by Icelandic monks, the seven tales collected here offer a combination of pagan elements tightly woven into the pattern of Christian ethics. They take as their subjects figures who are heroic, but do not fit into the mould of traditional heroes. Some stories concern characters in Iceland - among them Hrafknel's Saga, in which a poor man's son is murdered by his powerful neighbour, and Thorstein the Staff-Struck, which describes an ageing warrior's struggle to settle into a peaceful rural community. Others focus on the adventures of Icelanders abroad, including the compelling Audun's Story, which depicts a farmhand's pilgrimage to Rome. These fascinating tales deal with powerful human emotions, suffering and dignity at a time of profound transition, when traditional ideals were gradually yielding to a more peaceful pastoral lifestyle.
134 pages, Kindle Edition
First published January 1, 1958
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Displaying 1 - 30 of 88 reviews
February 2, 2019
Hrafnkel is the son of one of the first Norwegian settlers of Iceland, and wishes to set himself up as a powerful priest-chieftain in this promised land. As he goes through the stages of ambition and pride, loss and humiliation, and vengeance and return to authority, Hrafnkel gradually changes his perception of power among men.
The Icelandic family sagas, the Medieval Scandinavian version of period dramas, include some of the greatest literary masterpieces of European history, among them the legendary love story of Laxdæla Saga, and the greatest achievement of them all - Njáls saga.
Hranfkels saga, I feel, is not a masterpiece on the same level as some of these other hidden gems, but it still is a deeply fascinating story about power, loss and vengeance.
Not only does it put on display excellent examples of the power structures and legal systems of the free Icelandic Commonwealth, it also provides a brilliant introduction to a new reader interested in Medieval Scandinavia and wishing to get an introduction to Old Norse literature. It is short and readable, the English translation is solid, and it contains hints of many of the elements which make other sagas so rewarding.
The Icelandic family sagas, the Medieval Scandinavian version of period dramas, include some of the greatest literary masterpieces of European history, among them the legendary love story of Laxdæla Saga, and the greatest achievement of them all - Njáls saga.
Hranfkels saga, I feel, is not a masterpiece on the same level as some of these other hidden gems, but it still is a deeply fascinating story about power, loss and vengeance.
Not only does it put on display excellent examples of the power structures and legal systems of the free Icelandic Commonwealth, it also provides a brilliant introduction to a new reader interested in Medieval Scandinavia and wishing to get an introduction to Old Norse literature. It is short and readable, the English translation is solid, and it contains hints of many of the elements which make other sagas so rewarding.
January 13, 2019
This is the book I ought to have started with when I began to dip into Icelandic sagas again recently. The stories are shorter, the plots are tighter with less winding and sidetracking. The cast of characters is usually smaller, so that there are fewer names, patronymics and relationships to keep track of. The characters are sparely but vividly drawn, and even the features of land and sea get some attention when they contribute to the plot. Overall, these tales are easier to digest.
Most of the same themes I've encountered elsewhere are here too. There is the sense, on the one hand, that good conduct (peacefulness, helpfulness, support of friends and relations) attracts rewards. On the other hand, evil conduct (malicious attitude, excessive violence, vindictiveness, murderousness) attracts punishment.
And yet, some characters have different ideas of what exactly constitutes good conduct. This probably has to do with the conversion of Iceland (and other Scandinavian lands and territories) from the old religion to the new. This is most obvious from Hrafnkel's Saga in which a series of unfortunate and tragic events is unleashed when someone dares to ride Hrafnkel's favorite stallion which was dedicated to the god Frey.
Most of the same themes I've encountered elsewhere are here too. There is the sense, on the one hand, that good conduct (peacefulness, helpfulness, support of friends and relations) attracts rewards. On the other hand, evil conduct (malicious attitude, excessive violence, vindictiveness, murderousness) attracts punishment.
And yet, some characters have different ideas of what exactly constitutes good conduct. This probably has to do with the conversion of Iceland (and other Scandinavian lands and territories) from the old religion to the new. This is most obvious from Hrafnkel's Saga in which a series of unfortunate and tragic events is unleashed when someone dares to ride Hrafnkel's favorite stallion which was dedicated to the god Frey.
February 4, 2017
If you're looking for the inspiration for Shadowfax, Gandalf's noble steed, look no further. Freyfaxi the Wonder Pony, noble steed of Hrafnkel is the horse you're looking for. This, and the other stories herein, are marvelous in their own right. But let's face it: it's super fun to see where Tolkien got some of the material for his books.
September 28, 2016
Hrafnkel is a saga writ small, but with all the propelling blunt force of its lengthier cousins. This simple story told in starkly realistic prose draws a vivid picture of tenth-century Iceland’s snow-capped mountains, mires, and grassy slopes dotted with the homesteads of tetchy farmers, who hold honor more dear than life. The story begins with a murder of a poor peasant, who yielded to the temptation to ride his master’s sacrosanct horse. From this grim beginning, the saga branches into a swiftly told series of intertwining episodes involving torture, revenge, and complex legal alliances that lead to an unexpected ending.
The chieftains and smallholders of medieval Iceland placed great value on esteem, self-reliance and grim humor in the face of provocation. A man who felt he had been offended had recourse to the courts; but because of the legal system’s limitations – there were neither prisons nor police, so the execution of judgement was left to the plaintiffs – proper procedure was often ignored, twisted, or broken outright. Hrafnkel’s Saga is rife with abuses spawned both by man’s pride and by the law’s shortcomings. You won’t turn many pages before you find someone else with an axe in his head.
Hrafnkel’s Saga is the place to start before wandering off into the snarled thickets of one of the major Old Norse sagas. Here, you’ll find a rich sampling of the themes and styles perfected by the thirteen-century saga writers. But unlike Njal’s Saga, Egil’s Saga, Laxdœla Saga that sprawl over decades and swamp you with a cast numbering in the hundreds, Hrafnkel’s story is mercifully short – it takes no more than an hour to read – and it deals with barely a dozen important characters. Along with Hrafnkel’s Saga this thin Penguin edition offers five more very short stories, two set in Iceland and three in Norway or Denmark. My favorites were Audun’s Saga, a tale of a boy and his bear; and Ivar’s Saga, an unexpectedly poignant tale of a lovelorn Viking. If this trickle of Old Icelandic literature captures your imagination, then you’re likely to love the maelstrom of the mighty sagas.
The chieftains and smallholders of medieval Iceland placed great value on esteem, self-reliance and grim humor in the face of provocation. A man who felt he had been offended had recourse to the courts; but because of the legal system’s limitations – there were neither prisons nor police, so the execution of judgement was left to the plaintiffs – proper procedure was often ignored, twisted, or broken outright. Hrafnkel’s Saga is rife with abuses spawned both by man’s pride and by the law’s shortcomings. You won’t turn many pages before you find someone else with an axe in his head.
Hrafnkel’s Saga is the place to start before wandering off into the snarled thickets of one of the major Old Norse sagas. Here, you’ll find a rich sampling of the themes and styles perfected by the thirteen-century saga writers. But unlike Njal’s Saga, Egil’s Saga, Laxdœla Saga that sprawl over decades and swamp you with a cast numbering in the hundreds, Hrafnkel’s story is mercifully short – it takes no more than an hour to read – and it deals with barely a dozen important characters. Along with Hrafnkel’s Saga this thin Penguin edition offers five more very short stories, two set in Iceland and three in Norway or Denmark. My favorites were Audun’s Saga, a tale of a boy and his bear; and Ivar’s Saga, an unexpectedly poignant tale of a lovelorn Viking. If this trickle of Old Icelandic literature captures your imagination, then you’re likely to love the maelstrom of the mighty sagas.
January 4, 2011
The title story is much more consciously literary than the other stories in this short collection. It's a tale of broken oaths, murder, revenge, legal drama and redemption in medieval Iceland.
Several of the other stories have similar themes but have a somewhat different tone, being more like a cross between a short biography of an individual and the anecdotes about him that would get told down the pub on a long winter's night.
The latter-most stories take a wider look at the Norse world as they tell of Icelanders who travel abroad. One character goes so far as Rome, escaping the North altogether for a while.
Both types offer a fascinating glimpse of the prevailing culture in an entertaining fashion.
Several of the other stories have similar themes but have a somewhat different tone, being more like a cross between a short biography of an individual and the anecdotes about him that would get told down the pub on a long winter's night.
The latter-most stories take a wider look at the Norse world as they tell of Icelanders who travel abroad. One character goes so far as Rome, escaping the North altogether for a while.
Both types offer a fascinating glimpse of the prevailing culture in an entertaining fashion.
December 27, 2019
Well-translated sagas wherein we're shown the divers exploits of internally mute Icelanders, who struggle with issues of family honour, personal dignity, Althing arbitration and 'onourable 'onesty. For something written by medieval Christian monks, the stories are conspicuously bereft of overt Biblical references or didactic announcements - rather, the stories are told in a very matter-of-fact manner, the narrators obliterating themselves almost completely.
Yet when one peeps between the line-cracks, certain themes seem to arise without much remorse inflicted on the characters. The best indicator of someone's righteous conduct is often signified by intimating that they grew very old bones indeed - something which seems to suggest either the monks or the common folk (in the opinion of the monks) valued not only the quality (bolstered by the stories) but the quantity of life. Likewise, maintaining one's honour is considered of utmost importance: humiliation can be revenged, yet one should not go rampant with the extent.
People tend to be defined by their actions in these sagas: it is not their birth necessarily or their nature but their meritorious deeds which dictate their worth. Of course the significance of rank ought not to be belittled, since good social ties could buy you justice in the Parliament, and you could not revenge yourself easily on the personages standing on a higher rung, yet your achievements could sometimes excuse your otherwise unorthodox behaviour.
What's also fascinating here is that the sagas at times juxtapose etiquette with duties. Certain characters were fain to ignore tattlers, yet they are always convinced otherwise because of the consequences. This seems to point to the fact that the seemingly laudable actions taking place in the sagas are not always motivated by duty but rather incited by fear of contempt. This view is further backed up by the flaws of every single character: some of them are craven, some indiscreet, some sturbborn, some bad-tempered. Perhaps this is where Christianity rears its dragon heads - there is hope of salvation even though we are skewed by nature.
In addition, there are nice and sometimes strange details in the stories. For example, in the title saga, Sam ends up rather badly off even though he let Hrafnkel live. In Thorstein, we get a baffling detour to the caprices of his father who attempts to kill a respected farmer towards the end of the tale. In Ale-Hood, the titular character is suddenly discarded in favour of a siblings' scuffle with an unconcluded revenge. And, just to end the list though it could do with further additions, in Hreidar the main character is first shown as a dangerous savant. Nonetheless, instead of criticising the stories for their unexpected distortions of the focal points, I'd rather applaud them for their daring attitude and no-nonsense approach. Due to the overall sparse and direct way of recounting the sagas, these anomalies can be accepted effortlessly compared to similar chinks in the armour of today's literature. And of course, these sagas have been endowed with the halo of tradition, thus being much more than simple stories with hidden value meanings.
Yet when one peeps between the line-cracks, certain themes seem to arise without much remorse inflicted on the characters. The best indicator of someone's righteous conduct is often signified by intimating that they grew very old bones indeed - something which seems to suggest either the monks or the common folk (in the opinion of the monks) valued not only the quality (bolstered by the stories) but the quantity of life. Likewise, maintaining one's honour is considered of utmost importance: humiliation can be revenged, yet one should not go rampant with the extent.
People tend to be defined by their actions in these sagas: it is not their birth necessarily or their nature but their meritorious deeds which dictate their worth. Of course the significance of rank ought not to be belittled, since good social ties could buy you justice in the Parliament, and you could not revenge yourself easily on the personages standing on a higher rung, yet your achievements could sometimes excuse your otherwise unorthodox behaviour.
What's also fascinating here is that the sagas at times juxtapose etiquette with duties. Certain characters were fain to ignore tattlers, yet they are always convinced otherwise because of the consequences. This seems to point to the fact that the seemingly laudable actions taking place in the sagas are not always motivated by duty but rather incited by fear of contempt. This view is further backed up by the flaws of every single character: some of them are craven, some indiscreet, some sturbborn, some bad-tempered. Perhaps this is where Christianity rears its dragon heads - there is hope of salvation even though we are skewed by nature.
In addition, there are nice and sometimes strange details in the stories. For example, in the title saga, Sam ends up rather badly off even though he let Hrafnkel live. In Thorstein, we get a baffling detour to the caprices of his father who attempts to kill a respected farmer towards the end of the tale. In Ale-Hood, the titular character is suddenly discarded in favour of a siblings' scuffle with an unconcluded revenge. And, just to end the list though it could do with further additions, in Hreidar the main character is first shown as a dangerous savant. Nonetheless, instead of criticising the stories for their unexpected distortions of the focal points, I'd rather applaud them for their daring attitude and no-nonsense approach. Due to the overall sparse and direct way of recounting the sagas, these anomalies can be accepted effortlessly compared to similar chinks in the armour of today's literature. And of course, these sagas have been endowed with the halo of tradition, thus being much more than simple stories with hidden value meanings.
June 5, 2023
I can understand why 13th-century Icelanders would've gone nuts for this, but it just didn't fully do it for me. I think I would've liked it better if I had been reading this book for a class taught by an enthusiastic and exclusively cardigan-wearing professor (i.e. would have been more fun if I had more historical background knowledge and people to digest these stories with)
September 14, 2025
Lowkey kinda fire
November 27, 2021
Fantastic collection of sagas and stories. It gives a great insight into the early settlers of Iceland and medieval Scandinavia. Also, for fans of J.R.R. Tolkien there are again apparent inspirations for many of his characters. Most obviously the great Shadowfax!
March 10, 2025
I read this for my Vikings and Old Norse culture class. This saga was surprisingly engaging and I enjoyed the aspects of Old Norse legal culture that it introduced me to.
July 4, 2018
Hrafnkel's Saga is about a feud and the vicious killings and legal drama that go along with it. There's a Varangian and the lava fields are featured. One of the epithets of King Harald Straight-Hair's ancestor is 'the farter'.
The other stories are much shorter and more straightforward.
Thorstein Staff-struck was okay. Apparently when they weren't feuding and duelling the Icelanders used to make horses fight each other to relieve men of their pastoral boredom, but then the men would get angry and fight the horses and each other and this lead to feuds and duels. I like how Thorstein and buddy kept taking breaks during their duel to the death. Water break, tie my shoes, let's get new weapons. Of course they call it off and settle their dispute. Reminded me Roland taming the giant in one of the chansons de geste. The moral of the story is don't punch horses in the face.
Audun's Tale is about a guy who brings a bear from Greenland to the king of Denmark, in order to pay for a pilgrimage to Rome. But he has trouble with the Norwegian king, who wants the bear for himself. I'm assuming it was a polar bear.
Halldor Snorrason gets on the bad side of the Norwegian king and has to hightail it out of Trondheim.
The other stories are much shorter and more straightforward.
Thorstein Staff-struck was okay. Apparently when they weren't feuding and duelling the Icelanders used to make horses fight each other to relieve men of their pastoral boredom, but then the men would get angry and fight the horses and each other and this lead to feuds and duels. I like how Thorstein and buddy kept taking breaks during their duel to the death. Water break, tie my shoes, let's get new weapons. Of course they call it off and settle their dispute. Reminded me Roland taming the giant in one of the chansons de geste. The moral of the story is don't punch horses in the face.
Audun's Tale is about a guy who brings a bear from Greenland to the king of Denmark, in order to pay for a pilgrimage to Rome. But he has trouble with the Norwegian king, who wants the bear for himself. I'm assuming it was a polar bear.
Halldor Snorrason gets on the bad side of the Norwegian king and has to hightail it out of Trondheim.
November 10, 2023
A collection of brief tales and sagas from medieval Iceland. Some of these were also published in Penguin Classics “Comic Sagas and Tales from Iceland” such as “Ale-Hood”, but were worth re-reading.
December 7, 2018
Read this mainly for Hrafnel's saga, but I have to admit that others, which I have never even heard before, were quite interesting, too. Also, great introduction that touches upon the biggest questions and problems about Hrafnel's saga and others in this collection.
Read
September 3, 2020I never feel comfortable giving ratings to books I read solely for their historical value... but it was interesting!
December 21, 2021
This is a really enjoyable collection of stories - far more personable, and less foreign, to the modern reader than many sagas. There's a theme throughout the tales in this collection - don't fuck with people who you know will fuck you over - and honestly, solid advice.
April 17, 2013
I have not actually read this whole book, I just read Hraknkel's Saga in the larger collection of Icelandic Sagas I am going through and wanted a venue to review it on its own. This is a much shorter tale than Egil's Saga, which I read a few weeks ago, and probably much more accessible for that. If Egil's is a novel, then Hrafnkel's is a short story and all the better for it. Told with an economy of information that makes the material timeless and appealingly opaque, this is one of the best pieces of writing from pre-modern times that I have come across. There are no heroes or villains in Hrafnkel's Saga, only proud men doing irreparable harm to one another because of the philosophies of pride, honor, and devotion which guide their society. The reader's ultimate reaction to the material depends as much upon his or her own perspective and philosophies as anything in the text. Great, great, great stuff.
January 7, 2014
Back in my teens (during the 1980s) I collected Penguin Classics. I bought a dozen Viking Sagas but never got round to reading any of them. At long last I've decided to remedy the situation and this is the first of them. *Hrafnkel's saga* is one of the shortest major sagas but it's a remarkable work... nonetheless, one of the first examples of "realism" in world literature, though it's a curiously alien realism by modern standards... This book contains six other stories dating from the 13th Century. They tell of an age when men were willing to die for the sake of a point of honour; and they were prepared to kill for much less than that. Superb and fascinating!
February 19, 2010
A good, short introduction to Icelandic sagas. The stories, especially "Thorstein the Staff-Struck," emblematize those things that are so good about the sagas: the collocation of Christian and pagan ideas (and the tension between them), clear-eyed realism and seriousness of tone, and wry humor. I would argue that anyone who grew up in a rural area, in Iceland or elsewhere, will recognize these hard-headed people, and feel at least somewhat welcome in their community.
October 16, 2019
Soga om ein av dei største køddane i sagatida, Ramnkjell Frøysgode, er god lesning. Soga gir eit fascinerande og realistisk (tilsynelatande, kva veit eg) innblikk i korleis prosessane på tinget kunne fungera på Island. Og ho er kort - så om du vil sjekka ut ei islendingesoge, er dette ein god lågterskelstart. Anbefalt!
October 17, 2016
Til mine fremtidige lærere: Det her gør jeg altså ikke en tredje gang
August 18, 2016
Ravnkel er min fave #fucksam
June 29, 2018
Áhugaverðar sögur af heiðinni trú.
December 31, 2023
As Hermann Pálsson posits in the introduction to this book, these stories were borne out of a desire to write historical fiction that still reflects the values of the modern-day reader (“modern-day” being the 14th century). Because of that, the fate-centered stories are set aside for stories that center around personal choice and generosity. Pálsson implies that this is due to the effects of christianity on 14th century Icelanders, and while that may be true I think the difference can also be attributed to a change in cultural attitudes beyond religion. Their ideals had changed in the 200-300 years between the events and the writing of these stories, and the “modern” Icelander wasn’t interested in stories of predestined fate. And looking at it from a modern-day Norse Pagan perspective, I don’t think these stories are incompatible with fate — they just show a different side of it. A side that is, frankly, very refreshing.
The story of Hrafnkel’s saga is relatively mundane, but it’s no less interesting than any of the adventurous Icelandic sagas. The themes of the saga are extremely universal, and one can easily relate to the grief-driven stubborn pride of Thorbjorn or the remorseful oathbound nature of Hrafnkel that caused his change to a generous fellow. We also see some very unique perspectives in this saga. Thorkel in particular stands out to me; he feels like the protagonist of an adventure saga like Egil’s Saga or the Vinland Sagas, but he’s a supporting character in this one. He’s sly and cunning, but ultimately for good reason, and we get to see the traveler archetype from the perspective of a rural farmer, as opposed to the other way around.
In the tale of Thorstein Staff-Struck, I really enjoyed that Thorstein got to live a good life and his father did not. I was afraid that his father’s adamant “it’s better to die than to live as a coward” attitude would be the prevailing message, but it was not! Thorstein values life, and he is rewarded because of it. This turns the whole Viking stereotype of “honor by death” on its head in such a beautiful way.
It was a lot of fun to see a bunch of rich people be put in their place in Ale-Hood’s tale. It’s a nice reminder that the culture of old Iceland hated wealth-hoarding, and that being stingy with money was cowardly if you had a lot of it.
I don’t have a whole lot to say about Hreidar the Fool, but I think it was a good tale about wisdom and knowing one’s limits.
Halldor Snorrason’s tale was fine enough, though I didn’t find as much depth in it as the others. The dynamic between Halldor and King Harald was very interesting to see, though, and makes me intrigued to read King Harald’s Saga.
Audun’s Story is a fantastic moral story about the importance of generosity. It emphasizes the fact that a good king must be a generous and kind one, and seems to say that if those of a lower-class remember their debts are grateful and kind, good things will come their way.
Ivar’s Story also has a beautiful message about kindness. The overall message seems to be that you should show friends affection and love in the way they best receive it, but since it’s a king doing this it has the added meaning of a good kind must also be a kind one.
Overall this was an absolutely beautiful series of stories. If you’re looking for thought-provoking tales that go beyond the typical morality story, these are the ones for you!
The story of Hrafnkel’s saga is relatively mundane, but it’s no less interesting than any of the adventurous Icelandic sagas. The themes of the saga are extremely universal, and one can easily relate to the grief-driven stubborn pride of Thorbjorn or the remorseful oathbound nature of Hrafnkel that caused his change to a generous fellow. We also see some very unique perspectives in this saga. Thorkel in particular stands out to me; he feels like the protagonist of an adventure saga like Egil’s Saga or the Vinland Sagas, but he’s a supporting character in this one. He’s sly and cunning, but ultimately for good reason, and we get to see the traveler archetype from the perspective of a rural farmer, as opposed to the other way around.
In the tale of Thorstein Staff-Struck, I really enjoyed that Thorstein got to live a good life and his father did not. I was afraid that his father’s adamant “it’s better to die than to live as a coward” attitude would be the prevailing message, but it was not! Thorstein values life, and he is rewarded because of it. This turns the whole Viking stereotype of “honor by death” on its head in such a beautiful way.
It was a lot of fun to see a bunch of rich people be put in their place in Ale-Hood’s tale. It’s a nice reminder that the culture of old Iceland hated wealth-hoarding, and that being stingy with money was cowardly if you had a lot of it.
I don’t have a whole lot to say about Hreidar the Fool, but I think it was a good tale about wisdom and knowing one’s limits.
Halldor Snorrason’s tale was fine enough, though I didn’t find as much depth in it as the others. The dynamic between Halldor and King Harald was very interesting to see, though, and makes me intrigued to read King Harald’s Saga.
Audun’s Story is a fantastic moral story about the importance of generosity. It emphasizes the fact that a good king must be a generous and kind one, and seems to say that if those of a lower-class remember their debts are grateful and kind, good things will come their way.
Ivar’s Story also has a beautiful message about kindness. The overall message seems to be that you should show friends affection and love in the way they best receive it, but since it’s a king doing this it has the added meaning of a good kind must also be a kind one.
Overall this was an absolutely beautiful series of stories. If you’re looking for thought-provoking tales that go beyond the typical morality story, these are the ones for you!
January 19, 2024
yes; loved this it was really fun
I was unexpectedly touched by the four þættir dealing with Icelanders on the continent. Ívarr Son of Ingimundr's Tale is probably the standout: Pálsson (translator & introduction by) writes "In Hrafnkel's Saga the theme of pain is given a more sophisticated treatment [than in Ivar's Tale]." This is true to the extent that Hrafnkel's Saga offers more and more varied pain & corresponding reactions to, but I think Ivar's Tale has something more real and immediate, certainly more emotional and yes I think more sophisticated than Hrafnkel's literary realism.
After that has to come Hreidar the Fool (Hreiðars þáttr heirmska) for sheer entertainment value, then Halldor's Snorrason, for being the Form of the 12th-century Icelander, and for being such a boss-ass mf. Audun's story I am less impressed with than Pálsson, who I think misreads the thing--and contradicts his previous analysis--when he describes it as a tale about how "through his own efforts Audun becomes a man of good luck." This þáttr like all the rest in this collection has nothing at all to do with luck. Through his efforts he becomes prosperous, not lucky.
It's hard not to read Pálsson's style as highly influenced by the sagas': he, like the anonymous authors of these late stories, often declaims one fact after another, without always feeling the need to create a harmonious sequence. For example in discussing an event in Hrafnkel's Saga:
--but of a non-sequitor. If the intro were structured a bit more tightly, this effect would be as charming as it is in the sagas. My other complaint with the intro is that it requires too much to be read before the book and offers to little to be really edifying after. I just read it twice. Loved the translation though.
As for the Icelandic stories I particularly liked Thorstein the Staff-Struck. To me it was the most powerfully written. Hrafnkel's Saga is the bigger and more explosive work but is a bit literary and high-minded, where Thorstein has a gritty realism not quite hit by Hrafnkel for me. On the other hand, Hrafnkel offers a really vivid picture of Iceland's land. Ale-Hood is probably the weakest of the stories set in Iceland but even that one has some fun Icelandic-law-trickery which is fun in all three of these.
This was a really quick and easy read and made me want to learn icelandic and go to iceland and ride horses across the moors and such. Good stuff.
I was unexpectedly touched by the four þættir dealing with Icelanders on the continent. Ívarr Son of Ingimundr's Tale is probably the standout: Pálsson (translator & introduction by) writes "In Hrafnkel's Saga the theme of pain is given a more sophisticated treatment [than in Ivar's Tale]." This is true to the extent that Hrafnkel's Saga offers more and more varied pain & corresponding reactions to, but I think Ivar's Tale has something more real and immediate, certainly more emotional and yes I think more sophisticated than Hrafnkel's literary realism.
After that has to come Hreidar the Fool (Hreiðars þáttr heirmska) for sheer entertainment value, then Halldor's Snorrason, for being the Form of the 12th-century Icelander, and for being such a boss-ass mf. Audun's story I am less impressed with than Pálsson, who I think misreads the thing--and contradicts his previous analysis--when he describes it as a tale about how "through his own efforts Audun becomes a man of good luck." This þáttr like all the rest in this collection has nothing at all to do with luck. Through his efforts he becomes prosperous, not lucky.
It's hard not to read Pálsson's style as highly influenced by the sagas': he, like the anonymous authors of these late stories, often declaims one fact after another, without always feeling the need to create a harmonious sequence. For example in discussing an event in Hrafnkel's Saga:
Thorbjorn shows a tragic lack of self-knowledge when he rejects Hrafnkel's offer of compensation and insists on referring the issue to arbitration which, as Hrafnkel points out, would make them equals.
--but of a non-sequitor. If the intro were structured a bit more tightly, this effect would be as charming as it is in the sagas. My other complaint with the intro is that it requires too much to be read before the book and offers to little to be really edifying after. I just read it twice. Loved the translation though.
As for the Icelandic stories I particularly liked Thorstein the Staff-Struck. To me it was the most powerfully written. Hrafnkel's Saga is the bigger and more explosive work but is a bit literary and high-minded, where Thorstein has a gritty realism not quite hit by Hrafnkel for me. On the other hand, Hrafnkel offers a really vivid picture of Iceland's land. Ale-Hood is probably the weakest of the stories set in Iceland but even that one has some fun Icelandic-law-trickery which is fun in all three of these.
This was a really quick and easy read and made me want to learn icelandic and go to iceland and ride horses across the moors and such. Good stuff.
August 30, 2022
Tales out of the distant past
I’m sitting here trying to think what I can write about a set of seven stories from 13th century Iceland. Like others I’ve read (ex. “Njal’s Saga”, “Laxdaela Saga” and the “Vinland Sagas”) these are full of violence as well as legalistic matters concerning property and justice for crimes committed. They reveal many aspects of life in a remote country very long ago, a country that was new in terms of human settlement. The men met every year at the Althing, a kind of rough parliament that voted on various issues of concern, including dealing with crimes. Law-suits were common and decided at the Althing as well. Some men owned large farms, mainly pasture for sheep, cows, and horses, others were servants or laborers in thrall to the larger figures. The women, while strong and with rights, are not much depicted in the sagas of this book, though in some others they played a vital role.
Perhaps it is the translation, perhaps it is the literary style of the 1200s in 21st century eyes, but the Icelanders seem a very blunt-spoken folk. Hrafnkel loved his horse and swore to kill anyone who rode him without his permission. Einar, who worked for Hrafnkel did ride him one day in pursuit of some wandering sheep. Hrafnkel asked Einar if he’d ridden the horse. Einar said he couldn’t deny it.
“Hrafnkel said, ‘Why did you ride this one horse which was forbidden to you when there were plenty of other horses you were free to ride? ……….. my faith tells me that nothing good can happen to people who break their solemn vows’.
Then he dismounted and killed Einar with a single blow.” [*He was carrying an axe.] pp.42-43.
Other tales involve men who wander from Iceland to Byzantium and back, who fight duels but make up, and those who served the Norwegian kings in their various trading and military exploits.
Yes, I think I should say that unless that past intrigues you, unless you want to read old Icelandic tales in the prose of those days, rather miraculously preserved till now, you probably ought to give this book a miss. However, if all that could appeal to you, then “Hrafnkel’s Saga” is a treasure not often examined. Pronouncing his name would be the most difficult part!
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I’m sitting here trying to think what I can write about a set of seven stories from 13th century Iceland. Like others I’ve read (ex. “Njal’s Saga”, “Laxdaela Saga” and the “Vinland Sagas”) these are full of violence as well as legalistic matters concerning property and justice for crimes committed. They reveal many aspects of life in a remote country very long ago, a country that was new in terms of human settlement. The men met every year at the Althing, a kind of rough parliament that voted on various issues of concern, including dealing with crimes. Law-suits were common and decided at the Althing as well. Some men owned large farms, mainly pasture for sheep, cows, and horses, others were servants or laborers in thrall to the larger figures. The women, while strong and with rights, are not much depicted in the sagas of this book, though in some others they played a vital role.
Perhaps it is the translation, perhaps it is the literary style of the 1200s in 21st century eyes, but the Icelanders seem a very blunt-spoken folk. Hrafnkel loved his horse and swore to kill anyone who rode him without his permission. Einar, who worked for Hrafnkel did ride him one day in pursuit of some wandering sheep. Hrafnkel asked Einar if he’d ridden the horse. Einar said he couldn’t deny it.
“Hrafnkel said, ‘Why did you ride this one horse which was forbidden to you when there were plenty of other horses you were free to ride? ……….. my faith tells me that nothing good can happen to people who break their solemn vows’.
Then he dismounted and killed Einar with a single blow.” [*He was carrying an axe.] pp.42-43.
Other tales involve men who wander from Iceland to Byzantium and back, who fight duels but make up, and those who served the Norwegian kings in their various trading and military exploits.
Yes, I think I should say that unless that past intrigues you, unless you want to read old Icelandic tales in the prose of those days, rather miraculously preserved till now, you probably ought to give this book a miss. However, if all that could appeal to you, then “Hrafnkel’s Saga” is a treasure not often examined. Pronouncing his name would be the most difficult part!
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February 16, 2019
Not only was Hrafnkel’s Saga written in medieval times, it’s also historical fiction. Written in the 13th century, it describes events loosely based upon characters from the 9th century. Scholars have identified the likely author as Abbot Brand Jonson, a 13th century intellectual, church leader, teacher, and mediator. Several of the stories involve the theme of rulers and mediation, both fair and unfair. Half of the stories take place in Iceland, a rough rural country ruled by feudal lords. A few shorter stories take place in the courts of 9th century Norway and Denmark, where kings Harald Hardradi and Svein Ulfsson rule respectively. These latter stories are fictionalized to the point where scholars have determined that the author had no first-hand experience in royal court surrounds. Yet this makes these stories all the more charming and personal.
The stories are part action drama, part clan psychology, and part cautionary tale. Life was tough in medieval days! Pride and power are frequent themes, and the craftiest person, rather than the most “moral” often wins these Icelandic power struggles. Killing someone can be the best long-term solution to problems, and missing such opportunities can be fatal. The court stories, by contrast, show more refined sensibilities, where kings don’t punish small and not-so-small transgressions, which is no doubt not historically accurate. Nonetheless, these stories have more familiar themes, such as the king who helps the fool and who tries to keep peace in his land by showing compassion to his subjects.
My favorite is “Audun’s Story,” a court story. Auden, a poor laborer, through helpful actions and diplomacy manages to befriend two feuding kings and make a pilgrimage to Rome (Christianity being all the new rage). He experience cycles of poverty and wealth with a even-minded outlook—while all the time providing for his aged mother at home in Iceland. My favorite rural story is “Thorstein the Staff-Struck,” which although it has its share of violence also depicts good governance, fair fighting, and compassion for others rewarded.
Historians, lover of all things Nordic, and adult fairy tale buffs will enjoy this historical treasure.
The stories are part action drama, part clan psychology, and part cautionary tale. Life was tough in medieval days! Pride and power are frequent themes, and the craftiest person, rather than the most “moral” often wins these Icelandic power struggles. Killing someone can be the best long-term solution to problems, and missing such opportunities can be fatal. The court stories, by contrast, show more refined sensibilities, where kings don’t punish small and not-so-small transgressions, which is no doubt not historically accurate. Nonetheless, these stories have more familiar themes, such as the king who helps the fool and who tries to keep peace in his land by showing compassion to his subjects.
My favorite is “Audun’s Story,” a court story. Auden, a poor laborer, through helpful actions and diplomacy manages to befriend two feuding kings and make a pilgrimage to Rome (Christianity being all the new rage). He experience cycles of poverty and wealth with a even-minded outlook—while all the time providing for his aged mother at home in Iceland. My favorite rural story is “Thorstein the Staff-Struck,” which although it has its share of violence also depicts good governance, fair fighting, and compassion for others rewarded.
Historians, lover of all things Nordic, and adult fairy tale buffs will enjoy this historical treasure.
May 26, 2020
At just shy of 100 pages, this collection of Icelandic sagas is a quick and enjoyable read. Unlike other sagas that sometimes get bogged down in genealogical information and throw a number of complicated names at you, these stories feature a small cast of characters overcoming real-world problems. I enjoyed each saga. It was satisfying to see the connections to other works I've recently read, namly Njal's Saga and King Harald's Saga. Minor characters in those tales are expanded in this collection. My personal favorite was Thorstein Staff-Struck, which involves a feud that is driven not by the participants so much as those who push them into bloodshed by stressing the need to protect one's honor.
The collection closes with Ivar's tale, which is also a gem. It features a retainer of the Norwegian king who is lovesick for a woman he can never have, his brother's wife. The solution is a far-cry to the usual heroic deeds described in later medieval epics. Instead we are given a human and highly relatable glimpse into how little has changed over the centuries when it comes to mending a broken heart.
The collection closes with Ivar's tale, which is also a gem. It features a retainer of the Norwegian king who is lovesick for a woman he can never have, his brother's wife. The solution is a far-cry to the usual heroic deeds described in later medieval epics. Instead we are given a human and highly relatable glimpse into how little has changed over the centuries when it comes to mending a broken heart.
October 2, 2018
Weirdly enough, I was just discussing Norse sagas with someone when this turned up in my book collection. I have no memory of obtaining it, but there it was.
These are short prose translations of medieval manuscripts, ranging from very short stories to the longer title piece. They unveil a few of the things we understand [or often misunderstand] about the Viking period, and the world of Iceland. In one case, the character is Icelandic, but the action takes place in Europe.
Characters in this world don't always get what we think of as "justice," and their idea of a court of law isn't ours, but several of the stories are centered around legal cases.
The book is short enough that you won't get bogged down, and the snippets of history that crop up in the footnotes are interesting enough that you will want to read those, too. The stories are good but not great, simply because some of them are very straightforward, and are about characters that are hard to like, by modern standards. Still, the book is worth reading if you're interesting in Viking history.
These are short prose translations of medieval manuscripts, ranging from very short stories to the longer title piece. They unveil a few of the things we understand [or often misunderstand] about the Viking period, and the world of Iceland. In one case, the character is Icelandic, but the action takes place in Europe.
Characters in this world don't always get what we think of as "justice," and their idea of a court of law isn't ours, but several of the stories are centered around legal cases.
The book is short enough that you won't get bogged down, and the snippets of history that crop up in the footnotes are interesting enough that you will want to read those, too. The stories are good but not great, simply because some of them are very straightforward, and are about characters that are hard to like, by modern standards. Still, the book is worth reading if you're interesting in Viking history.
July 9, 2020
The seven medieval sagas in this short volume (written in the 13th century) are each about as straightforward and simple as an epic saga can be. Much of the conflict is "man vs. man", with sometimes arbitrary disagreements leading to serious consequences, other times being resolved easily. These are very plot-driven, offering little insight into the motivations of these characters. These would probably best be described as historical fiction, as many of the characters were real people in the 11th and 12th centuries. Most of the action takes place in Iceland, with some characters venturing further afield to Norway, Denmark, and Italy. The English translation makes these quite readable and accessible to a modern audience.
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May 5, 2022En liten og lettleslig saga som jeg ikke forstår hvorfor ingen lærere/forelesere tipsa meg om. Den har trekka vi ble instruert til å lete etter, men flyter mer uavbrutt enn enkelte andre sagaer (som gjerne har flere digresjoner underveis). Et godt sted å begynne!
Historien har også alt en kan ønske seg: blodig hevnspiral, æressamfunn, et aktivt forhold til gudene, arkaiske rettsaker og menn som gråter. Mitt tips: plukk den med deg fra et antikvariat og sett av tid til å lese den fra perm til perm. (Evt. forord/etterord/innledning kan du lese etterpå.)
Historien har også alt en kan ønske seg: blodig hevnspiral, æressamfunn, et aktivt forhold til gudene, arkaiske rettsaker og menn som gråter. Mitt tips: plukk den med deg fra et antikvariat og sett av tid til å lese den fra perm til perm. (Evt. forord/etterord/innledning kan du lese etterpå.)
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