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Fritiofs Saga
Esaias Tegner was a 19th century Swedish writer and professor of Greek language. After writing Fridthjof's Saga Tegner was considered the father of modern Swedish poetry. Fridthjof's Saga dates back to the 8th century in Iceland. King Beli had two sons, Helgi and Halfdan, and a daughter named Ingeborg. On the other side of the fjord, lived the king's friend whose son Frithjof was called "the bold" and he was the bravest among men. Frithjof had been raised together with Ingeborg by their foster-father Hilding. Both Beli and Þorsteinn died in war whereupon Helgi and Halfdan ruled the kingdom. The two kings were jealous of Frithjof's excellent qualities and so they refused to let him marry Ingeborg. When Frithjof returned he burnt down Baldr's temple and went away and became a Viking. After three years, he came to king Ring. Just before the old king died, Frithjof's identity was apparent to everybody and the dying king appointed Frithjof Earl and made him the care-taker of Ring and Ingeborg's child. When Ring died, Frithjof and Ingeborg married and he became the king of Ringerike. Then he declared war on Ingeborg's brothers killing one of them and making the second his vassal.
252 pages, Hardcover
First published January 1, 1825
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Displaying 1 - 16 of 16 reviews
September 6, 2025
Fridthjof of Sogn may have come from western Norway in the 8th century A.D. The original Fridthjof’s Saga ( Friðþjófs saga ins frœkna) was probably composed around the year 1300, five centuries after the real-life Fridthjof of Sogn may have lived; and five more centuries after that, in 1825, a Swedish professor named Esaias Tegnér published a translation that gave the world Fridthjof’s Saga: A Norse Romance – the form in which this epic has come to be best-known.
Much of Esaias Tegnér’s life was linked with the University of Lund in southern Sweden; there, he began as a student, continued as a tutor, and eventually became a lecturer and professor. During his two decades at the university, Tegnér pursued his interest in Scandinavian history and culture, and in the Old Norse language. His translation of Fridthjof’s Saga, pursued over a five-year period that began in 1820, made him famous, and gained him the praise of Johann Wolfgang von Goethe.
Fridthjof’s Saga is a sort of sequel to the earlier Saga of Thorstein Vikingsson (Þorsteins saga Víkingssonar) – logically, as Fridthjof is the son of Thorstein. Like his father, Fridthjof is a virtuous commoner, renowned for his strength and bravery. Fridthjof was raised alongside the orphaned princess Ingeborg, and the two have long since fallen in love.
Fridthjof dreams of being able to build for Ingeborg “A leafy cottage near the meadow…by the dark-blue sea” where they would be able to live in the glow of “bright Valhalla’s sun each morning” and rest in connubial happiness beneath “the shadow/Of many a golden-fruited tree”. But Ingeborg’s brothers balk at the idea of letting their sister marry a “commoner,” planning instead to marry her to the elderly King Ring (yes, that is really his name).
Fridthjof knows he must leave “My peerless beauty of the North”; and the next day, when he does not show up at the council established to decide Ingeborg’s wedded destiny, Ingeborg notes sadly that “Still Ingeborg cometh not”, and meditates sadly upon the possibility that “Valhalla’s gods/No longer love me; I’ve offended them.”
Fridthjof goes Viking, literally and figuratively – as, in Old Norse, “to go viking” means “to travel the sea miles.” In the process, Fridthjof repeatedly demonstrates his heroic virtues. At one point, when Fridthjof is on his way to the hall of the earl Aglantyr, a Viking named Atle declares that he will test the well-known rumour “That all blades Fridthjof sunders,/And never sues for peace.” Fridthjof, though tired from his travels, at once accepts Atle’s challenge, and quickly breaks Atle’s sword, leaving the challenger disarmed. Embodying the spirit of fair play, Fridthjof offers Atle the chance to wrestle for supremacy, saying, “A swordless foeman/I’ve no desire to slay;/But if you will, as yeomen,/We’ll try another way.”
Atle agrees. They fight, Fridthjof wins again, and then, his anger provoked, says that he would kill the prone Atle if he had his sword with him. Atle, defeated but unvanquished, tells Fridthjof to go ahead and strike: “Why should it make me sorrow?/For all must Valhalla see;/I go today – tomorrow/Perhaps thy turn will be.” Impressed by Atle’s courageous acceptance of the prospect of death, Fridthjof spares him, and everyone goes forward to feast and drink as friends. No doubt this scenario was meant to embody the popular vision of the Vikings as fierce warriors with a chivalric spirit of respect for courage.
Fridthjof, disguising his identity, eventually arrives at King Ring’s court, where his beloved Ingeborg is married to the elderly King Ring. In one crucial moment, Fridthjof finds King Ring sleeping, and is tempted by “a coal-black bird” to slay the sleeping king who has married the woman Fridthjof loves: “Hasten, Fridthjof, say the grey-beard…Take the queen, she’s thine by promise; thee the bridal kiss she gave,/Human eyes do not behold thee”. Fortunately, there is also “a snow-white bird” to offer countervailing advice – “Though no human eye behold thee, Odin sees and hears each word;/Coward, wilt thou murder slumber? Slay an old defenceless man?/Win what else, the crown of heroes is not won by such a plan” – but I’m not sure the snow-white bird needed to bother. Fridthjof does not seem like the type to commit cold-blooded murder against a sleeping victim.
It is no surprise, therefore, when Fridthjof throws away his blade rather than murder a king who has given him hospitality. And it’s a nice touch when it is revealed that King Ring was awake right along! “I, O youth, have not been sleeping, but to prove you I have tried;/Man or sword a wise man testeth, ere in them he will confide.” King Ring knows that his visitor is Fridthjof in disguise, trusts Fridthjof, and welcomes Fridthjof to his kingdom. And King Ring has other good news that offers the hope of a reunion between Fridthjof and his beloved.
Tegnér has been called the first modern Swedish poet, for the way in which he incorporated into his translation of Fridthjof’s Saga a variety of Swedish poetic forms. Goethe had done something quite similar with German poetic forms in his Faust, and therefore I suppose it is no surprise that Goethe liked Tegnér’s work so much. I do not know Swedish well enough to read Tegnér’s work in the original, but I did find that Tegnér’s modern rendering of Fridthjof’s Saga provides an energetic and vigorous glimpse into the Vikings’ world and world-view.
Much of Esaias Tegnér’s life was linked with the University of Lund in southern Sweden; there, he began as a student, continued as a tutor, and eventually became a lecturer and professor. During his two decades at the university, Tegnér pursued his interest in Scandinavian history and culture, and in the Old Norse language. His translation of Fridthjof’s Saga, pursued over a five-year period that began in 1820, made him famous, and gained him the praise of Johann Wolfgang von Goethe.
Fridthjof’s Saga is a sort of sequel to the earlier Saga of Thorstein Vikingsson (Þorsteins saga Víkingssonar) – logically, as Fridthjof is the son of Thorstein. Like his father, Fridthjof is a virtuous commoner, renowned for his strength and bravery. Fridthjof was raised alongside the orphaned princess Ingeborg, and the two have long since fallen in love.
Fridthjof dreams of being able to build for Ingeborg “A leafy cottage near the meadow…by the dark-blue sea” where they would be able to live in the glow of “bright Valhalla’s sun each morning” and rest in connubial happiness beneath “the shadow/Of many a golden-fruited tree”. But Ingeborg’s brothers balk at the idea of letting their sister marry a “commoner,” planning instead to marry her to the elderly King Ring (yes, that is really his name).
Fridthjof knows he must leave “My peerless beauty of the North”; and the next day, when he does not show up at the council established to decide Ingeborg’s wedded destiny, Ingeborg notes sadly that “Still Ingeborg cometh not”, and meditates sadly upon the possibility that “Valhalla’s gods/No longer love me; I’ve offended them.”
Fridthjof goes Viking, literally and figuratively – as, in Old Norse, “to go viking” means “to travel the sea miles.” In the process, Fridthjof repeatedly demonstrates his heroic virtues. At one point, when Fridthjof is on his way to the hall of the earl Aglantyr, a Viking named Atle declares that he will test the well-known rumour “That all blades Fridthjof sunders,/And never sues for peace.” Fridthjof, though tired from his travels, at once accepts Atle’s challenge, and quickly breaks Atle’s sword, leaving the challenger disarmed. Embodying the spirit of fair play, Fridthjof offers Atle the chance to wrestle for supremacy, saying, “A swordless foeman/I’ve no desire to slay;/But if you will, as yeomen,/We’ll try another way.”
Atle agrees. They fight, Fridthjof wins again, and then, his anger provoked, says that he would kill the prone Atle if he had his sword with him. Atle, defeated but unvanquished, tells Fridthjof to go ahead and strike: “Why should it make me sorrow?/For all must Valhalla see;/I go today – tomorrow/Perhaps thy turn will be.” Impressed by Atle’s courageous acceptance of the prospect of death, Fridthjof spares him, and everyone goes forward to feast and drink as friends. No doubt this scenario was meant to embody the popular vision of the Vikings as fierce warriors with a chivalric spirit of respect for courage.
Fridthjof, disguising his identity, eventually arrives at King Ring’s court, where his beloved Ingeborg is married to the elderly King Ring. In one crucial moment, Fridthjof finds King Ring sleeping, and is tempted by “a coal-black bird” to slay the sleeping king who has married the woman Fridthjof loves: “Hasten, Fridthjof, say the grey-beard…Take the queen, she’s thine by promise; thee the bridal kiss she gave,/Human eyes do not behold thee”. Fortunately, there is also “a snow-white bird” to offer countervailing advice – “Though no human eye behold thee, Odin sees and hears each word;/Coward, wilt thou murder slumber? Slay an old defenceless man?/Win what else, the crown of heroes is not won by such a plan” – but I’m not sure the snow-white bird needed to bother. Fridthjof does not seem like the type to commit cold-blooded murder against a sleeping victim.
It is no surprise, therefore, when Fridthjof throws away his blade rather than murder a king who has given him hospitality. And it’s a nice touch when it is revealed that King Ring was awake right along! “I, O youth, have not been sleeping, but to prove you I have tried;/Man or sword a wise man testeth, ere in them he will confide.” King Ring knows that his visitor is Fridthjof in disguise, trusts Fridthjof, and welcomes Fridthjof to his kingdom. And King Ring has other good news that offers the hope of a reunion between Fridthjof and his beloved.
Tegnér has been called the first modern Swedish poet, for the way in which he incorporated into his translation of Fridthjof’s Saga a variety of Swedish poetic forms. Goethe had done something quite similar with German poetic forms in his Faust, and therefore I suppose it is no surprise that Goethe liked Tegnér’s work so much. I do not know Swedish well enough to read Tegnér’s work in the original, but I did find that Tegnér’s modern rendering of Fridthjof’s Saga provides an energetic and vigorous glimpse into the Vikings’ world and world-view.
January 19, 2020
ENGLISH: This poem was originally an Icelandic saga. Then, in 1825, Bishop Esaias Tegnér translated it into Swedish verse. In 1876, an English translation of the bishop's work appeared, also in verse, by the Holcomb (Thomas and Martha). This is the version I have just read. It's a pity that verse translations are so rare nowadays, as we have turned into a rushed civilization, where everybody wants to get fast results, which isn't possible when you are trying to write poems.
The saga and the poem describe a love story, at first unhappy, but with a happy end, mixed with a tale of hate and vengeance between the main character (viking Fridthjof) and king Helgi, his opponent, in spite of the fact that their fathers had been very good friends. In the fight, while Fridthjof trusts mainly his own huge strength, Helgi resorts to the help of marine monsters and even spells.
In the bishop's version, in the last canto, there is a mention of Christianity as the religion of the future, although in most of the work the Norse gods are assumed.
I read a Spanish version of the saga when I was a teenager. Its plot was slightly different, but on the main quite similar. Although in the original saga Fridthjof kills Helgi, in the bishop's version Helgi's death is accidental.
ESPAÑOL: Este poema surgió a partir de una saga islandesa. En 1825, el obispo Esaias Tegnér lo tradujo al suevo en verso. En 1876 apareció una traducción al inglés de la obra del obispo, también en verso, realizada por los Holcomb (Thomas y Martha). Es una pena que las traducciones en verso sean tan raras hoy día, pues nos hemos convertido en una civilización apresurada, donde todo el mundo quiere obtener resultados rápidamente, lo que no es posible cuando se trata de escribir poemas.
La saga y el poema describen una historia de amor, al principio infeliz, pero con final feliz, mezclado con una historia de odio y venganza entre el personaje principal (el vikingo Fridthjof) y el rey Helgi, su oponente, a pesar de que los padres de ambos habían sido muy buenos amigos. En la lucha, mientras Fridthjof confía principalmente en su enorme fuerza, Helgi recurre a la ayuda de monstruos marinos e incluso hechizos.
En la versión del obispo, en el último canto, se menciona el cristianismo como la religión del futuro, aunque la mayor parte de la obra asume los dioses nórdicos.
Cuando era adolescente leí una versión en español de la saga. Su argumento era ligeramente distinto, pero en general bastante parecido. Aunque en la saga original Fridthjof mata a Helgi, en la versión del obispo la muerte de Helgi es accidental.
The saga and the poem describe a love story, at first unhappy, but with a happy end, mixed with a tale of hate and vengeance between the main character (viking Fridthjof) and king Helgi, his opponent, in spite of the fact that their fathers had been very good friends. In the fight, while Fridthjof trusts mainly his own huge strength, Helgi resorts to the help of marine monsters and even spells.
In the bishop's version, in the last canto, there is a mention of Christianity as the religion of the future, although in most of the work the Norse gods are assumed.
I read a Spanish version of the saga when I was a teenager. Its plot was slightly different, but on the main quite similar. Although in the original saga Fridthjof kills Helgi, in the bishop's version Helgi's death is accidental.
ESPAÑOL: Este poema surgió a partir de una saga islandesa. En 1825, el obispo Esaias Tegnér lo tradujo al suevo en verso. En 1876 apareció una traducción al inglés de la obra del obispo, también en verso, realizada por los Holcomb (Thomas y Martha). Es una pena que las traducciones en verso sean tan raras hoy día, pues nos hemos convertido en una civilización apresurada, donde todo el mundo quiere obtener resultados rápidamente, lo que no es posible cuando se trata de escribir poemas.
La saga y el poema describen una historia de amor, al principio infeliz, pero con final feliz, mezclado con una historia de odio y venganza entre el personaje principal (el vikingo Fridthjof) y el rey Helgi, su oponente, a pesar de que los padres de ambos habían sido muy buenos amigos. En la lucha, mientras Fridthjof confía principalmente en su enorme fuerza, Helgi recurre a la ayuda de monstruos marinos e incluso hechizos.
En la versión del obispo, en el último canto, se menciona el cristianismo como la religión del futuro, aunque la mayor parte de la obra asume los dioses nórdicos.
Cuando era adolescente leí una versión en español de la saga. Su argumento era ligeramente distinto, pero en general bastante parecido. Aunque en la saga original Fridthjof mata a Helgi, en la versión del obispo la muerte de Helgi es accidental.
January 10, 2017
(Habe ich auf Deutsch gelesen.) Die Frithjofs-Sage lässt sich auf jeden Fall schnell lesen (ca. 4 Stunden), was allerdings den Lesefluss stört, ist die veraltete Rechtschreibung. Mir gefällt, dass bei den einzelnen Gesängen unterschiedliche Versmaße verwendet werden, die passen gut dazu. Man sollte sich vielleicht ein wenig mit nordischer Mythologie auskennen, denn es gibt zwar am Ende Erklärungen zu den Begriffen, aber während des Lesens ständig nachschlagen zu müssen, stelle ich mir mühsam vor. Frithjof ist eine vielschichtige und intetessante Figur, die meisten anderen Charaktere wurden aber kaum näher beschrieben. Viele Motive kannte ich schon, aber die Frithjofs-Sage ist nochmal ein anderer Blickwinkel und mein Vorwissen hat mir geholfen, den Inhalt leichter zu verstehen. Wenn ich es nicht für die Uni gelesen hätte, hätte ich es vermutlich nicht gemacht, was doch schade wäre.
March 16, 2011
This was a nice classic tale of a guy's quest to marry a princess. It helps to be familiar with Norse Mythology to really understand what is going on with this because there are frequent references to Balder, Freya and other gods throughout this saga.
February 23, 2023
This is a tale based on an old Icelandic saga about the Vikings. The external plot is characterized by the love story between Frithiof and Ingeborg, which leads to political conflicts, war, the wrath of the god Balder, Frithiof's exile, his return and reconciliation. However, I believe that the inner plot is what made this tale noticeable and translated into several languages. Tegnér uses a beautiful and poetical prose to describe the raw and brutal yet simple life of a Viking, that people could recognize themselves in. At the core of Frithiof's being is a defiant Viking spirit. To this, Tegnér added a touch of melancholy and a longing for reconciliation and inner peace.
Frithiof's saga is a work in which Tegnér presents a variety of possibilities of the Swedish language in bound poetry. For each section, a total of 24 pieces, a unique meter is used. What impressed me the most is Tegnér's ability to choose a verse form according to the changing content.
Tegnér managed to re-dress an old fairy tale and convey its content to the people of a modern world. Although we do not share the same language, with the help of a common language, we can share experiences and struggles that bind us together while strengthening our nations. This is exactly what world literature is all about. I believe that this is why Frithiof's saga got to be so popular and spread throughout the world during the 19th century.
Frithiof's saga is a work in which Tegnér presents a variety of possibilities of the Swedish language in bound poetry. For each section, a total of 24 pieces, a unique meter is used. What impressed me the most is Tegnér's ability to choose a verse form according to the changing content.
Tegnér managed to re-dress an old fairy tale and convey its content to the people of a modern world. Although we do not share the same language, with the help of a common language, we can share experiences and struggles that bind us together while strengthening our nations. This is exactly what world literature is all about. I believe that this is why Frithiof's saga got to be so popular and spread throughout the world during the 19th century.
December 2, 2020
Vad jag gillar:
Själva poesin är utmärkt, boken är full av minnesvärda verser jag lärt mig utantill, framföralt första dikten är så bra att den funkat helt självständigt.
Känslan för nordisk kultur är också god, även om detta är en romantisering av historien så säger det i sig en historisk romantisering i och med att boken är 200 år vid det här lagret,
Med så skön poesi är det lätt att inte märka problemet, vilket leder mig till-
Vad jag ogillar:
Själva berättelsen och sensmoralen är usel, rent av deprimerande. Allt blir i slutändad alldeles för idealiserat för att kännas ärligt, Frithiof och Ingeborg är perfekta, när Ingeborg vägrar rymma med Frithiof är det otroligt, att Kung Ring sedan känner igen Fritiof, testar hans moral (med livet som insatts), att Frithiof klarar testet, att Kung Ring bars råkar vara döende och lämnar över sin fru, att Frithiof återuppbygger templet och slutligen får sin Ingeborg, allt känns alldeles för perfekt, moraliskt och orealistiskt och lämnar mig deprimerad.
Jag vet att det kan tyckas fånigt att jag hakar upp mig så mycket över en saga men jag vill verkligen älska den här boken, Sveriges nationalepos, men stör mig så mycket på filosofin bakom.
Själva poesin är utmärkt, boken är full av minnesvärda verser jag lärt mig utantill, framföralt första dikten är så bra att den funkat helt självständigt.
Känslan för nordisk kultur är också god, även om detta är en romantisering av historien så säger det i sig en historisk romantisering i och med att boken är 200 år vid det här lagret,
Med så skön poesi är det lätt att inte märka problemet, vilket leder mig till-
Vad jag ogillar:
Själva berättelsen och sensmoralen är usel, rent av deprimerande. Allt blir i slutändad alldeles för idealiserat för att kännas ärligt, Frithiof och Ingeborg är perfekta, när Ingeborg vägrar rymma med Frithiof är det otroligt, att Kung Ring sedan känner igen Fritiof, testar hans moral (med livet som insatts), att Frithiof klarar testet, att Kung Ring bars råkar vara döende och lämnar över sin fru, att Frithiof återuppbygger templet och slutligen får sin Ingeborg, allt känns alldeles för perfekt, moraliskt och orealistiskt och lämnar mig deprimerad.
Jag vet att det kan tyckas fånigt att jag hakar upp mig så mycket över en saga men jag vill verkligen älska den här boken, Sveriges nationalepos, men stör mig så mycket på filosofin bakom.
May 22, 2018
Enjoyable when understood.
I found it difficult to follow along at time and other times it was clear to what events unfolded. I would regard it as a classic good guy was made promises, next generation disregarded promises, spurned hero goes and sulks. Then hero decides enough time passes to seek his lost love, instead of killing love's husband lets him die of old age then seeks vengence on those who broke promises killing one and forgiving the other.
I found it difficult to follow along at time and other times it was clear to what events unfolded. I would regard it as a classic good guy was made promises, next generation disregarded promises, spurned hero goes and sulks. Then hero decides enough time passes to seek his lost love, instead of killing love's husband lets him die of old age then seeks vengence on those who broke promises killing one and forgiving the other.
November 1, 2025
Det går utmärkt att inte läsa eller göra sig förtrogen med Fritiofs saga. Det handlar väl om att jag varken är glad i lyrik eller vikingar men den har inget son du inte hört förut: kärlek med förhinder, blodsfejd, en hjälte som är så bra och god att ingen kan låta bli att hylla dem och i slutet en pliktskyldig föraning om att jesus är på G in bland hedningarna.
March 18, 2024
If you're a fan of Viking mythology or just love a good old-fashioned romance with a touch of adventure (forbidden love between a Viking warrior and a princess due to their social statuses), this book is a good read.
June 30, 2025
Svulstigt är bara förnamnet. Här får vi följa stackars Fritiof som nekas sin kära pga dålig börd. Hon blir kung Rings fru, men det löser sig till slut. Under sagans gång blir vi väl skolade i asatron. Kul men också lite för mycket. Dock några helt briljanta rimmade verser av Tegnér.
This entire review has been hidden because of spoilers.
September 18, 2017
Fint språk men svårt att ta till sig
August 14, 2023
A beautiful verse adaptation of a great saga.
October 15, 2025
Var tidvis underhållen men inte tillräckligt underhållen för tre stjärnor
February 1, 2023
Fridthjof's Saga; a Norse Romance by Esaias Tegnér (lived 1782 - 1846), in Swedish
Translated in 1876 from Swedish to English by Thomas A. E. Holcomb and Martha A. Lyon Holcomb
The translators call this "the first complete American translation" of this work; the intent was to offer an English edition "satisfactory to the Swedes" who were familiar with its "original measures" and "peculiar rhythm". The rhyme and meter is different in each canto, which helps keep things interesting. I haven't read Tegner's Swedish version, so I can't tell how well the Holcombs accomplished their goal but the poetry provides pleasant reading, sometimes in romance style and sometimes sea-faring Viking warrior, with changing rhyme structure and cadence to set the tone.
The oldest known version of the saga is Icelandic, written in Old Norse about 1300 but set in 8th century Norway. If there is an older version, it was never written down. Like many stories, it may have been passed down in oral tradition. When Tegner published his translation, he added more sections. The English translation includes mentions of feather plumes in helmets and glass windows in a hall - neither used in the Viking age - which makes me wonder what was changed in which translation. I'm going to try reading older versions.
As for the story, it is about Fridthjof and his foster-sister Ingeborg, a princess, who fall in love with each other. Some of the tale is happy but Ingeborg's brothers don't approve of Fridthjof, who is banished, and Ingeborg is married off to King Ring. Fridthjof spends some years a-Viking and returns when Ring, who was much older, is about to die. Then there will be a happy ending, but not for Ingeborg's brothers. It's helpful to know something about the Norse gods, as many are mentioned. There was a glossary at the end of the version I read.
You can find various versions and translations of this saga for free on Gutenberg.org (they are out of copyright). If searching, look for different spellings like Fridtjof, Frithiof, and Fridthjof. "Friðþjófs saga ins frækna" is the Icelandic version, available on www.heimskringla.no - they also have it translated into Norwegian and Danish and a wealth of other sagas.
Translated in 1876 from Swedish to English by Thomas A. E. Holcomb and Martha A. Lyon Holcomb
The translators call this "the first complete American translation" of this work; the intent was to offer an English edition "satisfactory to the Swedes" who were familiar with its "original measures" and "peculiar rhythm". The rhyme and meter is different in each canto, which helps keep things interesting. I haven't read Tegner's Swedish version, so I can't tell how well the Holcombs accomplished their goal but the poetry provides pleasant reading, sometimes in romance style and sometimes sea-faring Viking warrior, with changing rhyme structure and cadence to set the tone.
The oldest known version of the saga is Icelandic, written in Old Norse about 1300 but set in 8th century Norway. If there is an older version, it was never written down. Like many stories, it may have been passed down in oral tradition. When Tegner published his translation, he added more sections. The English translation includes mentions of feather plumes in helmets and glass windows in a hall - neither used in the Viking age - which makes me wonder what was changed in which translation. I'm going to try reading older versions.
As for the story, it is about Fridthjof and his foster-sister Ingeborg, a princess, who fall in love with each other. Some of the tale is happy but Ingeborg's brothers don't approve of Fridthjof, who is banished, and Ingeborg is married off to King Ring. Fridthjof spends some years a-Viking and returns when Ring, who was much older, is about to die. Then there will be a happy ending, but not for Ingeborg's brothers. It's helpful to know something about the Norse gods, as many are mentioned. There was a glossary at the end of the version I read.
You can find various versions and translations of this saga for free on Gutenberg.org (they are out of copyright). If searching, look for different spellings like Fridtjof, Frithiof, and Fridthjof. "Friðþjófs saga ins frækna" is the Icelandic version, available on www.heimskringla.no - they also have it translated into Norwegian and Danish and a wealth of other sagas.
May 31, 2019
Read for Project Gutenberg Distributed Proofreaders in the final stage before publishing as an e-text (smooth reading).
This is a charming saga from Norway. It is translated very well, the text has a lyrical cadence to it. I really liked it!
This is a charming saga from Norway. It is translated very well, the text has a lyrical cadence to it. I really liked it!
February 13, 2010
I read this one is the original Swedish - a delightful old tale of a Nordic hero in the Viking Age.
Displaying 1 - 16 of 16 reviews