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156 realism. Nevertheless, within a fuller round of human trait, Eddic qualities endure. There is the same clear purpose and the strong resolve, and still the deed keeps pace with the intent. The best account of the Sagas, in English, is the Prolegomena to Vigfusson's edition of the Sturlunga Saga (Clarendon Press, 1878). Dasent's Introduction to his translation of the Njáls Saga (Edinburgh, 1861) is instructive as to the conditions of life in Iceland in the early times. W. P. Ker's Epic and Romance (Macmillan & Co., 1897) has elaborate literary criticism upon the Sagas. The following is Vigfusson's: "The Saga proper is a kind of prose Epic. It has its fixed laws, its set phrases, its regular epithets and terms of expression, and though there is, as in all high literary form, an endless diversity of interest and style, yet there are also bounds which are never over-stepped, confining the Saga as closely as the employment and restrictions of verse could do. It will be best to take as the type the smaller Icelandic Saga, from which indeed all the later forms of composition have sprung. This is, in its orginal form, the story of the life of an Icelandic gentleman, living some time in the tenth or eleventh centuries. It will tell first of his kin, going back to the settler from whom he sprung, then of his youth and early promise before he left his father's house to set forth on that foreign career which was the fitting education of the young Northern chief. These wanderjahre passed in trading voyages and pirate cruises, or in the service of one of the Scandinavian kings, as poet or henchman, the hero returns to Iceland a proved man, and the main part of the story thus preluded begins. It recounts in fuller detail and in order of time his friendships and his enmities, his exploits and renown, and finally his death; usually concluding with the revenge taken for him by his kinsmen, which fitly winds up the whole. This tale is told in an earnest, straightforward way, as by a man talking, in short simple sentences, changing when the interest grows into the historic present, with here and there an 'aside' of explanation put in.... The whole composition, grouped around a single man and a single place, is so well balanced and so naturally unfolded piece by piece, that the great art shown therein often at first escapes the reader."

The period which the Sagas would delineate commences when the Norse chiefs sail to Iceland with kith and kin and following to be rid of Harold Fairhair, and lasts for a century or more on through the time of King Olaf Tryggvason who, shield over head, sprang into the sea in the year 1000, and the life of that other Olaf, none too rightly called the Saint, who in 1030 perished in battle fighting against overwhelming odds. Following hard upon this heroic time comes the age of telling of it, telling of it at the mid-summer Althing, telling of it at Yuletide feasts, and otherwise through the long winter nights in Iceland. These tellings are the Sagas in process of creation; for a Saga is essentially a tale told by word of mouth to listeners. Thus pass another hundred years of careful telling, memorizing, and retelling of these tales, kept close to the old incidents and deeds, yet ever with a higher truth intruding. They are