Showing posts with label William Morris. Show all posts
Showing posts with label William Morris. Show all posts

Sunday, 25 September 2011

Romeo and Juliet of The North: Gunnlaugs saga ormstungu


View towards Grímsstaðamúli (and Ytri Hraundalur), Borgarfjörður

'Þat var helzt gaman Helgu, at hon rekði skikkjuna Gunnlaugsnaut ok horfði þar á löngum. Ok eitt sinn kom þar sótt mikil á bæ þeirra Þorkels ok Helgu, ok krömðusk margir lengi. Helga tók þá ok þyngð ok lá þó eigi. Ok einn laugaraptan sat Helga í eldaskála ok hneigði höfuð í kné Þorkatli, bónda sínum, ok lét senda eptir skikkjunni Gunnlaugsnaut. Ok er skikkjan kom til hennar, þá settisk hon upp ok rakði skikkjuna fyrir sér ok horfði á um stund. Ok síðan hná hon aptr í fang bónda sínum ok var þá örend' ('Helga's greatest joy was to spread out the cloak 'Gunnlaugr's gift' and gaze on it for a long time. At one time, a great sickness came to Þorkell's and Helga's farm, and many succumbed to this wasting disease for a long time. Helga became ill but couldn't stay in bed. One evening Helga sat in the hall and her head sunk onto her husband Þorkell's lap, and she had the cloak 'Gunnlaugr's gift' sent for. And when the cloak was brought to her, she sat up and spread out the cloak in front of her and gazed on it for a while. And then she sunk back again into her husband's arms and breathed her last'; Gunnlaugs saga ormstungu, ed. Sigurður Nordal and Guðni Jónsson, in Íslenzk fornrit 3 (Reykjavík, 1938), ch. 13, pp. 106-107).  

Gunnlaugs saga ormstungu ('The Saga of Gunnlaugr Serpent-tongue')-- is one of the most romantic and tragic of the Íslendingasögur. It was one of the most popular and well-known sagas in Britain in the 19th century on account of its subject-matter, comparatively short and simple plot, and small cast of characters; William Morris's 1875 translation of the saga into English made it widely available to the British and American public. The story is, in essence, one of doomed love: Gunnlaugr ormstunga Illugason falls in love with Helga in fagra ('the beautiful') Þorsteinsdóttir and she is promised to Gunnlaugr for three years while he travels abroad to acquire honour and wealth. Another Icelander, Hrafn Önundarson, also loves Helga and asks her father for her hand. When Gunnlaugr doesn't return, Helga is -- unwillingly -- betrothed to Hrafn; Gunnlaugr finally arrives back in Iceland on the night of Helga's and Hrafn's wedding, too late. Gunnlaugr and Hrafn fight a public duel at the National Assembly (the Alþingi) the following summer; the result is disputed and duelling is subsequently banned in Iceland.

Helga dies in Þorkell's lap; from a Danish
translation of the saga (1900)
So Gunnlaugr and Hrafn agree to meet in Norway to fight again. The two men rendezvous at the agreed place: "Þat er nú vel, er vit höfum fundizk" ("It's good that we have met now"; Gunnlaugs saga ch. 12, p. 101) Gunnlaugr states. The two men fight; Gunnlaugr chops off Hrafn's leg but Hrafn uses a tree-stump to prop himself up. Hrafn asks Gunnlaugr to fetch him some water and promises not to betray Gunnlaugr by attacking him if he uses his helmet as a vessel; Gunnlaugr removes his helmet and fills it with water for Hrafn. Hrafn reaches out with his left hand to take the helmet, and strikes Gunnlaugr a terrible blow on his head with his right hand. "You have betrayed me evilly now, and ignobly, when I trusted you" says Gunnlaugr ("Illa sveiktu mik nú, ok ódrengiliga fór þér, þar sem ég trúða þér", Gunnlaugs saga ch. 12, p. 102); "That's true," answered Hrafn, "but this forced me to it, that I will not grant you the embrace of Helga the fair" ("Satt er þat ... en þat gekk mér til þess, at ek ann þér eigi faðmlagsins Helgu innar fögru", Gunnlaugs saga ch. 12, p. 102). The fight continues and Hrafn dies; Gunnlaugr dies three days later from wounds he sustained. Back in Iceland, the fathers of both men are visited in their dreams by their blood-drenched sons; later, confirmation of the outcome of the fight is brought to Iceland. Helga is married to a man called Þorkell Hallkelsson and bears many children by him but she never stops loving Gunnlaugr. She holds on to him and his memory by gazing at the cloak Gunnlaugr gave to her -- a cloak that Gunnlaugr received when at the court of King Aðalráðr (Æthelred) of England as a reward for a praise-poem composed in Aðalráðr's honour.  

Gilsbakki today
"The story of the tragic fate of the lovers is a northern counterpart to Romeo and Juliet", wrote William Gershom Collingwood in his 1899 book A Pilgrimage to the Saga-Steads of Iceland (at p. 48). Collingwood -- and William Morris, ahead of Collingwood in the 1870s -- visited Gilsbakki in Hvítársíða/Borgarfjörður where Gunnlaugr was born: "The present church and parsonage lie among rich meadows on a height overlooking the valley with its lava field and thick copsewoods, and beyond, a fine panorama of glacier-clothed mountains. On both sides of the site deep gills entrench it -- whence the name, and perhaps in ancient times added some strength and security to the position. They are at any rate richly picturesque -- a fit setting for the love story whose memories haunt the place", wrote Collingwood (A Pilgrimage, p. 48). It seems that the farm buildings at Gilsbakki have always been more-or-less on the same site (the site was dug by archaeologists from Brown University in the USA a couple of years ago; photos of the excavation can be seen here); the spot where according to the saga Gunnlaugr, aged 12 and longing to travel abroad, laid out goods he took from his father's storehouse only to be denied them and permission to travel by his father, must have been somewhere up behind the present farm-house. 

The 'gil' or gully at Gilsbakki, looking south
Today, the turf-roofed-farmhouse that Collingwood and Morris would have found, and that Collingwood painted (a b/w image of Collingwood's picture can be found here, bottom left), has been replaced by modern stone buildThe ings; the fine views across the lava-and birch-carpeted valley below the farm (and the sides of the gil or gully on which account the farm is named Gilsbakki, 'bank of the gully') have not changed much, though the glacier Langsjökull is said to have diminished, and the glacier on the mountain Ok has all but disappeared. Mild September sun was lighting up the valley when I visited Gilsbakki and the colours now are stunning: rich oranges and deep reds contrasting with the greyish-green mosses that enfold the flattish outcrops of lava. Inside the farmhouse, a copy of Collingwood's painting of the old farm hangs on the wall, and a copy of the small watercolour portrait Collingwood produced of the then farmer's three-year-old daughter is in a photo-frame on a bookshelf. When the Icelandic photographer Einar Falur Ingólfsson visited Gilsbakki to photograph the place as part of his project following in Collingwood's footsteps, he photographed the current farmer's then six-year-old daughter as well as the farm from the same spot chosen by Collingwood to paint his picture: this continuity regarding the significance of the place as a 'saga-stead' or site, from the 'Saga-Age' when the events in the saga are said to have happened (the late 10th and early 11th centuries) to the 19th century, and over into the 21st century, delighted me.


Helguhóll
There are no place-names on the Gilsbakki land that commemorate Gunnlaugr; the one place-name there that is associated with Gunnlaugr and his story rather commemorates his brother Hermundr, who according to tradition -- not the saga -- was buried in the so-called Hermundarhóll ('Hermundr's hill'). Directly to the west of Gilsbakki, however, in Hraundalur in Borgarfjörður, there is a striking hill called Helguhóll ('Helga's hill'). This place is not named in Gunnlaugs saga -- but it is not far from the farm to which Helga moved (Hraun(s)dalr, now Ytri-Hraundalur, a summer-house rather than a working farm) after marrying Þorkell, and on which she died. Local tradition there, at some point in time, for some reason, connected Helga with this hill...a short article by Bjarni V. Guðjónsson about the hill that I was pointed towards suggests that perhaps it was a place where Helga found refuge, where she sat on summer evenings looking out over the plains below and over to Borg (where she was born -- being the daughter of Egill Skalla-Grímsson's son Þorsteinn; see posts of 20th March25th March, 2nd April on Egill, Egils saga, and Borg), where she might have found some peace from the trials of love she suffered in her life...

A slightly lighter-relief rendering of the saga (Gunnlaugr's and Hrafn's final duel) can be found here...you've got to love these saga re-enactments on YouTube... 

Monday, 11 April 2011

Love in a cold climate...


The rune-stone at Borg
(a replica; the original is in the Þjóðminnjasafn) 
In the churchyard at Borg in Mýrar, the district in which Egils saga is set -- said to be the oldest consecrated churchyard in Iceland, established in 1002 CE -- there is a narrow pentagonal basalt stone from Mount Baula, measuring approximately 125 cms. Along its length, it is incised with runes. In 1753, the stone was examined by Eggert Ólafsson and Bjarni Pálsson who were travelling around Iceland gathering information about the country on behalf of the Danish crown (their account was published in 1772 under the title Vicelavemand Eggert Ólafsson's og Landphysici Bjarni Pálsson's Reise igjennom Island; an English translation published in 1805 can be found online here). Eggert and Bjarni noted that the stone was in bad repair -- broken into three pieces -- and the runes were difficult to make out but they nonetheless concluded that they read 'Here lies Kjartan Ólafsson' and the stone marked the final resting place of this hero from Laxdæla saga, who died around 1003 CE and whose body was taken to Borg and buried there, according to this saga.

Detail from the rune-stone at Borg
An examination of the stone in modern times has revealed that it actually dates from the later part of the 15th century and the runes in fact read 'her : huiler : halur : hranason' ('Hér hvílir Hallur Hranason'; 'Here rests Hallur Hranason'). Nevertheless, on seeing the stone for myself, I decided that travelling north from Mýrar to Dalir, where Laxdæla saga unfolds and Kjartan died, would make a nice progression. Moreover, one of the principal characters in Laxdæla saga, Þorgerðr Egilsdóttir is (as her second name suggests) the daughter of Egill Skalla-Grímsson of Egils saga fame (see posts of Sunday 20th March, Friday 25th March, Saturday 2nd April); Kjartan Óláfsson was Þorgerðr's and her husband Óláfr pái ('Peacock') Höskuldsson's son -- and thus Egill's grandson. 

Laxdæla saga has always been one of my favourite sagas. It is an immense, epic tale of tragic love; it is more 'romantic' in character and in its descriptive detail than many of the other sagas; and amongst the characters who feature in the saga, there are several remarkable and strong women. The portrayal of these women and the focus and presentation of the narrative has led some to argue that it must have been written by a woman... 

Looking east up the Laxá
So I drove north from Egils-saga-territory to Hvammsfjörður in order to read the saga of the people of Laxárdalur. W. G. Collingwood writes that 'The valley of the Laxá ['Salmon-River'] is well-known to English readers from William Morris's [1870] poem of "The Lovers of Gudrun", which epitomises Laxdæla saga, and tells the tale of the family that lived at the two great houses of Höskuldstead and Herdholt' (Pilgrimage, p. 122). The 'argument' at the beginning of Morris's poetic retelling of the central part of the saga narrative (which was published as part of his work The Earthly Paradise) reads as follows: 'This story shows how two friends loved a fair woman, and how he who loved her best had her to wife, though she loved him little or not at all; and how one of these two friends gave shame to and received death of the other, who in his turn came to his end by reason of that deed' (The poem can be found online as a digital book here).  

Höskuldsstaðir
Morris's 'two friends' are Kjartan Óláfsson and Bolli Þorleiksson. Kjartan was born at Höskuldsstaðir, on the southern side of the Laxá river. The saga describes him at length and with a string of superlatives: as well as being strong and the most accomplished of all men at sports and fighting, Kjartan was allra manna fríðastr, þeira er fæzk hafa á Íslandi; hann var mikilleitr ok vel farinn í andliti, manna bezt eygðr ok ljóslitaðr; mikit hár hafði hann ok fagrt sem silki, ok fell með lokkum ... Kjartan var hverjum manni betr á sik kominn, svá at allir undruðusk, þeir er sá hann (Laxdæla saga, ed. Einar Ól. Sveinsson, Íslenzk fornrit 5 (Reykjavík, 1934), ch. 28, pp. 76-77; 'the most handsome of all men who have been born in Iceland; he had exceptional features and a well-formed face, the best-eyed of men and light in colour; he had a great quantity of hair which was as beautiful as silk, and fell in locks ... Kjartan was better-formed than any man, so that everyone who looked at him marvelled'). Kjartan was brought up with his foster-brother and cousin Bolli Þorleiksson, who was also handsome, strong, and accomplished: the saga states that Þeir unnusk mikit fóstbræðr (Laxdæla saga, ch. 28, p. 77; 'the foster-brothers loved each other greatly').

The hotpot at Laugar, changing-room (with underfloor
heating) in the sweet turf-roofed wooden hut...
At Laugar in Sælingsdalur, on the inner northern side of Hvammsfjörður (which Collingwood describes as 'resembl[ing] a top boot, laid down, with its heel to the East and its toe to the North', Pilgrimage, p. 115), Guðrún Ósvífrsdóttir grew up, 'the most promising of woman who had grown up in Iceland, both in appearance and in intelligence ... of all women, the most wise and most articulate' (hon var kvenna vænst, er upp óxu á Íslandi, bæði at ásjánu ok vitsmunum ... Allra kvenna var hon kænst ok bezt orði farin, Laxdæla saga, ch. 32, p. 86). There were -- and are -- natural hot springs at Laugar (I sat in the recently rebuilt hotpot, alone, in the rain, looking around at the snow-dappled mountain-sides and thinking about Guðrún), and the saga tells how the wise and prescient Gestr Oddleifsson stops off there on a short visit. Guðrún has had four strange dreams in which she throws an ill-fitting headdress into a stream, loses a valued silver ring in a lake, falls and in doing so breaks a cherished gold ring on a stone, and finally, loses a heavy gold helmet studded with gemstones which falls from her head into Hvammsfjörður. Guðrún describes these dreams to Gestr, hoping for his interpretation: Guðrún will have four husbands, and her feeling for the worth of each object -- and reaction to its loss -- symbolises the outcome of each marriage. 

Some years later, Guðrún is back at Laugar with two marriages behind her, and Kjartan is a regular visitor there; Þat var allra manna mál, at með þeim Kjartani ok Guðrúnu þætti vera mest jafnræði þeira manna, er þá óxu upp (Laxdæla saga, ch. 39, p. 112; 'It was everyone's opinion that it Kjartan and Guðrún seemed to be the most equal match of those who had then grown up'). But Kjartan determines to go abroad to Norway, buys a ship, and makes his travel plans. Guðrún longs to accompany him but is refused... At the Norwegian court, Kjartan is held to be the most exceptional man ever to have come from Iceland...with Bolli a close second; they convert to Christianity, and eventually, Bolli goes back to Iceland though Kjartan remains in Norway and doesn't take up Bolli's offer to send any specific message back to Guðrún. Bolli marries Guðrún, and when Kjartan does return to Iceland, he marries a woman called Hrefna. Kjartan eschews Bolli's efforts to rekindle their closeness; jealousy and bitterness and petty-minded acts of theft and insult on both sides develop into open feud -- and Guðrún urges Bolli to avenge their household for the insults Kjartan has directed at them.

The scene is set for an ambush when Kjartan is riding through Svínadalur: Guðrún's brothers attack but Bolli stands by; Kjartan sets his back against a large rock and defends himself against the onslaught. "Bolli frændi, hví fórtu heiman, ef þú vildir kyrr standa hjá?" (Laxdæla saga, ch. 49, p. 153; "Cousin Bolli, why did you leave home if you wanted to stand still to the side?") calls Kjartan to Bolli, and Guðrún's brothers urge Bolli on to take action -- they will be deeply shamed if Kjartan escapes now. So Bolli draws his sword and turns on Kjartan. When Kjartan sees this, he throws down his weapons saying that though Bolli is about to commit a terrible kin-slaughter, he would rather receive his deathblow from Bolli ("Víst ætlar þú nú, frændi, níðingsverk at gera, en miklu þykki mér betra at þiggja banaorð af þér, frændi, en veita þér þat", Laxdæla saga, ch. 49, p. 154; "Certainly you intend now to commit a shameful deed, cousin, but it seems much better to me to receive death from you, cousin, than to grant the same to you"). Bolli deals Kjartan his deathblow without answering, gathers up the fatally-wounded Kjartan in his arms, and Kjartan dies on Bolli's lap.


Kjartanssteinn in Svínadalur
A short distance to the east of the road that runs north/south through Svínadalur, a little south of a gully ('gil') called Drífandagil, is a large stone. The stone stands on a small hill the other side of the stream that runs along the road; it is known as Kjartanssteinn ('Kjartan's stone'; photo to left, the dark silhouette against the snow in the upper right quartile of the picture). The stone is marked on maps of the area though I could not find out when it first acquired the name 'Kjartanssteinn'. Local people who I talked to all commented that the puzzle with regard to this stone is that its location south of Drífandagil does not fit perfectly with the details in Laxdæla saga concerning the ambush and killing of Kjartan. According to the saga, the ambushing party rides to Svínadalur and takes up position beside a gully called Hafragil. Kjartan rides south down the valley towards Hafragil -- and the attack takes place here, by a large stone.

But today, there is no large stone besides Hafragil, which is some 5kms south of the stone known as Kjartanssteinn. Is the saga 'right' in locating the fight by Hafragil -- where perhaps there once was a large stone which subsequently rolled away? Is the stone known as Kjartanssteinn today the 'right' stone, and did the attack 'actually' take place a little to the north of where the saga tells us it happened? Did the 13th-century saga author know of a stone in the area which in local tradition was connected in some way to Kjartan and his death, and which prompted him (or her...) to include the detail that Kjartan set his back against a large stone while he defended himself? Is the identification of the large stone south of Drífandagil as Kjartanssteinn a nice example of the natural human desire to locate a momentous event described in a powerful narrative physically in the landscape? "This is where the great hero Kjartan Óláfsson died! Right here, on this very spot..." The tragedy and pathos of the scene is focused and becomes concrete, the veracity of the narrative is confirmed by the landscape. 

Who knows. Behind these questions are lines of debate that have been pursued by saga-critics throughout the history of saga scholarship; I do not hope or intend to answer questions revolving around the extent to which the sagas are 'true' or not, on the basis of their fit in the physical landscape. But what a deep thrill to sit in the hotpot at Laugar thinking of Guðrún and her dreams, and to walk up to Kjartanssteinn with the desperate image of Kjartan's death at the hands of his foster-brother and best friend in my mind -- the resonance of remarkable characters and events from a long-past era coming together with the present.       

Wednesday, 27 October 2010

The 'official' project outline

The Saga-Steads of Iceland: A 21st-Century Pilgrimage

I complete my term as a post-doctoral Research Fellow (in medieval Icelandic literature) at Emmanuel College, Cambridge, in December 2010 and I am planning an ambitious and exciting project for 2011. I intend to move to Iceland in January 2011 in order to embark upon a year-long '21st-century pilgrimage to the saga-steads of Iceland'. I will drive from the UK to Denmark, where I will catch a ferry from Hirtshals over to the Faroe Islands, and then on to Iceland, weather at sea permitting. Once in Iceland, over the course of the year, I will travel around and across the country reading each one of the 13th-century Íslendingasögur (the Icelandic family sagas) in the physical landscapes in which they and their 9th-, 10th-, and 11th-century action are set. I will live for the most part out of my Land Rover ambulance and will move from farm to farm on the basis of introductions I already have and growing awareness and interest in the project. I want to talk to people I meet about their personal interests in, and responses to, the sagas and I hope to persuade people to tell oral versions of sagas they know, or episodes from sagas that are local to their part of the country.
* * *
In addition, I will draw on published 19th-century travel accounts by figures such as William Morris, W. G. Collingwood, and Sabine Baring-Gould, comparing what they found on visiting the saga-sites with what is to be found now. As I travel, I will write up my experiences and the end-product will be a book that will be published by a mainstream commercial publisher, and will be of interest not only to those who are already knowledgeable about Iceland and familiar with the sagas, but the wider British reading public. In essence, the book will be about Iceland and its unique landscape, the sagas against and within that landscape, the Icelandic people and their relationship with the landscape and the sagas, and continuity and change in Iceland from medieval to present times. The book will be illustrated with my photographs.
* * *
The financial collapse in 2008 and the eruption of the Eyjafjallajökull volcano in 2010 flung Iceland onto the global stage--albeit under a cloud, literally and metaphorically. British perceptions of Iceland are (often negatively) based on the after-effects of these events--i.e. the lock-down of international air travel--and on images of a bleak and inhospitable landscape used as the backdrop to 4-by-4 car adverts. I want to redress this situation by communicating to the British public how much more there is to Iceland. Most of what is written about Iceland for general consumption is based on the superficial experiences of commercial writers who have little or no previous knowledge of the country, its history and culture, and most importantly, the Icelandic language. I speak Icelandic fluently, however, and I know rural parts of the country well (and how Icelandic rural life works) as a result of working on a dairy farm in the north of the country.
* * *
Beyond the book, additional project outputs will be high-profile media coverage (national newspapers, magazines, radio), and I will also keep a blog in which I will report on my progress. By these means, I hope to communicate something of the remarkable character of Iceland--founded on informed knowledge and experiences--to the wider, non-academic public in the UK.