Epic and Romance Part 14

Then she said to the boy Thord, Kari's son: "Thee will I take out, and thou shalt not burn in here."

"Thou hast promised me this, grandmother," says the boy, "that we should never part so long as I wished to be with thee; but methinks it is much better to die with thee and Njal than to live after you."

Then she bore the boy to her bed, and Njal spoke to his steward and said:--

"Now shalt thou see where we lay us down, and how I lay us out, for I mean not to stir an inch hence, whether reek or burning smart me, and so thou wilt be able to guess where to look for our bones."

He said he would do so.

There had been an ox slaughtered, and the hide lay there.

Njal told the steward to spread the hide over them, and he did so.

So there they lay down both of them in their bed, and put the boy between them. Then they signed themselves and the boy with the cross, and gave over their souls into G.o.d's hand, and that was the last word that men heard them utter.

Then the steward took the hide and spread it over them, and went out afterwards. Kettle of the Mark caught hold of him and dragged him out; he asked carefully after his father-in-law Njal, but the steward told him the whole truth. Then Kettle said:--

"Great grief hath been sent on us, when we have had to share such ill-luck together."

Skarphedinn saw how his father laid him down and how he laid himself out, and then he said:--

"Our father goes early to bed, and that is what was to be looked for, for he is an old man."

The harmonies of _Laxdaela_ are somewhat different from those of the history of Njal, but here again the elements of grace and strength, of gentleness and terror, are combined in a variety of ways, and in such a way as to leave no preponderance to any one exclusively. Sometimes the story may seem to fall into the exemplary vein of the "antique poet historicall"; sometimes the portrait of Kjartan may look as if it were designed, like the portrait of Amadis or Tirant the White, "to fas.h.i.+on a gentleman or n.o.ble person in vertuous and gentle discipline." Sometimes the story is involved in the ordinary business of Icelandic life, and Kjartan and Bolli, the Sigurd and Gunnar of the tragedy, are seen engaged in common affairs, such as make the alloy of heroic narrative in the _Odyssey_. The hero is put to the proof in this way, and made to adapt himself to various circ.u.mstances.

Sometimes the story touches on the barbarism and cruelty, which were part of the reality familiar to the whole of Iceland in the age of the Sturlungs, of which there is more in the authentic history of the Sturlungs than in the freer and more imaginative story of Kjartan. At one time the story uses the broad and fluent form of narrative, leaving scene after scene to speak for itself; at other times it allows itself to be condensed into a significant phrase. Of these emphatic phrases there are two especially, both of them speeches of Gudrun, and the one is the complement of the other: the one in the tone of irony, Gudrun's comment on the death of Kjartan, a repet.i.tion of Brynhild's phrase on the death of Sigurd;[59] the other Gudrun's confession to her son at the end of the whole matter.

[Footnote 59: Then Brynhild laughed till the walls rang again: "Good luck to your hands and swords that have felled the goodly prince"

(_Brot Sgkv._ 10; cf. p. 103 above).]

Gudrun meets her husband coming back, and says: "A good day's work and a notable; I have spun twelve ells of yarn, and you have slain Kjartan Olaf's son."

Bolli answers: "That mischance would abide with me, without thy speaking of it."

Said Gudrun: "I reckon not that among mischances; it seemed to me thou hadst greater renown that winter Kjartan was in Norway, than when he came back to Iceland and trampled thee under foot. But the last is best, that Hrefna will not go laughing to bed this night."

Then said Bolli in great wrath: "I know not whether she will look paler at this news than thou, and I doubt thou mightest have taken it no worse if we had been left lying where we fought, and Kjartan had come to tell of it."

Gudrun saw that Bolli was angry, and said: "Nay, no need of words like these; for this work I thank thee; there is an earnest in it that thou wilt not thwart me after."

This is one of the crises of the story, in which the meaning of Gudrun is brought out in a short pa.s.sage of dialogue, at the close of a section of narrative full of adventure and incident. In all that precedes, in the relations of Gudrun to Kjartan before and after her marriage with Bolli, as after the marriage of Kjartan and Hrefna, the motives are generally left to be inferred from the events and actions.

Here it was time that Gudrun should speak her mind, or at least the half of her mind.

Her speech at the end of her life is equally required, and the two speeches are the complement of one another. Bolli her son comes to see her and sits with her.

The story tells that one day Bolli came to Helgafell; for Gudrun was always glad when he came to see her. Bolli sat long with his mother, and there was much talk between them.

At last Bolli said: "Mother, will you tell me one thing? It has been in my mind to ask you, who was the man you loved best?"

Gudrun answers: "Thorkell was a great man and a lordly; and no man was goodlier than Bolli, nor of gentler breeding; Thord Ingwin's son was the most discreet of them all, a wise man in the law. Of Thorvald I make no reckoning."

Then says Bolli: "All this is clear, all the condition of your husbands as you have told; but it has not yet been told whom you loved best. You must not keep it secret from me longer."

Gudrun answers: "You put me hard to it, my son; but if I am to tell any one, I will rather tell you than another."

Bolli besought her again to tell him. Then said Gudrun: "I did the worst to him, the man that I loved the most."

"Now may we believe," says Bolli, "that there is no more to say."

He said that she had done right in telling him what he asked.

Gudrun became an old woman, and it is said that she lost her sight. She died at Helgafell, and there she rests.

This is one of the pa.s.sages which it is easy to quote, and also dangerous. The confession of Gudrun loses incalculably when detached from the whole story, as also her earlier answer fails, by itself, to represent the meaning and the art of the Saga. They are the two keys that the author has given; neither is of any use by itself, and both together are of service only in relation to the whole story and all its fabric of incident and situation and changing views of life.

V

COMEDY

The Poetical Justice of Tragedy is observed, and rightly observed, in many of the Sagas and in the greater plots. Fate and Retribution preside over the stories of Njal and his sons, and the _Lovers of Gudrun_. The story of Gisli works itself out in accordance with the original forebodings, yet without any illicit process in the logic of acts and motives, or any intervention of the mysterious powers who accompany the life of Gisli in his dreams. Even in less consistent stories the same ideas have a part; the story of Gudmund the Mighty, which is a series of separate chapters, is brought to an end in the Nemesis for Gudmund's injustice to Thorkell Hake. But the Sagas claim exemption from the laws of Tragedy, when poetical Justice threatens to become tyrannical. Partly by the nature of their origin, no doubt, and their initial dependence on historical recollections of actual events,[60] they are driven to include a number of things that might disappoint a well-educated gallery of spectators; the drama is not always worked out, or it may be that the meaning of a chapter or episode lies precisely in the disappointment of conventional expectations.

[Footnote 60: _Vide supra_, p. 193 (the want of tragedy in _Viga-Glums Saga_).]

There is only one comedy, or at most two, among the Sagas--the story of the Confederates (_Bandamanna Saga_) with an afterpiece, the short story of Alecap (_Olkofra attr_). The composition of the Sagas, however, admits all sorts of comic pa.s.sages and undignified characters, and it also quietly unravels many complications that seem to be working up for a tragic ending. The dissipation of the storm before it breaks is, indeed, so common an event that it almost becomes itself a convention of narrative in the Sagas, by opposition to the common devices of the feud and vengeance. There is a good instance of this paradoxical conclusion in _Arons Saga_ (c. 12), an authentic biography, apparently narrating an actual event. The third chapter of _Gluma_ gives another instance of threatened trouble pa.s.sing away.

Ivar, a Norwegian with a strong hatred of Icelanders, seems likely to quarrel with Eyolf, Glum's father, but being a gentleman is won over by Eyolf's bearing. This is a part of the Saga where one need not expect to meet with any authentic historical tradition. The story of Eyolf in Norway is probably mere literature, and shows the working of the common principles of the Saga, as applied by an author of fiction.

The sojourn of Grettir with the two foster-brothers is another instance of a dangerous situation going off without result. The whole action of _Vapnfiringa Saga_ is wound up in a reconciliation, which is a sufficient close; but, on the other hand, the story of Glum ends in a mere exhaustion of the rivalries, a drawn game. One of the later more authentic histories, the story of Thorgils and Haflidi, dealing with the matters of the twelfth century and not with the days of Gunnar, Njal, and Snorri the Priest, is a story of rivalry pa.s.sing away, and may help to show how the composers of the Sagas were influenced by their knowledge and observation of things near their own time in their treatment of matters of tradition.

Even more striking than this evasion of the conventional plot of the blood-feud, is the freedom and variety in respect of the minor characters, particularly shown in the way they are made to perplex the simple-minded spectator. To say that all the characters in the Sagas escape from the limitations of mere typical humours might be to say too much; but it is obvious that simple types are little in favour, and that the Icelandic authors had all of them some conception of the ticklish and dangerous variability of human dispositions, and knew that hardly any one was to be trusted to come up to his looks, for good or evil. Popular imagination has everywhere got at something of this sort in its views of the lubberly younger brother, the ash-raker and idler who carries off the princess. Many of the heroes of the Sagas are noted to have been slow in their growth and unpromising, like Glum, but there are many more cases of change of disposition in the Sagas than can be summed up under this old formula. There are stories of the quiet man roused to action, like Thorarin in _Eyrbyggja_, where it is plain that the quietness was strength from the first. A different kind of courage is shown by Atli, the poor-spirited prosperous man in _Havarar Saga_, who went into hiding to escape being dragged into the family troubles, but took heart and played the man later on. One of the most effective pieces of comedy in the Sagas is the description of his ill-temper when he is found out, and his gradual improvement. He comes from his den half-frozen, with his teeth chattering, and nothing but bad words for his wife and her inconvenient brother who wants his help. His wife puts him to bed, and he comes to think better of himself and the world; the change of his mind being represented in the un.o.btrusive manner which the Sagas employ in their larger scenes.

One of the most humorous and effective contradictions of the popular judgment is that episode in _Njala_, where Kari has to trust to the talkative person whose wife has a low opinion of him. It begins like farce: any one can see that Bjorn has all the manners of the swaggering captain; his wife is a shrew and does not take him at his own valuation. The comedy of Bjorn is that he proves to be something different both from his own Bjorn and his wife's Bjorn. He is the idealist of his own heroism, and believes in himself as a hero. His wife knows better; but the beauty of it all is that his wife is wrong.

His courage, it is true, is not quite certain, but he stands his ground; there is a small particle of a hero in him, enough to save him. His backing of Kari in the fight is what many have longed to see, who have found little comfort in the discomfiture of Bobadil and Parolles, and who will stand to it that the chronicler has done less than justice to Sir John Falstaff both at Gads.h.i.+ll and Shrewsbury.

Never before Bjorn of _Njala_ was there seen on any theatre the person of the comfortable optimist, with a soul apparently d.a.m.ned from the first to a comic exposure and disgrace, but escaping this because his soul has just enough virtue to keep him steady. The ordeal of Bjorn contains more of the comic spirit than all the host of stage cowards from Pyrgopolinices to Bob Acres, precisely because it introduces something more than the simple humour, an essence more spiritual and capricious.

Further, the partners.h.i.+p of Kari and Bjorn, and Kari's appreciation of his idealist companion, go a long way to save Kari from a too exclusive and limited devotion to the purpose of vengeance. There is much to be said on behalf of this Bjorn. His relations with Kari prevent the hero of the latter part of the book from turning into a mere hero. The humorous character of the squire brings out something new in the character of the knight, a humorous response; all which goes to increase the variety of the story, and to widen the difference between this story and all the monotonous and abstract stories of chivalrous adventures.

The Sagas have comedy in them, comic incidents and characters, because they have no notion of the dignity of abstract and limited heroics; because they cannot understand the life of Iceland otherwise than in full, with all its elements together. The one intentionally comic history, _Bandamanna Saga_, "The Confederates," which is exceptional in tone and plot, is a piece of work in which what may be called the form or spirit or idea of the heroic Saga is brought fully within one's comprehension by means of contrast and parody. _Bandamanna Saga_ is a complete work, successful in every detail; as an artistic piece of composition it will stand comparison with any of the Sagas. But it is comedy, not tragedy; it is a mock-heroic, following the lines of the heroic model, consistently and steadily, and serving as a touchstone for the vanity of the heroic age. It is worth study, for Comedy is later and therefore it would seem more difficult than Tragedy, and this is the first reasonable and modern comedy in the history of modern Europe. Further, the method of narrative, and everything in it except the irony, belong to all the Sagas in common; there is nothing particularly new or exceptional in the style or the arrangement of the scenes; it is not so much a parody or a mock-heroic, as an heroic work inspired with comic irony. It is not a new kind of Saga, it is the old Saga itself put to the ordeal by the Comic Muse, and proving its temper under the severest of all strains.

This is the story of the Confederates.--There was a man named Ufeig who lived in Midfirth, a free-handed man, not rich, who had a son named Odd. The father and son disagreed, and Odd, the son, went off to make his own fortune, and made it, without taking any further notice of his father. The two men are contrasted; Ufeig being an unsuccessful man and a humorist, too generous and too careless to get on in the world, while Odd, his son, is born to be a prosperous man. The main plot of the story is the reconciliation of the respectable son and the prodigal father, which is brought about in the most perfect and admirable manner.

Odd got into trouble. He had a lawsuit against Uspak, a violent person whom he had formerly trusted, who had presumed too much, had been disgraced, and finally had killed the best friend of Odd in one of the ways usual in such business in the Sagas. In the course of the lawsuit a slight difficulty arose--one of Odd's jurymen died, and another had to be called in his place. This was informal, but no one at first made anything of it; till it occurred to a certain great man that Odd was becoming too strong and prosperous, and that it was time to put him down. Whereupon he went about and talked to another great man, and half persuaded him that this view was the right one; and then felt himself strong enough to step in and break down the prosecution by raising the point about the formation of the jury. Odd went out of the court without a word as soon as the challenge was made.

While he was thinking it over, and not making much of it, there appeared an old, bent, ragged man, with a flapping hat and a pikestaff; this was Ufeig, his father, to whom he had never spoken since he left his house. Ufeig now is the princ.i.p.al personage in the story. He asks his son about the case and pretends to be surprised at his failure. "Impossible! it is not like a gentleman to try to take in an old man like me; how could you be beaten?" Finally, after Odd had been made to go over all the several points of his humiliation, he is reduced to trust the whole thing to his father, who goes away with the comforting remark that Odd, by leaving the court when he did, before the case was finished, had made one good move in the game, though he did not know it. Ufeig gets a purse full of money from his son; goes back to the court, where (as the case is not yet closed) he makes an eloquent speech on the iniquity of such a plea as has been raised. "To let a man-slayer escape, gentlemen! where are your oaths that you swore? Will you prefer a paltry legal quibble to the plain open justice of the case?" and so on, impressively and emotionally, in the name of Equity, while all the time (equity + _x_) he plays with the purse under his cloak, and gets the eyes of the judges fixed upon it.

Late in the day, Odd is brought back to hear the close of the case, and Uspak is outlawed.

Then the jealousy of the great men comes to a head, and a compact is formed among eight of them to make an end of Odd's brand-new prosperity. These eight are the Confederates from whom the Saga is named, and the story is the story of Ufeig's ingenuity and malice as applied to these n.o.ble Pillars of Society. To tell it rightly would be to repeat the Saga. The skill with which the humorist plays upon the strongest motives, and gets the conspirators to betray one another, is not less beautifully represented than the spite which the humorist provokes among the subjects of his experiments. The details are finished to the utmost; most curiously and subtly in some of the indications of character and disposition in the eight persons of quality. The details, however, are only the last perfection of a work which is organic from the beginning. Ufeig, the humorist, is the servant and deputy of the Comic Muse, and there can be no doubt of the validity of his credentials, or of the soundness of his procedure. He is the ironical critic and censor of the heroic age; his touch is infallible, as unerring as that of Figaro, in bringing out and making ridiculous the meanness of the n.o.bility. The decline and fall of the n.o.ble houses is recorded in _Sturlunga Saga_; the essence of that history is preserved in the comedy of the _Banded Men_.

But, however the material of the heroic age may be handled in this comedy, the form of heroic narrative comes out unscathed. There is nothing for the comic spirit to fix upon in the form of the Sagas. The Icelandic heroes may be vulnerable, but Comedy cannot take advantage of them except by using the general form of heroic narrative in Iceland, a form which proves itself equally capable of Tragedy and Comedy. And as the more serious Icelandic histories are comprehensive and varied, so also is this comic history. It is not an artificial comedy, nor a comedy of humours, nor a purely satirical comedy. It is no more exclusive or abstract in its contents than _Njala_; its strict observance of limit and order is not the same thing as monotony; its unity of action is consistent with diversities of motive. Along with, and inseparable from, the satirical criticism of the great world, as represented by the eight discomfited n.o.ble Confederates, there is the even more satisfactory plot of the Nemesis of Respectability in the case of Odd; while the successful malice and craft of Ufeig are inseparable from the humanity, the constancy, and the imaginative strength, which make him come out to help his prosaic son, and enable him, the bent and thriftless old man, to see all round the frontiers of his son's well-defined and uninteresting character. Also the variety of the Saga appears in the variety of incident, and that although the story is a short one. As the solemn histories admit of comic pa.s.sages, so conversely this comic history touches upon the tragic. The death of Vali, slain by Uspak, is of a piece with the most heroic scenes in Icelandic literature. Vali the friend of Odd goes along with him to get satisfaction out of Uspak the mischief-maker.

Vali is all for peace; he is killed through his good nature, and before his death forgives and helps his a.s.sailant.

And when with the spring the days of summons came on, Odd rode out with twenty men, till he came near by the garth of Svalastead. Then said Vali to Odd: "Now you shall stop here, and I will ride on and see Uspak, and find out if he will agree to settle the case now without more ado." So they stopped, and Vali went up to the house. There was no one outside; the doors were open and Vali went in. It was dark within, and suddenly there leapt a man out of the side-room and struck between the shoulders of Vali, so that he fell on the spot. Said Vali: "Look out for yourself, poor wretch!