Epic and Romance Part 15

for Odd is coming, hard by, and means to have your life.

Send your wife to him; let her say that we have made it up; and you have agreed to everything, and that I have gone on about my own gear down the valley!" Then said Uspak: "This is an ill piece of work; this was meant for Odd and not for you."

This short heroic scene in the comedy has an effect corresponding to that of the comic humours in the Icelandic tragedies; it redresses the balance, it qualifies and diversifies what would otherwise be monotonous. Simple and clear in outline as the best of the short Icelandic stories are, they are not satisfied unless they have introduced something, if only a suggestion, of worlds different from their own immediate interests, a touch to show where their proper story branches out into the history of other characters and fortunes.

This same story of the Confederates is wound up at the end, after the reconciliation of the father and son, by a return to the adventures of Uspak and to the subordinate tragic element in the comedy. The poetical justice of the story leaves Uspak, the slayer of Vali, dead in a cave of the hills; discovered there, alone, by shepherds going their autumn rounds.

VI

THE ART OF NARRATIVE

The art of the Sagas will bear to be tested in every way: not that every Saga or every part of one is flawless, far from it; but they all have, though in different measure, the essentials of the fine art of story-telling. Except a.n.a.lysis, it is hardly possible to require from a story anything which will not be found supplied in some form or other in the Sagas. The best of them have that sort of unity which can hardly be described, except as a unity of life--the organic unity that is felt in every particular detail. It is absurd to take separately the details of a great work like _Njala_, or of less magnificent but not less perfect achievements such as the story of Hrafnkel. There is no story in the world that can surpa.s.s the _Bandamanna Saga_ in the liveliness with which each particular reveals itself as a moment in the whole story, inseparable from the whole, and yet in its own proper s.p.a.ce appearing to resume and absorb the life of the whole. Where the work is elaborated in this way, where every particular is organic, it is not possible to do much by way of ill.u.s.tration, or to exhibit piecemeal what only exists as a complete thing, and can only be understood as such. It is of some importance in the history of literature that the rank and general character of these Icelandic works should be a.s.serted and understood. It would be equally laborious and superfluous to follow each of them with an exposition of the value of each stroke in the work. There are difficulties enough in the language, and in the history, without any multiplication of commentaries on the obvious; and there is little in the art of the Sagas that is of doubtful import, however great may be the lasting miracle that such things, of such excellence, should have been written there and then.

There is one general quality or characteristic of the Sagas which has not yet been noticed, one which admits of explanation and ill.u.s.tration, while it represents very well the prevailing mode of imagination in the Sagas. The imaginative life of the Sagas (in the best of them) is intensely strong at each critical point of the story, with the result that all abstract, makes.h.i.+ft explanations are driven out; the light is too strong for them, and the events are made to appear in the order of their appearance, with their meaning gradually coming out as the tale rolls on. No imagination has ever been so consistently intolerant of anything that might betray the author's knowledge before the author's chosen time. That everything should present itself first of all as appearance, before it becomes appearance with a meaning, is a common rule of all good story-telling; but no historians have followed this rule with so complete and sound an instinct as the authors of the Sagas. No medieval writers, and few of the modern, have understood the point of view as well as the authors of the story of Njal or of Kjartan. The reserve of the narrator in the most exciting pa.s.sages of the Sagas is not dulness or want of sensibility; it is a consistent mode of procedure, to allow things to make their own impression; and the result is attained by following the order of impressions in the mind of one of the actors, or of a looker-on. "To see things as they are" is an equivocal formula, which may be claimed as their own privilege by many schools and many different degrees of intelligence. "To see things as they become," the rule of Lessing's _Laoc.o.o.n_, has not found so many adherents, but it is more certain in meaning, and more pertinent to the art of narrative. It is a fair description of the aim of the Icelandic authors and of their peculiar gift. The story for them is not a thing finished and done with; it is a series of pictures rising in the mind, succeeding, displacing, and correcting one another; all under the control of a steady imagination, which will not be hurried, and will not tell the bearing of things till the right time comes. The vivid effect of the Saga, if it be studied at all closely, will be found to be due to this steadiness of imagination which gives first the blurred and inaccurate impression, the possibility of danger, the matter for surmises and suspicions, and then the clearing up. Stated generally in this way, the rule is an elementary one, but it is followed in the Sagas with a singular consistency and success, and with something more than a compulsory obedience. That both the narrators and their audience in that country had their whole lives filled with momentous problems in the interpretation of appearances may well be understood. To identify a band of riders in the distance, or a single man seen hurrying on the other side of the valley, was a problem which might be a matter of life or death any day; but so it has been in many places where there is nothing like the narrative art of Iceland. The Icelandic historian is like no other in putting into his work the thrill of suspense at something indistinctly seen going on in the distance--a crowd of men moving, not known whether friends or enemies. So it was in _Thorgils Saga_ (one of the later more authentic histories, of the Sturlung cycle), when Thorgils and his men came down to the Althing, and Bard and Aron were sent on ahead to find out if the way was clear from the northern pa.s.ses across the plain of the Thing. Bard and Aron, as they came down past Armannsfell, saw a number of horses and men on the plain below just where Haflidi, the enemy, might have been expected to block the way. They left some of their band to wait behind while they themselves went on. From that point a chapter and more is taken up with the confused impression and report brought back by the scouts to the main body. They saw Bard and Aron ride on to the other people, and saw the others get up to meet them, carrying weapons; and then Bard and Aron went out of sight in the crowd, but the bearers of the report had no doubt that they were prisoners. And further, they thought they made out a well-known horse, Dapplecheek, and a gold-mounted spear among the strangers, both of which had belonged to Thorgils, and had been given away by him to one of his friends. From which it is inferred that his friend has been robbed of the horse and the spear.

The use of all this, which turns out to be all made up of true eyesight and wrong judgment, is partly to bring out Thorgils; for his decision, against the wish of his companions, is to ride on in any event, so that the author gets a chapter of courage out of the mistake. Apart from that, there is something curiously spirited and attractive in the placing of the different views, with the near view last of all. In the play between them, between the apprehension of danger, the first report of an enemy in the way, the appearance of an indistinct crowd, the false inference, and the final truth of the matter, the Saga is faithful to its vital principle of variety and comprehensiveness; no one appearance, not even the truest, must be allowed too much room to itself.

This indirect description is really the most vivid of all narrative forms, because it gives the point of view that is wanting in an ordinary continuous history. It brings down the story-teller from his abstract and discursive freedom, and makes him limit himself to one thing at a time, with the greatest advantage to himself and all the rest of his story. In that way the important things of the story may be made to come with the stroke and flash of present reality, instead of being prosed away by the historian and his good grammar.

There is a very remarkable instance of the use of this method in the Book of Kings. Of Jehoram, son of Ahab, king of Israel, it is told formally that "he wrought evil in the sight of the Lord," with the qualification that his evil was not like that of Ahab and Jezebel.

This is impressive in its formal and summary way. It is quite another mode of narrative, and it is one in which the spectator is introduced to vouch for the matter, that presents the king of Israel, once for all, in a sublime and tragic protest against the sentence of the historian himself, among the horrors of the famine of Samaria.

So we boiled my son, and did eat him: and I said unto her on the next day, Give thy son, that we may eat him; and she hath hid her son.

And it came to pa.s.s, when the king heard the words of the woman, that he rent his clothes; and he pa.s.sed by upon the wall, and the people looked, and, behold, he had sackcloth within upon his flesh.

No more than this is told of the unavailing penance of Jehoram the son of Ahab. There is no preparation; all the tragedy lies in this notice of something casually seen, and left without a commentary, for any one to make his own story about, if he chooses. There is perhaps nothing anywhere in narrative quite so sudden as this. The Northern writers, however, carry out consistently the same kind of principles, putting their facts or impressions forward in a right order and leaving them to take care of themselves; while in the presentation of events the spectator within the story has a good deal given him to do.

Naturally, where the author does not make use of a.n.a.lysis and where he trusts to the reader's intellect to interpret things aright, the "facts" must be fairly given; in a lucid order, with a progressive clearness, from the point of view of those who are engaged in the action.

There is another and somewhat different function of the spectator in the Sagas. In some cases, where there is no problem, where the action is straightforward, the spectator and his evidence are introduced merely to give breadth and freedom to the presentment, to get a foreground for the scene. This is effected best of all, as it happens, in a pa.s.sage that called for nothing less than the best of the author's power and wit; namely, the chapter of the death of Kjartan in _Laxdaela_.

And with this talk of Gudrun, Bolli was made to magnify his ill-will and his grievance against Kjartan; and took his weapons and went along with the others. They were nine altogether; five sons of Osvifr, that is to say, Ospak and Helgi, Vandrad, Torrad, and Thorolf; Bolli was the sixth, Gunnlaug the seventh, sister's son of Osvifr, a comely man; the other two were Odd and Stein, sons of Thorhalla the talkative. They rode to Svinadal and stopped at the gully called Hafragil; there they tied their horses and sat down.

Bolli was silent all the day, and laid him down at the edge of the gully, above.

Kjartan and his companions had come south over the pa.s.s, and the dale was opening out, when Kjartan said that it was time for Thorkell and his brother to turn back. Thorkell said they would ride with him to the foot of the dale. And when they were come south as far as the bothies called the North Sheilings, Kjartan said to the brothers that they were not to ride further.

"Thorolf, the thief, shall not have this to laugh at, that I was afraid to ride on my way without a host of men."

Thorkell Whelp makes answer: "We will give in to you and ride no further; but sorry shall we be if we are not there and you are in want of men this day."

Then said Kjartan: "Bolli my kinsman will not try to have my life, and for the sons of Osvifr, if they lie in wait for me, it remains to be seen which of us shall tell the tale afterwards, for all that there may be odds against me."

After that the brothers and their men rode west again.

Now Kjartan rides southward down the valley, he and the two others, An the Swart and Thorarinn. At Hafratindr in Svinadal lived a man called Thorkell. There is no house there now. He had gone to look after his horses that day, and his shepherd along with him. They had a view of both companies; the sons of Osvifr lying in wait, and Kjartan's band of three coming down along the dale. Then said the herd lad that they should go and meet Kjartan; it would be great luck if they could clear away the mischief that was waiting for them.

"Hold your tongue," said Thorkell; "does the fool think he can give life to a man when his doom is set? It is but little I grudge them their good pleasure, though they choose to hurt one another to their hearts' content. No! but you and I, we will get to a place where there will be no risk, where we can see all their meeting and have good sport out of their play. They all say that Kjartan has more fighting in him than any man; maybe he will need it all, for you and I can see that the odds are something."

And so it had to be as Thorkell wished.

The tragic encounter that follows, the last meeting of the two friends, Kjartan throwing away his weapons when he sees Bolli coming against him, Bolli's repentance when he has killed his friend, when he sits with his knee under Kjartan's head,--all this is told as well as may be; it is one of the finest pa.s.sages in all the Sagas. But even this pa.s.sage has something to gain from the episode of the churl and his more generous servant who looked on at the fight. The scene opens out; the s.p.a.ces of the valley are shown as they appear to a looker-on; the story, just before the critical moment, takes us aside from the two rival bands and gives us the relation between them, the gradually-increasing danger as the hero and his companions come down out of the distance and nearer to the ambush.

In this piece of composition, also, there goes along with the pictorial vividness of the right point of view a further advantage to the narrative in the character of the spectator. Two of the most notable peculiarities of the Icelandic workmans.h.i.+p are thus brought together,--the habit of presenting actions and events as they happen, from the point of view of an immediate witness; and the habit of correcting the heroic ideal by the ironical suggestion of the other side. Nothing is so deeply and essentially part of the nature of the Icelandic story, as its inability to give a limited or abstract rendering of life. It is from this glorious incapacity that there are derived both the habit of looking at events as appearances, before they are interpreted, and the habit of checking heroics by means of unheroic details, or, as here, by a suggestion of the way it strikes a vulgar contemporary. Without this average man and his commentary the story of the death of Kjartan would lose much. There is first of all the comic value of the meanness and envy in the mind of the boor, his complacency at the quarrels and mutual destruction of the magnificent people. His intrusion on the scene, his judgment of the situation, is proof of the variety of the life from which the Saga is drawn. More than that, there is here a rather cruel test of the heroics of _Laxdaela_, of the story itself; the notable thing about this spectator and critic is that his boorish judgment is partly right, as the judgment of Thersites is partly right--"too much blood and too little brains." He is vulgar common sense in the presence of heroism. In his own way a critic of the heroic ideals, his appearance in Svinadal as a negative and depreciatory chorus in the tragedy of Kjartan is a touch of something like the mood of _Bandamanna Saga_ in its criticism of the n.o.bles and their rivalries; although the author of _Laxdaela_ is careful not to let this dangerous spirit penetrate too far. It is only enough to increase the sense of the tragic vanity of human wishes in the life and death of Kjartan Olafsson.

Everything in the Sagas tends to the same end; the preservation of the balance and completeness of the history, as far as it goes; the impartiality of the record. The different sides are not represented as fully as in _Clarissa Harlowe_ or _The Ring and the Book_, but they are allowed their chance, according to the rules, which are not those of a.n.a.lytical psychology. The Icelandic imagination is content if the character is briefly indicated in a few dramatic speeches. The brevity and externality of the Saga method might easily provoke from admirers of Richardson a condemnation like that of Dr. Johnson on those who know the dial-plate only and not the works. The psychology of the Sagas, however, brief and superficial as it may be, is yet of the sort that may be tested; the dials keep time, though the works are not exposed. It may be doubtful at any moment how Skarphedinn will act, but when his history is in progress, and when it is finished, the reader knows that Skarphedinn is rightly rendered, and furthermore that it is impossible to deal with him except as an individual character, impressing the mind through a variety of qualities and circ.u.mstances that are inexplicably consistent. It is impossible to take his character to pieces. The rendering is in one sense superficial, and open to the censures of the moralist--"from without inwards"--like the characters of Scott. But as in this latter case, the superficiality and slightness of the work are deceptive. The character is given in a few strokes and without elaboration, but it is given inevitably and indescribably; the various appearances of Skarphedinn, different at different times, are all consistent with one another in the unity of imagination, and have no need of psychological a.n.a.lysis to explain them.

The characters in the best of the Sagas grow upon the mind with each successive appearance, until they are known and recognised at a hint.

In some cases it looks almost as if the author's dramatic imagination were stronger and more just than his deliberate moral opinions; as if his characters had taken the matter into their own hands, against his will. Or is it art, and art of the subtlest order, which in Kjartan Olafsson, the glorious hero, still leaves something of lightness, of fickleness, as compared both with the intensity of the pa.s.sion of Gudrun and the dogged resolution of Bolli? There is another Saga in which a hero of the likeness of Kjartan is contrasted with a dark, malevolent, not ign.o.ble figure,--the story of the Faroes, of Sigmund Brestisson and Thrond of Gata. There, at the end of the story, when Thrond of Gata has taken vengeance for the murder of his old enemy, it is not Sigmund, the glorious champion of King Olaf, who is most thought of, but Thrond the dark old man, his opponent and avenger. The character of Thrond is too strong to be suppressed, and breaks through the praise and blame of the chronicler, as, in another history, the character of Saul a.s.serts itself against the party of David. The charge of superficiality or externality falls away to nothing in the mind of any one who knows by what slight touches of imagination a character may be brought home to an audience, if the character is there to begin with. It is not by elaborate, continuous a.n.a.lysis, but by a gesture here and a sentence there, that characters are expressed.

The Sagas give the look of things and persons at the critical moments, getting as close as they can, by all devices, to the vividness of things as they appear, as they happen; brief and reserved in their phrasing, but the reverse of abstract or limited in their regard for the different modes and aspects of life, impartial in their acknowledgment of the claims of individual character, and unhesitating in their rejection of conventional ideals, of the conventional romantic hero as well as the conventional righteous man. The Sagas are more solid and more philosophical than any romance or legend.

VII

EPIC AND HISTORY

In the close of the heroic literature of Iceland a number of general causes are to be found at work. The period of the Sagas comes to an end partly by a natural progress, culmination, and exhaustion of a definite form of literary activity, partly through external influences by which the decline is hastened. After the material of the early heroic traditions had been all used up, after the writers of the thirteenth century had given their present shapes to the stories of the tenth and the eleventh centuries, two courses were open, and both courses were taken. On the one hand the form of the Saga was applied to historical matter near the writer's own time, or actually contemporary, on the other hand it was turned to pure fiction. The literature divides into history and romance. The authentic history, the Sturlung cycle in particular, is the true heir and successor of the heroic Saga. The romantic Sagas are less intimately related to the histories of Njal or Gisli, though those also are representative of some part of the essence of the Saga, and continue in a shadowy way something of its original life. The Northern literatures in the thirteenth century were invaded from abroad by the same romantic forces as had put an end to the epic literature of France; translations of French romances became popular, and helped to change the popular taste in Norway and Iceland. At the same time the victory of Romance was not entirely due to these foreigners; they found allies in the more fanciful parts of the native literature. The schools of Northern prose romance, which took the place of the older Sagas, were indebted almost as much to the older native literature as to Tristram or Perceval; they are the product of something that had all along been part, though hardly the most essential part, of the heroic Sagas. The romantic story of Frithiof and the others like it have disengaged from the complexity of the older Sagas an element which contributes not a little, though by no means everything, to the charm of _Njala_ and _Laxdaela_.

The historical work contained in the _Sturlunga Saga_ is a more comprehensive and thorough modification of the old form. Instead of detaching one of the elements and using it in separation from the rest, as was done by the author of _Frithiof_, for example, the historian of the Sturlungs kept everything that he was not compelled to drop by the exigencies of his subject. The biographical and historical work belonging to the _Sturlunga Saga_ falls outside the order to which _Njal_ and _Gisli_ belong; it is epic, only in the sense that a history may be called epic. Nevertheless it is true that this historical work shows, even better than the heroic Sagas themselves, what the nature of the heroic literature really is. In dealing with a more stubborn and less profitable subject it brings out the virtues of the Icelandic form of narrative.

The relation of the Saga to authentic history had always been close.

The first attempt to give shape, in writing, to the traditions of the heroic age was made by Ari Thorgilsson (_ob._ 1148), especially in his _Landnamabok_, a history exact and positive, a record in detail of all the first settlers of the island, with notes of the substance of the popular stories by which their fame was transmitted. This exact history, this positive work, precedes the freer and more imaginative stories, and supplies some of them with a good deal of their matter, which they work up in their own way. The fas.h.i.+on of writing, the example of a written form of narrative, was set by Ari; though the example was not followed closely nor in all points by the writers of the Sagas: his form is too strict for them.

It was too strict for his greatest successor in historical writing in Iceland. Snorri Sturluson is the author of _Lives of the Kings of Norway_, apparently founded upon Ari's _Book of Kings_, which has been lost as an independent work. Snorri's _Lives_ themselves are extant in a shape very far from authentic; one has to choose between the abridged and inconvenient shape of _Heimskringla_, in which Snorri's work appears to have been cut down and trimmed, and the looser form presented by such compilations as the longer Saga of Olaf Tryggvason, where more of Snorri appears to have been retained than in _Heimskringla_, though it has to be extricated from all sorts of irrelevant additions and interpolations. But whatever problems may still remain unsolved, it is certain enough that Snorri worked on his historical material with no intention of keeping to the positive lines of Ari, and with the fullest intention of giving to his history of Norway all the imaginative force of which he was capable. This was considerable, as is proved by the stories of the G.o.ds in his _Edda_; and in the histories of Olaf Tryggvason and of Saint Olaf, kings of Norway, he has given companions to the very n.o.blest of the Sagas dealing with the Icelandic chiefs. Between the more scientific work of Ari and the more imaginative work of Snorri comes, half-way, the _Life of King Sverre_ (_ob._ 1202), written at the king's own dictation by the Abbot Karl of Thingeyri.

Ari collected the historical materials, both for Iceland and Norway, and put them together in the extant _Landnamabok_ and the lost _Kings'

Lives_. Snorri Sturluson treated the _Kings' Lives_ in the spirit of the greater Icelandic Sagas; his _Lives_ belong to heroic literature, if there is any meaning in that name. The _Life of Sverre_ is not so glorious as the _Life_ of either Olaf. Abbot Karl had not the same interests or the same genius as Snorri, and his range was determined, in most of the work, by the king himself. King Sverre, though he could quote poetry to good effect when he liked, was mainly practical in his ideas.

The Sturlung history, which is the close of the heroic literature of Iceland, has resemblances to the work of all three of the historians just named. It is like Ari in its minuteness and accuracy; like _Sverris Saga_, it has a contemporary subject to treat of; and it shares with Snorri his spirit of vivid narrative and his sympathy with the methods of the greater Sagas of Iceland. If authors were to be judged by the difficulty of their undertakings, then Sturla, the writer of the Sturlung history, would certainly come out as the greatest of them all. For he was limited by known facts as much, or even more than Ari; while he has given to his record of factions, feuds, and anarchy almost as much spirit as Snorri gave to his lives of the heroic kings, and more than Abbot Karl could give to the history of Sverre and his political success. At the same time, however, the difficulty of Sturla's work had been a good deal reduced in the gradual progress of Icelandic literature. He had to represent modern history, the history of his own time, in the form and with the vividness of the imaginative Sagas. In undertaking this he was helped by some examples of the same sort of thing, in Sagas written before his time, and forming an intermediate stage between the group of which _Njala_ is the head, and Sturla's history of his own family. The biographies of Icelanders in the twelfth century, like that of Thorgils and Haflidi quoted above, which form an introduction to the Sturlung history, are something more authentic than the heroic Sagas, but not much less spirited. It is difficult to draw a decided line anywhere between the different cla.s.ses; or, except by the date of its subject, to mark off the story of the heroic age from the story of the rather less heroic age that followed it. There was apparently an accommodation of the Saga form to modern subjects, effected through a number of experiments, with a result, complete and admirable, in Sturla's history of the Sturlung fortunes.

It may be said, also, that something of the work was done ready to the author's hand; there was a natural fitness and correspondence between the Icelandic reality, even when looked at closely by contemporary eyes in the broad daylight, and the Icelandic form of representation.

The statue was already part shapen in the block, and led the hand of the artist as he worked upon it. It is dangerous, no doubt, to say after the work has been done, after the artist has conquered his material and finished off his subject, that there was a natural affinity between the subject and the author's mind. In the case of Iceland, however, this pre-existent harmony is capable of being proved. The conditions of life in Iceland were, and still are, such as to exclude a number of the things that in other countries prevent the historian from writing epic. There were none of the large, abstract considerations and problems that turn the history into a dissertation on political forces, on monarchy, on democracy, on diplomacy; there were none of the large, vague mult.i.tudes of the people that impose themselves on the historian's attention, to the detriment of his individual characters. The public history of Iceland lies all in the lives of private characters; it is the life of a munic.i.p.ality, very much spread out, it is true, but much more like the life of a country town or a group of country neighbours, than the society of a complex state of any kind that has ever existed in Europe. Private interests and the lives of individual men were what they had to think about and talk about; and just in so far as they were involved in gossip, they were debarred from the achievements of political history, and equally inclined to that sort of record in which individual lives are everything. If their histories were to have any life at all, it must be the life of the drama or the dramatic narrative, and not that of the philosophical history, or even of those medieval chronicles, which, however unphilosophical, are still obliged by the greatness of their subject to dwarf the individual actors in comparison with the greatness of Kingdoms, Church, and Empire. Of those great impersonalities there was little known in Iceland; and if the story of Iceland was not to be (what it afterwards became) a mere string of trivial annals, it must be by a deepening of the personal interest, by making the personages act and talk, and by following intently the various threads of their individual lives.

So far the work was prepared for authors like Sturla, who had to enliven the contemporary record of life in Iceland; it was prepared to this extent, that any other kind of work was unpromising or even hopeless. The present life in Sturla's time was, like the life of the heroic age, a perpetual conflict of private wills, with occasional and provisional reconciliations. The mode of narrative that was suitable for the heroic stories could hardly fail to be the proper mode for the contemporary factions of chiefs, heroic more or less, and so it was proved by Sturla.

_Sturlunga Saga_ contains some of the finest pa.s.sages of narrative in the whole of Icelandic literature. The biographical Sagas, with which it is introduced or supported, are as good as all but the best of the heroic Sagas, while they are not out of all comparison even with _Njala_ or _Gisla_, with _Hrafnkels Saga_ or _Bandamanna_, in the qualities in which these excel.

The story of Thorgils and Haflidi has already been referred to in ill.u.s.tration of the Icelandic method of narrative at its best. It is a good story, well told, with the unities well preserved. The plot is one that is known to the heroic Sagas--the growth of mischief and ill-will between two honourable gentlemen, out of the villainy of a worthless beast who gets them into his quarrels. Haflidi has an ill-conditioned nephew whom, for his brother's sake, he is loth to cast off. Thorgils takes up one of many cases in which this nephew is concerned, and so is brought into disagreement with Haflidi. The end is reconciliation, effected by the intervention of Bishop Thorlak Runolfsson and Ketill the priest, aided by the good sense of the rivals at a point where the game may be handsomely drawn, with no dishonour to either side. The details are given with great liveliness.

One of the best scenes is that which has already been referred to (p.

238); another may be quoted of a rather different sort from an earlier year. In the year 1120 at the Althing, Thorgils was with difficulty dissuaded from breaking the peace as they stood, both parties, by the door of the Thingvalla church on St. Peter's Day. Thorgils' friend Bodvar had to use both arguments and unction to make him respect the sanct.i.ty of the Althing, of the Church, and of the Saint to whom the day belonged. Afterwards Thorgils said to his friend, "You are more pious than people think."

Bodvar answered: "I saw that we were penned between two bands of them at the church door, and that if it broke into a fight we should be cut to pieces. But for that I should not have cared though Haflidi had been killed in spite of the peace of Church and Parliament."

The intervention at the end is very well given, particularly Ketill the priest's story of his own enemy.

_Sturlu Saga_, the story of the founder of the great Sturlung house, the father of the three great Sturlung brothers, of whom Snorri the historian was one, is longer and more important than the story of Thorgils and Haflidi. The plot is a simple one: the rivalry between Sturla and Einar, son of Thorgils. The contest is more deadly and more complicated than that of Thorgils himself against Haflidi; that was mainly a case of the point of honour, and the opponents were both of them honourable men, while in this contest Sturla is politic and unscrupulous, and his adversary "a ruffian by habit and repute." There is a considerable likeness between the characters of Sturla and of Snorri the priest, as that is presented in _Eyrbyggja_ and elsewhere.

A comparison of the rise of Snorri, as told in _Eyrbyggja_, with the life of Sturla will bring out the unaltered persistence of the old ways and the old standards, while the advantage lies with the later subject in regard to concentration of interest. The _Life of Sturla_ is not so varied as _Eyrbyggja_, but it is a more orderly piece of writing, and at the same time more lively, through the unity of its plot. Nor are the details spoiled by any tameness. Notable is the company of rogues maintained by Einar; they and their ways are well described. There was Geir the thief, son of Thorgerda the liar; he was hanged by the priest Helgi. There was Vidcuth, son of stumpy Lina (these gentry have no father's name to them); he was a short man and a nimble. The third was Thorir the warlock, a little man from the North country. This introduction serves to bring on the story of a moonlight encounter with the robbers in snow; and in this sort of thing the history of Sturla is as good as the best. It is worth while to look at the account of the last decisive match with Einar--another snow piece.

It may be discovered there that the closer adhesion to facts, and the nearer acquaintance with the persons, were no hindrance to the Icelandic author who knew his business. It was not the mult.i.tude and confusion of real details that could prevent him from making a good thing out of his subject, if only his subject contained some opportunity for pa.s.sion and conflict, which it generally did.

In this scene of the midnight raid in which the position of the two rivals is decided, there is nothing at all heightened or exaggerated, yet the proportions are such, the relations of the incidents are given in such a way, as could not be bettered by any modern author dealing with a critical point in a drama of private life. The style is that of the best kind of subdued and sober narrative in which the excitement of the situations is not spent in rhetoric.