INTRODUCTION TO GRiPLUR I
In the fourteenth and fifteenth centuries in Iceland, many of the Sagas or portions of them were turned into rhyming verse known as _Rimur_. Sagas of almost every cla.s.s were subjected to this treatment--_islendinga Sogur_, _Fornaldar Sogur_, _Fornmanna Sogur_ and others. It is supposed that in the first place these rhymed versions (_Rimur_) were made for the purpose of recitation at social gatherings. There is ground for believing that the _Rimur_ were sometimes recited, as an accompaniment of dances in Iceland[1]; but this is not believed to have been the purpose for which they were originally composed[2].
According to both Jonsson[3] and Mogk[4], the _Rimur_ and other forms of rhyming verse in early Norse poetry originated in the Mediaeval Latin Church Hymns introduced into Iceland in the thirteenth century.
The similarity between the rhyming metres of the Latin and many (though not all) of the forms of verse used in the _Rimur_ is very striking. Whether the influence of Latin hymns in Iceland was directly responsible for the change, however, as Jonsson and Mogk believe, or whether the Latin hymns only influenced Norse verse indirectly through the medium of French poetry, is problematical. Perhaps these compositions owe their origin to the fashion of turning all kinds of material, likely and unlikely, into rhyming verse--a fashion which originated in France, and from the latter part of the twelfth century onwards gradually made its way over most of the West and North of Europe. The rhyming chronicles of the fourteenth century in England may be mentioned as one instance of this fashion, and the rhyming paraphrases of the splendid prose of Iceland are an outcome of the same movement.
The _Griplur_, some twenty stanzas of which are given below, represent this stage in the development of Icelandic literature. It may be observed that, like other _Rimur_, they are the work of educated people--a fact which makes the wretched quality of much of the verse all the more striking, especially when they are contrasted with the ballads, which are, at least in most cases, the work of the unlettered. Unattractive however as they appear to the modern mind, it has been thought advisable to include a short extract from them here because it seems possible that in some cases the Faroese ballads may have derived their material from Iceland through the intermediate stage of the _Rimur_ rather than from the Saga direct.
Reference is made to the exploits of Hromund in other _Rimur_ besides the _Griplur_, notably in the _Malshattakvaei_, the _Skia-Rima_[5]
(which is interesting as being based, in all probability, on an earlier poem than the _Griplur_) and in the _Klerka-Rima_[6]. And he and Thrain the Berserk still live in the popular songs of the North.
He is the _Ungen Ranild_[7] of the Danish ballad; and in the Norwegian ballad _Ramund den Unge_[8], Ramund (Hromund) and Holgi (Helgi) appear as rivals for the hand of Svanhvit (who, however, is not mentioned by name). Like some of the Faroese ballads on the _Hervarar Saga_, these later versions are far removed from the story as we know it from early Icelandic sources[9]. They are of interest only to those who care for folk song and ballad for their freshness and their nave simplicity[10].
[Footnote 1: Cf. Finnur Jonsson, _Oldnorske og Oldislandske Litteraturs Historie_, Vol. III, p. 35.]
[Footnote 2: Cf. F. Jonsson, _op. cit._, Vol. III, p. 36; also Eugen Mogk, _Geschichte der Norwegisch-Islandischen Literatur_ (Strasburg, 1904), p. 722.]
[Footnote 3: _Op. cit._, III, p. 26 ff.]
[Footnote 4: _Op. cit._, p. 722 ff.]
[Footnote 5: Ed. by K. Maurer, Munich, 1869; F. Jonsson, _Carmina Scaldica_ (Copenhagen, 1913).]
[Footnote 6: Codex A.M. 604 H.]
[Footnote 7: S. Grundtvig, _Danmarks Gamle Folkeviser_, Vol.
I, p. 367 ff.]
[Footnote 8: M. B. Landstad, _Norske Folkeviser_ (Christiania, 1853), p. 189 ff.]
[Footnote 9: Cf. Kolbing, _Beitrage zur Vergleichenden Geschichte der Romantischen Poesie und Prosa des Mittelalters_, pp. 185-187.]
[Footnote 10: For further ballads on the story of Hromund Greipsson, cf. Andrews, _Studies in the Fornaldarsogur Northrlanda_, in _Modern Philology_, 1911, 1912.]
GRiPLUR I
9. Olaf was a mighty Prince Who governed Horthaland.
The brave folk dwelling along the coast He guarded with his hand.
10. Gnothar-Asmund, the Prince"s father, A peerless man was he; By many a battle he reft from Kings Their land and territory.
11. In the stern of the King"s ship Kari stood, And of heroes many another; In strength of limb had he never a peer; And ornulf was his brother.
12. The King and his warriors reddened their swords In the blood of wicked men; But no man travelling with merchandise Got any hurt from them.
13. The Prince brought joy to his followers" hearts, With Draupnir"s beautiful blood.
A franklin who better were named a burgess Beside the princes stood.
14. Grip was a man who stirred up strife, Eager with blade for slaughter.
This hero"s wife was a good woman: Of Hrok the Black was she daughter.
15. Grip and Gunnloth, his good wife, They had nine sons in all: (Clever verses are made about them) And _Hrok_ did they every one call!
16. Hromund was a son of Grip, Eldest of the brothers was he; His heart knew never aught of fear, Nor faltered his valiancy.
17. Hrolf must I add, Hogni, Haki and Gaut, And Throst with the other five; Angantyr and Helgi whose lot it was In the fortunes of war to thrive.
18. Logi was youngest (a tiny lad) Of the sons of the worthy pair; Hromund alone sallied forth to fight in battle, And the rest stayed at home where they were.
19. The hero feared neither fire nor sword When shields clashed in the fray; His shoulders were broad, and shining his hair.
And kindly and keen was his eye.
20. He never fled or deserted the host, But poured forth darts on the shield;-- Faithful and true in courage was he As a hero should be in the field.
21. His wicked foe did he slay with might-- He knew no fear of pain; And all his n.o.ble courage and valour From his kinsman Hrok did he gain.
22. Two villains were there with the King, Deep-versed in magic arts.
I swear those brothers Bild and Vali Both had evil hearts!
23. The King of Vali council takes, And a sad mistake made he; A name had he gained for courtesy and valour, But he never donned byrnie.
24. Less trusty warrior in the field I never look to find;-- False he was and treacherous,-- Full of deceit his mind.
25. The Prince"s troop, the Niflung men, Along Norway"s coast did sail, Until they came to the Skerries of the Elf,-- Nor did their courage fail.
26. The troop had prepared for a mighty battle, And against a promontory Olaf"s men in their warships there Lay at anchor in the bay.
27. "Over the Island do ye go,"-- Thus to Kari spoke he,-- "To see if ye come on the vikings" ships, And if they are like to fight fiercely."
28. Kari and Ornulf, clothed and armed, With shield and polished blade Examine the coast, and hastily A search through the island made.
29. Six tall warships soon they see, Under the sea-cliffs lay they; And a "_Dragon_" carved in wondrous wise Beside the warships lay.
INTRODUCTION TO THE FAROESE BALLAD OF NORNAGEST
The _Ballad of Nornagest_ was published for the first time by Lyngbye in 1822 in _Faeroiske Kvaeder om Sigurd Fofnersbane_ etc. In his visit to the Faroes in 1847-8, Hammershaimb took down the ballad from oral recitation at Sumb. He afterwards collated his version carefully with those of Svabo, Schrter and Lyngbye, and published the result in _Faeroiske Kvaeder_, Vol. I, Copenhagen, 1851. This is the version of the ballad translated below.
Lyngbye points out that Nornagest has become a well-known character in modern Faroese legend. We certainly note his popularity in the ballads, which is no doubt due to his a.s.sociation with Sigurth in the original story. In some ballads he appears as a companion in arms of the latter and even as a great warrior himself. He it is who rides with Sigurth and Virgar to meet the giant in Holmgarth (cf. _Risin i Holmgarum_, v. 33), and in _Ragnarlikkja_ (cf. v. 39 ff.) "the fierce Nornagest" sails with Sigurth, Brand, and Virgar to slay the King of Girtland; and so too in other stories.
It will be observed that the framework of the story differs considerably from that of the Saga, notably in the opening and closing scenes. The beginning of another story, dealing likewise with an old man, has been subst.i.tuted for the original opening. The mention of the boat in verse 40 is perhaps reminiscent of some folk-tale; and the story of the leaden casket containing the soul of Nornagest which was sunk in the lake is an interesting instance of the external soul. I have no doubt that it is a reference to some folk-tale, but have not yet been able to identify it. Among many primitive peoples, who can hardly grasp abstract ideas, the life or soul of a man is regarded as a concrete thing which can be laid aside, and which, so long as it remains unharmed, will secure for him immortality. There is, for example, a Hindoo story of a princess whose soul was believed to be in her necklace.--One day an astrologer said to her parents: "This is no common child; the necklace of gold about her neck contains your daughter"s soul; let it therefore be guarded with the utmost care; for if it were taken off and worn by another person, she would die[1]."