The Story of Burnt Njal. Anonymous

      SIR GEORGE DASENT'S PREFACE

       Table of Contents

      (Abridged.)

      What is a Saga? A Saga is a story, or telling in prose, sometimes mixed with verse. There are many kinds of Sagas, of all degrees of truth. There are the mythical Sagas, in which the wondrous deeds of heroes of old time, half gods and half men, as Sigurd and Ragnar, are told as they were handed down from father to son in the traditions of the Northern race. Then there are Sagas recounting the history of the kings of Norway and other countries, of the great line of Orkney Jarls, and of the chiefs who ruled in Faroe. These are all more or less trustworthy, and, in general, far worthier of belief than much that passes for the early history of other races. Again, there are Sagas relating to Iceland, narrating the lives, and feuds, and ends of mighty chiefs, the heads of the great families which dwelt in this or that district of the island. These were told by men who lived on the very spot, and told with a minuteness and exactness, as to time and place, that will bear the strictest examination. Such a Saga is that of Njal, which we now lay before our readers in an English garb. Of all the Sagas relating to Iceland, this tragic story bears away the palm for truthfulness and beauty. To use the words of one well qualified to judge, it is, as compared with all similar compositions, as gold to brass.1 Like all the Sagas which relate to the same period of Icelandic story, Njala2 was not written down till about 100 years after the events which are described in it had happened. In the meantime, it was handed down by word of mouth, told from Althing to Althing, at Spring Thing, and Autumn Leet, at all great gatherings of the people, and over many a fireside, on sea strand or river bank, or up among the dales and hills, by men who had learnt the sad story of Njal's fate, and who could tell of Gunnar's peerlessness and Hallgerda's infamy, of Bergthora's helpfulness, of Skarphedinn's hastiness, of Flosi's foul deed, and Kurt's stern revenge. We may be sure that as soon as each event recorded in the Saga occurred, it was told and talked about as matter of history, and when at last the whole story was unfolded and took shape, and centred round Njal, that it was handed down from father to son, as truthfully and faithfully as could ever be the case with any public or notorious matter in local history. But it is not on Njala alone that we have to rely for our evidence of its genuineness. There are many other Sagas relating to the same period, and handed down in like manner, in which the actors in our Saga are incidentally mentioned by name, and in which the deeds recorded of them are corroborated. They are mentioned also in songs and Annals, the latter being the earliest written records which belong to the history of the island, while the former were more easily remembered, from the construction of the verse. Much passes for history in other lands on far slighter grounds, and many a story in Thucydides or Tacitus, or even in Clarendon or Hume, is believed on evidence not one-tenth part so trustworthy as that which supports the narratives of these Icelandic story-tellers of the eleventh century. That with occurrences of undoubted truth, and minute particularity as to time and place, as to dates and distance, are intermingled wild superstitions on several occasions, will startle no reader of the smallest judgment. All ages, our own not excepted, have their superstitions, and to suppose that a story told in the eleventh century,—when phantoms, and ghosts, and wraiths, were implicitly believed in, and when dreams, and warnings, and tokens, were part of every man's creed—should be wanting in these marks of genuineness, is simply to require that one great proof of its truthfulness should be wanting, and that, in order to suit the spirit of our age, it should lack something which was part and parcel of popular belief in the age to which it belonged. To a thoughtful mind, therefore, such stories as that of Swan's witchcraft, Gunnar's song in his cairn, the Wolf's ride before the Burning, Flosi's dream, the signs and tokens before Brian's battle, and even Njal's weird foresight, on which the whole story hangs, will be regarded as proofs rather for than against its genuineness.3

      But it is an old saying, that a story never loses in telling, and so we may expect it must have been with this story. For the facts which the Saga-teller related he was bound to follow the narrations of those who had gone before him, and if he swerved to or fro in this respect, public opinion and notorious fame was there to check and contradict him.4 But the way in which he told the facts was his own, and thus it comes that some Sagas are better told than others, as the feeling and power of the narrator were above those of others. To tell a story truthfully was what was looked for from all men in those days; but to tell it properly and gracefully, and so to clothe the facts in fitting diction, was given to few, and of those few the Saga teller who first threw Njala into its present shape, was one of the first and foremost.

      With the change of faith and conversion of the Icelanders to Christianity, writing, and the materials for writing, first came into the land, about the year 1000. There is no proof that the earlier or Runic alphabet, which existed in heathen times, was ever used for any other purposes than those of simple monumental inscriptions, or of short legends on weapons or sacrificial vessels, or horns and drinking cups. But with the Roman alphabet came not only a readier means of expressing thought, but also a class of men who were wont thus to express themselves.... Saga after Saga was reduced to writing, and before the year 1200 it is reckoned that all the pieces of that kind of composition which relate to the history of Icelanders previous to the introduction of Christianity had passed from the oral into the written shape. Of all those Sagas, none were so interesting as Njal, whether as regarded the length of the story, the number and rank of the chiefs who appeared in it as actors, and the graphic way in which the tragic tale was told. As a rounded whole, in which each part is finely and beautifully polished, in which the two great divisions of the story are kept in perfect balance and counterpoise, in which each person who appears is left free to speak in a way which stamps him with a character of his own, while all unite in working towards a common end, no Saga had such claims on public attention as Njala, and it is certain none would sooner have been committed to writing. The latest period, therefore, that we can assign as the date at which our Saga was moulded into its present shape is the year 1200....

      It was a foster-father's duty, in old times, to rear and cherish the child which he had taken from the arms of its natural parents, his superiors in rank. And so may this work, which the translator has taken from the house of Icelandic scholars, his masters in knowledge, and which he has reared and fostered so many years under an English roof, go forth and fight the battle of life for itself, and win fresh fame for those who gave it birth. It will be reward enough for him who has first clothed it in an English dress if his foster-child adds another leaf to that evergreen wreath of glory which crowns the brows of Iceland's ancient worthies.

      Broad Sanctuary.

      Christmas Eve, 1860.

      It will be seen that in most cases the names of places throughout the Saga have been turned into English, either in whole or in part, as "Lithend" for "Lfaðrendi," and "Bergthorsknoll" for "Bergthorshvól". The translator adopted this course to soften the ruggedness of the original names for the English reader, but in every case the Icelandic name, with its English rendering, will be found in the maps. The surnames and nicknames have also been turned into English—an attempt which has not a little increased the toil of translation. Great allowance must be made for these renderings, as those nicknames often arose out of circumstances of which we know little or nothing. Of some, such as "Thorgeir Craggeir," and "Thorkel foulmouth," the Saga itself explains the origin. In a state of society where so many men bore the same name, any circumstance or event in a man's life, as well as any peculiarity