Skáldskaparmál - 01.01.1994, Page 125

Skáldskaparmál - 01.01.1994, Page 125
Víglundar saga 123 Þorleifur Steinólfsson seeks Ketilríðurs hand in marriage; she objects Sigurður and Gunnlaugur grant Víglundur and Trausti passage to Norway Þorgrímur’s marriage to Ólöf is recognized by Ketill of Raumaríki Ketill’s daughter Ingibjörg is to marry Trausti Þorgrímsson Ketill’s son Sigurður is to marry Helga Þorgrímsdóttir Þórður seeks Ketilríður’s hand in marriage; her father agrees; she objects On their return, Víglundur and Trausti make land near Þórður’s farm They spend the winter under assumed names with Þórður and Ketilríður Þórður is revealed to be Helgi, Víglundur’s father’s brother Hólmkell gives Ketilríður to Víglundur in marriage; Þorgrímur gives Helga to Sigurður Ketilsson; Helgi gives Ragnhildur to Gunnlaugur In the above outline only those scenes and episodes are included that move the plot toward an intermediate or final resolution. Unaccounted remain the many scenes and incidents that infuse the events with an unmistakably Icelandic flavor. The animosity of Ketilríður’s brothers and mother toward her lover and his family are expressed in acts of aggression at ball games and horse fights; in the theft of livestock; and in the witchcraft of a hired sorceress.11 If the local color is removed from the narrative, however, the saga turns out to be a bridal-quest romance exhibiting the familiar two-tiered structure: the forestory focuses on the bridal quest of the hero’s father, while the main narrative recounts that of the eponymous protagonist. The author of Víglundar saga chose to compose a romance featuring the double-generational bridal-quest plot that was favored by the most famous of imported romances, Tristrams saga ok Isöndar, and which was adopted and adapted in such indigenous romances as Hrólfi saga Gautrekssonar}1 The author broke with the conventions of this genre, however, by introducing occasional verse, a common feature of the íslendinga sögur, and by setting the plot in Norway and Iceland during the reign of King Harald Fairhair (c. 870-945) rather than in some distant exotic realm. The choice of setting, both temporal and geographic, determined in turn both the personnel and the expression of the conflict — but not the governing element of plot, that is, the protagonist’s quest for a bride. In the series of aggressive episodes, which are meant to impede Víglundur’s bridal quest and to destroy him and his family, those involving Hákon are 11 In the foreword to his edition of Víglundar saga Jóhannes Halldórsson remarks: “Alykta má, þótt ekki verði bent á náin tengsl við efni einstakra íslendingasagna, að höfundi Víglundar sögu hafi verið ýmsar þeirra kunnar. Frásagnir um hestavíg, knattleika, gerningaveður og fleira þess háttar eru þar algengar, og má fmna líkingu í ýmsum greinum, þótt undirrótin sé sums staðar erlend. Að hætti góðra íslendingasagna er hafið máls á því að segja ffá Haraldi hárfagra og ofríki hans” {Víglundarsaga, in Kjalnesingasaga. JökulsþáttrBúasonar. Víglundarsaga. Króka-Refisaga. ÞórÖar saga hreðu. Finnboga saga. Gunnars saga Keldugnúpsfifls, íslenzk fornrit, XIV [Reykjavík: Hið íslenzka fornritafélag, 1959], p. XXX). 12 See Theodore M. Andersson, “’Helgakviða Hjörvarðssonar’ and European Bridal-Quest Nar- rative,” JEGP, 84 (1985), 72-74. On Hrólfi saga Gautrekssonar, see also Kalinke, Bridal-Quest Romance, pp. 25-65.
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