STORIES AND BALLADS OF THE FAR PAST, Nora Kershaw

INTRODUCTION TO GRÍPLUR I

In the fourteenth and fifteenth centuries in Iceland, many of the Sagas or portions of them were turned into rhyming verse known as Rímur. Sagas of almost every class were subjected to this treatment—Íslendinga Sögur, Fornaldur Sögur, Fornmanna Sögur and others. It is supposed that in the first place these rhymed versions(Rímur) were made for the purpose of recitation at social gatherings. There is ground for believing that the Rímur were sometimes recited, as an accompaniment of dances in Iceland1; but this is not believed to have been the purpose for which they were originally composed2.

According to both Jónsson3 and Mogk4, the Rímur 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 Rímur is very striking. Whether the influence of Latin hymns in Iceland was directly responsible for the change, however, as Jónsson and Mogk believe, or whether the Latin hymns only influenced Norse verse indirectly through the medium of French poetry, is
1 Cf. Finnur Jónsson, Oldnorske og Oldislandske Litteraturs Historie, Vol. III, p. 35.
2 Cf. F. Jónsson, op. cit., Vol., III, p. 36; also Eugen Mogk, Geschichte der Norwegisch-Isländischen Literatur (Strasburg, 1904), p. 722.
3 Op. cit., III, p. 26 ff.               4 Op. cit., p. 722 ff.

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problematical. Perhaps these ocmpositons 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 rhying 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 and outcome of the same movement.

The Gríplur, some twenty stanzas of which are given below, represent this stage in the development of Icelandic literature. It may be observed that, like other Rímur, 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 ballds, wwhich 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 Rímur rather than from the Saga direct.

Reference is made to the exploits of Hromund in other Rímur besides the Gríplur, notably in the Málsháttakvæði, the Skíða-Ríma1 (which is interesting as being based, in all probability, on an earlier poem than the Gríplur) and in the Klerka-Ríma2. And he
1 Ed. by K. Maurer, Munich, 1869; F. Jónsson, Carmina Scaldica (Copenhagen. 1913).
2 Codex A.M. 604 H.

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and Thrain the Berserk still live in the popular songs of the North. He is the Ungen Ranild1 of the Danish ballad; and in the Norwegian ballad Ramund den Unge2, Ramund (Hromund) and Hölgi (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 sources3. They are of interest only to those who care for folk song and ballad for their freshness and their naïve simplicity4.

1 S. Grundtvig, Danmarks Gamle Folkeviser, Vol. I, p. 367 ff.
2 M. B. Landstad, Norske Folkeviser (Christiania, 1853), pl. 189 ff.
3 Cf. Kölbing, Beiträge zur Vergleichenden Geschichte der Romantischen Poesie und Prosa des Mittelalters, pp. 185-187.
4 For further ballads on the story of Hromund Greipsson, cf. Andrews, Studies in the Fornaldarsögur Northrlanda, in Modern Philology, 1911, 1912.

 

GRÍPLUR I

9. Olaf was a mighty Prince
Who governed Hörthaland.
The brave folk dwelling along the coast
He guarded with his hand.

10. Gnöthar-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 the heroes many another;
  In strength of limb had he never a peer;
And Örnulf was his brother.

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12. The King and his warriors reddened their swords
In the blood of wicked men;
  But no man traveling 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 Gunnlöth, his good wife,
They had nine sons in all.
  (Clever verses are made about them)
And Hrök 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, Högni, Haki and Gaut,
And Thröst 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.

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21. His wicked foe did he slay with might—
He knew no fear of pain;
  And all his noble courage and valour
From his kinsman Hrök 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.

 
 
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