The Story of Grettir the Strong | Page 4

has taken an incident with little or no change from the Romance of Tristram and Iseult), that he is obliged to submit to a divorce and the loss of his wife's dower, and thereafter the lovers go away together to Norway, and live there happily till old age reminds them of their misdeeds, and they then set off together for Rome and pass the rest of their lives in penitence and apart from one another. And so the story ends, summing up the worth of Grettir the Strong by reminding people of his huge strength, his long endurance in outlawry, his gift for dealing with ghosts and evil spirits, the famous vengeance taken for him in Micklegarth; and, lastly, the fortunate life and good end of Thorstein Dromund, his brother and avenger.
Such is the outline of this tale of a man far above his fellows in all matters valued among his times and people, but also far above them all in ill-luck, for that is the conception that the story-teller has formed of the great outlaw. To us moderns the real interest in these records of a past state of life lies principally in seeing events true in the main treated vividly and dramatically by people who completely understood the manners, life, and, above all, the turn of mind of the actors in them. Amidst many drawbacks, perhaps, to the modern reader, this interest is seldom or ever wanting in the historical sagas, and least of all in our present story; the sagaman never relaxes his grasp of Grettir's character, and he is the same man from beginning to end; thrust this way and that by circumstances, but little altered by them; unlucky in all things, yet made strong to bear all ill-luck; scornful of the world, yet capable of enjoyment, and determined to make the most of it; not deceived by men's specious ways, but disdaining to cry out because he must needs bear with them; scorning men, yet helping them when called on, and desirous of fame: prudent in theory, and wise in foreseeing the inevitable sequence of events, but reckless beyond the recklessness even of that time and people, and finally capable of inspiring in others strong affection and devotion to him in spite of his rugged self-sufficing temper--all these traits which we find in our sagaman's Grettir seem always the most suited to the story of the deeds that surround him, and to our mind most skilfully and dramatically are they suggested to the reader.
As is fitting, the other characters are very much subordinate to the principal figure, but in their way they are no less life-like; the braggart--that inevitable foil to the hero in a saga--was never better represented than in the Gisli of our tale; the thrall Noise, with his carelessness, and thriftless, untrustworthy mirth, is the very pattern of a slave; Snorri the Godi, little though there is of him, fully sustains the prudent and crafty character which follows him in all the Sagas; Thorbiorn Oxmain is a good specimen of the overbearing and sour chief, as is Atli, on the other hand, of the kindly and high-minded, if prudent, rich man; and no one, in short, plays his part like a puppet, but acts as one expects him to act, always allowing the peculiar atmosphere of these tales; and to crown all, as the story comes to its end, the high-souled and poetically conceived Illugi throws a tenderness on the dreadful story of the end of the hero, contrasted as it is with that of the gloomy, superstitious Angle.
Something of a blot, from some points of view, the story of Spes and Thorstein Dromund (of which more anon) must be considered; yet whoever added it to the tale did so with some skill considering its incongruous and superfluous nature, for he takes care that Grettir shall not be forgotten amidst all the plots and success of the lovers; and, whether it be accidental or not, there is to our minds something touching in the contrast between the rude life and tragic end of the hero, and the long, drawn out, worldly good hap and quiet hopes for another life which fall to the lot of his happier brother.
As to the authorship of our story, it has no doubt gone through the stages which mark the growth of the Sagas in general, that is, it was for long handed about from mouth to mouth until it took a definite shape in men's minds; and after it had held that position for a certain time, and had received all the necessary polish for an enjoyable saga, was committed to writing as it flowed ready made from the tongue of the people. Its style, in common with that of all the sagas, shows evidences enough