Sagas are special to Iceland. The word itself originates from Old Norse and refers to a long tale, oftentimes written in prose, depicting heroic stories or foundational figures in history and folklore. The Icelandic sagas focus primarily on the time period between 1100-1200 AD although other sagas have been written in the later medieval period.
All children in Icelandic schools are required to read the sagas; therefore, many contemporary Icelanders possess a sense of pride and wonder for these tales that portray their national heritage. The sagas are symbolic for, at least in part, a shared identity for Icelandic citizens (whether by birth or immigration) as they learn of their country's early modern development.
There are at least forty three sagas, or mythological legends, in the Icelandic tradition. There may have been further sagas that have been lost to time or are badly preserved. Here are several examples of saga content:
Bandamanna: a tale about bribery, court settlements, and a conclusion that helps all parties (well, for the most part) win.
Bárðar saga Snæfellsáss: focuses on two characters, a father and son. The father is a half human, quarter troll and quarter giant. He married and had a family after moving to the shores of Iceland but when his daughter drifted on an iceberg to Greenland and found a lover, he was filled with rage and gave away his land. After this, he became a hermit and was known as a guardian spirit of the land.
Saga of Erik the Red: concerns Leif Ericson finding Vinland and preaching Christianity (area of coastal North America found by vikings, possibly Newfoundland) after his ship encountered strong winds. The saga also chronicles Erik the Red, the founder of the first Norse settlement in Greenland. His father had been banished from Norway for manslaughter and, likewise, Erik was exiled for murder.
The surviving tales concern: historical figures who discovered, explored, or settled in Iceland or the surrounding area; tales, much like Aesop's fables, intended to provide wisdom (Bandamanna might serve as an example); tall tales or mythology concerning the country's establishment or the growth of Christianity.
Bandamanna: a tale about bribery, court settlements, and a conclusion that helps all parties (well, for the most part) win.
Bárðar saga Snæfellsáss: focuses on two characters, a father and son. The father is a half human, quarter troll and quarter giant. He married and had a family after moving to the shores of Iceland but when his daughter drifted on an iceberg to Greenland and found a lover, he was filled with rage and gave away his land. After this, he became a hermit and was known as a guardian spirit of the land.
Saga of Erik the Red: concerns Leif Ericson finding Vinland and preaching Christianity (area of coastal North America found by vikings, possibly Newfoundland) after his ship encountered strong winds. The saga also chronicles Erik the Red, the founder of the first Norse settlement in Greenland. His father had been banished from Norway for manslaughter and, likewise, Erik was exiled for murder.
The surviving tales concern: historical figures who discovered, explored, or settled in Iceland or the surrounding area; tales, much like Aesop's fables, intended to provide wisdom (Bandamanna might serve as an example); tall tales or mythology concerning the country's establishment or the growth of Christianity.
Role of Sagas in Literary Culture
The thirst for sharing stories, especially written ones, can be observed through the Book Flood in the winter months as people buy books for one another and expect to receive books in return. In the Christmas tradition of Lutheran Iceland, people exchange books and read on Christmas Eve. The consideration of books (and the stories they contain) expresses a cultural expectation of stories as being gifts, worthy of passing on. Perhaps this explains why the sagas have been so influential and valued in Icelandic education.
The Storyteller's Lodge expresses this desire to continue on the tradition of storytelling, especially in a time in which many citizens fear that Iceland's difficult-to-learn language and its accompanying legends will be forgotten. While the tourism industry provides most of Iceland's income, the national travel also brings concerns of the loss of Icelandic culture as citizens learn English and other languages to accomodate tourists. Ingi Hans, a prominent storyteller, meshes tourism with national tradition by welcoming visitors to hear stories of the founding of towns and folklore.
Storytelling traditions also influence artwork. Ásmundur Sveinsson (1893-1982) was a father of Icelandic sculpture. He entered the profession with inspiration of storytelling; his early sculptures focus on the bodies and actions of the saga's heros and heroines. Eva Heisler, author of the article "Anticipations of Memory: Icelandic Artists and Storytelling," writes of the incorporation of storytelling and the sagas into contemporary artwork:
the influence of the preoccupation on poetry and storytelling in the mid-century is seen in the formation of Islandic conceptual art. This form of art is characterized in Iceland's art community as 'poetic-
conceptualism.' In 2007 art exhibitions 'Hreinn Fridfinnssons' at Serpentine Gallery in London and
'Steingrimur Eyfjörd' who represented Iceland at the Venice Biennale, were presented. According to the
article, both exhibits provided a venue for Iceland artists to showcase their literary traditions. (Heisler).
Old Norse gods and goddesses, while absent from the sagas, remain a part of the national memory of storytelling. A part of Reykjavik is known as the "Neighborhood of the Gods" due to its naming of streets after gods such as Thor and Odin. This continual exposure to stories including the sagas in the education of youth, ancient religious mythology in street names around the city, and books during the holiday season preserves a valued literary culture for Icelandic citizens ... at least for now. In a culture that prioritizes a broad set of legends that are required reading in the curriculum, citizens learn from and perpetuate a passion for telling stories. Stories such as the sagas are taught as a relatable topic -- a way to learn of one's country, one's heritage and history, or important moral/practical lessons -- and the actions of telling, hearing, and writing stories are passed down.
The Storyteller's Lodge expresses this desire to continue on the tradition of storytelling, especially in a time in which many citizens fear that Iceland's difficult-to-learn language and its accompanying legends will be forgotten. While the tourism industry provides most of Iceland's income, the national travel also brings concerns of the loss of Icelandic culture as citizens learn English and other languages to accomodate tourists. Ingi Hans, a prominent storyteller, meshes tourism with national tradition by welcoming visitors to hear stories of the founding of towns and folklore.
Storytelling traditions also influence artwork. Ásmundur Sveinsson (1893-1982) was a father of Icelandic sculpture. He entered the profession with inspiration of storytelling; his early sculptures focus on the bodies and actions of the saga's heros and heroines. Eva Heisler, author of the article "Anticipations of Memory: Icelandic Artists and Storytelling," writes of the incorporation of storytelling and the sagas into contemporary artwork:
the influence of the preoccupation on poetry and storytelling in the mid-century is seen in the formation of Islandic conceptual art. This form of art is characterized in Iceland's art community as 'poetic-
conceptualism.' In 2007 art exhibitions 'Hreinn Fridfinnssons' at Serpentine Gallery in London and
'Steingrimur Eyfjörd' who represented Iceland at the Venice Biennale, were presented. According to the
article, both exhibits provided a venue for Iceland artists to showcase their literary traditions. (Heisler).
Old Norse gods and goddesses, while absent from the sagas, remain a part of the national memory of storytelling. A part of Reykjavik is known as the "Neighborhood of the Gods" due to its naming of streets after gods such as Thor and Odin. This continual exposure to stories including the sagas in the education of youth, ancient religious mythology in street names around the city, and books during the holiday season preserves a valued literary culture for Icelandic citizens ... at least for now. In a culture that prioritizes a broad set of legends that are required reading in the curriculum, citizens learn from and perpetuate a passion for telling stories. Stories such as the sagas are taught as a relatable topic -- a way to learn of one's country, one's heritage and history, or important moral/practical lessons -- and the actions of telling, hearing, and writing stories are passed down.