#Njal's saga

[gennsoup]

"It is horrible now To look around, As a blood-red cloud Darkens the sky. The heavens are stained With the blood of men, As the Valkyries Sing their song."

Magnus Magnusson (trans.), Njal's Saga

[gilgalahad]

"On Good-Friday that event happened in Caithness that a man whose name was Daurrud went out.

He saw folk riding twelve together to a bower, and there they were all lost to his sight.

He went to that bower and looked in through a window slit that was in it, and saw that there were women inside, and they had set up a loom.

Men's heads were the weights, but men's entrails were the warp and weft, a sword was the shuttle, and the reels were arrows. They sang these songs, and he learnt them by heart:

"See! warp is stretched For warriors' fall, Lo! weft in loom

'Tis wet with blood; Now fight foreboding, 'Neath friends' swift fingers, Our grey woof waxeth With war's alarms, Our warp bloodred, Our weft corseblue.

"This woof is y-woven With entrails of men, This warp is hardweighted With heads of the slain, Spears blood-besprinkled For spindles we use, Our loom ironbound, And arrows our reels; With swords for our shuttles This war-woof we work; So weave we, weird sisters, Our warwinning woof.

"Now Warwinner walketh To weave in her turn, Now Swordswinger steppeth, Now Swiftstroke, now Storm; When they speed the shuttle How spearheads shall flash! Shields crash, and helmgnawer On harness bite hard!

"Wind we, wind swiftly Our warwinning woof Woof erst for king youthful Foredoomed as his own, Forth now we will ride, Then through the ranks rushing Be busy where friends Blows blithe give and take.

"Wind we, wind swiftly Our warwinning woof, After that let us steadfastly Stand by the brave king; Then men shall mark mournful Their shields red with gore, How Swordstroke and Spearthrust Stood stout by the prince.

"Wind we, wind swiftly Our warwinning woof. When sword-bearing rovers To banners rush on, Mind, maidens, we spare not One life in the fray! We corse-choosing sisters Have charge of the slain.

"Now new-coming nations That island shall rule, Who on outlying headlands Abode ere the fight; I say that King mighty To death now is done, Now low before spearpoint That Earl bows his head.

"Soon over all Ersemen Sharp sorrow shall fall, That woe to those warriors Shall wane nevermore; Our woof now is woven. Now battlefield waste, O'er land and o'er water War tidings shall leap.

"Now surely 'tis gruesome To gaze all around. When bloodred through heaven Drives cloudrack o'er head; Air soon shall be deep hued With dying men's blood When this our spaedom Comes speedy to pass.

"So cheerily chant we Charms for the young king, Come maidens lift loudly His warwinning lay; Let him who now listens Learn well with his ears And gladden brave swordsmen With bursts of war's song.

"Now mount we our horses, Now bare we our brands, Now haste we hard, maidens, Hence far, far, away."

Then they plucked down the woof and tore it asunder, and each kept what she had hold of.

Now Daurrud goes away from the slit, and home; but they got on their steeds and rode six to the south, and the other six to the north. A like event befell Brand Gneisti's son in the Faroe Isles."

Njal's Saga - Ch 156

Art Credit: Einherjar_manga

[kivutark]

[langernameohnebedeutung]

maybe Hallgerd's husbands should stop hitting her if they hate being murdered by Thjostolf so much

[eightyonekilograms]

Icelandic law circa 965 AD is surprisingly understanding of women who want to get a divorce because their husband’s dick is too big to bring them any pleasure.

[haveyoureadthisbook-poll]

[absinthe-and-alabaster]

Hallgerður is clearly the Vriska of Njáls saga

[fjorn-wanders]

Njal's Saga: A Medieval Best-Seller Most People Haven't Heard of

AM 133 fol. 14v (c.1300). Image courtesy of handrit.is If you want to experience a medieval Icelandic ‘family’ saga at peak performance, then this is the saga to read. Of all the sagas recounting the daily life and social settings of the ‘Viking’ world, Njal’s Saga stands out as an epic chronicle fused with both archetypal heroes and tragic social realities. But while the heroes of Njal’s Saga…

[jazzslug]

ive been reading njal's saga and its really cool and good

for context njal's saga is a 13th century icelandic saga from an unknown author. ive been reading a translation from 1960, and its cool

[crokitheloki]

WHAT DO YOU MEAN HILDIGUNN PICKS UP HER DEAD HUSBANDS CLOAK AND HOLDS IT TO HER CHEST WHAT THE FUCK IS UP WITH THAT

[gennsoup]

"Death is a debt we all have to pay."

Magnus Magnusson (trans.), Njal's Saga

[wilsonthemoose]

Sidekick energy.

[astronicht]

Hi I hope this isn't presumptuous, but so, that post you made about Tolkien making the lads leave their weapons outside the hall and CS Lewis thinking the hall was gonna get burned down by a lady who also wanted to kill herself... what's the historical precedent for that? Is there a trope in medieval lit where people like... do that? I ask because uh. I am obsessed with Children of Hurin and there's a scene where that like, happens. And I'm obsessed with that scene, and would love to know if there's like, cultural/mythic context that would enrich my knowledge!

OH BOY, sorry I'm getting to this late, it's been uhhh a summer, but one, this is a very good question!! And two, yes there is absolutely precedent, particularly in early medieval literature, and high medieval literature set in the early medieval (circa 500-1100 AD) past. I'll let someone else debate how often people actually historically locked their enemies into a hall and burned them, but especially in Old Norse literature (and if Fellowship felt like it leaned a little more on Old English literature, Two Towers, where Eowyn appears, felt a little more Old Norse) this is common. Off the top of my head, you've got many Icelandic family feuds ending in burning the whole family in their hall, like Njal's Saga (Old Norse), Attila the Hun dramas (yeah he's a big guy in the burning halls circuit, but actually not in the way you might expect) like his cameos in Volsung Saga (Old Norse) and Nibelungelied (Middle High German), and my vague recollection of a few Irish and Welsh versions that no search engine is giving up for me right now.

This, predictably, got long and slightly off topic.

Disclaimer: As usual, I should say I come from an Old English-centric background, and Old English literature is actually notable among all its neighbors for not burning down too many halls. Second disclaimer, all links are not proper citations, they just go to wiki.

Hall-burning in literature is, to my understanding, part of the concerns of a few early medieval cultures in which revenge is not only expected but in many cases legally reinforced and codified, and one in which conflicts could spiral to engulf -- figuratively, or literally and in flames -- entire families. Many medieval Icelandic sagas are focused on this exact type of destruction of whole families or friendship/community units. Most relevant of these to Eowyn, Two Towers, and the vibes of Edoras (since alas I am only partway into RotK and can't speak to Children of Hurin yet!) is Volsung Saga, which is set on the Continent, not Iceland, and actually has to do with Attila the Hun. As mentioned before, an incredible amount of stuff turns out to have to do with Attila. We will come back to him!

So, on the particular post you're talking about, a few people iirc have replied pointing out that the hall in TT is clearly supposed to be based on a hall from Old English literature, namely the hall in Beowulf, which famously did not actually get burnt down. And that's all true! I was not posting with much nuance; I was mostly having a joke at the expense of CS Lewis. However, I was also referencing a very very common trope in Old Norse/early medieval stories, and I personally think JRR was as well (AND I think Beowulf was also very consciously referencing the exact same motif anyway) (no one has to agree with me, a tumblr blog, on any of these points).

The thing about the hall when our heroes approach is that the scariest damn thing in that hall is Eowyn. Certainly not every hall-burning story requires a woman with no other recourse to set the fire (in fact, the "warrior band approaches unknown hall which might have a grudge against them" is a trope that can get you killed in a pretty homosocial environment, as I guess Aragorn at least was aware, being a big reader). Still, the presence of a woman who is swiftly running out of options does fit what I'd consider one of the or perhaps The best known version of the early medieval burning hall trope: Gudrun, who shows up in at least a dozen different texts in both the Scandinavian and the German language traditions, including Volsung Saga, a text which itself often gets paraded around as the basis of lotr (which I'm sure it is, in that JRR appears to have simply and very fairly based lotr on every piece of early medieval vernacular literature I can think of).

In a portion of Gudrun's story (which of course changes a bit in each retelling), after her first marriage she is unhappily married to Atli, who is none other than our main man Attila the Hun. After Attila kills her brothers for reasons (in one version, her father), seeing no other way to take the necessary revenge and no other way out, she kills the two sons she had by him, serves them to Attila for dinner, has Attila killed, and then sets fire to the hall with everyone in it. After this, she attempts to drown herself.

The self-destruction of this act is a really important beat, and has only gotten more-so as a comparison to Eowyn the further I've read into RotK (currently, I'm at the houses of healing after merry and eowyn take on the witch king). It's a lot clearer in the book than the films, for me, that Eowyn going off to battle was not so a straightforward empowering and/or freeing move, despite allowing her some agency, but more the one path she saw as available to her with which to die with honor (which was pretty much exactly what Gudrun was facing as well). Like Gudrun, whose first husband was a great hero but has died, Eowyn's romantic choice is a hero who is presumed dead (sorry Aragorn they did Not believe in your ghost skills). In fact, in some versions Gudrun does put on armor and fight with her brothers before they're killed. She kills Attila with her own hand, with the help of another man who needs to avenge a blood feud against Attila.

So while Eowyn didn't get forced into marriage to Attila Wormtongue (with apologies to both historical Attila and that one historical skald also called Wormtongue who was reportedly hot) and burn the whole place down, she's still trapped, and like Gudrun chooses destruction alongside her household.

Reading her arc feels so much like watching Tolkien write a fix-it for Gudrun. What if she got this one little chance, and this one other little chance, and this one more -- tiny little shifts in the narrative that allow her to get out, and not through fire, and not through death.

Anyway, this got away from me. I hope it added some context to the Children of Hurin arson case! Thanks for the ask

[kivutark]

Njalssons Get Roasted: An Extra

We open on the Taskmaster studio. In the seats are Grim Njalsson, Helgi Njalsson, Kari Solmundarson, Njal Thorgeirsson, and Skarphedin Njalsson. Greg Davies: Welcome back! In our last task, the contestants were asked to kill Thrain Sigfusson while wearing ice skates on their feet or hands, but not both. (Closeup on Skarphedin, who grins.) Can we get another one like that, Alex? Alex Horne: That’s…

[st-just]

Remember, medieval Iceland was an early attempt at anarcho-capitalist utopia. When Harald Fairhair declared himself King of Norway, the Norwegians who refused to bend the knee fled west to build a makeshift seastead on a frozen volcanic island. No lords, no kings, no masters. Only lawsuits. So, so many lawsuits.

-Your Book Review: Njal’s Saga