Reconstructing Old Norse Oral Tradition

Abstract

The written residue of oral tradition from the medieval Nordic world encompasses a wide variety of pan-national genres, including charms, legends, and genealogical lore, but modern scholarly attention has generally focused on two areas: (1) the prose (and often prosimetrical) Icelandic sagas and (2) traditional poetry in its two dominant forms, eddic and scaldic. Many factors play into this somewhat restricted image of what constituted oral tradition in the hyperborean Middle Ages-obviously, manuscript preservation and the issue of what materials have come down to us are key elements, but so too are, among others, the effects of early modern nation-building, nineteenth-century nationalism, and contemporary aesthetic tastes. Certainly one important aspect of the emphasis on saga literature is the broad appeal the Icelandic sagas hold for modern audiences, a fascination easily apprehended in that they are characteristically complex narratives exhibiting sophisticated literary portraiture and realistically detailed events. The topics of the sagas vary from historical, legendary, religious, and contemporary themes to the completely fantastic, and as such they offer an inclusive and panoramic view of medieval Nordic cultural life, narrative imagination, and attitudes toward the past and the heroic. Whether these marvelous medieval texts are to be seen as (1) reflections of a vibrant oral culture absorbing and codifying elements of the world around their authors, or (2) merely reflexes of written texts borrowed from abroad, or (3) some compromise between the two extremes, borrowing freely from available foreign models but also incorporating much native tradition, has historically dominated perceptions and scholarly debates about the sagas (Andersson 1964), and although occasionally new models emerge (Lönnroth 1976), it is clear that the weight of the nativist-anti-nativist arguments remains a powerful influence on academic treatments of the topic. Eddic poetry principally concerns itself with mythological and heroic themes, whereas scaldic verse tends toward praise, memorial, and occasional poetry, but it should be noted that scaldic panegyrics also take up, for example,