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• W1480853645 abstract "GUNNLAUGR ORMSTUNGA, a sharp-tongued Icelandic skald in early eleventh century, is an man, meaning he is undetermined, uncertain, unresolved, or, as Gwyn Jones memorably translated it, (182, 183). The plot in which Gunnlaug operates, moreover, consists largely of a series of incidents of shilly-shallying, and narrative form of saga as a whole shilly-shallies between romantic and heroic modes. The saga's formal instability is evident in conflicting modern critical assessments of it. Sigurdur complains about conflict between its love and its realism, and P.G. Foote concurs remarking that the author has not produced a wholly effect. In fact, he does not seem to have been able to make up his mind whether he is writing a chivalric romance or a realistic story (Foote xx; see and Jonsson xxxix-lv). Preben Meulengracht Sorensen acknowledges love element but claims that despite its presence, remains primarily one of heroic individualism. Like Nordal, Robert Cook finds narrative inconsistencies, but these he attributes solely to Gunnlaug's own inconsistencies, asserting that Nordal was right to point to [the saga's inconsistency] but wrong to blame [it] on conflicting literary modes (19). Somewhere between and his successors, for whom inconsistencies are a sign of authorial weakness, and Cook, whose focus is on remarkable character of Gunnlaug, is a place to argue that unresolved competing literary forms might function purposefully in narrative structure. But to make such an argument requires some sense of what medieval Old Norse-Icelandic authors understood of genre or, at least, of literary paradigms. Gunnlaugs saga is now usually classed as one of core skaldasogur or skald sagas, a modern categorization for a subset of sagas of Icelanders, but, as such, also has clear affinities with both romance and heroic tales such as those in riddarasogur, a medieval term for romances, and fornaldarsogur, a modern term meaning mythic-heroic sagas. Whatever terms we use to explain it, Gunnlaugs saga pattern of incorporation of parallels to both romance and heroic tales suggests an analytical awareness of literary form and ability to play with it. That characters within saga perceive Gunnlaug as a shilly-shallying man is obvious since occurs in fairly quick succession three times early in saga in reference to Gunnlaug. (1) Porstein, father of Gunnlaug's would-be bride, Helga, first applies term to young skald: Vita skyldir pu fyrst, hvat pu vildir. Ertu eigi radinn til utanferdar ok laetr po, sem pu skylir kvangask? Er pat ekki jafnraedi med ykkr Helgu, medan pu ert sva oradinn, ok mun pvi ekki verda a litit (Nordal and Jonsson 66) [You should have worked out what you wanted in first place.... Haven't you decided to go abroad? And yet you're carrying on as if you want to get married. It wouldn't be suitable for you to and Helga to marry while you are so undecided [oradinn]. I'm not prepared to consider it (Attwood 120)]. Gunnlaug's father, Illugi Black, makes same judgment telling Gunnlaug, Pu ert madr, and shortly after, Porstein and Illugi Black confirm criticism by repeating again in conversation with each other about Gunnlaug: Pat eitt finn ek Gunnlaugi, at mer pykkir hann vera oradinn (67) [The only problem I have with Gunnlaug is that he seems so unsettled (122)]. Indeed, Robert Cook's analysis shows Gunnlaug as a single, psychologically consistent (9) character defined by inconsistency, one for whom the pattern of impetuousness, irresolution, and inconclusiveness [oradinn] which appeared in his early years typifies his whole life (12). But if Gunnlaug is predictable in fact of his mental hesitations, so is predictable in highlighting moments of unresolved choice. Irresolution appears in saga before Gunnlaug himself in familiar device of a predictive dream that outlines central action of but for which are given two conflicting interpretations. …" @default.
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• W1480853645 date "2004-03-22" @default.
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• W1480853645 title "Genre Indecision in Gunnlaugs Saga Ormstungu" @default.
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