illuga saga gríðarfóstraThe Saga of Illugi, Gríður’s Foster-son

Edited and translated by Philip lavender

VI K ING SO C IETY FOR NORTHERN RESEAR C H
UNIVERSITY C OLLEGE LONDON
2015

© Viking Society for Northern Research 2015
Printed by Short Run Press Limited, Exeter
ISBN: 978-0-903521-91-8

The printing of this book is made possible by a gift to the Universityof Cambridge in memory of Dorothea Coke, Skjaeret, 1951.

CONTENTS
Introduction ................................................................................. v
Men and the World ............................................................................ vi
Women and Monsters ........................................................................ xi
Words and Truth ............................................................................. xxii
The Text of this Edition ................................................................. xxix
Regularisation ................................................................................. xxx
Manuscripts Containing the Text of Illuga saga ......................... xxxiii
Bibliography and References ...................................................... xxxvi
		Illuga saga Gríðarfóstra ...................................................... 1
Chapter 1 ............................................................................................. 2
Chapter 2 ............................................................................................. 2
Chapter 3 ............................................................................................. 6
Chapter 4 ............................................................................................. 8
Chapter 5 ........................................................................................... 10
Chapter 6 ........................................................................................... 14
Glossary ......................................................................................... 18

Cover image: Carlos Vergara
http://carlosvergara.co

Introductionv

Introduction
Illuga saga Gríðarfóstra is a short fornaldarsaga whose earliest witness
is a manuscript from the sixteenth century (AM 123 8vo). There are
thirty-six other known manuscripts containing the Old Norse text produced between the seventeenth and nineteenth centuries (see the list at
the end of this introduction).1 The saga tells of Illugi, a promising young
champion from Denmark, who has an adventure with a troll-woman
named Gríður after the ship he is on is blown off course into the frozen
north. This introduction provides an analysis of the story, its origins, its
transmission and reception. For this it is necessary to go into detail about
events that happen in the saga. Those who want to avoid spoilers may
wish to read the saga first.
A good way to start a discussion of Illuga saga is with an identificationof some of its superficially unusual or odd features. Davíð Erlingsson(1975) has perspicaciously used some of these as a way of assessing theorigins of the saga. While it is true that confusion and ‘error’ can be a
result of a complicated chain of transmission, as his analysis seeks toexemplify, the discussion below instead takes certain textual cruces as aspur to attempting more sophisticated readings. One productive approachto such problems has been provided by looking at the different manuscript
versions of the saga and seeing where changes or alterations suggest thatsimilar doubts prevailed for past readers and scribes. Their attempts atreconciling the material they worked with have provided the basis forseveral of the observations that follow.
Some of the major peculiarities of the saga’s narrative are as follows:(1) Illugi never fights with another man and even though the stage is set
for a showdown with Björn, the evil counsellor, the chance for Illugi
to test his mettle never arrives. (2) Gríður, the ogress who is actuallya princess, is freed from the curse which has been placed upon her but
subsequently remains behind (at least for a short time), apparently inthe troll’s cave which she has been inhabiting, and soon after murders
Björn. These actions seem anything but appropriate for a princess. (3)On a more general level the truth-telling contest by its very nature seems
pointless. It is posited as a challenge but poses no difficulty to anybody
with a pair of eyes (the simple rule ‘say what you see’ seems to suffice).
1 This number is perhaps a simplification. Two texts of originally independent

origin, AM 363 I 4to and AM 363 II 4to, which are counted separately here, are now
sections bound together in the same codex, and two partial texts which originallyformed a single unit, AM 157 h fol. and AM 193 d fol., are also counted separately.

Illuga saga Gríðarfóstra

Introduction

Why does Gríður set it and what role does it play in the story (or any
story for that matter)? It is worth mentioning that these three peculiarities work on three different levels: Gríður’s odd behaviour is odd within
the narrative (or diegetically as Gerard Genette (1980) would have it),while the truth-telling contest is most strange from an outside perspective (extra-diegetically, i.e. beyond the internal logic of the text, although
not according to it). The fact that Illugi does not fight another man lies
somewhere in between: it is generically noteworthy, although not strange
within the narrative’s closed circuit of logic or more generally. The restof the introduction will be divided into three sections which cover thesethree points, both as elements within broader thematic issues and at thesame time as lenses which allow us to look at the narrative from thesedifferent perspectives.

of the saga begins in Gríður’s cave, with a battle of words rather than aclash of swords, and concludes in the bedroom. In Perg. 4to nr. 22 in theRoyal Library in Stockholm, dated to the middle of the sixteenth century,
there is mention of an Illugi, who may be the same one whom we meetin our saga, in the poem called Allra kappa kvæði (Cederschiöld 1883).2
Among the descriptions of other heroes with their emphasis on martial
prowess, the one referring to Illugi stands out: Illuga lofuðu eingin fljóð
‘No women praised Illugi’ (64). If this is our Illugi then he was identified
early on as standing in an antagonistic role to the female sex.
Despite this identification of Illugi as inimical to females, we can see acommon and learned conception of Illugi as a superlative hero operating
within a masculine milieu dating from the seventeenth century onwards. At
that time scholars from mainland Scandinavia were rediscovering Icelandic
manuscripts and developing ways to work with them which emphasised
certain national ideologies. Danish greatness or Swedish greatness, eachasserted belligerently in opposition to the other depending on which sideof the Øresund the scholar came from, was the order of the day. Out of thisenvironment comes the first appearance in print of a quotation from Illuga
saga. In the first chapter of Thomas Bartholin the Younger’s Antiquitatum
danicarum de causis contemptæ a Danis adhuc gentilibus mortis we findthis reference, appearing shortly after a description of the Jómsvíkingar in alist of examples of ancient Danes who showed no fear of death (1689, 7–8):

vi

Men and the World
Illugi is but one of the many eponymous heroes of the thirty-one fornaldar­
sögur which make up Carl Christian Rafn’s corpus-defining collection.
Among those, however, he is quite exceptional in not engaging in armed
combat with or testing his mettle against another male being. Inter-genderconflict is certainly not uncommon in literary representation (and there aremany notable examples in the corpus of Old Norse–Icelandic literature) but
in certain contexts one also expects the presence of intra-gender conflict.
The codes of heroism and violence associated with the fornaldarsögur(such as those which dictate that men gain honour from fighting against
and defeating other men) must be taken into account when we assess Illuga
saga as generically atypical. In doing so we will also see how this ideo­
logy and the genre so closely aligned and entwined with it are historicalcontructs, rather than fixed and inherent. When we trace the fluid processof genre development back, we will see how texts in the past may havebeen read in other ways which go against the grain of our modern taxo­
nomies, and we may also glimpse an Illuga saga which unproblematically
exemplifies other ideologies.
The saga starts typically enough with an emphasis on Illugi’s strengthand excellence at sports. He is said to outperform all of Sigurður’s otherplaymates and when he goes raiding with Sigurður we are told that theyinspire fear and win a great victory. Yet none of these typically ‘viking’actions is presented in any finer detail; we do not see the victory in the
narrative. Instead we see Illugi breaking a witch’s back against a stone
and hacking up and burning several troll sisters. Yet even these gruesome
deeds cannot be described as the primary conflict. The central struggle

vii

Similes immobiles ad minas mortis intentatas vultus pertulit Illugus Gridæ
alumnus, qvi a Grida rogatus lectum cum filia ipsius ascendere, paruit, &protinùs ad blanditias versus, ab accurrente cum acuto gladio matre capillos arripitur, qvasi mox caput amissurus. Ille immotus sine metus ullo indicio mansit.
Illugi, the foster-son of Gríður, endured with similar stoicism threats of deathwhen, entreated by Gríður to get into bed with her daughter, he obeyed, andimmediately upon attending to the courtship, had his hair grabbed by the motherrushing at him with a sharp sword, and almost lost his head. He remained
motionless without the slightest indication of fear.

The text is used unambiguously as evidence of a greatness inherent in
the ancient Danish people. A modern reader may find it hard not to seea touch of irony in Bartholin’s presentation of, for example, the hair2 There are few other notable Illugis in saga literature, so the association recommends itself. Another who has an antagonism with women is ­Illugi Tagldarbani(the slayer of Tögld, a troll-wife) but his saga only appears in nineteenth-century
manuscripts. Illugi eldhúsgoði is the hero of a set of rímur extant in two manuscripts from the seventeenth and eighteenth centuries but appears not to have fought
against or been hated by female figures (see Björn K. Þórólfsson 1934, 443–44).

Illuga saga Gríðarfóstra

Introduction

pulling, but this seems to have been far from the author’s mind. Whatis most influential here, although by no means an original development
on Bartholin’s part, is the strong association he makes between certain
character traits and a wider ethos mapped onto a specific geographicalarea (and thus the incipient nation state whose link to such a space wasbeing asserted as inevitable and inextricable).
The mention of Hringur, the king in Denmark, at the start of Illuga saga
seems to have earmarked the text for nationalistic appropriations by Bartholin and his Danish countrymen, and yet the first edition was produced in
Uppsala in 1695 by an Icelander, Guðmundur Ólafsson, working under the
auspices of a Swede, Olof Rudbeck. There is no introduction to that edition,
but that provided in Guðmundur’s edition of Sturlaugs saga starfsama
the previous year explains, with reference to Rudbeck’s patronage, thatin his work. The justification of the Swedish connection is made apparent
in a marginal note written by Guðmundur in Uppsala Library, R 697 II(f.51r). It appears next to the comment made towards the end of the sagathat Hringur ruled over Skåne, and tells us that Hringur non Rex Daniæ
sed Scaniæ ‘Hringur [was] not the king of Denmark but of Skåne’. Skåne,at the time, had fairly recently been (re-)integrated into the Swedish state
and thus this identification pulls the saga out of the Danish historical ambit
and into the Swedish one (the Swedish appropriation of Skåne extended tojustification of Skåne’s historically being part of Sweden and not Denmarkin times long past).
These seventeenth-century uses of Illuga saga and other similar sagas
feed directly into Peter Erasmus Müller’s Sagabibliothek (1819) and Carl
Christian Rafn’s collection of fornaldarsögur (1829–30). Müller used
many of the Swedish editions in putting together the second volume of
his literary overview of saga literature, that which concerned itself withthe ‘mythiske’ sagas. In his introduction to the first volume he explainsthat ‘den anden Deel omfatter alle mythiske Sagaer, de nemlig, der indeholde Sagn om hvad der er skeet i Norden før Islands bebyggelse’ [thesecond volume comprises all mythical sagas, those, that is, which include
narrative material about what has happened here in the North prior to
the settlement of Iceland] (xvi). The second volume of Müller’s work
contains all of those sagas which were printed a decade later by Rafn, as
well as a few extras, and thus seems clearly to be a source of inspiration
for Rafn. In his edition, Rafn also explains, closely following Müller’swords, that it ‘innihalda skuli íslenzku sögurnar, er greina frá atburðum
þeim, er orðit hafa hèr á Norðrlöndum, áðr enn Island bygðist á 9du öld’[is intended to include those Icelandic sagas which give an account of
the events which have taken place here in the northern lands before thesettlement of Iceland in the ninth century] (I 5). With both Müller’s andRafn’s works the link between sagas and place, and in particular between acertain group of sagas and the non-Icelandic north (a more inclusive unity
than the previous nation-specific associations with Denmark or Sweden)
is firmly established.
Neverthless, the classification of sagas on the basis of their dealing
with events occurring at a particular time and place presents problems.
For Bartholin, Guðmundur Ólafsson, Müller and Rafn, the use of sagas ashistorical source material was of primary interest. Today we view thesesagas to a much greater extent as fictional constructs, and thus see themapping of this fictional world (albeit with many elements recognisablefrom the historical record) onto our concept of historical Scandinavia asviii

har man stor orsaak att tacka honom för sin höga nijt och benägenheet att
willja befrämia det som länder till wåra gambla handlingars uplysning och
Fäderneslandetz heder.
there is much reason to thank him [Rudbeck] for his great zeal and disposition
in wanting to encourage that which sheds light upon our old documents andthe honour of the fatherland.

If we extend the application of Guðmundur Ólafsson’s laudatory remarks
to the Illuga saga edition (bearing in mind that these statements are madein the context of a proposed wider project to produce editions of saga
texts), we may ask ourselves just how an edition of a text about a Danishking and a hero who is friends with that king’s son could contribute to
the honour of the Swedish fatherland. A solution becomes more apparent if we look at the manuscripts which Guðmundur Ólafsson used in
preparing his edition and his notes from the College of Antiquities (Antikvitetskollegiet) in Stockholm. The motivation for appropriating Illugi
may have been based on Guðmundur’s familiarity with Bartholin’s work:in a summary of manuscript transcriptions carried out by the College of
Antiquities and written up by Guðmundur Ólafsson the saga is said to beabout a character ‘som aldrig kunne frukta eller rädas’ [who could never
be fearful or become frightened],3 the emphasis which Bartholin promoted
3 All documentation pertaining to the College of Antiquities at the time is now

in the archive of the Swedish National Heritage Board (Riksantikvarieämbetet) in
Stockholm. The documents, for the most part loose, have been sorted and placed
into folders, depending on the year, and subsequently boxes, according to type.
This document can be found in the folder for 1693 in box number U.89. It has
not been published.

ix

Illuga saga Gríðarfóstra

Introduction

more uncertain. This mapping was carried out on the basis of place names
and royal dynastic reconstructions, but in Illuga saga the pitfalls of suchan approach come clearly into view.
We have already seen how known geographical locations, such asSkåne, could be made use of in different ways. The rest of the geographyof Illuga saga is if anything even more hazy. The saga starts in Denmark,Illugi and Sigurður raid in Orkney and Scotland, and they subsequently
end up in Gandvík. If the last of these is identified as the White Sea then arealistic sea journey around the Scandinavian peninsula can be drawn, but
Gandvík is just as much a conceptual space as a real one, a place isolated
from civilisation, hostile to men and where magic and monstrosity gain
the upper hand. The raids in Orkney and Scotland are perfectly plausible
for a Viking-Age raider but in at least two Illuga saga manuscripts til
Orkneyja is replaced with til Ungaria (AM 363 II 4to and AM 949 e 4to)without any sign that anyone is troubled by the geographical incongruity.
Even Denmark is presented in a way which makes it hard to swallow as
a historically probable location: the early test which Hilldur sets Illugi,
sending him up to the sel ‘shieling’ or ‘mountain pasture’ to fetch a páll‘turf-spade’ seems to be drawn from an Icelandic (or Norwegian) topographical frame of reference, rather than one informed by the predominantly flat Danish landscape.
Illuga saga also presents a Danish royal chronology that places the ­action
in an apparently historical context. Peter Frederik Suhm, in his Critisk
historie af Danmark (1774–81) struggles to make the information fit withthat present in other sources and after a winding explication surmises thatof Skjölldur and Hermann) to bolster this illusion of authenticity. It istrue that the regnal list outlined, Dagur–Skjölldur–Hringur–Sigurður,differs from any of the alternative Skjölldur genealogies as gatheredin, for example, Alexander M. Bruce’s Scyld and Scef: Expanding theAnalogues (2002), but there are independent confirmations that such aline was known beyond the confines of this saga. In AM 601 d 4to there
is, in the hand of Árni Magnússon, a summary of a þáttur about a King
Skjölldur: Skjalldar þáttur Danakonungs. The outline makes it clearthat Skjölldur is the son of King Dagur, and the climax of the saga is afight between Skjölldur and Hermann, the King of Bjarmaland. This fits
perfectly with the admittedly limited information at the start of Illuga
saga. In addition to the seventeenth-century summary, we have seveneighteenth- and nineteenth-century manuscripts (Lbs 221 fol., Lbs 228
8vo, Lbs 381 fol., Lbs 678 4to, NKS 1197 fol., NKS 907 4to and BL
Add. 24969) which contain the same story, normally under the title of
Hrings saga og Skjalldar. While this interpretation of Danish dynastic
history is not extensively witnessed prior to the sixteenth century, it is
tempting to connect the mysterious Dagur (mysterious because charactersby the name of Dan are much more common in such a role) with the one
mentioned in Kristni saga by Þorgeirr goði as being the king of Denmark
who fought against King Tryggvi in Norway (Sigurgeir Steingrímsson
2003, I (síðari hluti) 35). The point here is that a tradition does seem to bewitnessed in Illuga saga, although it is not the one which commentators
like Suhm were looking for.
Ultimately the world of Illuga saga is made up of a rag-tag assemblage oflocations, royal figures and apparently heroic attributes which superficiallyalign it with certain other sagas which are now called fornaldarsögur. Yet
the geography, the dynastic information and the apparently heroic effort
can all be read as deviating from the norms which at first glance they
mimic. Perhaps it is for this reason that the actions of the hero fit only
partially with what may be expected of a hero within the generic conventions of the fornaldarsögur.

x

Ved at overveye alt dette er jeg nær ved at falde paa de Tanker, at Illuge og
Sigurd have levet i det 6 Sæculo, at en Hring haver været Sigurds Fader, men
at Sagan haver blandet ham med den ældre Hring, eller rettere Ring, FarFader til Dan Mykillati, og at denne Hrings Fader Skiold, og Far-Fader Dag
vedkomme den ældre Hring (564).
Having considered all of this I am of a mind to accept that Illugi and Sigurður
lived in the sixth century, that a certain Hringur was Sigurður’s father, but that thesaga has confused him with the older Hringur, or more correctly Ringur, paternal
grandfather to Dan the Splendid, and that that Hringur’s father, ­Skjölld­ur, andpaternal grandfather Dagur, correspond to those of the older Hringur.

Müller also sees the problems but suggests that the difference in thegenealogy of Skjölldur as presented in the saga from that found in othersources is probably due to an uninformed and dissimulating author who
wished to give the appearance of an ancient tale and so may have been
willing to make up a regnal list and allude to a non-existent saga (thatxi

Women and Monsters
The history of Illuga saga prior to its appearance in AM 123 8vo is hard,
if not impossible, to make out, but this has not disheartened those wishing
to find older roots for the tale. Although the saga’s information about preIcelandic settlement times may be less reliable than previously thought,
failing to take account of the medieval origins of the saga could lead to themisinterpretation of the different layers of narrative material which seem toIlluga saga Gríðarfóstra

xii

Introduction

Proto-Illuga saga

Illuga sagaGríðarfóstra
(AM 123 8vo)

Proto-Norwegian Illugi Ballad

DanishBallad, DgF

NorwegianBallad,Liestøl

FaroeseBallad, CCF

Figure 1. Knut Liestøl’s analysis of the relationship of Illuga saga and the
Illugi ballads

be embedded in it. This is because although we learn much through readinga sixteenth-century text as a product of its time, those who wrote and readthat text in the sixteenth century also had access to a wealth of traditions
with their origins extending much further back. On occasion these traditions were relatively fixed, unchanged in import if perhaps emanating an
aura of mysterious antiquity, at other times they were taken up only to
be challenged or drastically reinterpreted. An episode from Book VIII of
Saxo Grammaticus’s Gesta Danorum, written at the start of the thirteenth
century, has long been seen as redolent of Illuga saga (the relationshipoften defined as one of analogues). In a more explicit way various ‘Illugi
ballads’, while written down at later times, may give us an insight into theearlier northern wanderings of a version of the Illugi story.
The starting point for investigation of the origins of the saga has mostly
been the question of its relationship with the ballads. Versions of Illugi
ballads are known from Norway, the Faroe Islands and Denmark, and­although most of them were transcribed first in the nineteenth century
those from Denmark exist in copies made as far back as the sixteenth
century.4 They thus represent an important source of information for those
4 Although these ballads have been referred to as Illuga dans ‘ballads of Illugi’,this implies slightly more cohesion between the versions than is actually the case.

xiii

wishing to trace points of cultural contact across Scandinavia in times
past. Knut Liestol (1915) was of the opinion that all of the ballads camefrom a common source, an ur-ballad that was most closely represented
by the Norwegian versions. He speculated that this ballad was based ona version of Illuga saga not far removed from that we know today, citing
verbal similarities as sustaining this conclusion (see Figure 1).
Davíð Erlingsson (1975) later challenged this idea and inverted thepicture. He says that the ballad (by which, for the most part, he seems
to mean the Norwegian ballad) is a composite, blending two tale types.
The first is the tale in which truths are requested in exchange for fire, andthe second that in which a maid/princess who has been abducted is saved
from her captor, usually a troll. The first tale type stems from Saxo, thesecond is common in ballads generally, and the fact that they share akernel in which a hero enters a monster’s abode made it easy for them tobe superimposed one upon the other.
The most novel part of Davíð Erlingsson’s argument was the claim thatthe saga must be based on either this composite ballad or some similarlycomposite oral tale which gave rise to both (see figure 2). In several cases
it has been demonstrated that a saga is based upon a poetic source, but all
Thorkillus’
Quest in Gesta
Danorum,
Book VIII

Thorkillus’
Quest in Gesta
Danorum,
Book VIII

Princess
Rescuedfrom Troll

Truth-Tellingfor Fire

Proto-Illugi
Narrative

Princess
Rescuedfrom Troll

Truth-Tellingfor Fire

Proto-Illugi
Narrative

Illugi Ballads

Illugi Ballads

Illuga Saga

Illuga Saga

Figure 2. Davíð Erlingsson’s analysis of the origins of Illuga saga
For example, the Danish ballad is called ‘Hr. Hylleland henter sin Jomfru’ (seeDanmarks Gamle Folkeviser 1853–1976, I 94–102, IV 820–23, X 41–42). The
story nevertheless coincides in many points with that told in the Norwegian ballad, ‘Kappen Illugjen’ (Liestol 1915, 92–105), and the Faroese ballad, ‘Kappin
Illhugi’ (Djurhuus and Matras 1944–96, I:3 428–34).

Illuga saga Gríðarfóstra

Introductionof those involve rímur converted into prose.5 Davíð Erlingsson is careful
to add that no definitive proof can be found which can help us determine
in favour of either a ballad or oral saga source, but seems to lean towards
the former, which would make Illuga saga the first saga to be tentatively
identified as based upon a ballad. His argument is twofold. First, thesaga, like the ballads, shows signs of being a composite piece fusing a
truth-telling quest for fire and the rescuing of an abducted princess. In thesaga a great deal has been added (the youthful exploits of the hero, thetale of the curse embedded within the main tale) but at the expense of theoriginal story of the saving of the princess from a troll, which has been
partially erased. Davíð Erlingsson identifies certain errors, which are said
to reveal where that story has been inexpertly censored or adapted. Two
examples are as follows:

Having identified the saga as previously being more like the ballad, whichconsequently represents an earlier phase of the narrative, he goes on tohis second argument in favour of this chronology. The saga is not onlylacking, but also has a surplus in the form of signs of poetry embeddedin the prose. These remnants are incongruous duplications of words andphrases (common in ballads) as well as a high incidence of rhymingwords (for example in the description of Gríður). Although none of these
poetic remnants match any of the existing ballads, they do suggest thatat some previous stage the saga was written down by somebody at thevery least familiar with poetry and possibly consciously adapting poetic
source material.
With Davíð Erlingsson’s description we come as close to any certainty
about the origins of Illuga saga as we are likely to get. Moreover, precisely
how the source of Illuga saga, ballad or otherwise, is related to Gesta
Danorum we may never know. There could have been an oral tale which
was used by Saxo but survived independently in Iceland until it became,or influenced, the source text of Illuga saga. Or the Gesta Danorum, or its
derivative Den Danske Rimkrønike, may have influenced ballad traditionin Denmark. The question need not be either/or, the story having possibly
circulated in different forms which ultimately reinforced each other andreconnected at various times. This process of repeated back-and-forthcontact, emphasised by Judith Jesch (1982, 128–30), need not stop evenafter the writing down of the saga. Such a text could continue to influence
the ballads, as textual details filtered back into oral forms either frommanuscripts or one of the two printed editions which had already appearedby the time the nineteenth-century ballads were collected. Thus claimingthat the Norwegian ballad is the closest to the saga is a tricky assertion to
make because it may only be so because it has reintegrated features fromthe ongoing saga tradition and thus realigned itself accordingly. An addedcomplication which must be mentioned is the fact that the ballads (andother verse forms) seem at all times to have freely exchanged parts. To
pick an example mentioned by Davíð Erlingsson (1975, 34–35), an interesting sea trip taken from one ballad could unproblematically be inserted
into another ballad at an opportune moment, so that any particular forms
witnessed cannot be associated exclusively with a single place or time(that is, the composite nature of such ballads means a traced chronology
would be fractured and unpredictable).
Turning back to Illuga saga, if it borrows liberally from a poetic tradition,in what ways can we see it as reinterpreting that tradition? In Saxo Grammaticus, Thorkillus (Þorkell Aðalfari), while on his way to the kingdom ofxiv

In the ballads where a princess is rescued from a troll, the king travels
with his selected hero and then sends him into the cave to save hisdaughter. In the saga, however, this has been wiped out in order thatthe sworn brothers can go raiding without a parental escort, since thelatter could be deemed mildly humiliating. The king’s role is thus filledby the evil Björn, who sends Illugi off on the quest which ends withthe princess being found, although now the stated aim is the search for
fire. While originally the king used the promise of a reward as a spurto action, an act of munificence which is incongruously incorporated
into Björn’s offer of a ring if Illugi succeeds, the evil advisor in the
reworked saga also threatens to kill Illugi if he fails. The latter addition
is more in character for Björn, but the presence of both incentive andthreat is deemed atypical in such quest stories and an excess borne of
the shoddy fusion of narratives.
Another, and the main, example given by Davíð Erlingsson is the factthat in the ballad it is a troll-wife (sometimes a troll) who has abducted
the princess. In the saga this has been changed and Gríður is now only
seemingly a troll but in reality a cursed princess with her own backstory. Nevertheless, after being freed from the curse she still acts likea troll, killing Björn and not returning with Illugi and Hilldur fromher cave. Davíð Erlingsson deems this to be an error, the result of theinsufficient effacing of the previous fully-fledged troll-wife.
5 See Jorgensen 1990. This is a phenomenon associated with the late Middle

Ages and beyond, although there are of course theories which associate the earlier
genesis of all sagas with processes of prosimetric development out of skaldic and
Eddic poetry.

xv

Illuga saga Gríðarfóstra

Introduction

Utgarthilocus, meets two horn-nosed eagle-headed monsters, curiosities
but not personalities.6 It is they who give him fire and directions in exchange for truths. In several of the oldest Danish ballads (those identified
as A–D in the collection Danmarks gamle Folkeviser 1853–1976) there
is an unremarkable male troll who has abducted the princess. But in thesaga (and all of the later ballads) we meet a female troll, and moreover
one who fairly steals the show. In fact, the saga introduces not just Gríður
but also Sunlöð and Grímhilldur, all fairly memorable women who standout much more than the comparatively dull Hringur, Sigurður and Áli. If
the saga author is to be accused of having done a poor job in converting
his oral and poetic material into a saga, he has at least populated the ruins
with a dazzling ensemble cast, and we may remind ourselves of the factthat Illugi seems to have been identified in contrast to and as the bane ofthese monstrous women.
Much has been written on the monstrous women of the fornaldarsögur.7
They have been interpreted as functioning as counterparts in mythicalor ritualistic reenactments along with male heroes, in a chain of correspondences whereby a hero and a troll-woman/giantess can be linked
to, for example, Óðinn and Gunnlöð, as well as viewed as symbols for
masculine civilisation and feminine untamed nature. These female beings
have also been identified as manifestations of ethnic and gender-related
anxieties, as well as the objects of desires which in normative socialised
environments are not sanctioned, but which may be given free rein in theliminal spaces where such monstrous women have their abodes. Somework has also been done linking these fictional representations to social
conditions of women in the medieval period.8 In fact, even the more literary and less historical approaches focus on the medieval timeframe andso may not be completely apt in the case of Illuga saga, which despite
all similarities with earlier material first comes into view around thetime of the Reformation. While the validity of a medieval/early-modern
dichotomy in the Icelandic context may be questioned, it is the case thatthe mid-sixteenth century ushered in a time of greater restrictions upon
the freedom of women. One factor contributing to this was the issuingof the Stóridómur ‘The Grand Judgement’ (a new and in points harsher

Icelandic law-code) in 1564. Restrictions imposed as a result may haveheightened the valency of many questions related to gender violence andconflict at the time.
Sunlöð (on the problems scribes have had with the name see the noteto the text) is the first of the troublesome women to turn up in the saga.
Before the main quest, Illugi is put to the test by his mother. As in Ormsþáttur Stórólfssonar, the order of the day seems to be a homely agriculturalfeat before the monsters are brought on: a peat spade must be retrieved
from the mountain pasture just as night is falling. The fetching of thisnecessary implement is a symbolic precursor to the quest for fire thatis to come, and the object in question, presumably used to cut sods forheating purposes, is linked thematically to the later search. But the spadeis a distraction and the monster appears as soon as it has been retrieved.
Sunlöð is described as an ölldriða, kvölldriða, galldraskessa, galldra­
syrpa, galldrakona, seiðkona and kolbriðja in different manuscripts. Thissuggests disagreement and doubt among the scribes as to what exactly
she is, but her actions clearly mark her out as transgressive. She rides
Illugi and beats him with a stick before being cast down onto a stone andhaving her back broken.
The word kvölldriða ‘evening-rider’ or ‘night-hag’ (according to
Cleasby–Vigfússon) is closely related to myrkriður ‘darkness-riders’,
mentioned in Hárbarðsljóð (von See 1997, I 200–02). It can also belinked to the mara who (at least according to folk etymology) gives her
name to the modern English and Danish words ‘nightmare’ and ‘mareridt’ respectively, a type of succubus who both seduces and stifles men
in their sleep. Such a figure appears to be at large in Eyrbyggja saga ch.
16 where Gunnlaugr Þorbjarnarson goes missing on his way home andis eventually found with slashed shoulders and legs (Einar Ól. Sveinsson
and Matthías Þórðarson 1935, 29). A woman who has been instructing
him, Geirríðr Þórólfsdóttir, initially falls under suspicion but responsibility for the crime is ultimately laid upon Katla, another mature lady, who
seems to have been jealous of the young man’s relationship with her rival.
Whereas in Eyrbyggja saga the crime is shrouded in mystery, in Illuga
saga we actually witness the riding and the sexual implications are unmistakable. Sunlöð rides Illugi in a way which reminds one of how men are
accused of having been ridden in níð verses (see for example Helgakviða
Hundingsbani I, v. 42 (von See 1997, IV 314–19)) and so the fact that
Illugi remains disgruntled, even after dispatching her, is unsurprising. In
spite of the ignominy he has been subjected to, Hilldur is pleased because
he has shown himself capable of dealing with the threat posed by thexvi

6 The word used to describe them, aquilus, is of debatable meaning but isgenerally assumed to refer to some kind of aquiline features, being related toaquila ‘eagle’.
7 A recent helpful survey of these women appears in Jóhanna Katrín Friðriksdóttir
2013, chapter 3 ‘Monstrous Women’.
8 For example Bagerius 2009.

xvii

Illuga saga Gríðarfóstra

Introduction

Other (remember that all of his previous successes have been in games
played against young men who are his peers). Killing is the most brutal
and definitive method of dealing with monstrous women and negating
the threat that their gender, ethnic and sexual otherness pose to orderedsociety. The casting down of an individual leading to that individual’s
subsequent death as a result of spinal trauma may have been considered
the most appropriate way of killing off an unsavoury rider.9
Grímhilldur also has her parallels, but mostly in fornaldarsögur.10
The pretty but evil stepmother with a voracious sexual appetite appears
as Lúða in Hjálmþés saga ok Ölves (Fas, IV 193–95). While Sunlöð
is specifically called an ambátt ‘serving woman’, ‘slave’, Grímhilldur
is socially mobile and marries into the upper echelons of society. Bothcould be described as ‘man-eaters’, but the position of power which
Grímhilldur occupies means that her unbridled passions can havewider ramifications. A man disappears every fifth night and the whole
kingdom is laid waste. The motif in Illuga saga is so similar to that in
Hjálmþés saga that we may suspect a direct borrowing. An attentive
reading of the curse that Hilldur casts on Grímhilldur, however, showsthat the closest parallel (one foot in the bower, one in the hall, burnt frombelow and frozen from above) is to be found in Hjálmþés rímur II, v.
47–48 (Finnur Jónsson 1913–22, II 18). Once again we are presented
with tantalising suggestions of an author well-versed in poetry. But
again there are key differences from the possible sources. Grímhilldur,
like Sunlöð, faces the ultimate consequences for her alterity, burned todeath so that order can be restored. But whereas in Hjálmþés saga it is
our male hero who restores order, in Illuga saga it is Hilldur who takes
the required action. Female self-regulation outside of the patriarchal
order presents itself as a possibility, if not a necessity (since the men
have practically been wiped out thanks to their wars, as is the casewith Eiríkur, or female depredations, in the case of Áli and the male
inhabitants of the kingdom).
Sunlöð may seem like an archetypal bugbear and Grímhilldur a villainof pantomime proportions but Gríður outdoes both of them in the roll- callof monstrous women in the saga. Living in a barren northern wasteland,
she is presented in a way which draws upon the mythic ­resonances ofborderland-dwelling giants who provide a challenge to the fertility
and abundance of the natural world. Her broad forehead links her withstereo­types of the Sámi ethnic Other, and her immodest dress, exposing
her genitals, to concepts of sexual and gender alterity. She rules the cave
but has the burnt sleeves of a slave woman and in some manuscripts is
described as ambáttligri ‘like a slave woman’ (in place of ámáttligri ‘terrible, loathsome’), upending the hierarchy of social classes. Her gnarledeagle-claw-like hands make her animalistic and the gale blowing out of
her nose seems to refer parodically to the inhuman weather-controlling
powers which have presumably drawn Illugi and Sigurður’s boat to her
rocky shores.
Gríður is thus a challenge in every way, even to interpretation. Yet fora text which is so concerned with women, their monstrosity and what that
could bring to a narrative, it seems problematic to ascribe the paradox thatis Gríður solely to a poor synthesis of sources. Davíð Erlingsson is clear
on what he considers to have been changed, and thus what led Gríður tobe represented as she is in the saga (1975, 19):xviii

9 Curiously this method of death also seems to be associated with attacks bysupernatural beings, not just attacks on them. Glámr in Grettis saga, for example,
who had taken to ríða husum á nætur, kills a shepherd in a similar way (Guðni
Jónsson 1936, 113–15).
10 See Ralph O’Connor 2000.

xix

Í efnisheimild fornaldarsögunnar hefur skessan ekki verið neitt annað entröllskessa. Því hefur höfundur breytt. Álagasögun öll er viðbót hans og einnig
vitaskuld gifting Signýjar.
In the source material of the fornaldarsaga the giantess was nothing otherthan a troll-wife. That has been changed by the author. The whole story of thecurse is his addition as is, naturally, the marriage of Signý.

He is likewise clear that the change has not been fortuitously effected
and that what we are faced with is a missmíð ‘an error in construction’or a misræmi ‘inconsistency’. That this section posed problems is clear
throughout the manuscript transmission of the saga. Many scribes are
not quite sure which of the names, Gríður or Signý, to use after the spell
has been broken, and there is significant variation. In one manuscript anattempt has been made to explain why Gríður stays behind. The manuscript, ÍB 233 4to in the Landsbókasafn in Reykjavík, is damaged but
reads as follows:
Skilldist Gríður þar við þau og bað [...] allra heilla og fór að vitja sinnar gömlu
stjúpu. Var hún þá að [...] í eldunum, en þrælarnir að herða bálið allavega að
henni. Beiddi hún Gríði þá miskunnar. En Gríður [...] því öngvan gaum gefa
og bað þá að auka bálið [...] Þeir voru fýsir til þess og lauk Grímhilldur þar
sínu [...] og skemmdarfullu lífi.
Gríður parted with them there and wished . . . good luck and went to visit her
old stepmother. She was then . . . in the fire, and the slaves stoking the fireon all sides of her. She begged Gríður for mercy. But Gríður . . . paid no heedxx

Illuga saga Gríðarfóstra

Introduction

to that and ordered them to strengthen the fire . . . They were only too keen
to comply and so Grímhilldur ended in that place her . . . and shameful life.

standard against which to measure the special case of Illuga saga.11 This
motif shows a male protagonist obliged to enter into a sexual relationship with an unattractive woman who then proves to have been cursed
and is freed, becoming beautiful again. When faced with Gríður in the
cave, we may expect just such a scenario: after all, this motif is familiar
within the fornaldarsögur in, for example, Hrólfs saga kraka, where adishevelled elf-maiden suddenly becomes a rather attractive bed-partner(Fas, I 28). Gríms saga loðinkinna shows an even closer parallel, whenthe eponymous hero meets a hideous troll-woman, accompanies her to bed
and then releases her from her stepmother’s evil spell (Fas, II 191–93). It
turns out to be his own kidnapped wife, Lofthæna. The words describing
Grímur’s feelings for the troll-woman prior to her conversion: eigi þótti
honum hún svo ill viðkomu sem hún var hrímugleg að sjá ‘he didn’t think
she was as bad to touch as she was dingy to look at’ chime with Gríður’s
own assessment of the situation in her cave: eigi lízt þér svo illa á mig
sem þú lætur ‘I don’t seem as bad to you as you make out’.
Although such stories superficially show a man submitting to a woman,it has been argued that the ideological content is much more conservative(see for example Dinshaw 1999, 132). Sexual relations with a man (and byextension marriage) bring the excessive and monstrous female body backinto the fold of polite society, and thus patriarchy. As Ármann Jakobsson
has shown, tröll as a term, rather than designating a fixed monstrous aesthetic and skill-set, basically means ‘anti-social’ (2008, 63), and so the useof the ‘loathly lady’ motif is in essence a symbolic act of resocialisation.
But the case is otherwise with Gríður. Although clearly identified as
loathly, she does not want to submit except on her own terms. Thus it is
the pretty daughter who is at the receiving end of Illugi’s lust. The termsof the curse, as it is recounted to us by Signý subsequently, say nothingof the necessity for a sexual encounter, but Gríður seems to have found,along with her trollishness, a new appreciation for the subtleties of physicalpleasures. The sex scene does not just bring to mind similar occurrences
in many traditional tales but also acts as a significant distraction and a
devious ploy. Gríður is told that she and her daughter will never be freed
from the spell because all men will fear her terrifying short sword. But

While this unfinished business explains why she does not immediately
accompany Illugi and Hilldur back to Denmark, and while it is certainly
not unheard-of for Nordic princesses to enact gleeful vengeance, theseactions still fit more readily with the woman who threatens Illugi with aknife and strings Björn up from the mast than with the grieving princess
in her bower who could not speak for grief when she was cursed by her
stepmother.
So the question remains, why does Gríður not return to being like aprincess after the curse is broken? I would suggest that if we look at thesaga allowing for humour and irony, it makes more sense. Before the curseSigný was married off to a prince, who then died. She was forced to returnto her father’s house where she was then subjected to her mother’s death,her father’s remarriage and murder, and then her evil stepmother’s assault.
During most of this she sat powerless in her bower, grieving and unable torespond even when attacked by Grímhilldur. This pitiful, powerless state
was removed when the curse was placed on her and instead of sitting ina bower she réð ‘ruled’ over a cave. The curse turns Gríður into a lewd,
violent, but most of all powerful figure. Is it surprising that she does notwant to give that up? Being hacked to death every night is surely somethingGríður is glad to be done with, but after killing a number of brave young
men with her terrifying short sword why should she all of a sudden put
up with the insults of one uppity royal advisor? It is ironic that the causeof all this chaos, the deceptively beautiful Grímhilldur, now stands as arole model. Just as Grímhilldur abducted men in the night for unknown
but dastardly purposes, so too does Gríður/Signý carry off Björn while
all the other men are sleeping on the boat.
Grímhilldur in fact also serves as a warning for Gríður. She is the perfect example of a monstrous woman who almost pulls it off but goes alittle bit too far. She is not outwardly marked as Other and she manages
to manoeuvre her way into an enviable position as queen of a country.
The problem is that her high sex drive leads her to kill her husband andpride and envy lead her to get involved in the cursing duel with Signý
and Hilldur. If Gríður can control these types of excessive drive, thenpost-curse, with her beauty restored (we assume: the saga is much moreinterested in grotesque descriptions than in Gríður’s reversion), maybe
she can have her cake and eat it.
The sex scene in the cave is in many ways the crux of this. The ‘loathly
lady’ motif, familiar from Chaucer’s Wife of Bath’s Tale, can serve as axxi

11 This may also bring to mind various hieros gamos scenes taken from an Old
Norse context, where a god and a giant copulate. While much debated in terms of
their relation to royal ideology and sacral kingship (see, for example, Clunies Ross
2014), the sexual liaison between a heroic (overbearing?) male and a supernatural
female (e.g. Freyr and Gerðr) is a recurrent motif, although its valency in latertimes is hard to assess.

Illuga saga Gríðarfóstra

Introduction

Illugi is so engaged in the act of coitus that he pays little or no attention
to the precariousness of his situation. When he is sem glaðastur ‘as gladas can be’ (a fairly transparent euphemism in the context) Gríður lunges
and this scene is arguably played for humour. Rather than being a fatalistic
hero, as Bartholin would have it, Illugi is highly aroused and consequently
manipulated. The spell is thus broken, but Gríður has not relinquished her
power. Moreover, by playing this little game she has put Illugi’s virility
to the test. Hilldur may have been the victim of this ploy (and we should
not fool ourselves into believing that we are not witnessing a rape scene;Gríður’s freedom is predicated on another’s lack of it) but it is a ploy that
ensures for Hilldur a husband who is in full possession of what old KingÁli lacked. This may bode well for Hilldur and Illugi’s future, since as
we shall see, it is not just Gríður but also her daughter who bears morethan a passing resemblance to Grímhilldur, and thus may also have strong
sexual urges. With Gríður’s new-found sexual acumen maybe she can also
ensure that the same is the case when she comes to marry Sigurður. We
are told, after all, at the end of the saga that þeirra samfarir voru góðar
‘their married life/sex life was a happy one’.
So there is a resounding irony, for those who wish to hear it, whenGríður states that the killing of the other brave men was not kvennaverk‘women’s work, work fitting for a woman’ and soon after does away with
Björn. These are the words of a woman who one moment holds a knife
to your throat and the next is laughing chummily with you. Gríður is notconsistent, but a character who undergoes substantial development. Thisis, moreover, on her own terms, as she refuses to be yet another monstrous
woman for whom the alternatives are death or resocialisation at the handsof a domineering male hero.

the third a consideration of the truth-telling motif in general and how theembedded utterances are used to establish links between the interlocutors
and their social context.

xxii

Words and Truth

Compared to the bedroom scene, the truth contest seems rather a mundane
climax to Illugi’s voyage, yet it is the latter that paves the way for theformer. Gríður offers Illugi not only the fire he needs so badly but also
a night of pleasure with her daughter should he succeed. With such highstakes one might imagine the challenge to be greater, but instead he musttell three truths, which he does, and the task is completed. The truths
seem not to be existential ones, but rather simple observations available
to even the most dim-witted contender. Three approaches may help us
better understand what is going on here, the first an assessment of thevalency of truth and the spoken word in the rest of the saga; the second anassessment of truth-telling alongside other performative speech acts; andxxiiiStarting with the first point, words are rarely transparent in the rest of
the saga. Illugi’s discussion with his mother, where she disingenuously
asks him, ‘Fannstu nokkuð stúlku mína?’ ‘Did you by any chance comeacross my girl?’ is a case in point. She knows full well that he has, since
she has set up the confrontation between her son and the wicked maid.
Moreover, Illugi’s arrival is the proof that he has been the victor (theunderstated Hilldur var þá blíð ‘Hilldur was then pleased’ on Illugi’s
appearance is telling in this respect). If a mother can be so deceitful withher own offspring, then we must assume that dissimulation is pervasive.
Seen in this light, it is unsurprising that Björn too is guilty of lying. We
are told that he unfairly slanders Illugi to the king and prince because
he begrudges Illugi’s close relationship with Sigurður. An instructive
comparison is provided at the end of the saga when he is once again
reproved for his words. On that occasion, he says that the bad weather
being experienced is caused by Hilldur and that Illugi has found her ina cave. She is also, he claims, the worst tröllkona. These words lead tohis death at the hands of Gríður, a response to his accusations which inmany ways seems to justify them. The subsequent change of the weather,as a fair wind breezes in after his death, is also telling.12 We, the readers,know that it is true that Illugi found Hilldur in a cave, and the ambiguityof Sigurður’s response (we are told that ekki villdi hann því trúa ‘he did
not want to believe it’, but possibly deep down he suspected the veracityof the accusation) suggests that even characters within the story have their
doubts. This is understandable since we find out later that even Illugi has
not been forthcoming with the truth: it is only on Gríður’s (or Signý’s)
arrival in Denmark that he tells his men the whole truth and nothing but
the truth (öll deili) about her. Taking all this into account, we can saythat the saga has a very slippery approach to truth in general, with thebest characters lying and the worst liars at times telling the truth. Nothingcan be taken for granted and this ambiguity is not only limited to words.
Appearances are not to be trusted either. Grímhilldur, beautiful on theoutside but the worst tröllflagð in reality, has already been mentioned.
12 If Gríður is the cause of the bad weather which brought Sigurður and his
men to Gandvík then it makes sense that she should be capable of giving them afair wind to sail back once all loose ends have been tied up. The mode of death,execution by hanging from a mast, is moreover reminiscent of Odinic sacrifice(like that in Gautreks saga enacted by Starkaður in order to procure a fair wind).

Illuga saga Gríðarfóstra

IntroductionMore problematically, despite Illugi’s ‘truthful’ assertions, things are notin reality what they seem to be in Gríður’s cave.13
Moving on to the second point, it seems pertinent to invoke the conceptof performative speech acts, if only on the grounds that it has proved sucha productive analytical tool in relation to other verbally complex scenes in
Old Norse–Icelandic literature.14 What words do may be just as important
as what they say, and a failure to recognise this could lead to hermeneutic
oversimplification, and thus misinterpretation, of Illuga saga’s truth-telling
scene. Furthermore, it should not surprise us that verbal action is central
in this saga which is densely populated with women, since performative
speech acts have been specifically linked to the feminine voice. This link ispredicated on the grounds that otherwise socially disenfranchised sectionsof society, such as women in patriarchy, may resort to lamenting, whetting
and cursing in order to have tangible effects on the social landscape aroundthem. Neither lament nor whetting is the order of the day here, but cursing
does play a central role in the story. It is Grímhilldur’s curse which, welearn retrospectively, sets the stage for Illugi’s trial and subsequent success on his quest. ­Although curses in sagas are often accompanied by thecarving of runes or particular symbolic actions, in this instance it seems
that Grímhilldur’s words, perhaps imbued with the magic implied by herrole as tröllkona or tröllflagð, are enough. Nevertheless, she is not the
only character able to turn her words into weapons.
Hilldur, Gríður/Signý’s daughter, stands out among the many loquacious
characters in Illuga saga as, on the whole, fairly reticent. She is describedon first appearing as being hljóð og fámálug ‘silent and taciturn’. We
are never presented with a conversation between her and Illugi, a stark
contrast to the ongoing repartee between him and her mother. In fact the
only occasion upon which she speaks is within the frame story, her words
transposed in a ventriloquistic manner into Gríður/Signý’s mouth. Thosewords are a curse and a fairly intricate one at that. This surprising outburst
at a time when Signý is, by her own account, too overcome with grief tolaunch a comeback gives us a sense that there is more to Hilldur than meetsthe eye. Hypothetically, if anyone could utter a curse we might imagine
that the chaos that would ensue would be utterly bewildering. As with thesupernaturally endowed Grímhilldur, curses seem to be reserved for theselect few, those who can fully realise the performative function of theirspeech. Signý clearly has this ability, much to the surprise of her opponent,
who immediately attempts to retract what has been pronounced but iscountered by Hilldur’s seemingly superior injunction that both curses shallstand. While Hilldur uses her power to counteract Grímhilldur’s curse,
her abilities at the same time align her with Grímhilldur. If Grímhilldur isa witch, is the young Hilldur one too? Does she remain mute in the caveand beyond because her words are too powerful to be bandied about?
In Illugi’s case no such reserve is apparent, perhaps because his speechdraws much more heavily on descriptive potentialities than prescriptive
ones. There is a clear bawdy humour in his shamefaced insulting of his
possible benefactor accompanied by his somewhat leery attitude towards
his possible prize. His words do not seem to have tangible effects upon theworld around him, although in many ways, as far as truth-telling contests
are concerned, his is the exception rather than the rule. It is only through aconsideration of the standard that this particular case is thrown into relief.
The truth contest (three truths is the norm, in good fairy-tale style)appears in various contexts in medieval literature. Inger Boberg’s motif
index lists three examples of H505.1 from a Scandinavian literary ambit,
those being in Illuga saga, Book VIII of Saxo Grammaticus’ Gesta Dano­rum, and an ævintýr entitled ‘Frá Ratepadius greifa’, based on the Gesta
Romanorum but found in a manuscript, AM 624 4to, dated to 1490–1510(i.e. shortly prior to the first appearance of Illuga saga) (1966, 153). Hugo
Gering’s collection Islendzk æventyri contains detailed notes pertaining
to the latter with further examples of the motif: an aesopic fable, two
Old Danish church chronicles (from Roskilde and Esrum), a basque tale,a Welsh tale, the already mentioned Scandinavian Illugi ballads and a
Danish folktale (1882–83, II 179–85).
‘Frá Ratepadius greifa’ is a good example of some of the key featuresof the truth-telling contest. In it Ratepadius, a greifi ‘baron, earl’ in Rome,declares that any criminal can be exonerated of all charges should he state
three incontrovertible truths. The hierarchical approach to veracity is crucial
here, as we are told that what is required is III þing þau er sönn eru, ok svá
sönn at eingi mætti móti mæla ‘three things which are true and so true thatno one can contradict them’ (1882–83, I 245). Truth is relative, and it is only
a truth which cannot be challenged that will stand up in this court of law. A
highwayman named Plebens ends up being the one to take up the gauntlet.
The truths which he states are revealing. The first is that he has always beena thief. This is contextually incontrovertible since for the court to deny his

xxiv

13 We may glimpse the theme of dubious appearances and physical transformations as a loose compilatory principle governing the items included in the
manuscript which contains the earliest exemplar of Illuga saga (AM 123 8vo).
There Tíódéls saga deals with werewolves and Jónatas ævintýr with mistaken
identities owing to the disfiguring mask of leprosy.
14 See in particular Clover 2002.

xxv

Illuga saga Gríðarfóstra

Introduction

criminality would be for it to deny its own authority in this matter.15 The
second truth is that he was brought to this place against his will. This isalso contextually hard to argue against since it is basically an assertion of
the court’s superior power (and naturally panders to the egotism of thosepresiding). The final truth, which is the most complex, is that if he should go
free from that place, he would never willingly return to that place. Whether
a conditional statement can logically be called a truth is hard to say, but forthe court it naturally serves (despite referring to the future and thus being
unconfirmable) since what it amounts to is a promise, that is, a performative
speech act, ensuring self-rehabilitation. Plebens’ task is actually quite tricky,in that most truths can be refuted, but he passes the test by profering truths
which if contradicted destabilise the validity and purpose of the context.
Most of the other truth-telling contests follow a similar pattern. That in
Saxo’s Gesta Danorum does not have the juridical associations of Ratepadius and Plebens’ story but ends with a similar conditional phrase: si inpresentiarum recessu libere fruerer, ulterius a reditu temperandum curarem‘if I could freely return home at this time, I would try never to come back’(2005, I 574). The Illugi stories and ballads are alone among the tales ofthis type in not containing the final ‘conditional truth’, which in nearly allother cases expresses a desire to leave and a promise not to return. Illugi’s
truths also lack any sophisticated awareness of multi-layered truth or contextually necessary truths. His truths rather reveal the superficiality of his
character, and it is this that the test is designed to ascertain. For him thetruth is only skin-deep. He says what he sees without any awareness that
his words, as well as not being beneficial, are also highly inappropriate tohis situation. Moreover, the promise of a night of passion, a desire fuelledby this same visual fetishism, is enough to make him bypass the get-out
clause of the last ‘conditional truth’. He has been promised a reward whichappeals to his superficial nature and this moulds his response to the task.
In Old Norse–Icelandic literature (and beyond) such verbal conundrums
often reveal more about the participants than they do about the supposed
referents. Other verbal duels, such as flytings/senna and riddle contests,
are known in the Scandinavian context, and the most famed use of thelatter appears in another fornaldarsaga. In Hervarar saga ok Heiðreks,
at the end of King Heiðrekr’s lengthy exchange of riddles with a mysteri-ous interlocutor, the final utterance, ‘What said Ódin in the ear of Balderbefore he was borne to the fire?’ (Tolkien 1960, 44) reveals the presenceof the many-faced god, since he is the only individual capable of answering such a riddle, and the rules of the game demand that the poser of theriddle must always know the answer. This is a very concrete example ofidentity revelation, but more subtle and nuanced ones also exist.
The exchange between Illugi and Gríður also reveals the character of the
speaker (as in the case of Óðinn’s riddles) as well as hinting at a set-up witha particular purpose. This is not pure entertainment for the participants,
as is implied when Thorkillus meets the eagle-headed monsters in Book
VIII of the Gesta Danorum. Nor is it a hard test designed to weed out themost apt from the less apt (the test in the bedroom appears to have playedthat function: Gríður claims that the men whom she has killed died by thesword, not by freezing to death after being denied fire). Rather it is a simple
test which anyone can pass, but in doing so he will inadvertently reveal
his personal insight and individual perspective. Illugi’s answers reveal
his inability to navigate the sophisticated world of words and contextual
truths which are normally the staple of the truth-telling contest. It may very
well be that it is precisely this that Gríður’s test is designed to determine.
What follows also throws this scene into relief. Illugi ‘passes’ her test
and then, after remaining unperturbed by her subsequent death-threats, istreated to her life story. This story explains that she is actually a beautiful
princess who has been put under a curse. If this is really the case thendid Illugi really pass the test? The true nature of Gríður is apparently notthat of a hideous and slave-woman-like troll but that of the noble and attractive Signý (said, prior to her conversion, to be að öllu vel að sér búin‘outstanding in all respects’). Illugi has not been able to perceive thisowing to the changes wrought by the spell, in spite of Gríður’s seemingly
unwarranted insistence that she doesn’t really seem all that bad to him. A
hierarchical and polyvalent approach to truth is necessitated by the layeringof enchantment over reality, but Illugi is apparently unable to negotiate
within such a shifting realm. It is ironic that in Gríður’s frame tale we are
told of her father, the king, who suffered from a similar lack of insight.
He loved Grímhilldur dearly because she was fögur að sjá ‘pleasing to theeye’ but ended up dying on account of his inability to see the evil threat
which she represented. Illugi is like Áli in more ways than one. Bothfail to see seething enchantment beneath an attractive surface and both
fail to respond to threats to their well-being once caught on the hook ofthat beauty. For a woman with a cynical worldview, this is just the typeof husband who might be considered a good catch for her fair daughter.

xxvi

15 This is implicit in the Old Norse and Latin but explicitly stated in the Middle
English original, MS Harley 7333, f.167. There the onlookers at the court say thatthey cannot contradict what Plebeus (our Plebens) says because: ‘yf he had bee
noo trespassoure, he had no be I-browte her’ (Herrtage 1879, 102). The precise
source of the Old Norse version is unknown.

xxvii

Illuga saga Gríðarfóstra

Introduction

It remains to be said that many of these readings could be either emphasised or mitigated within a performance context. While a dearth of sources
on private reading practices should not be taken as proof of their absence,
the general assumption, supported by eighteenth-century accounts such asthat of Eggert Ólafsson, is that at least some sagas were read aloud in farmsteads to the inhabitants of that place during their evening work (Hermann
Pálsson 1962, 17).16 With the interposition of a live narrator between the
text and the audience, additional ambiguities could arise (or be made toarise), allowing more than one reading to jostle for a hearing. There arepossibilities for the merging of voices and overlaying of contexts, and one
could imagine a bold narrator at a public reading taking full advantage ofthis fact. This is the case, for example, when on Illugi’s arrival in the cave,
we are told by the narrator that honum þótti . . . ‘it seemed to him . . .’followed by a description of the grotesque Gríður. This is followed by
Illugi’s first-person description of her physical repulsiveness, and thus a
convergence between the two voices, the narrator’s and Illugi’s, is enacted.
Moreover when the narrator asks Hver vill kalla hana fríða? ‘Who willcall her beautiful?’ the reader/audience is also drawn into the discussion.
This mode of reading could also have added doubt to Gríður’s entire backstory. Putting aside the one manuscript already mentioned where Gríður
and Grímhilldur come face to face, the only source we have for the taleof the evil stepmother queen who bewitched a princess is Gríður’s own.
Can we actually trust her as a reliable narrator? A sardonic tone or wry
smile could be introduced by a narrator and change everything. As theforegoing analysis details, I would not read the saga in such a way, but if
one did, then one could go full circle and say that actually Illugi’s truths
see plainly through the lies and deception with which he is subsequently
presented. He sees a troll and says so. Minor alterations of gesture andemphasis could bring this about.
Perhaps it is this niggling uncertainty of layers of truths and lies in thesaga which attracted Halldór Laxness, Iceland’s Nobel laureate, to refer toIllugi’s story in his novel Íslandsklukkan. In that tale Jón Hreggviðsson,on the run from the law, comes across a homestead, and on his unexpected
appearance bondswomen who have been working outdoors run inside towarn the farmer of the outlaw’s arrival. The farmer is said to be að yrkja
Illugarímur Gríðarfóstra á skarsúðina ‘busy weaving together the rhymes

of Illugi Gríðarfóstri’ (2006, 89).17 As with so many references in Lax-

xxviii

16 Special occasions, such as a visit by guests, would also be accompanied
by saga reading and rímur chanting (Hermann Pálsson 1962, 34–35). See also
Hallfreður Örn Eiríksson 1976, which although focussing on rímur, gives a good
general overview of performance possibilities on the Icelandic farm.

xxix

ness’ work, this is no mere throwaway comment. The farm where Jón has
arrived is the home of two prodigious women, one old and one young.
The farmer arranges for Jón to go up against the women in a contest of
strength, the aim being to pick up and carry a boulder as far as possible.
Jón is duly humbled by the surprisingly and ultimately supernaturally
resilient women, whom he had taken for a typical farmer’s daughter andmother. Thus the rímur which the farmer is composing, about princesses
under an enchantment which makes them appear as troll-women, invert
the situation on the farm where apparently normal women are revealed to
be secret trolls. For Jón Hreggviðsson it is the most humiliating experience of his life. For Illugi, on the other hand, and perhaps fortunately, his
ignorance is a type of bliss and he never seems to be aware that the joke
is in many ways on him.
The Text of this Edition
The text presented here is a regularised text of Illuga saga as it appears in
AM 203 fol. Chapter numbers have been added in line with the text as it
appears in Rafn’s Fornaldar sögur Nordrlanda. Some emendations havebeen made and where this is done a note has been provided.
AM 203 fol. contains seven texts, all of them fornaldarsögur (including
two copies of Gautreks saga), and was written by Jón Erlendsson, a priest
and scribe who was based at Villingaholt in Iceland and worked in close
partnership with Brynjólfur Sveinsson (1605–75), Bishop of Skálholt. A
fair amount is known about Jón Erlendsson’s life (see, for example, HelgiÍvarsson 2007 and Íæ). While his hand is easily identifiable, no study has
been carried out of its development throughout his career. Thus manuscripts
written by him, in the absence of additional clues, are generally dated between 1628/29 (the year of his ordination as a priest; the year of his birthis unknown) and 1672 (the year that he died). In the case of AM 203 fol.
additional clues to dating are present: the accompanying text of Hervarar
saga ok Heiðreks is provided with a textual apparatus in the form of thecommentary of Björn á Skarðsá (1574–1655). That commentary is dated to1641 (Jón Helgason 1924, xiii). Thus we can restrict somewhat the period
in which AM 203 fol. could have been written to approximately 30 years
in the mid-seventeenth century.
17 Six rímur versions based upon the written Illuga saga exist and are yet to bemade available in print. An investigation of their reworking of the story remains
an exciting avenue for future research.

Illuga saga Gríðarfóstra

Introduction

The text selected for an edition has traditionally been the oldest. AM
203 fol. is, however, certainly not the oldest witness to Illuga saga. Thathonour is awarded to AM 123 8vo, from the start of the sixteenth century.
AM 123 8vo was the basis for the text of Illuga saga in Fornaldar sögur
Nordrlanda, but a large lacuna had to be supplied from AM 203 fol. Here,a complete text from a single manuscript has been deemed preferable tothe presentation of a composite text. AM 203 fol., moreover, has certain
features which make it an interesting object of study in its own right. Peter
Springborg has highlighted Jón Erlendsson’s role in the seventeenth-century
renaissance (1977, 70–71), and many of the manuscripts copied at thattime represent a key stage in the transmission from medieval to modern.
There are signs in the copying activity being carried out then that attempts
were made to preserve ancient forms, as in Jón’s famous transcriptions ofÍslendingabók (see Jakob Benediktsson 1968, xliv–xlv; Springborg 1977,70), while at the same time a willingness to modify and reinterpret texts
can be noticed (the already mentioned Hervarar saga ok Heiðreks seems
to be an intentional composite of different textual traditions; Tolkien
1960, xxx). Further study of the selfconscious textual work of this period
should reveal more about how these two approaches interacted and could
function side by side.

features of the manuscript, nor every quirk of Jón Erlendsson’s spelling. One
example of a feature not represented is the use of e in final positions andunstressed final syllables (Illuge, fyrer). While that spelling is predominant,
it is not consistently used (both Illugi and Illuge appear, for example, on
f.141r) and so the more familiar form is retained in this edition. Thus theaim has been to produce an internally consistent text (by removing variation within the spelling of individual words) which retains many of thetypical features of seventeenth-century orthography. These typical features
are not the only ones with a claim to correctness, but they do appear withmost frequency in the seventeenth-century manuscripts which have served
as the basis for this study. It should be borne in mind that the orthography
did not necessarily accurately represent the phonological features of thelanguage at the time and a certain conservatism, perhaps even intentional
antiquarianism, may have inspired the continued usage of written forms
long since detached from the spoken forms of the day. Nevertheless, it ishoped that the result is not too burdensome for someone familiar with either
Old Norse or Modern Icelandic to read.
The -r ending of masculine nouns and adjectives in the nominative
singular came to be represented as -ur regularly from the second half ofthe sixteenth century. This reflected an earlier phonological shift wherean epenthetic vowel, sometimes called Svarabakhti intrusion, appearedin these endings (Schulte 2005, 1089). The -ur ending is used here and isalso the common form in Modern Icelandic.
A syllable-final -k (with relatively little stress) came to be pronounced
as a fricative from the thirteenth century onwards and this is represented
orthographically from the sixteenth century on as -g (Stéfan Karlsson 2004,
19). Thus Old Norse ok, ek, mik and mj†k were commonly being written
as og, ég, mig and mjög in the seventeenth century, and these spellings
have survived until the present. They are thus the forms used here.
Some time between 1400 and 1550 the forms ø and † disappeared
to a great extent and were replaced by a number of new alternatives(Stefán Karlsson 2004, 49). The phonological changes underlying thisorthographical development are quite complex (see, for example, Sveinn
Bergsveinsson 1955). The seventeenth century shows a great deal of variation in replacement orthographical forms, all of which are represented by öin Modern Icelandic. In AM 203 fol. the forms au (e.g. Skj†ldr > Skjaulldur)and ó (e.g. Bj†rn > Bjórn) appear. To avoid confusion and to highlight thephonological coalescence of the two older sounds, ö is used here.
Yet another result of this vocalic development and subsequent ortho­
graphical experimentation is the form gjöra, which is transmitted throughout

xxx

Regularisation
Since the text presented here is from the mid-seventeenth century, the earliest manuscript of Illuga saga is from the sixteenth century, and the largest
concentration of additional texts is from the end of the seventeenth and startof the eighteenth century, it would be misleading to normalise the text to
Old Norse, a standard based on common phonological and orthographicalfeatures of the thirteenth and fourteenth centuries. Yet there are differences
between sixteenth- to eighteenth-century phonology and orthography andthose of Modern Icelandic. For that reason I avoid these two standards andpresent a text regularised to seventeenth-century Icelandic. As ­Stefán Karlsson makes clear when he explains that ‘the present-day written language isin many respects closer to Old Icelandic than to the Icelandic found in mostprinted books published between 1540 and 1800’ (2004, 66), seventeenthcentury Icelandic (both printed and handwritten) was not just a midway pointin the development from Old Norse to Modern Icelandic, but also included
a number of forms which are not found at either end of the surrounding
spectrum (and thus may unflatteringly be termed linguistic dead-ends).
Since the edition produced here is not meant to be diplomatic, the regularisation applied does not accurately reproduce all of the palaeographic

xxxi

Illuga saga Gríðarfóstra

Introduction

all the finite forms, for older gera/gøra (Björn K. Þórólfsson 1925, 63) andis thus the form used here. The Modern Icelandic form is gera.
There were two types of l in Old Norse and with time one of them, thedental l, which occurred before the letters t and d, came to be represented
orthographically as ll giving -lld and -llt (Stefán Karlsson 2004, 45), forexample in words such as mællti and helldur. Although Modern Icelandic
has reverted to the single l spellings, the ll forms are used here.
In the fourteenth century a phonological shift led to the merging of thesounds represented by rl and ll (Stefán Karlsson 2004, 46). This shows
itself in new spellings for words such as karl, kerling and varla: they
become kall, kelling and valla. These forms are used here.
In the first half of the fourteenth century vá became vo, a change that isreflected regularly in the spelling found in manuscripts from the middleof the sixteenth century onwards (Stéfan Karlsson 2004, 14, 54). Thus
earlier svá is written svo here, as it still is in Modern Icelandic.
By 1300 the effect of -ng after a vowel was leading to certain changes inthe vowel quality. The e in eng came to be a diphthong, eing, which wasrepresented orthographically as such from 1400 onwards (Stéfan Karlsson 2004, 14, 47). This change affected, for example, enginn ‘nobody’, amasculine nominative form with its origins in the indeclinable Old Norse
engi (originally ‘anybody’; see Björn K. Þórólfsson 1925, 50). The Modern
Icelandic form is enginn, but einginn is the form used here.
Hellir is an example of a ja-stem masculine noun which underwent
alteration in its oblique forms from around 1600 onwards (see Björn K.
Þórólfsson 1925, 78). While previously the acc. and dat. sg. had been helli,they then became hellir, with the -r treated as radical. The same occurred in
the nom. and acc. pl. where older hellar and hella became hellirar/hellrar
and hellira/hellra respectively. These forms survived until the nineteenth
century, when language purism encouraged a shift back to the older forms,
which are now the accepted ones (see Stefán Karlsson 2004, 24). Theintermediate forms with the radical -r are used here.
Komustum is given as the first-person plural middle voice of thestrong verb koma. It does not appear in AM 203 fol. (see the note on the­substitution) but is by far the most common form in other manuscript
witnesses of Illuga saga, e.g. AM 193 d fol., AM 582 4to, Papp. 4to nr
21, AM 363 I & II 4to. The Old Norse form is komumk, and the accepted
form in Modern Icelandic is komumst. The -ustum forms were short-lived:
they appeared first in the seventeenth century and language purists madea concerted effort to remove them from the language from the eighteenth
century onwards (Kjartan G. Ottósson 1992, 219–27).

Certain forms of the Old Norse demonstrative pronoun/adjective sjá/þessi changed gradually in the course of the fourteenth and fifteenth
centuries (Stefán Karlsson, 28–29), thus the older forms þenna (masc.
acc. sg.), þessi (fem. dat. sg.) and þessar (fem. gen. sg.) became þennan,þessari and þessarar, the forms used in this edition.
Another pronoun/adjective which changed was Modern Icelandic nok­
kur, which had previously been represented orthographically in various
ways. Nakkvarr and n†kkurr were common in the earliest period of Old
Norse but gradually came to be replaced by the -o- forms. This had takenplace by the seventeenth century, as had the dropping of the medial -u- informs such as nokkra (fem. acc. sg. from nökkura) and nokkru (neut. dat.
sg. from nökkuru) (Stefán Karlsson 2004, 29).
The manuscripts of Illuga saga from the period in question predominantly show the form kongur, used here in the text, which is an intermediate
orthographic representation of the changing phonemic state between Old
Norse konungr and Modern Icelandic kóngur.

xxxii

xxxiii

Manuscripts Containing the Text of Illuga saga
The shelfmarks of most manuscripts give a lot of information to the initiated. Some, but not all, contain information on the size of the manuscript,
usually as fol., 4to or 8vo (in decreasing size order), and other letters giveinformation on the location. Manuscripts which form part of the Arnamagnæan Collection, housed in two institutes, one in Copenhagen and
one in Reykjavík, generally have a shelfmark beginning with AM (which
is derived from Árni Magnusson, the original collector). In the list below,
the location of these manuscripts is signalled by a (C) or an (R) after the
shelfmark, since it is not otherwise immediately apparent. Some later
additions to the Arnamagnæan Collection have shelfmarks which do not
begin with AM. In this list there are a couple of examples which werebequeathed by the Danish philologist Rasmus Rask—they begin with his
surname—and one which was acquired by the Stofnun Árna Magnússonar,
the Icelandic manuscript institute, after its formation and has a shelfmark
beginning with SÁM. Another major collection of Old Norse manuscripts
is housed in the National Library of Iceland (Landsbókasafn). These generally have shelfmarks beginning with Lbs, but later collections acquired
from Jón Sigurðarson and Hið Íslenzka Bókmenntafélag have shelfmarks
beginning with, respectively, JS and ÍB. British Library manuscripts haveshelfmarks beginning with BL and followed by Add. (which stands for‘Additional’, the designation given to all manuscripts donated to or purchased by the library after 1756). Manuscripts listed below which comexxxiv

Illuga saga Gríðarfóstra

from other ­collections have the name of the institutions in which they arehoused written in parentheses after the shelfmarks.
The dates given are, where possible, those of the text of Illuga saga contained within the manucript (many manuscripts were written over a periodof years and the texts within can be individually dated). When a precise
year is given, it is usually because it has been supplied in a colophon at theend of the saga. In other cases an interval of years is given on the basis ofscribal identification, the scribe’s death providing a terminus ante quem.
Relationship to other manuscripts and the date of arrival in collections
can also help with dating. In the absence of any other information, dating
is made on the basis of palaeographical and orthographical features. For
further justification of the dating of individual manuscripts, reference canbe made to my doctoral thesis (Lavender 2014).
AM 123 8vo (R)AM 157 h fol. (R)AM 169 d fol. (R)AM 193 d fol. (R)

1500–1550
1665–1685, just the beginningof the saga, previously formed
a unit with AM 193 d fol.
1640–1672
1665–1685. The beginninghas been added by a later
hand, previously formed aunit with AM 157 h fol.

Introduction
BL Add. 24969

1730–1735

BL Add. 4859

1694

Sagnahandrit Jóhannesar Jónssonar 1864
(Héraðskjalasafn Borgarfjarðar)ÍB 131 8vo

1833

ÍB 233 4to

1726–1800

JS 408 8vo

1772

Lbs 1498 4to1899

Lbs 152 4to

1780

Lbs 1572 4to1818

Lbs 2152 8vo

1869

Lbs 381 fol.

1803

Lbs 4816 4to1750–1825

Lbs 5157 4to

1880–1900

Lbs 633 fol.

1684–1721

Lbs 714 4to

1700–1750

LUB 4to nr. 6 (Lund University 1750-1850
Library)

AM 203 fol. (C)

1640–1672

AM 298 I–III 4to (R)

1690–1700

AM 363 I 4to (R)

1641–1730

AM 363 II 4to (R)

1684–1689

AM 582 4to (R)

1690–1692

AM 591 g 4to (R)1674–1710

Papp. Fol. Nr. 56 (Royal Library, 1683–1691
Stockholm)

AM 592 a 4to (C)1600–1648, just the beginning of the saga

Rask 30

1800–1810

AM 949 a–g 4to (C)1846–1848

Rask 35

1743–1745

BL Add. 11109

1770–1811

BL Add. 11159

1775–1825

NKS 1706 4to (Royal Library, Copen­ 1773–1782
hagen)
Papp. 4to nr. 21 (Royal Library, 1600–1684
Stockholm)

R 697 II (Uppsala University Library) 1683–1695
SÁM 6

1800–1900xxxv

xxxvi

Illuga saga Gríðarfóstra

Introduction

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The Saga of Illugi, Gríður’s Foster-son

Illuga saga Gríðarfóstra

THE SAGA OF ILLUGI, GRÍÐUR’S FOSTER-SON

1

2

Illuga saga Gríðarfóstra

1. Sá kongur hét Hringur er réð fyrir Danmörk og var Skjalldarson,s­ onar Dags. Þessi Skjölldur barðist við Hermann, sem segir í sögu þeirra.
Hringur kongur var vitur maður og vinsæll, milldur af fé og hinn mesti
bardagamaður. Hann átti drottningu, er Sigríður hét og var dóttir Vilhjálms
5 kongs af Vallandi. Við henni átti hann son, er Sigurður hét. Hann var allra
manna fríðastur og bezt að íþróttum búinn. Hann var blíður vinum sínum,en stríður óvinum. Sviði hefur kall nefndur verið. Hann átti eitt garðshornskammt frá kongsríki.1 Hann átti kellingu þá er Hilldur hét. Við henniátti hann einn son, er Illugi hét. Hann var mikill vexti og sterkur að afli.
10 Fimur var hann á alla leika. Faðir hans var kallaður Sviði sóknandi.2 ÞeirSigurður kongsson og Illugi lögðu jafnan leika saman. Sigurður átti margaaðra leiksveina. Bar hann langt af þeim hvað sem reyna skylldi, en Illugi
vann jafnan. Og svo kom að þeir kongsson og Illugi sórust í fóstbræðralag,og skylldi hvor annars hefna ef þeir væri með vopnum vegnir. Var nú kyrt
15 þeirra á milli.
2. Björn hét maður. Hann var ráðgjafi kongs. Honum var allt illa gefið.
Honum var eigi sjálfrátt. Hann var lyginn og lymskur að öllu, en eigi þvísíður var hann hinn mesti kappi og varði land kongs fyrir víkingum, og
því mat kongur hann mikils. Björn öfundaði það mjög að Illugi var svo
20 kær Sigurði kongssyni. Og svo kom að hann rægði hann við þá feðga ogsagði Illuga vera ótrúan kongssyni. Kongur hlýddi á þetta, en Sigurður
trúði því ekki. Fer nú svo fram um nokkra tíma að Sigurður kongsson
er heima hjá föður sínum í mikilli sæmd og virðingu. Einn tíma bað
Sigurður föður sinn að fá sér skip og menn og segist vilja úr landi að afla
25 sér fjár og frægðar.
Kongur sagði að það skylldi á mánaðarfresti búið vera, ‘og Björn skalfara með þér,’ segir kongur, ‘en Illugi vil ég heima sé.’Sigurður svarar: ‘Að vísu vil ég að Illugi fari.’

1 Since a horn is a ‘corner’ or ‘nook’, a landshorn is, according to Cleasby–

Vigfusson (279), ‘the outskirts of a country’ while a garðshorn is a ‘yard-nook’or ‘cottage’ (191). Fritzner wonders whether garðshorn could mean ‘hjørne af
en indhegning’ [corner of an enclosure], I 563). In the present context, where theresidence is said to be a short way from the kingdom, the latter interpretation is
not viable and we must assume that the garðshorn is considered, perhaps mistakenly, to be merely a farm or residence lying in a peripheral position relative
to that kingdom.

The Saga of Illugi, Gríður’s Foster-son

3

1. That king was named Hringur who ruled over Denmark and was theson of Skjölldur, the son of Dagur. This Hringur fought with Hermann,
as is recounted in their saga. King Hringur was a wise man and popular,
generous with his wealth and the best of warriors. He had a queen who
was called Sigríður and was the daughter of King William of France. Withher he had a son who was called Sigurður. He was the most handsome of
all men and the most able at manly pursuits. He was kind to his friends,
but harsh towards his enemies. A certain old man was called Sviði. He
had a house lying tucked away on the edge of the kingdom. He had a wife
who was called Hilldur. With her he had a son who was called ­Illugi.
He was great in size and of prodigious strength. He was skilled at all
sports. His father was called Sviði the Battler. Prince Sigurður and Illugi
always played games together. Sigurður had many other playmates. He
surpassed them all by far, whatever they turned their hands to, but Illugi
always won. And so it came to pass that the prince and Illugi became
sworn brothers, and each of them was duty-bound to avenge the other if
he should come to die by the sword. All was now calm between them.
2. There was a man named Björn. He was the king's adviser. Fate had
not dealt him a good hand. He had no say in that. He was deceitful andwily in all respects, but nonetheless was the best of warriors and defended the king's land against raiders, and for that reason the king valued
him highly. Björn was deeply resentful over the fact that Illugi was sodear to Prince Sigurður. And so it came to pass that he slandered him toboth father and son and said that Illugi was not loyal to the prince. The
king paid attention to that, but Sigurður didn't believe it. Things proceed
in this way for some time with Prince Sigurður remaining at home withhis father in great honour and esteem. On one occasion Sigurður asked
his father to provide him with ships and men and says that he wants totravel abroad in order to acquire wealth and renown.
The king said that it would be arranged within a month, ‘and Björn
shall accompany you,’ says the king, ‘but I would like Illugi to remain
here at home.’
Sigurður answers: ‘I definitely want Illugi to come along.’
2 In other manuscripts of Illuga saga, such as AM 123 8vo, Illugi’s father issaid to be named Sviði (hinn) sókndjarfi (‘battle-bold’). Sviði hinn sókndjarfi
is a character who turns up in several other sagas, most notably as a companion
of Hálfdan Eysteinsson in that hero’s eponymous saga, as the son of Bögu-Bósi
in Bósa saga ok Herrauðs, and as the father of Vilmundur in Vilmundar sagaviðutan (which would make Vilmundur and Illugi at the very least half-brothers).

4

Illuga saga Gríðarfóstra

En kongur sagði Björn skylldi fylgja honum, ‘því hann er hverjum kappa
meiri og bilar alldrei í stríði. Hann mun þér vera hollur og trúr, sem hannhefur mér verið,’ sagði kongur, og skilja þeir nú tal sitt.
Eptir þetta gengur kongsson til Sviða og segir Hilldi tal þeirra feðga.
Hún segir son sinn ungan vera og eigi í hernað fara mega. ‘Er hann og
ekki reyndur,’ segir hún. ‘Villda ég og ekki helldur að Björn brygði honum
35 þvíat hann þyrði ekki að berjast með þér í orrustu.’Lýkur Hilldur svo máli. En kongsson fer heim til hallar og er mjögóglaður.
Ambátt sú var hjá Hilldi er Sunlöð hét.3 Hún var fjölkunnug og hin mesta
kvölldriða.4 Hún hafði margan manna illa leikið. Hilldur kemur að máli
40 við Illuga og biður hann sækja pál í sel er Sviði lét eptir. Hann játar því.
Það var síðdags er Illugi gekk heiman. Hann fór hart og kom til seljannaog fann þar pálinn. Þá var myrkt af nótt, og fer þó frá selinu. Og er hannvar skammt kominn, var hlaupið á bak honum svo hart að hælarnir komu
framan á bringuna. Þetta kvikindi hafði vönd í hendi og barði Illuga með.
45 Hér var nú komin Sunlöð. Illugi5 gengur ekki að síður og bar flagð þetta
langa leið, þar til hann kemur að einum stórum steini. Hann keyrir flagðið
niður við steininn svo hart að hryggurinn brotnar, og lét hún svo líf sitt.
Létti hann eigi sinni ferð fyrr enn hann kemur heim. Hilldur, móðir hans,var úti er hann kom heim. Illugi var þá ófrýnn. Hilldur var þá blíð.
‘Hafa nokkur nýtíðindi gjörst í þinni ferð, son minn,’ sagði hún. ‘Fannstu
50
pálinn sem ég vísaði þér á?’‘Já,’ segir Illugi.
Hún mællti: ‘Fannstu nokkuð stúlku mína, er ég sendi að afla mér
elldiviðar?’Illugi sagði: ‘Valla ætla ég verri stúlka finnist þvíat hún reið mér, en
55
ég banaði henni með þeim hætti að ég braut í henni hrygginn við stein.’
Hilldur kvað hann mega vera í sendiferðunum, ‘og vil ég,’ segir hún,‘að þú þjónir Sigurði kongssyni og fylgir honum í víkingu.’
30

3 In the various manuscripts there is a great deal of confusion about the nameof Hilldur’s servant woman. In AM 203 fol. alone her name is written ‘Sunlöð/Simlauð’ and ‘Sumlauð’ (the former has been used consistently in this edition).
More extreme versions, such as ‘Sundand’, ‘Snunlund’ and ‘Snúlant’ are found inlater manuscripts. The name was clearly unfamiliar to many (unlike Hilldur and
Grímhilldur, no similar names for women are found in any other fornaldarsögur).
4 Sunlöð’s supernatural qualities seem to have caused just as many problems
for copyists as her name. The term aulldriða (i.e. ölldriða) appears in AM 203
fol. See the discussion in the introduction.

The Saga of Illugi, Gríður’s Foster-son

5

But the king said Björn should accompany him, ‘because he is better
than any other warrior and never wavers in battle. He will be faithful andtrue to you, just as he has been to me,’ said the king and they now end
their conversation.
After this the prince goes to Sviði and tells Hilldur about his conversation with his father. She says that her son is young and cannot go raiding.
‘He is also untried,’ she says. ‘Nor would I wish for Björn to reproach him
on account of him not daring to fight alongside you in battle.’
With this Hilldur ends their conversation. The prince goes home to thehall and is very unhappy.
There was a slave living with Hilldur whose name was Sunlöð. She wasadept in the magical arts and often rode rooftops at night. She had done
many a man an ill turn. Hilldur comes to speak with Illugi and asks him tofetch the turf spade up at the mountain pasture which Sviði had left behind.
He agrees to that. It was late in the day when Illugi left home. He set a goodpace and came to the mountain pasture and found the peat spade there.
It was dark at that time, night having fallen, and yet he sets off from themountain pasture. And when he had gone a short way, he felt something
jump on his back so forcefully that the heels came round onto his chest.
This creature had a stick in its hand and beat Illugi with it. Sunlöð had­arrived. Illugi walks on nevertheless and carried that hag a long way until
he comes to a big stone. He flings the hag down against the stone so hardthat her spine snaps, and in this way she dies. He did not dawdle on the way
until he reaches home. Illugi was then quite surly. Hilldur was friendly.
‘Is there any news from your trip, my son?’ she said. ‘Did you find thepeat spade which I sent you after?’‘Yes,’ says Illugi.
She said: ‘Did you come across my girl, whom I sent to gather firewood for me?’
Illugi said: ‘I very much doubt that a worse girl exists because sherode me, and I killed her in such a manner that I broke her spine against
a stone.’Hilldur said that he was allowed to go on the mission, ‘and I would
like,’ she says, ‘for you to serve Prince Sigurður and accompany him on
his raids.’
5 The name ‘Ingjalldur’ appears here in the manuscript in place of ‘Illugi’ (likewise on two other occasions further on in the text: Björn og Ingjalldur skilldu farabáðir and Eptir þetta fylgði Signý þeim Ingjalldi og Hilldi til bátsins), but in both
AM 203 fol. and copies attempts have been made to remedy the scribal oversight.

Illuga saga GríðarfóstraThe Saga of Illugi, Gríður’s Foster-son

Illugi játar því blíðliga og gladdist við þetta og gengur inn með móður
sinni og svaf af um nóttina.
Að morgni býst Illugi að fara til kongshallar. Þá kongur er að dagborðum, hann gengur fyrir kong og kveður hann. Kongur tekur honum vel,en er Sigurður sér hann, fagnar hann honum forkunnar vel og biður hannsitja hjá sér. Illugi gjörir nú svo. Fer svo fram nokkra daga að Sigurður erheima með föður sínum, og Illugi.

Illugi agrees gladly and became very happy on hearing that and goesinside with his mother and slept through the night.
In the morning Illugi prepares to go to the king’s hall. While the kingis eating his breakfast, he goes before the king and greets him. The kingreceives him courteously, but when Sigurður sees him, he greets him
most warmly and invites him to sit beside him. Illugi now does just that.
Everything proceeds in this way for several days, with Sigurður staying
at home with his father, and Illugi too.

6
60

65

70

75

80

85

3. Nú kemur sá tími er skip Sigurðar voru búin. Hallda þeir frá landi,og var það þá ráðið að Björn og Illugi skylldu fara báðir. Sigla nú til
Orkneyja og Skotlands og gjörðu hvorutveggjum miklar árásir og vinna
mikinn sigur á Skotum og fá nú ofurfjár. Hvergi leggja þeir þar til að þeirhafi eigi sigur. Var allt fólk við þá hrætt.
Að hausti vill Sigurður heim hallda og þá rekur á storm mikinn. Tekur þá
skipið að ganga mikit, rekur þá norður í haf. Herður nú seglið svo að héllt
við rif.6 Tekur nú hvert band að slitna. Sjá þeir hvergi til landa. Sjórinn
tekur að ókyrrast svo inn rann á bæði borð, en svo voru þeir hraustir allir,
sem á þessu skipi voru, að einginn talaði æðruorð. Skipið tekur nú mjög
að leka, og standa allir í austri VIII dægur. Rekur þá langt norður í hafí þá vík er Gandvík hét.7 Þeir binda þá seglin með sterkum böndum og
fá nú stór áföll. Lá við skipbrot. Flestir voru þá móðir. Því næst sjá þeirland: það var líkt björgum. Síðan rekur upp skipið í eina eyvík. Hélldu
þeir heilu skipi sínum og mönnum. Kongsson segir að þeir skuli þar bíðabyrjar. Flestir hans menn voru að þrotum komnir af erfiði. Þeim var og
svo kallt að þeim þótti dauði sýnn því þeir höfðu öngvan elld í skipinu.
Sigurður kongsson bar sig vel, en villdu gjarnan ná elldi, og fengu þó ekki.
Björn tók þá til að kala mjög og aðra menn Sigurðar.
Sagði Björn svo: ‘Þú, Illugi,’ segir hann, ‘skallt róa yfir fjörð þennanog leita að elldi og ef þú finnur eigi, skal ég ráða fyrir höfði þínu. En ef
þú finnur hann, skalltu eiga hring þennan er ég helld á.’
6 A reef on a sail (the English word is derived from Old Norse rif) is a section

which, in case of strong winds, can be tied up, thus reducing the surface area ofthe sail and tension. This action is called ‘reefing’. Presumably the winds are sostrong here that owing to the inclement weather it is impossible even to carry out
such a manoeuvre.
7 Gandvík has been interpreted as referring to two locations in the Nordic world,both the Baltic Sea/Gulf of Bothnia and the White Sea. In Fundinn Noregur thelocation of Gandvík is given with reference to another gulf, of which it is saidþat köllum vér Helsingjabotn (i.e. the Gulf of Bothnia) (Fas, II 88). This makes7

3. Now the time arrives when Sigurður’s ships were ready. They set
sail, and that had then been agreed that both Björn and Illugi should goalong. They now sail to the Orkney Islands and Scotland and made daring attacks on both places and win a great victory over the Scots and geta large amount of wealth. There is not a place that they make land where
they do not have the victory. All people were scared of them.
In the autumn Sigurður wants to head home, and then a great storm
brews. The ship begins to be carried along quite fast, and they are driven
north in the sea. The sails are pulled taut so that they strain at the reefs.
All of the ropes begin to snap now. Land is nowhere to be seen. The
sea starts to get rough so that it rushes in on both sides of the ship, but
all of those who were on that ship were so brave that not one spoke a
cowardly word. The ship now begins to leak a great deal, and they all
stand in bilge water for 8 days. They are then driven a long way north in
the sea into that bay which is called Gandvík. At this point they tie up
the sails with sturdy knots and are hit by great waves. They were on theverge of being wrecked. Most of them were exhausted. Then they see
land. It looked most like rocky crags. Then the ship is driven up into an
inlet with many islands. The ship and its crew were all intact. The prince
says that they should wait there for a good wind. Most of his men werecompletely drained from the exertion. It was also so cold that they thought
it would be the death of them because they had no fire on the ship. Prince
Sigurður bore himself well, but they would have been glad to obtain fire,
though none was for the taking. Björn then began to get very cold, as did
Sigurður’s other men.
So Björn spoke up: ‘You, Illugi,’ he says, ‘must row over that fjord
and search for fire and if you do not find it, then your fate will be in myhands. But if you find it, you shall own this ring which I hold in my hand.’Gandvík’s identification as the Gulf of Bothnia impossible and as the White Sea
more probable.

Illuga saga GríðarfóstraThe Saga of Illugi, Gríður’s Foster-son

Illugi sagði: ‘Víst skal ég eigi veðja höfði mínu við þig, Björn, en gjarnanskal ég að elldi leita ef vorum mönnum kann gagn að verða.’Rær hann nú einnsaman frá sínum mönnum.

Illugi said: ‘I most certainly will not put my fate into your hands, Björn,
but I will gladly search for fire if it might be of some benefit for our men.’
He now rows away, completely alone, from his men.

4. Hellir einn stóð öðrumegin fjarðarins, og réð fyrir honum tröllkona
sú er Gríður hét. Hún var tröllkona hin mesta. Illugi kemur nú að landi og
festir bát sinn, gengur síðan á land upp og kemur í hellirinn. Þá var komið
kvölld. Hann heyrir þá var hart stigið til jarðar, og kemur Gríður heim.
Hún frétti hann að nafni: hann kvaðst Illugi heita. Honum þótti sem hagleða hríð stæði úr nösum hennar. Horinn hékk ofan í munninn. Hún hafði
skegg mikit og sköllótt höfuð með skringiligum búnaði. Hendur hennar
voru sem arnarklær og báðar brenndar, en sá stakkur sem hún var í tók
eigi lengra enn á lendar á bakið, en allt á tær í fyrir. Augu hennar voru
græn, enni helblátt. Eyrun féllu um vangana. Hver vill kalla hana fríða?
Illugi kvaðst vilja sækja elld til hennar.
Gríður sagði: ‘Öngvan elld fær þú hér nema þú mælir þrjú sannmæli
og ef þú gjörir þetta skjótt, þá skalltu liggja hjá dóttur minni í nótt. Ef
þú villt eigi þiggja þennan kost, þá hirði ég eigi þó Björn kali til dauðs!’Illugi segist þetta vilja.8
Eptir þetta gengur fram ein kona svo fríð að Illugi þykist öngva fríðari séð
hafa og þegar felldi hann mikla ást til hennar. Hún var hljóð og fámálug.
Illugi tók þá til máls: ‘Mér mun mál að mæla sannyrðin. Hellir þinn er
svo hár og breiður að ég hef eigi séð annan hæra né sterkara. Svo er ognefið á þér mikit að eigi hef ég séð meira ferlíki. Þú ert og svo svört aðfagurt er gólfið hjá þér, og öngva hef ég séð ambáttligri9 enn þig. Víst hef
ég séð dóttur þína fegri. Ykkar hef ég séð mestan mun og svo munu allir
segja, þeir sem ykkur sjá.’Gríður mællti: ‘Víst er það,’ sagði hún, ‘að þú villt eigi lofa mig né mérhæla, og ekki líst þér svo illa á mig sem þú lætur. En það þykir mér nú
ráð að þú farir í hvílu með dóttur minni og leikir hvað þig lystir, því þér
líst betur á hana enn mig. Nú mun skjótt að öllu farið,’ segir Gríður, ‘ogþarf ekki lengur eptir lýsingum að bíða.’10

4. A cave stood on the other side of the fjord, and a trollwife by thename of Gríður ruled over it. She was the greatest of trollwives. Illugi
now comes to the shore and makes fast his boat, then disembarks andcomes into the cave. Evening had arrived. He hears heavy footsteps, andGríður comes home. She asked after his name; he says that he is called
Illugi. It seemed to him as if hail or sleet blew out of her nostrils. Snothung down over her mouth. She had a bushy beard and a bald head witha bizarre headdress. Her hands were liked eagle’s talons and both burnt,
and the smock which she was wearing did not reach down further thanher buttocks at the back, but all the way down to her toes in front. Hereyes were green, and her forehead corpse-blue. Her ears dangled downover her cheeks. Who would call her pretty? Illugi said that he would
like to get some fire from her.
Gríður said: ‘You’ll get no fire here unless you speak three truths, and if you
do that quickly, then you will sleep with my daughter this night. If you don’t
want to accept that offer, then I couldn’t care less if Björn freezes to death!’
Illugi says that he wants that.
After that there steps forward a woman so beautiful that Illugi thinksthat he has never seen anyone more so and he immediately falls headover heels in love with her. She was quiet and taciturn.
Illugi then began to speak: ‘It must be time for me to speak the truths.
Your cave is so high and broad that I have not seen another higher ormore sturdy. Also the nose on your face is so large that I have never seena greater freak. You are moreover so black that the floor looks fair beside
you, and I have seen nobody else who looks more like a wretched servant than you do. Your daughter definitely looks better to me. I can see
a great difference between you two, and and that’s what everyone wholooks upon you will say.’Gríður spoke: ‘It’s quite clear,’ she said, ‘that you want neither topraise nor to flatter me, but you don’t think so badly of me as you say.
But now I think it’s advisable that you head to bed with my daughter anddo whatever takes your fancy because she is more to your liking than I
am. Now everything will proceed apace,’ says Gríður, ‘and we needn’t
wait until morning for the marriage banns.’

8

90

95

100

105

110

115

8 Perhaps there is a certain ironic ambiguity here: does Illugi want to accept

the offer which has been made to him, or does he want Björn to freeze to death?
9 Most manuscripts contain ámáttligri ‘more terrible/loathsome’, but in eithercase the assertion is far from complimentary.
10 A pun on two meanings of lýsing may be intended. The first is ‘illumination’and by extension ‘daybreak’, the second ‘marriage banns’, that is, the public notice of an impending marriage. Since Illugi has arrived at the cave in the evening,

9Gríður says that there is no need to wait for daybreak (and/or the granting of official permission) to claim his reward.

Illuga saga GríðarfóstraThe Saga of Illugi, Gríður’s Foster-son

Illugi sagði svo skal vera. Gengur hann að hvílunni og kastar klæðum,en kelling þjónar dóttur sinni, og eru þá komin í eina hvílu bæði. Snýst
Illugi að henni og gjörir sig blíðan, en hún gjörir öngvan blíðuleik af sér.
Þrífur Gríður þá í hár hans og kippir honum fram á stokkinn, en annari
hendi brá hún björtu saxi mjög biturligu og reiddi að höfði honum, en
Illugi lá kyrr og hrærði ekki á sér.
Gríður mællti þá reiðugliga: ‘Heyr þú, vondur herjansson! Hugðir þú ég
mundi þola þú blygðir dóttur mína? Nei!’ sagði hún, ‘þú skallt fá dauða í stað.’Illugi mællti: ‘Mitt hjarta hefur alldrei enn hrætt orðið, og því fór ég
hingað að örlögin hafa svo fyrirætlað. Einginn deyr optar enn eitt sinn,og hræðist ég eigi ógnir þínar.’Við þessi orð kastar Gríður honum upp aptur í rúmið. Snýr hann þá aðbrúði sinni og var þá allglaður. Og er hann var blíðastur við hana, vefurGríður hár hans um hönd sér og kippir honum fram á stokkinn og lætur
ríða saxið allt að höfði honum.
‘Djarfur ertu,’ segir hún, ‘að þú skammar dóttur mína og skalltu fádauða í stað.’Illugi sagði: ‘Eigi hræðist ég dauða minn.’
Hún mællti þá hlæjandi með miklum ógangi: ‘Öngvan hef ég slíkan
séð að eigi hræðist dauða sinn. Og er nú mál að sofa, og sofið í náðum!’Snýst Illugi nú að konu sinni og er nú blíðastur við hana. Gríður ­hleypurþá að sænginni og kippir honum fram á stokkinn. Hún reiðir þá saxið
mjög hátt og eigi er hún þá frýnlig. Fór allt sem fyrr að Illugi hræddist
ekki og lá kyrr.
Gríður mællti: ‘Eigi ertu sem aðrir menn. Þínar æðar skjálfa hvergi. Núskalltu þiggja líf af mér, og gef ég þér dóttur mína, er Hilldur heitir, og fæég þér alldrei launað þinn velgjörning þvíat þú hefur komið mér úr miklumálögum, því með slíkum hætti hef ég margan mann myrt, og hafa þeirallir hræðist mitt ógurliga sax. XVI vaska menn hef ég drepið með þessu
saxi, og væri slíkt eigi kvennaverk. Nú mun ég segja þér æfisögu mína.

Illugi said that that is how it would be. He goes to the bed and throws
off his clothes, and the old woman assists her daughter, and then theyboth end up in one bed. Illugi turns towards her and starts to have fun,but she shows no sign of enjoying herself. Then Gríður grabs him by thehair and pulls him forward onto the side of the bed, and with the other
hand she drew a glinting and extremely sharp short-sword and aimed it
at his head, but Illugi lay still and did not flinch.
Gríður then spoke angrily: ‘Listen to me, you wicked spawn of Satan!
Did you think I would put up with you shaming my daughter? No!’ shesaid, ‘you’ll get death as a recompense instead.’
Illugi spoke: ‘My heart has never yet been afraid, and thus I came tothis place because fate intended that it should be so. Nobody dies morethan once, and I am not frightened by your threats.’
At this Gríður hurls him back into the bed-closet. He then turns backto his bride and had a great time. And when he was as affectionate as hecould be with her, Gríður winds his hair around her hand and drags him
forward onto the edge of the bed and swings the short-sword right up
close against his head.
‘You are bold,’ she says, ‘to shame my daughter and you will get death
as a recompense instead.’
Illugi said: ‘I do not fear my death.’
She then spoke while cackling malevolently: ‘I have not met such aman who does not fear his own death. And it is now time to get somerest, so sleep tight!’
Illugi turns to his wife and is now beyond tender with her. Gríður leaps
then at the bed and drags him forward onto the edge of it. She lifts her
short-sword very high and she is not then a pretty sight to behold. Everything went as before with Illugi not being afraid and lying still.
Gríður spoke: ‘You aren’t like other men. Your veins never quiver.
Now you shall be granted your life, and I give to you my daughter, who
is called Hilldur, and I will never be able to repay the good deed you
have done because you have delivered me from a terrible curse, since inthis manner I have killed many a man, and they were all scared of myfearsome short-sword. I have killed 16 brave fellows with this shortsword, and such is not a woman’s work. Now I’ll tell you my life story.

10
120

125

130

135

140

145

150

5. ‘Kongur sá réð fyrir Álfheimum11 er Áli hét. Drottning hans hét Álfrún.
Hún átti dóttur eina, og sú hét Signý og var hún að öllu vel að sér búin. Og
er ég sú sama Signý. Og nær hún hafði fengið alldur og nám, var hún gipt
11 Álfheimur or Álfheimar can be interpreted as the hazily-located world of

the elves, along the same lines as Jötunheimur/Jötunheimar. In Þorsteins saga
Víkingssonar, however, we are presented with a much more specific geographicallocation. There Álfheimar are described as lying between two rivers: the Gautelfr,
which marked the northern border of Gautland, and the Raumelfr, which marked
the southern border of Raumaríki (Fas, III 1).

11

5. ‘A king named Áli ruled over Álfheimar. His queen was called Álf­rún. She had one daughter, and that girl was called Signý and she wasoutstanding in all respects. And I am that same Signý. And when she
had come of age and finished her education, she was married to a king

12

Illuga saga Gríðarfóstra

þeim kongi er Eiríkur hét. Féll hann í orrustu í austurríki.12 Dóttur áttihann, er Hilldur hét, og var hún meyja fríðust. Og er hún nú hjá þér ísænginni. Fór ég þá til föður míns, og vorum13 við með honum. Móðir
155 mín tók þá sótt og andaðist, en kongur, faðir minn, barst lítt af. Var égí skemmu og hafði ég sorg mikla eptir mína móður. Faðir minn fékk þádrottningu, er Grímhilldur hét. Hún var fögur að sjá, en var þó raunarhið mesta tröllflagð. Kongur unni henni mikit. Þau gátu VII dætur, og
brá þeim öllum til móður sinnar og urðu þær mestu flagðkonur.
160‘Það bar til í ríkinu strax sem kongur, faðir minn, eignaðist Grímhilldi aðmaður hvarf fimmtu hverja nótt, og trúðu því allir að Grímhilldur mundiþví vallda. Tók kongur þá að elldast, og þótti drottningu þá lítið verða af
hjáhvílum hans og helst minna enn hún villdi því hana sótti mikil ergi.
Hugsaði hún þá að svíkja kong en fá sér annan yngra og gaf honum eitur
165 að drekka, og fékk hann þegar bana og var hann heygður hjá drottningu
sinni. Grímhilldur illskaðist nú svo að hún eyddi allt ríkið bæði af mönnum
og fénaði. Eptir þessi hennar illskuverk gekk hún til skemmu minnar, þarað ég sat í, og dóttir mín.
‘En er hún kom þar, mællti hún svo: “Þú, Signý!” segir hún, “hefur lengi
170 í mikilli sæmd og sælu setið, en ég skal það allt af þér taka og það leggég á þig að þú hverfir í burt og byggir hellir og verðir mesta tröllkona.
Þú skallt Gríður nefnast. Dóttir þín skal fara með þér, og hver maður sem
hana lítur skal fella til hennar mikla og heita ást. Þú skallt hvern myrða
sem þú sér í hennar sæng. Þú hefur átt þér VII systur, hverjar að eru mínar
175 dætur. Þær skulu hverja nótt eiga við þig bardaga. Þær skulu alla vega þigí sundur höggva og meiða, en alldrei skalltu þó deyja14 og alldrei skalltu
fyrr frelsast af þessum álögum enn þú hittir þann mann er eigi hræðist þittógurliga sax, þá er þú reiðir það að þeim. En fyrir því að það mun þeimógurligt sýnast, þá mun sá einginn finnast.”180‘Ég mátti þá ekki mæla fyrir harmi.
‘Hilldur, dóttir mín, mællti þá: “Það villda ég, Grímhilldur,” sagði hún,“að ég launaði þér nokkru þín álög og það mæli ég um að öðrum fæti12 According to the ONP, austurríki can refer to any of the Baltic or Slavic

lands, located approximately to the east of Scandinavia.
13 voru appears in the manuscript but the first person plural form vorum is clearlyrequired. There are several such verbal incongruities in the following section which
may be the result of Jón Erlendsson’s (not fully successful) attempts to turn thethird-person framed story into an intense first-person account.
14 The motif of the recurring battle, where the participants receive mortal
wounds but rise the next day to fight again, is known from the Hjaðningavíg in
Skáld­skaparmál and Sörla þáttur. Here, however, as with a similar sister-battle

The Saga of Illugi, Gríður’s Foster-son

13

by the name of Eírikur. He fell in battle in the east. He had a daughter
who was called Hilldur and was the most beautiful of maidens. And she
is now beside you in the bed. Then I went to my father, and we stayedwith him. My mother then fell sick and died, and the king, my father,
took it hard. I was in my bower and grieved greatly for my mother. My
father then took as his queen a woman named Grímhilldur. She wasbeautiful to look at, but she was in reality the worst troll-hag. The kingloved her deeply. They had 7 daughters, and they all took after theirmother and became the worst of hags.
‘It came to pass in the kingdom that soon after the king, my father,married Grímhilldur, a man disappeared every fifth night, and everybody thought that Grímhilldur must be behind it. The king then began togrow old, and at that point the queen thought there was little to be gained
from sharing a bed with him and much less than she wanted because she
had a prodigious sex drive. She plotted then to betray the king and getherself another younger man, so she gave him poison to drink, and hedied immediately as a result of that, and he was buried in a mound beside
his queen. Grímhilldur got worse now to the extent that she laid waste to
the whole kingdom, despoiling it of both beast and man. After these terrible deeds she came to my bower where I was sitting with my daughter.
‘When she arrived, she spoke thus: “You, Signý,” she says, “have sathere for a long time in great honour and esteem, but I shall take all thataway from you and I cast this spell upon you that you shall disappear
from this place and reside in a cave and become the worst of trollwives.
You shall be named Gríður. Your daughter shall accompany you, andeach man who looks upon her will fall madly in love with her. You
shall murder each man who you see in her bed. You have 7 sisters, allof whom are my daughters. They shall engage in battle with you every
night. They shall cut you all into pieces and mutilate you, but you will
never die and you will never be freed from this curse until you meet thatman who does not fear your terrifying short-sword when you swing it athim. And on account of the fact that it will seem terrifying to them, sucha man will never be found!”‘I could not speak for grief.
‘Hilldur, my daughter, then spoke: “I would like, Grímhilldur,” she said, “torepay you somewhat for your curse and thus I pronounce that with one foot you
in Egils saga einhenda ok Ásmundar berserkjabana, the emphasis seems to berather on the cut-throat nature of sisterly relationships, as well as providing arather gruesome addition to the curse.

Illuga saga GríðarfóstraThe Saga of Illugi, Gríður’s Foster-son

standir þú á skemmu þessari, en öðrum fæti heim á kongshöll. Þrælar skulu
þar kynda bál mikit undir þér. Þetta bál skal standa bæði nætur og daga,og öll skalltu af elldi brenna neðan, en ofan frjósa, og alldrei skalltu fá
nokkra ró. En ef við mæðgur komustum15 úr þessum álögum, þá skalltu
strax detta ofan í bálið og brenna.”‘Grímhilldur tók þá til máls og sagði: “Mjög heimskuligt er hjal okkart,og vil ég það halldist hvorki.”‘Hilldur sagði að það yrði að standa. Hurfum15 við mæðgur þá burt íhellir þennan, og er ég sú hin sama Signý, en Hilldur mín dóttir. Og vil
ég nú gipta þér dóttur mína og launa þér svo að þú hefur leyst okkur úrþessum álögum.’Og að endaðri þessari sögu komu í hellirinn VII skessur með biturligum
skálmum og hlaupa til Gríðar og höggva til hennar bæði hart og tíðum. Hleypur
Illugi þá upp og tekur sverð sitt og höggur til þessara skessna og léttir
eigi fyrr enn hann hefur drepið þær allar og brennir þær síðan á miklu báli.
Gríður mællti: ‘Nú hefur þú, Illugi, frelst okkur mæðgur af þessum
skessum. Hef ég átt í þessu stríði XI vetur.’
Illugi sagði það nógu langt verið hafa.

shall stand in this bower, and with the other foot at home in the king’shall. Slaves shall make a large fire beneath you. That fire shall blaze
both night and day, and you shall be completely burnt by it from below,
but freeze from above, and you shall never have any respite. And if we,
mother and daughter, should be freed from this curse, then you shall immediately fall down into the fire and burn.”‘Grímhilldur then began to speak and said: “Our chatter is so silly, and I
would prefer that neither of these pronouncements should come to pass.”‘Hilldur said that they would stand. We were then whisked away into
this cave, and I am the same Signý, and Hilldur my daughter. And I
would now like to marry you to my daughter and repay you for freeing
us from this curse.’
And at the end of the story 7 hags with sharp short-swords came into
the cave and run towards Gríður and strike at her vigorously and repeatedly. Illugi then jumps up and takes his sword and slashes at these hags
and doesn’t stop until he has killed all of them and burns them afterwards
on a large pyre.
Gríður spoke: ‘Now you, Illugi, have saved us, mother and daughter,from these hags. I have been engaged in this battle for 11 years.’
Illugi said that was quite long enough.

14

185

190

195

200

205

210

6. Eptir þetta fylgði Signý þeim Illuga og Hilldi til bátsins og gaf húnþeim mikit gull. Hafði Illugi nú með sér elldinn. Skilldist Signý þar viðþau.16 Illugi rær til manna sinna. Þeir urðu við það glaðir og létu þeir sér
nú hitna. Mánuð lá kongsson þar, og gaf þeim alldrei byr. Kendi Björn
Hilldi það óveður og kvað Illuga hafa sótt hana í hellra og sagði Björn að
hún sé hin mesta tröllkona. Sigurður bað Björn þegja og ekki villdi hannþví trúa er Björn sagði. Eina nótt var það, er menn kongssonar sváfu á
skipinu, en er þeir vakna, sjá þeir að Björn er horfinn og leituðu hans.
Þeir sjá um síðir að hann hangir við siglutré. Þeir vissu ekki hverju þetta
gegndi um líflát hans, en Signý hafði hengt hann á þessari nótt fyrir það
er hann kallaði Hilldi, dóttur hennar, tröllkonu.
Eptir það sigldi Sigurður frá Finnmörk, og gaf honum allvel byr, og kom
heim til Danmerkur. Hafði hann fengið ofurfjár og gaf gull og silfur á báðar
15 Further instances of lack of concord (see note 13) are found in this passage
and have been corrected in this text. Here komast has been replaced by the first
person plural komustum, as it appears in most other texts of Illuga saga (see Introduction, p. xxxii for a description of this form), and hurfu has been correctedto the first person plural form hurfum.
16 It has been pointed out that, considering that the curse has been lifted, it
makes no sense for Gríður not to accompany Illugi and her daughter away from15

6. After that Signý accompanied Illugi and Hilldur to the boat and gavethem a great deal of gold. Illugi now had fire with him. Signy leaves
them there. Illugi rows to his men. They became extremely glad at thatand set to warming themselves up. The prince waited there for a month,
but got no fair wind. Björn said that Hilldur was the cause of that bad
weather and said that Illugi had gone looking for her in caves and healso said that she was the greatest of trollwives. Sigurður asked Björn tohold his tongue and didn’t want to believe what he said. It happened onenight, while the prince’s men slept on the ship; when they woke up, they
see that Björn has disappeared and searched for him. It didn’t take longfor them to see that he is hanging from the mast. They had no idea how
to explain his death, but Signý had hanged him that very night because
he had called Hilldur, her daughter, a trollwife.
After that Sigurður sailed from Finnmark and he got most favourable winds and came home to Denmark. He had acquired a hugeamount of wealth and bestowed gold and silver left, right and centre.
the cave. See Introduction, pp. xix–xx for the attempt presented in one manuscript,
ÍB 233 4to (f.26v), to justify this behaviour.

Illuga saga GríðarfóstraThe Saga of Illugi, Gríður’s Foster-son

hendur. Er hann nú heima með föður sínum. Illugi var löngum með
Sigurði, en þó átti hann stóran búgarð19 nærri höllinni. Litlu síðar tók
Hringur kongur sótt, þá er hann leiddi til bana. Lætur Sigurður erfi drekkaog býður til hinum beztu mönnum er voru í kongsríki. Og var Sigurður
þá til kongs tekinn yfir það ríki sem faðir hans átti. Hringur kongur hafði
verið fylkiskongur yfir Danmörk og hafði ráðið fyrir Skáney. Signý kemur
þá til Danmerkur, og tók Illugi vel við henni, og þau Hilldur. Segir Illugi
mönnum sínum er í kongsríki voru öll deili á henni.20 Sigurður kongur
bað hennar sér til handa. Signý kvað Illugi skuli því ráða. Talar kongurþetta mál við hann. Giptir Illugi honum Signýju, mágkonu sína. Voruþeirra samfarir góðar, áttu þau mörg börn, og urðu þau öll mikilsháttar
menn. Sigurður kongur og þau Signý lifðu mjög lengi; Illugi lifði lengur,
og hefur ekki verið getið barna þeirra Hilldar. Þessi Illugi varð síðan fóstbróðir Gnoðar-Ásmundar.21 Og lúkum vér hér sögu Illuga Gríðarfóstra.

He is now at home with his father. Illugi was with Sigurður for a longtime, although he had a large farm near the hall. A little later Hringur fell
ill, which led to his death. Sigurður organises the funeral feast and invites all the best men in the kingdom to it. And then Sigurður was electedking over that territory which his father had ruled over. King Hringur
had been a petty king over Denmark and had ruled over Skåne. Signý
comes then to Denmark, and Illugi and Hilldur received her warmly.
­Illugi tells his men, those who were in the kingdom, all the details about
her. King Sigurður asked for her hand in marriage. Signý said that Illugi
should decide about that. The king discusses that matter with him. Illugi
gives Signý, his kinswoman, in marriage to him. Their life together wasgood. They had many children, and all of them became men of distinction. King Sigurður and Signý lived for a long time; Illugi lived longer,
but his children with Hilldur have not been mentioned. This Illugi became later on the sworn brother of Gnoð-Ásmundur. And here we end
the Saga of Illugi, Gríður’s Foster-son.

16
215

220

225

19 bardaga appears in the manuscript, but this has been corrected to búgarð,the form which is found in most of the textual witnesses (e.g. AM 123 8vo, AM
193 d fol., AM 582 4to).
20 In several manuscripts, the earliest of which is BL Add. 4859 (1694), thissentence is followed by the words og var hann síðan Gríðarfóstri kallaður ‘andfrom then on he was called the foster-son of Gríður’. All seventeenth-century
manuscripts (and most of the subsequent ones) bear a title which contains the nickname ‘Gríðarfóstri’ (usually Söguþáttur af Illuga Gríðarfóstra), but the nickname
is only attested within the text in these above-mentioned manuscripts. The nameitself highlights the ironic nature of much of the saga, particularly if we compare
Illuga saga to Hálfdanar saga Brönufóstra. Brana, in that saga, saves Hálfdan(son of King Hringur of Denmark) from a trollwife named Sleggja, gives him
magical gifts and brokers his marriage with a princess. These actions appropriate
to a foster-parent stand in stark contrast to Gríður’s attacks on Illugi, murder ofBjörn (stated to be due to a personal vendetta) and brokering of a marriage withher own daughter.

17

21 At the end of Egils saga einhenda ok Ásmundar berserkjabana we are toldthat the eponymous Ásmundur was, after the main events of the saga, given the
nickname Gnoðar-Ásmundur for building a ship (the Gnoð) which was the biggest
ever made (Fas, III 365). No mention is made of Illugi in that saga.

18

Illuga saga Gríðarfóstra
Glossary

Numbers in the glossary refer to numbered lines in the text. Entries fordifferent forms of personal pronouns and possessive pronouns are collectedunder the entry for, respectively, the first, second and third person (masculine) singular forms (students should refer to an Old Norse or Modern
Icelandic grammar in order to familiarise themselves with these paradigms).
Likewise, entries for demonstrative pronouns, articles and all adjectives
appear collected under the entry for the masculine nominative singularform. Where an oblique form of a word begins with a letter different fromthat of the dictionary entry a signpost is included in the glossary. Whereline references are given but no grammatical data, the form referred to is
the same as the headword (i.e. the infinitive in the case of a verb; generally
the nominative singular for a noun or adjective). A maximum of three linereferences are given for any one form, but if ‘etc.’ is appended further examples can be found within the text. The following abbreviations are used:acc. accusative
adj. adjective
adv. adverb
art. article
aux. auxilliary verb
card. cardinalcomp. comparative
conj. conjunction
dat. dativedef. with suffixed definite article
dem. demonstrativee-ð eitthvað, accusative of object
e-n einhvern, accusative of person
e-m einhverjum, dative of person
e-s einhvers, genitive of person/object
e-u einhverju, dative of object
f. feminine
fig. figurative
gen. genitive
indef. indefinite
inf. infinitive
interj. interjection
imp. impersonal (construction)
imper. imperative
irreg. vb. irregular verb
m. masculine

Glossary

19n. neuternom. nominative
num. numeralord. ordinalpast past tense
pers. personal namepl. pluralposs. possessive
pp. past participle
prep. prepositionpres. present tensepres. part. present participle
pret.-pres. preterite-present verb
pron. pronounrefl. reflexive (middle voice)rel. pron. relative pronoun
sg. singularstr. strong (verb or adjective)
subj. subjunctive
sup. superlative
s-one someones-thing something
w. withwk. weak (verb or adjective)
1st, 2nd, 3rd first, second, third personað prep. w. dat. to, towards 47, 92, 121 etc.; at 61; with regards to, concerning 6, 9, 95 etc.; in, at, ~ morgni in the morning 61, ~ endaðri at theend 194; w. inf. to, in order to 24, 35, 61 etc.; conj. that 13, 19, 20 etc.;
used superfluously after rel. pron., ‘hverjar ~’ 174.
af prep. w. dat. from, of 5, 144, 162 etc.; resulting from, due to 42, 81; asregards, with respect to 3; ~ sér for one’s own part, on one’s own behalf
121.
afl n. strength, physical prowess.
- afli dat. sg. 9.
afla wk. to get, to fetch, to earn (sér for oneself) 24, 53.
alldrei adv. never 30, 145, 176 etc.; ~ enn never yet, until now 127.
alldur m. age; fá ~ to come of age 151.
allglaður adj. extremely happy 131.

20

Illuga saga Gríðarfóstra

allur adj. all (of, of the), (the) whole 5, 10, 70 etc.; n. sg. as adv. entirely,
directly 99, 133; n. sg. as pron. everything 16, 141; að öllu in all regards,
with respect to everything 17, 117, 150; see also VEGUR.
- alla m. acc. pl. 10, 175.
- allar f. acc. pl. 197.

Glossary

21

austur m. bilge water.
- austri dat. sg. 76.
austurríki n. ‘the eastern empire’, Eastern Europe (Baltic lands, Russia)
152 (dat. sg.) (see note).

- allra m. gen. pl. 5.

á prep. w. dat. on 75, 197, 207 etc., (with)in 26, 183, about 221; prep. w.
acc. onto 43, 74 etc., at 10; ~ sér (denoting a personal quality or physicalfeature) e.g. nefið ~ þér ‘your nose’ 110.

- allt n. acc. sg. 166, 170.

áfall n. wave (that breaks over a ship).

- allir m. nom. pl. 74, 76, 112 etc.

- allt n. nom. sg. 70.
- öll f. nom. sg. 185.
- öll n. acc. pl. 221.

- áföll acc. pl. 78.
Álfheimur, Álfheimar m. the world of the elves (see note).
- Álfheimum dat. pl. 149.

- öll n. nom. pl. 224.

Álfrún f. pers. 149.

- öllum f. dat. pl. 159.

Áli m. pers. 149.

allvel adv. extremely well; ~ gaf honum byr there was a most favourable
wind 212.

álög n. pl. curse, spell 182.

ambátt f. (female) servant, slave, maid 38.

árás f. assault, attack, raid.

ambáttligur adj. like a slave woman, wretched.
- ambáttligri comp. f. acc. sg. 111.
andast refl. wk. to breathe one’s last, to die.
- andaðist past 3rd sg. 155.
annar adj. and pron. other, another; öðrum . . . öðrum with one . . . withthe other 182-83 (‘öðrum’ m. dat. sg.).
- aðra m. acc. pl. 12, 84.
- aðrir m. nom. pl. 143.
- annan m. acc. sg. 109, 164.
- annari f. dat. sg. 122.
- annars m. gen. sg. 14.

- álögum dat. 146, 177, 186 etc.
- árásir acc. pl. 68.
ást f. love; fella ~ til e-s to fall in love with s-one 107, 173.
átt(i), see eiga.
bak n. back 43; á ~ið at the back, behind 99.
bana wk. to kill.
- banaði past 1st sg. 56.
band n. bond, knot, place where two ropes are connected 73.
- böndum dat. pl. 77.
bani m. death; fá bana to die 165.
- bana gen. sg. 216.

aptur adv. back 130.

bardagamaður m. warrior 4.

arnarkló f. eagle’s talon.

bardagi m. fight, battle; eiga bardaga to fight 175 (m. acc. sg.),- arnarklær nom. pl. 98.
auga n. eye.
- augu nom. pl. 99.

barn n. child.
- barna gen. pl. 226.
- börn acc. pl. 224.

22

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báðir adj. both 67; n. as adv. both 166, 184, 195; see also HÖND.

Glossarybíða str. to wait (for), to await 80, 118.

- báðar f. nom. 98.

bjarg n. cliff, precipice.

- bæði n. acc. 74.

- björgum dat. pl. 79.

- bæði n. nom. 120.

bjartur adj. bright, shining.

bál n. fire, pyre 184.

- björtu n. dat. sg. 123.

- bál acc. sg. 184.
- báli dat. sg. 197.
- bálið acc. sg. def. 187.
bátur m. boat.

23bjóða str. to invite (e-m til e-s s-one to s-thing).
- býður pres. 3rd sg. 217.
Björn (ráðgjafi) m. pers. 16, 19, 26 etc.
- Björn acc. sg. 88, 206.

- bát acc. sg. 93.

blíðliga adv. happily, gladly 59.

- bátsins gen. sg. def. 201.

blíðuleikur m. diversion, play, enjoyment; gjöra blíðuleik to make sport
121 (m. acc. sg.).

bera str. to carry, to bear; ~ af e-m to surpass s-one, to be better at s-thing
than s-one 12 (past 3rd sg.); ~ til to happen 160 (past 3rd sg.); ~ sig tocomport oneself 83 (past 3rd sg.); refl. ~st lítt af to take s-thing badly
155 (past 3rd sg.).
- bar past 3rd sg. 45.
berja wk. to strike, to hit; refl. ~st to fight (með alongside, við against) 35.
- barði past 3rd sg. 44.
- barðist refl. past 3rd sg. 2.
betur, see vel.
bezt(u), see góður.
biðja str. to ask (w. inf. s-one to do s-thing); að ~ e-s sér til handa to ask
for s-one’s hand in marriage 222 (past 3rd sg.).
- bað past 3rd sg. 23, 206.
- biður pres. 3rd sg. 40, 63.

blíður adj. tender, affectionate 6; gjöra sig blíðan to enjoy oneself 121(m. acc. sg.).
- blíð f. nom. sg. 49.
- blíðastur sup. m. nom. sg. 131, 139.
blygða wk. to shame, to put to shame.
- blygðir subj. pres. 2nd sg. 126.
borð n. side (of a ship).
- borð acc. pl. 74.
bregða str. w. dat. to draw (e.g. a sword); fig. ~ e-m to upbraid s-one, torebuke s-one 34 (sub. pres. 3rd sg.); e-m ~ til e-s s-one takes after s-one
159 (past 3rd sg.).
- brá past 3rd sg. 123.
breiður adj. broad, wide 109.

bila wk. to fail, to waver.

brenna str. to burn 185, 187.

- bilar pres. 3rd sg. 30.

- brenndar pp. f. nom. pl. 98.

binda str. to bind, to tie up.

- brennir pres. 3rd sg. 197.

- binda pres. 3rd pl. 77.
biturligur adj. sharp.
- biturligu n. dat. sg. 123.
- biturligum f. dat. pl. 194.

bringa f. chest.
- bringuna acc. sg. def. 44.
brjóta str. to break.
- braut past 1st sg. 56.

24

Illuga saga Gríðarfóstra

brotna wk. to break.
- brotnar pres. 3rd sg. 47.

Glossarydauður m. death; til dauðs to death 104 (gen. sg.).
deili n. pl. details 221.

brúður f. bride.

detta str. to fall 187.

- brúði dat. sg. 131.

deyja wk. to die 176.

burt adv. away, (usually as ‘í ~’) 171, 190; see also HVERFA.
búa str. to prepare, to make ready; pp. ‘vel búin(n)’ accomplished 6 (sup.
m. nom. sg.), 150 (f. nom sg.); refl. ~st to prepare oneself (að for/to) 61(‘býst’ pres. 1st sg.).

- deyr pres. 3rd sg. 128.
djarfur adj. bold 134.
dóttir f. daughter 4, 168, 172 etc.
- dóttur acc. sg. 112, 126, 134 etc.

- búið pp. n. nom. sg. 26.

- dóttur dat. sg. 103, 116, 120.

- búin pp. n. nom. pl. 66.

- dætur acc. pl. 158,

búgarður m. farmstead.
- búgarð acc. sg. 215.
búnaður m. adornment, attire.
- búnaði dat. 97.
byggja wk. to live in, to dwell in.
- byggir pres. 2nd sg. 171.

- dætur nom. pl. 175,
drekka str. to drink 165, 216; see also ERFI.
drepa str. to kill, to slay.
- drepið pp. 147, 197.
drottning f. queen 149.
- drottningu acc. sg. 4, 157.

byrr m. favourable wind.

- drottningu dat. sg. 162, 165.

- byr acc. sg. 204, 212.

dægur n. day, twelve hours 76.

- byrjar gen. sg. 81.

eða conj. or 96.

dagborð n. breakfast table.
- dagborðum dat. sg. 61-62.
Dagur m. pers.
- Dags gen. 2.
dagur m. day.
- daga acc. pl. 64, 184.
Danmörk f. Denmark.
- Danmörk acc. 1, 219.
- Danmerkur gen. 213, 220.
dauði m. death 82.
- dauða acc. sg. 126, 136, 138 etc.

25

ef conj. if 14.
ég 1st pron. I 27, 28, 51 etc.
- mér dat. 31, 53, 55 etc.
- mig acc. 114, 115, 117.
- okkur acc. dual 192, 198.
- vér nom. pl. 227.
- við nom. dual 154, 186, 190.
eiga pret.-pres. to own, to possess, to have (e.g. a wife, a child) 4, 5, 8 etc.;
to rule over 218; ~ bardaga to fight 175; ~ í to be engaged in 199 (‘átt’ pp.).
- átt pp. 174.
- átti past 3rd sg. 7, 11, 215.
- áttu past 3rd pl. 224.

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Illuga saga Gríðarfóstra

eigi adv. not 17, 33, 48 etc.; ~ því síður nevertheless 17.
eigna wk. w. dat. to declare s-one’s property; refl. ~st e-m to marry s-one
160 (‘eignaðist’ past 3rd sg.).
einginn pron. no one 75, 128, 179; adj. no 82 (‘öngvan’ m. acc. sg.); n.
as adv. ‘ekki’ = ‘eigi’ not 22, 34, 35 etc.; ekki helldur rather not 34; ekkiað síður nevertheless 45.
- öngva f. acc. sg. 106, 111.
- öngvan m. acc. sg. 102, 121, 137.
einn indef. art. and card. num. a (certain), one 9, 23, 91.

Glossary27

eptir prep. w. acc. after 32, 106, 167 etc.; on account of 156; w. dat. for(with a sense of purpose, a goal) 118; see also LÁTA.
er, ert, ertu, see vera.
er rel. pron. which 40, 77, 87 etc.; who 4, 5, 9 etc.; when 66; as ‘þá er’when the referent is f. acc. 8, 216; conj. when 41, 42, 49 etc.; see also ÞÁ.
erfi n. funeral feast; að drekka ~ to celebrate a funeral 216.
erfiði n. toil, hard work.
- erfiði dat. sg. 81.

- ein f. nom. sg. 106.

ergi n. deviant, insatiable sexual appetite; e-n sækja mikil ~ s-one has ahigh sex drive 163.

- eina f. acc. sg. 79, 120, 150 etc.

eyða wk. to lay waste to, to ravage.

- einum m. dat. sg. 46.
- eitt n. acc. sg. 7, 128.
einnsaman adj. alone 90.
Eiríkur m. pers. 152.
eitur n. poison.
- eitur acc. sg. 164.

- eyddi past 3rd sg. 166.
eyra n. ear.
- eyrun nom. pl. def. 100.
eyvík f. inlet with islands.
- eyvík acc. sg. 79.
faðir m. father 10, 155, 156 etc.

ellda wk. as refl. ~st to grow old 162.

- föður acc. sg. 24.

elldiviður m. firewood.

- föður dat. sg. 23, 65, 214.

- elldiviðar gen. sg. 54.

- föður gen. sg. 154.

elldur m. fire.

fagna wk. w. dat. to greet.

- elld acc. sg. 82, 101, 102.

- fagnar pres. 3rd sg. 63.

- elldi dat. sg. 83, 86, 89 etc.

fagur adj. beautiful, fair.

- elldinn acc. sg. def. 202.

- fagurt n. nom. sg. 111.

en conj. but 7, 12, 17 etc.; sometimes with weakened or no contrast implied- fegri comp. f. acc. sg. 112.

and 155, 164, 191 etc.

- fögur f. nom. sg. 157.

endaður m. end.
- endaðri dat. sg. 194.
enn conj. w. comp. than 99, 111, 117 etc.; adv. yet; see also ALLDREI,FYRR.
enni n. forehead 100.

falla str. to fall (in battle); to hang down, to dangle.
- féll past 3rd sg. 152.
- féllu past 3rd pl.100.
fara str. to go, to travel 27, 33, 61 etc.; to go, to proceed (events) 22, 64,(pres. 3rd sg.); see also HERNAÐUR, SKJÓTUR.

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Illuga saga Gríðarfóstra

- fari subj. pres. 3rd sg. 28.
- farið pp. 117.

Glossary
fimmti ord. num. fifth.
- fimmtu f. acc. 161.

- farir subj. pres. 2nd sg. 116.

fimur adj. agile, skilled 10.

- fer pres. 3rd sg. 36, 42.

finna str. to find, to come across; refl. ~st to be found, to exist 179.

- fór past 1st sg. 127, 154.

- fann past 3rd sg. 42.

- fór past 3rd sg. 41.

- fannstu past 2nd sg. w. suffixed pron. 50, 53.

fá str. to get, to acquire, to receive 24, 126, 134 etc.; to get a wife, tomarry 156; w. pp. as aux. to be able to 144 (‘fæ’ pres. 1st sg.); see also
ALLDUR, ÁFALL, BANI.
- fá pres. 3rd pl. 69, 78.
- fékk past 3rd sg. 165.
- fengið pp. 151, 213.
- fengu past 3rd pl. 83.
- fær pres. 2nd sg. 102.
fámálugur adj. taciturn.
- fámálug f. nom. sg. 107.

- finnist refl. subj. pres. 3rd sg. 55.
- finnur pres. 2nd sg. 86, 87.
Finnmörk f. Finnmark.
- Finnmörk dat. sg. 212.
fjölkunnugur adj. well versed in, skilled in magic arts.
- fjölkunnug f. nom sg. 38.
fjörður m. fjord.
- fjarðarins gen. sg. def. 91.
- fjörð acc. sg. 85.

fé n. money, wealth.

flagð n. ogress, hag.

- fé dat. sg. 3.

- flagð acc. sg. 45.

- fjár gen. sg. 25.

- flagðið acc. sg. def. 46.

feðgar m. pl. father and son.
- feðga acc. 20.
- feðga gen. 32.
fella wk. to fell, to make fall 173; see also ÁST.
- felldi past 3rd sg. 107.
fénaður m. livestock.
- fénaði dat. sg. 167.
ferð f. journey.
- ferð dat. sg. 48, 50.
ferlíki n. monstrosity, freak 110.
festa wk. to make fast, to moor.
- festir pres. 3rd sg. 93.

29flagðkona f. ogress, hag.
- flagðkonur nom. pl. 159.
flestir, see margur.
forkunnar adv. extremely 63.
fólk n. people 70.
fóstbróðir m. foster-brother 226.
fóstbræðralag n. foster-brotherhood; sverja í ~ to become sworn brothers,
to swear an oath of foster-brotherhood 13.
fótur m. foot.
- fæti dat. sg. 182, 183.
fram adv. forward 106, 122, 132 etc..
framan adv. from the front, from the front side 44.

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Illuga saga Gríðarfóstra

frá prep. w. dat. (away) from 8, 42, 90 etc.; see also HALLDA.
frelsa wk. to save (e-n af e-m s-one from s-one); refl. ~st to be saved 177.
- frelst pp. 198.
frétta wk. to ask (e-n að e-u s-one about s-thing).
- frétti past 3rd sg. 95.
fríður adj. beautiful, handsome.
- fríð f. nom. sg. 106.

Glossary

ganga str. to go, to walk; w. ship as subject to move around, to be tossed
around 72.
- gekk past 3rd sg. 41, 167.
- gengur pres. 3rd sg. 32, 45, 59 etc.
garðshorn n. outlying house, farm in a border area 7 (see note).
gefa str. to give 164 (‘gaf’ past 3rd sg.); imp. e-m ~ e-n s-one gets s-thing
204, 212 (‘gaf’ past 3rd sg.); honum var allt illa gefið he’d been dealt abad hand by nature 16.

- fríða f. acc. sg. 100.

- gaf past 3rd sg. 201.

- fríðari comp. f. acc. sg. 106.

- gef pres. 1st sg. 144.

- fríðastur sup. m. nom. sg. 6.

gegna wk. w. dat. to mean.

- fríðust sup. f. nom. sg. 153.

- gegndi past 3rd sg. 210.

frjósa str. to freeze 185.
frýnligur adj. friendly, pleasant.
- frýnlig f. nom sg. 141.
frægð f. renown, fame.
- frægðar gen. sg. 25.
fylgja wk. w. dat. to accompany 29.
- fylgir subj. pres. 2nd sg. 58.
- fylgði past 3rd sg. 201.
fylkiskongur m. petty king, regional king, vassal 219.
fyrir prep. w. acc. before, into the presence of 62; w. dat. from, against 18,
because of, on account of 180; ~ það er in compensation for, as paybackfor 210; ~ því að because, on account of the fact that 178; í ~ in front, on
the foremost side 99; see also RÁÐA.
fyrirætla wk. to intend.
- fyrirætlað pp. 128.
fyrr adv. before 141; ~ (. . .) enn before, until 48, 177, 197.
gagn n. benefit, advantage; gagn að verða to turn out out be of use, togive favourable results 89.
Gandvík f. the White Sea 77 (see note).

31

geta str. to beget, to have (children) 158 (‘gátu’ past 3rd pl.); w. gen. tomention 226 (‘getið’ pp.).
gipta wk. to marry (e-n e-m s-one to s-one) 192.
- gipt pp. f. nom. sg. 151.
- giptir pres. 3rd sg. 223.
gjarnan adv. gladly 83, 88.
gjöra wk. to do, to carry out 64 (‘gjörir’ pres. 3rd sg.); refl. ~st to happen
50 (‘gjörst’ pp.); see also BLÍÐUR, BLÍÐULEIKUR.
- gjörðu past 3rd pl. 68.
- gjörir pres. 2nd sg. 103.
glaður adj. happy, glad.
- glaðir m. nom. pl. 203.
gleðja wk. to make glad; refl. ~st to become glad, to be happy (við about,because of).
- gladdist refl. past 3rd sg. 59.
Gnoðar-Ásmundur m. pers.
- Gnoðar-Ásmundar gen. 227.
góður adj. good.
- bezt sup. m. nom. sg. 6.

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Illuga saga Gríðarfóstra

Glossary- beztu wk. sup. m. dat. pl. 217.

- hangir pres. 3rd sg. 209.

- góðar f. nom. pl. 224.

- hékk past 3rd sg. 96.

gólf n. floor.

hann 3rd pron. he 4, 5, 7 etc.; w. ref. to m. nouns it 87.

- gólfið nom. sg. def. 111.

- hana f. acc. sg. ‘her’ 100, 117, 131 etc.

Gríður f. pers. 92, 94, 102 etc.

- hann m. acc. sg. ‘him’ 19, 20, 40 etc.

- Gríðar gen. 195.
Grímhilldur f. pers. 157, 161, 166 etc.
- Grímhilldi dat. sg. 160.
grænn adj. green.
- græn n. nom. pl. 100.
gull n. gold.
- gull n. acc. sg. 202, 213.
haf n. sea.
- haf acc. sg. 72, 76.
hafa wk. to have, to possess 96, 202 etc.; as aux. in perfect tenses 107,
200, 205 etc.; see also SORG.

- hans m. gen. sg. ‘his’ 10, 48, 81 etc.
- hennar f. gen. sg. ‘her’ 96, 97, 99 etc.
- henni f. dat. sg. ‘her’ 5, 8, 56 etc.
- honum m. dat. sg. ‘him’ 16, 29, 34 etc.
- hún f. nom. sg. ‘she’ 33, 34, 38 etc.
- það n. acc. sg. ‘it’ 19, 178, 210.
- það n. nom. sg. ‘it’ 26, 41, 67 etc.
- þau n. acc. pl. 203.
- þau n. nom. pl. 158, 220, 224 etc.
- þá m. acc. pl. ‘them’ 20, 70.
- þeim f. dat. pl ‘them’ 159.

- hafa pres. 3rd pl. 50, 128, 146.

- þeim m. dat. pl. ‘them’ 12, 81, 178 etc.

- hafði past 1st sg. 156.

- þeim n. dat. pl. 201, 202.

- hafði past 3rd sg. 39, 44, 151 etc.

- þeir m. nom. pl. ‘they’ 10, 13, 31 etc.

- hafi subj. pres. 3rd pl. 70.

- þeirra m. gen. pl. ‘their’ 2, 15, 32.

- hef pres. 1st sg. 109, 111, 137 etc.

- þeirra n. gen. pl. ‘their’ 224, 226.

- hefur pres. 2nd sg. 145, 169, 174 etc.

- þær f. acc. pl. ‘them’ 197.

- hefur pres. 3rd sg. 7, 31, 127 etc.

- þær f. nom. pl. ‘they’ 159, 175.

- höfðu past 3rd pl. 82.
hagl n. hail 95.
hallda str. to sail 71, ~ frá landi to set sail 66; to keep, to preserve, ~e-u heilu to keep s-thing in one piece 79 (‘hélldu’ past 3rd pl.); ~ á tohold onto, to have in one’s hand 87 (‘helld’ pres. 1st sg.); ~ við e-u tostrain against s-thing 72 (‘héllt’ pp.); refl. ~st to be upheld, to stand (apronouncement) 189 (‘halldist’ subj. pres. 3rd sg.).
hanga str. to hang, ~ ofan to hang down, to dangle.

33harður adj. hard; n. as adv. ‘hart’ hard, vigourously, heavily 41, 43, 47 etc.
harmur m. grief, sorrow.
- harmi dat. sg. 180.
haust n. autumn.
- hausti dat. sg. 71.
hár adj. high 109.
- hátt n. as adv. 141.

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Illuga saga Gríðarfóstra

- hæra comp. m. acc. sg. 109.
hár n. hair.
- hár acc. sg. 122, 132.
háttur m. way, manner; með þeim/slíkum hætti in that/such a way 56,
146 (‘hætti’ dat. sg.).
hefna wk. to avenge 14.
heill adj. whole, undamaged; see also HALLDA.
- heilu n. dat. sg. 80.
heim adv. (towards) home, homewards 36, 48, 71 etc.
heima adv. at home 23, 27, 65 etc.
heiman adv. away from home 41.
heimskuligur adj. foolish.
- heimskuligt n. nom. sg. 188.
heita str. to be called 95.
- heitir pres. 3rd sg. 144.
- hét past 3rd sg. 1, 4, 8 etc.
heitur adj. hot; fig. passionate.
- heita f. acc. sg. 173.
helblár adj. black as death, corpse-blue.
- helblátt n. nom. sg. 100.
helldur adv. rather 34; see also EINGINN.
- helst sup. ‘most (of all)’ 163.
hellir m. cave 91, 108.
- hellir acc. sg. 171, 191.

Glossary- herður pres. 3rd sg. 72.
herjansson m. son of Óðinn (devil), scoundrel 125.
Hermann m. pers.
- Hermann acc. 2.

hernaður m. harrying, plundering, raiding; fara í hernað to go on a raiding
expedition 33 (‘hernað’ acc. sg.).
heygja wk. to be buried in a mound.
- heygður pp. m. nom. sg. 165.
heyra wk. to hear.
- heyr imper. 2nd sg. ‘listen’ 125.
- heyrir pres. 3rd sg. 94.
Hilldur f. pers. (Illugi’s mother) 8, 36, 39 etc.; (Gríður’s daughter) 144,
153, 181 etc.
- Hilldar gen. 226.
- Hilldi dat. 32, 38, 201 etc.
hingað adv. to here, to this place 128.
hinn definite art. used with adj., particularly sup. the 3, 18.
- hið n. nom. sg. 158.
- hin f. nom. sg. 38, 92, 191 etc.
- hinum m. dat. pl. 217.
hirða wk. to care, to be bothered.
- hirði pres. 1st sg. 104.
hitna wk. to heat up; e-m hitna s-one gets warm 204.
hitta wk. to meet, to encounter.
- hittir pres. 2nd sg. 177.

- hellirinn acc. sg. def. 93, 194.

hjal n. chatter, prattle 188.

- hellra acc. pl. 205.

hjarta n. heart; fig. courage, spirit 127.

hengja wk. to hang (s-one).
- hengt pp. 210.
hér adv. here, at this point 45, 102, 227.
herða wk. to harden, to become taut.

35

hjá prep. w. dat. beside, next to 64, 103, 153 etc.; fig. alongside, next to(in a comparison) 111; at the house of, staying with 23, 38, 111.
hjáhvíla f. lovemaking, sexual encounter.
- hjáhvílum dat. pl. 163.

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hlaupa str. to jump, to leap.
- hlaupa pres. 3rd pl. 195.
- hlaupið pp. 43.
- hleypur pres. 3rd sg. 139, 195.
hljóður adj. silent, quiet.
- hljóð f. nom. sg. 107.
hlýða wk. to listen to, to heed.
- hlýddi past 3rd sg. 21.
hlæja str. to laugh.
- hlæjandi pres. part. 137.
hollur adj. loyal, dependable 30.
hor m. mucus, snot.
- horinn nom. sg. def. 96.
hraustur adj. brave.
- hraustir m. nom. pl. 74.

Glossaryhræra wk. to move (á sér oneself), to stir.
- hrærði past 3rd sg. 124.
hugsa wk. to intend, to plan.
- hugsaði past 3rd sg. 164.

hver pron. each one, what 173 (‘hvern’ m. acc. sg.), 209 (‘hverju’ n. dat.
sg.); hvað sem what(so)ever, no matter what 12; refl. pron. each other 14(‘hvor annars’ first part m. nom. dual, second part m. gen. sg.); rel. pron.
which, who 174 (‘hverjar’ f. nom. pl.); interrogative pron. what?, who?
100; adj. each, any 161 etc.
- hvað n. acc. sg. 116.
- hver m. nom. sg. ‘each’ 172.
- hverja f. acc. sg. 175.
- hverjum m. dat. sg. 29.
- hvert n. nom. sg. 73.
hverfa str. to disappear, að ~ í burt to disappear into thin air, to be whisked
away.
- horfinn pp. m. nom. sg. 208.

Hringur Skjalldarson m. pers. 1, 3, 216 etc.

- hurfum past 1st pl. 190.

hringur m. ring.

- hvarf past 3rd sg. 161.

- hring acc. sg. 87.

- hverfir subj. pres. 2nd sg. 171.

hríð f. sleet, snow-storm 96.

hvergi adv. nowhere 69, 73, 143.

hryggur m. back, spine.

hvíla f. bed.

- hrygginn acc. sg. def. 56.
- hryggurinn nom. sg. def. 47.
hræddur adj. afraid (við e-n of s-one).
- hrætt n. nom. sg. 70, 127.
hræða wk. to fear; refl. ~st to be afraid, to fear (e-ð s-thing).
- hræddist past 3rd sg. 141.
- hræðist pp. 147.
- hræðist pres. 1st sg. 129, 136.
- hræðist pres. 3rd sg. 138, 177.

37

- hvílu acc. sg. 116, 120.
- hvílunni dat. sg. def. 119.
hvorki adv. neither 189.
hvortveggi pron. both (of them).
- hvorutveggjum n. dat. pl. 68.
hyggja wk. to think.
- hugðir pres. 2nd sg. 125.
hæla wk. to praise, to flatter 115.
hæll m. heel.
- hælarnir nom. pl. def. 43.

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Illuga saga Gríðarfóstra

höfuð n. head; fig. life, fate 86, 88.

Glossaryjafnan adv. always 11, 13.

- höfði dat. sg. 123, 133.

já interj. yes 52.

- höfuð acc. sg. 97.

játa wk. to agree (w. dat. to s-thing).

höggva str. to strike, to hew, to hack 176.

- játar pres. 3rd sg. 40, 59.

- höggur pres. 3rd sg. 196.

jörð f. ground, earth.

- höggva pres. 3rd pl. 195.

- jarðar gen. sg. 94.

höll f. hall.
- hallar gen. sg. 36.
- höllinni dat. sg. def. 215.
hönd f. hand; á báðar hendur liberally, ‘left, right and centre’ 214; seealso BIÐJA.
- handa gen. pl. 222.

kala str. to get cold, to freeze 84.
- kali subj. pres. 3rd sg. 104.
kall m. (old) man 7.
kalla str. to call 100.
- kallaði past 3rd sg. 211.
- kallaður pp. m. nom. sg. 10.

- hendi dat. sg. 44, 123.

kalldur adj. cold; imp. e-m er kallt s-one is cold 82.

- hendur nom. pl. 97.

kappi m. warrior, champion 18.

- hönd acc. sg. 132.
illa adv. badly, in an evil way 16, 39, 115.

- kappa dat. sg. 29.
kasta wk. w. dat. to throw, to cast off.

illskast refl. wk. to become worse.

- kastar pres. 3rd sg. 119, 130.

- illskaðist past 3rd sg. 166.

kelling f. wife, old woman 120.

illskuverk n. evil deed, crime 167.
Illugi Gríðarfóstri m. pers. 9, 11, 12 etc.

39

- kellingu acc. sg. 8.

- Illuga acc. 21, 40, 44 etc.

kenna wk. to know; að kenna e-ð e-m to say that s-one is the cause ofs-thing 204 (‘kendi’ past 3rd sg.).

- Illuga dat. 201.

keyra wk. to fling, to cast.

- Illuga gen. 227.

- keyrir pres. 3rd sg. 46.

illur adj. bad, evil.
- verri comp. f. nom. sg. 55.
inn adv. in 59, 74.
í prep. w. acc. in, into 33, 72, 76 etc.; w. dat. in 2, 23, 30 etc., on (anexpedition, trip etc.) 57, 58.
íþrótt f. often in pl. sport, pastime, pursuit.
- íþróttum dat. pl. 6.

kippa wk. w. dat. to pull, to yank.
- kippir pres. 3rd sg. 122, 132, 140.
klæði n. garment, pl. clothes.
- klæðum dat. pl. 119.
koma str. to come, to arrive 41, 46, 48 etc.; to come to pass, to happen 13,
20; að vera komið to have arrived 45, 93; að ~ að máli við e-n to speak
to s-one 39; að ~ e-m úr e-u, að ~st úr e-u to free s-one from s-thing, toescape from s-thing 145, 186.

40

Illuga saga Gríðarfóstra

Glossary- kemur pres. 3rd sg. 66, 92, 93 etc.

kvikindi n. beast, creature 44.

- kom past 3rd sg. 49, 169, 212.

kvölld n. evening 94.

- komin pp. n. nom. pl. 120.

kvölldriða f. ‘evening-rider’ 39 (see note).

- kominn pp. m. nom. sg. 43.

kynda wk. to light, to kindle 184.

- komnir pp. m. nom. pl. 81.

kyrr adj. still, peaceful 124, 142.

- komu past 3rd pl. 43, 194.
kona f. woman, wife 106.
- konu dat. sg. 139.
kongshöll f. royal hall, king’s hall.
- kongshallar gen. sg. 61.
- kongshöll dat. sg. 183.
kongsríki n. kingdom.
- kongsríki dat. sg. 8, 217, 221.
kongsson m. prince 11, 13, 22 etc.
- kongssonar gen. sg. 207.
- kongssyni dat. sg. 20, 21, 58.
kongur m. king 1, 3, 19 etc.
- kong acc. sg. 62, 164.
- kongi dat. sg. 152.
- kongs gen. sg. 5, 16, 18 etc.
kostur m. choice.
- kost acc. sg. 104.
kunna pret.-pres. aux. to be able to, to be possible.
- kann pres. 3rd sg. 89.
kveða str. to say (w. acc. plus inf. construction ‘that’ plus clause); ~st w.
inf. ‘to say (of oneself) that’ plus clause 95, 101.
- kvað past 3rd sg. 57, 205, 222.
kveðja str. to greet.
- kveður pres. 3rd sg. 62.
kvennaverk n. a woman’s work, a task fit for a woman 148.

41

- kyrt n. nom. sg. 14.
kær adj. w. dat. dear (to), beloved 20.
land n. land, country.
- land acc. sg. 18, 79, 93.
- landa gen. pl. 73.
- landi dat. sg. 24, 66, 92.
langur adj. long; dat. pl. ‘löngum’ as adv. a long time 214; n. nom. sg.
‘langt’ as adv. a long way, by far 12, 76, 200.
- langa f. acc. sg. 46.
- lengra comp. n. nom. sg. as adv. 99.
launa wk. to repay (e-m e-ð s-one for s-thing) 192.
- launað pp. 145.
- launaði subj. past 1st sg. 182.
láta str. to say, to make out 115; að ~ eptir to leave behind 40 (‘lét’ past
3rd sg.); að ~ lif sitt to die 47; aux. w. inf. to have (s-thing done), to cause(s-thing to happen) 216.
- létu past 3rd pl. 203.
- lætur pres. 3rd sg. 132.
leggja wk. to organise, to set up 11 (‘lögðu’ past 3rd pl.); to sail 69; að ~e-ð á e-n to cast a spell on someone 170 (‘legg’ pres. 1st sg.).
leið f. path, way.
- leið acc. sg. 46.
leiða wk. to lead (til e-s to s-thing).
- leiddi past 3rd sg. 216.
leika str. to play, to entertain oneself; að ~ e-n illa to play a trick onsomeone, to bewitch someone 39 (‘leikið’ pp.).
- leikir subj. pres. 2nd sg. 116.

Illuga saga Gríðarfóstra

42

leiksveinn m. playmate, buddy.
- leiksveina acc. pl. 12.
leikur m. game, sport.
- leika acc. pl. 10, 11.
leita wk. w. gen. or dat., sometimes also with ‘að’ to look for, to seek
86, 89.
- leituðu past 3rd pl. 208.
leka str. to leak 76.
lend f. lower back, buttocks.
- lendar acc. pl. 99.
lengi adv. (for) a long time 169, 225.
- lengur comp. 118, 225.
létta str. to desist, to stop (doing s-thing).
- létti past 3rd sg. 48.
- léttir pres. 3rd sg. 196.
leysa wk. to release, to free.
- leyst pp. 192.
lifa str. to live.
- lifði past 3rd sg. 225.
- lifðu past 3rd pl. 225.
liggja str. to lie 103, (at anchor, weatherbound) 204; að ~ við e-u to bein the balance, to be on the verge of s-thing 78.
- lá past 3rd sg. 124, 142.
líf n. life.
- líf acc. sg. 47, 144.
líflát n. loss of life, death.
- líflát acc. sg. 210.
líkur adj. like, similar (w. dat. to).
- líkt n. dat. sg. 79.
líta str. to look at, to behold; e-m líst á e-u s-one likes s-thing 115, 117(‘líst’ refl. pres. 3rd sg.).
- lítur pres. 3rd sg. 173.

Glossary43

lítill adj. little; n. as adv. ‘lítið’ little 162.
- litlu n. dat. sg. as adv. ‘by a little’ i.e. ‘a little bit’ 215.
- minna comp. n. nom. sg. as adv. 163.
lítt adv. little 155.
ljúka str. to end, to bring to a close.
- lúkum pres. 1st pl. 227.
- lýkur pres. 3rd sg. 36.
lofa wk. to praise 114.
lyginn adj. deceitful 17.
lymskur adj. wily, cunning 17.
lysta wk. imp. to want, to desire.
- lystir pres. 3rd sg. 116.
lýsing f. marriage bans.
- lýsingum dat. pl. 118.
maður m. man 3, 16, 161 etc.
- mann acc. sg. 146, 177.
- manna gen. pl. 6, 39, 203.
- menn acc. pl. 24, 84, 147.
- menn nom. pl. 81, 143, 207 etc.
- mönnum dat. pl. 80, 89, 90 etc.
margur adj. many (a) (sometimes with following noun in gen.).
- flestir sup. m. nom. pl. 78, 81.
- marga m. acc. pl. 11.
- margan m. acc. sg. 39, 146.
- mörg n. acc. pl. 224.
mágkona f. kinswoman, female relative.
- mágkonu acc. sg. 223.
mál n. conversation, the act of speaking; að vera ~ að w. inf. to be time to dosomething 108, 138; case, matter 223 (acc. sg.); see also KOMA, TAKA.
- máli dat. sg. 36, 39.
- máls gen. sg. 108, 188.

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mánaðarfrest n. a month’s time; á mánaðarfresti within a month 26(dat. sg.).
mánuður m. month.
- mánuð acc. sg. 204.

Glossary- miklum m. dat. sg. 137.
- miklum n. dat. pl. 145.
mikilsháttar adv. distinguished 224.
milldur adj. gentle; ~ af fé generous 3.

með prep. w. dat. with 14, 27, 35 etc.; see also HÁTTUR.

milli prep. in ‘á milli’ w. gen. between 15.

mega pret.-pres. aux. to be able (or permitted) to 33, 57.

minn 1st poss. adj. my 50, 155, 156 etc.

- mátti past 1st sg. 180.

- minn m. acc. sg. 136.

meiða wk. to maim, to seriously injure 176.

- minnar f. gen. sg. 167.

meta str. to esteem, to value; w. gen. ‘mikils’ to value highly, to prize.

- minni f. dat. sg. 103, 116.

- mat past 3rd sg. 19.

- mitt n. acc. sg. 147.

meyja f. maiden, girl 153.

- mitt n. nom. sg. 127.

mikill adj. large, great, on a large scale 9 etc.; comp. and sup. often used
to emphasise characteristics both positive and negative better, the best,
worse, the worst e.g. ‘hinn mesti bardagamaður’ the greatest of warriors
3; n. as adv. ‘mikit’ a great deal, a lot 72, 158; see also META.

- mín f. nom. sg. 155, 168, 181 etc.
- mína f. acc. sg. 53, 126, 134 etc.
- mínar f. nom. pl. 174.

- meira comp. n. acc. sg. 110.

- míns m. gen. sg. 154.

- meiri comp. m. nom. sg. 30.

- mínu n. dat. sg. 88.

- mesta sup. wk. f. nom. sg. 38, 92, 171 etc.

- okkart n. nom. dual 188.

- mesta sup. wk. n. nom. sg. 158.

- vorum m. dat. pl. 89.

- mestan sup. m. acc. sg. 112.

minna, see lítill.

- mesti sup. wk. m. nom. sg. 18.

mjög adv. very, a great deal 19, 36, 75 etc.

- mestu sup. wk. f. nom. pl. 159.

morgunn m. morning.

- mikil f. nom. sg. 163.

- morgni dat. sg. 61.

- mikilli f. dat. sg. 23, 170.

móðir f. mother 48, 154.

- mikils n. gen. sg. as adv. 19.

- móður acc. sg. 156.

- mikinn m. acc. sg. 69, 71.

- móður dat. sg. 59.

- mikit n. acc. sg. 97, 184 etc.

- móður gen. sg. 159.

- mikit n. nom. sg. 110.
- mikla f. acc. sg. 107, 156, 173.
- miklar f. acc. pl. 68.
- miklu n. dat. sg. 197.

móður adj. worn out, exhausted.
- móðir m. nom. pl. 78.
munnur m. mouth.
- munninn acc. sg. def. 96.

45

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Illuga saga Gríðarfóstra

munu pret.-pres. aux. will.
- mun pres. 3rd sg. 30, 108, 117 etc.
- mundi past 1st sg. 126.

Glossaryniður adv. down(wards) 47.

nokkur adj. some, any; n. nom. sg. ‘nokkuð’ and dat. ‘nokkru’ as adv.
somewhat, in any way, by any chance 53, 182.

- mundi past 3rd sg. 161.

- nokkra m. acc. pl. 22, 64.

- munu pres. 3rd pl. 112.

- nokkra f. acc. sg. 186.

munur m. difference.
- mun acc. sg. 112.
myrða wk. to murder 173.
- myrt pp. 146.
myrkur adj. dark.
- myrkt n. nom. sg. 42.
mæðgur f. pl. mother and daughter 186, 190.
- mæðgur acc. 198.
mæla wk. to speak, to pronounce 108, 180; að ~ um to utter (e.g. a spell)
182 (‘mæli’ pres. 1st sg.).
- mælir subj. pres. 2nd 102.
- mællti past 3rd sg. 53, 114, 125 etc.
nafn n. name.
- nafni dat. sg. 95.
ná wk. to get, to obtain 83.
náð f. mercy, í ~um in peace 138.
nám n. training, education, instruction.
- nám acc. sg. 151.
né conj. nor 109, 114.
neðan adv. from below 185.
nef n. nose.
- nefið nom. sg. def. 110.
nefna wk. to name; refl. ~st to be named 172.
- nefndur pp. m. nom. sg. 7.
nei interj. no 126.
nema conj. unless 102.

47

- nokkur n. nom. pl. 50.
norður adv. northwards, in a northerly direction 72, 76.
nógu adv. sufficiently 200.
nótt f. night; í ~ tonight 103.
- nótt acc. sg. 161, 175, 207.
- nótt(u) dat. sg. 42, 210.
- nóttina acc. sg. def. 60.
- nætur acc. pl. 184.
nú adv. 14, 22, 31 etc.
nýtíðindi n. pl. news 50.
nær adv. near (w. dat. to somewhere); sup. in ‘því næst’ next, subsequently
78; conj. when 151.
- nærri comp. as emphatic ‘very close’ 215.
nös f. nostril.
- nösum dat. pl. 96.
ofan adv. from above, down 96, 185, 187.
ofurfé n. a huge amount of money, a fortune.
- ofurfjár gen. sg. 69, 213.
og conj. and 1, 3, 4 etc.
okkur, see ég.
okkart, see minn.
opt adv. often.
- optar comp. 128.
orð n. word.
- orð acc. pl. 130.
orðið, see verða.

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Illuga saga Gríðarfóstra

Orkneyjar f. pl. Orkney, the Orkney Islands.
- Orkneyja gen. 68.
orrusta f. battle.
- orrustu dat. sg. 35, 152.
ófrýnn adj. ill-humoured, looking in a bad mood 49.
ógangur m. aggression.
- ógangi dat. sg. 137.
óglaður adj. unhappy 37.
ógn f. threat.
- ógnir acc. pl. 129.
ógurligur adj. fearful, terrifying.
- ógurliga wk. n. acc. sg. 147, 178.
- ógurligt n. nom. sg. 179.
ókyrrast refl. wk. to become rough, to get choppy 74.
ótrúann adj. unfaithful, disloyal (w. dat. to s-one).
- ótrúan acc. sg. 21.
óveður n. bad weather.
- óveður acc. sg. 205.
óvinur m. enemy.
- óvinum dat. pl. 7.
páll m. peat spade.
- pál acc. sg. 40.
- pálinn acc. sg. def. 42, 51.
raun f. experience; gen. ‘raunar’ used as adv. ‘truly’ 157.
ráð n. counsel, advice, plan; e-m þykir ráð að s-one thinks it advisable
to 116.
- ráðið nom. sg. def. 67.
ráða str. w. dat. to decide (s-thing), to determine (s-thing) 222; að ~ fyrir
e-u to rule over (a place), to have s-thing in one’s power 86.
- ráðið pp. 219.
- réð past 3rd sg. 1, 91, 149.

Glossary49ráðgjafi m. advisor 16.
reiða wk. to brandish, to wield; að ~ e-ð að e-m to swing s-thing at s-one.
- reiddi past 3rd sg. 123.
- reiðir pres. 2nd sg. 178.
- reiðir pres. 3rd sg. 140.
reiðugliga adv. angrily, fiercely 125.
reka str. imp. to be driven; rekur á storm it starts to get stormy 71.
- rekur pres. 3rd sg. 72, 76, 79.
renna str. to run, to pour.
- rann past 3rd sg. 74.
reyna wk. to try (out), to test 12.
- reyndur pp. ‘experienced’ 34.
rif n. reef on a sail (see note).
- rif acc. sg. 73.
ríða str. to ride; að ~ e-ð að e-m to drive s-thing towards s-one 133.
- reið past 3rd sg. 55.
ríki n. kingdom.
- ríki acc. sg. 218.
- ríkinu dat. sg. def. 160.
- ríkið acc. sg. def. 166.
ró f. peace, rest, respite.
- ró acc. sg. 186.
róa str. to row 85.
- rær pres. 3rd sg. 90, 203.
rúm n. room, space, bed-closet.
- rúmið acc. sg. def. 130.
rægja wk. to slander (e-n við e-n s-one to s-one).
- rægði past 3rd sg. 20.
saga f. story, saga.
- sögu dat. sg. 2, 194, 227.

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Illuga saga Gríðarfóstra

saman adv. together 11.

Glossarysel n. mountain pasture, hut on a mountain pasture.

samför f. the act of travelling together; pl. ‘samfarir’ married life 224.

- sel acc. sg. 40.

samur adj. same.

- selinu dat. sg. def. 42.

- sama wk. f. nom sg. 151, 191.
sannmæli n. truth, a true saying.
- sannmæli acc. pl. 102.
sannyrði n. truth, a true saying.
- sannyrðin acc. pl. def. 108.
sax n. short sword.
- sax acc. sg. 147, 178.
- saxi dat. sg. 123, 148.
- saxið acc. sg. def. 133, 140.
sá dem. adj. that 1, 66, 98 etc.; dem. pron. that (one).

- seljanna gen. pl. def. 41.
sem conj. as 2, 30, 141, as if 95, like 98, 143; indef. pron. hvað ~whatever 12; rel. pron. which 51, 98, 218, who 75, 113, 172 etc.; seealso STRAX.
senda wk. to send.
- sendi past 1st sg. 53.
sendiferð n. mission, errand; vera í sendiferðum to take part in an expedition 57 (‘sendiferðunum’ dat. pl. def.).
sig refl. pron. oneself (himself, herself etc.); in dat. ‘sér’ oneself (himself,
herself etc.), for oneself (for himself, for herself etc.) 24, 25, 164 etc.; seealso AF, Á, BERA, BIÐJA, BLÍÐUR, HRÆRA.
sigla wk. to sail.

- sú f. nom. sg. 38, 92, 150 etc.

- sigla pres. 3rd sg. 67.

- það n. acc. sg. 170, 181, 182 etc.

- sigldi past 3rd sg. 212.

- það n. nom. sg. 160, 170.
- þann m. acc. sg. 177.
- þá f. acc. sg. 77, 156.
- þeim m. dat. sg. 56, 152.
- því n. dat. sg. 17, 22, 40 etc.
sé, see vera.
segja wk. to say 113, to tell 148, w. acc. plus inf. construction ‘that s-one
does s-thing’ 21, imp. ‘sem segir í’ as it says in 2; ~st w. inf. ‘to say (ofoneself) that one does s-thing’ 24, 105.
- sagði past 3rd sg. 26, 29, 31 etc.
- segir pres. 3rd sg. 27, 32, 34 etc.
segl n. sail.

51

siglutré m. mast.
- siglutré acc. sg. 209.
Signý Áladóttir f. pers. 150, 151, 169 etc.
- Signýju acc. 223.
Sigríður f. pers. 4.
sigur m. victory (á e-m over s-one).
- sigur acc. sg. 69, 70.
Sigurður Hringsson m. pers. 5, 11, 21 etc.
- Sigurðar gen. 66, 85.
- Sigurði dat. 20, 58, 215.
silfur n. silver.
- silfur acc. sg. 213.

- seglin acc. pl. 77.

sinn n. time, occasion.

- seglið nom. sg. 72.

- sinn acc. sg. 128.

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Illuga saga Gríðarfóstra

sinn poss. adj. his 6, 23, 24 etc., her 33, 47, 120, their 31, 80 etc.
- sinn m. acc. sg. 93, 138.

Glossaryskálm f. short sword.
- skálmum dat. pl. 195.

- sinna m. gen. pl. 203.

Skáney f. Skåne 219.

- sinnar f. gen. sg. 159.

skegg n. beard.

- sinni f. dat. sg. 48, 60, 131 etc.
- sitt n. acc. sg. 196.

- skegg acc. sg. 97.
skemma f. bower.

- sína f. acc. sg. 223.

- skemmu dat. sg. 156, 183.

- sínum m. dat. pl. 90, 221.

- skemmu gen. sg. 167.

- sínum m. dat. sg. 65, 214.

skessa f. ogress, trollwife.

sitja str. to sit 64.

- skessna gen. pl. 196.

- sat past 1st sg. 168.

- skessum dat. pl. 199.

- setið pp. 170.

- skessur nom. pl. 194.

síð adv. late.
- síðar comp. 215.
síðan adv. then, afterwards 79, 93, 197 etc.

skilja wk. to break off (e.g. a discussion) 31; refl. ~st við e-n to leave s-one
202 (‘skilldist’ past 3rd sg.).
skip n. ship.

síðdags adv. in the afternoon, late in the day 41.

- skip nom. pl. 66.

síðir f. pl. as adv. in ‘um síðir’ in a while, at last 209.

- skip acc. pl. 24.

síður adv. less 45; see also EIGI, EINGINN.

- skipi dat. sg. 75, 80.

sjá str. to see 157.

- skipið nom. sg. def. 72, 75, 79.

- séð pp. 109, 110, 111 etc.

- skipinu dat. sg. def. 82, 208.

- sér pres. 2nd sg. 174.

skipbrot n. shipwreck.

- sér pres. 3rd sg. 63.

- skipbrot acc. sg. 78.

- sjá pres. 3rd pl. 73, 78, 113 etc.
sjálfráður adj. in one’s own power, of one’s own making; e-m er eigisjálfrátt one has no say in the matter 17 (‘sjálfrátt’ n. nom. sg.).
sjór m. sea.
- sjórinn nom. sg. def. 73.

skjálfa str. to shake, to tremble.
- skjálfa pres. 3rd pl. 143.
skjótur adj. fast, quick; n. as adv. quickly 103; nú mun skjótt að öllu farið
everything will now proceed apace 117.
Skjölldur Dagsson m. pers. 2.

skamma wk. to shame, to disgrace.

Skotar m. pl. the Scots.

- skammar pres. 2nd sg. 134.

- Skotum dat. pl. 69.

skammur adj. (a) short (distance, frá from) 8; n. as adv. ‘skammt kominn’come a short way 43.

53

Skotland n. Scotland.
- Skotlands gen. 68.

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Illuga saga Gríðarfóstra

skringiligur adj. bizarre, weird.
- skringiligum m. dat. sg. 97.
skulu pret.-pres. aux. shall, will (when giving commands or pronouncements relating to the future).
- skal pres. 1st sg. 86, 88, 89 etc.
- skal pres. 3rd sg. 26, 119, 172 etc.
- skallt pres. 2nd sg. 85, 126, 172 etc.
- skalltu pres. 2nd sg. w. suffixed pron. 87, 103, 134 etc.

Glossarysorg f. grief, sorrow; að hafa sorg to mourn 156.
sótt f. sickness, illness; að taka ~ to fall ill 155, 216.
staður m. place; adv. in ‘í stað’ instead 126, 135.
stakkur m. smock 98.

standa str. to stand 76; to be situated 91 (‘stóð’ past 3rd sg.), to remainsituated 184; to remain the case, to hold true 190; að ~ úr e-u to streamout of s-thing 96 (‘stæði’ subj. pres. 3rd sg.).
- standir pres. 2nd sg. 183.

- skuli subj. pres. 3rd pl. 80.

steinn m. stone, rock.

- skuli subj. pres. 3rd sg. 222.

- stein acc. sg. 56.

- skulu pres. 3rd pl. 175, 183.

- steini dat. sg. 46.

- skylldi past 3rd sg. 12, 14, 26 etc.

- steininn acc. sg. def. 47.

- skylldu past 3rd pl. 67.
sköllóttur adj. bald.
- sköllótt n. acc. sg. 97.
slitna wk. to break, to snap 73.
slíkur adj. such; pron. such a thing, such a one 148 (‘slíkt’ n. nom. sg.);see also HÁTTUR.
- slíkan m. acc. sg. 137.
- slíkum m. dat. sg. 146.
snúa str. to turn, to twist; að ~ að e-m or ~st að e-m to turn towards s-one 120.
- snýr pres. 3rd sg. 130.
- snýst refl. pres. 3rd sg. 139.
sofa str. to sleep 138; að ~ af um nóttina to sleep through the night 60(‘svaf’ past 3rd sg.).
- sofið imper. 2nd pl. 138.
- sváfu past 3rd pl. 207.
sonur m. son.
- son acc. sg. 5, 9, 33 etc.
- sonar gen. sg. 2.

55

sterkur adj. strong 9.
- sterkara comp. m. acc. sg. 109.
- sterkum dat. pl. 77.
stíga str. to step, to walk; imp. ‘hann heyrir þá var hart stigið’ he thenhears heavy footsteps 94 (‘stigið’ pp.).
stokkur m. board along the edge of a bed.
- stokkinn acc. sg. def. 122, 132, 140.
stormur m. storm.
- storm acc. sg. 71.
stórr adj. big, large.
- stór n. acc. pl. 78.
- stóran m. acc. sg. 215.
- stórum m. dat. sg. 46.
strax adv. immediately 187; ~ sem as soon as 160.
stríð n. battle, conflict.
- stríði dat. sg. 30, 199.
stríður adj. harsh, cruel (e-m to s-one) 7.

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stúlka f. girl, young woman 55.
- stúlku acc. sg. 53.
sundur adv. asunder; í ~ into pieces 176.
Sunlöð f. pers. 38, 45.
svara wk. to answer.
- svarar pres. 3rd sg. 28.
svartur adj. black, dark.
- svört f. nom. sg. 110.
sverð n. sword.
- sverð acc. sg. 196.
sverja wk. to swear; refl. ~st to make an oath (regarding oneself); seealso FÓSTBRÆÐRALAG.
- sórust past 3rd pl. 13.
Sviði sóknandi m. pers. 7, 10.
- Sviða gen. 32.
svíkja wk. to betray, to deceive 164.
svo adv. so, thus 13, 20, 22 etc.; emphatic w. adj. so 19, 43, 47 etc.; conj.
so that 74, ~ að 72, 166.
systir f. sister.
- systur acc. pl. 174.
sýna wk. to show; refl. ~st to seem, to appear to be (e-m to s-one) 179.

Glossarysæng f. bed.
- sæng dat. sg. 174.
- sænginni dat. sg. def. 140, 154.

taka str. to take; að ~ e-ð to pick up s-thing, to take s-thing in hand 196;
að ~ e-ð af e-m to deprive s-one of s-thing 170; að ~e-m vel or að ~ velvið e-n to receive s-one kindly, courteously 62, 220; að ~ (til) að w. inf.
to start to 71, 73, 74 etc., að taka til máls to start to speak 108, 188; að ~
á to reach (somewhere) 98; pp. ‘að vera tekinn yfir’ to be taken as ruler
over 218; see also SÓTT.
- tekur pres. 3rd sg. 75.
- tók past 3rd sg. 84, 155, 162 etc.
tal n. conversation, discussion.
- tal acc. sg. 31, 32.
tala wk. to speak; að ~ mál við e-n to discuss a matter with s-one 222.
- talaði past 3rd sg. 75.
tá f. toe.
- tær acc. pl. 99.
til prep. w. gen. to 32, 36, 41 etc.; at, towards 195, 196; see also BERA,
BREGÐA, SÆKJA, TAKA, ÞAR.
tíðum adv. frequently 195.
tími m. time 66; einn tíma on one occasion 23; um nokkra tíma for awhile 22.
trúa wk. w. dat. to believe 207.

sýnn adj. clear, obvious 82.

- trúði past 3rd sg. 22.

sækja wk. to look for, to seek 40; ~ e-ð til e-s (to attempt) to procure sthing from s-one 101; see also ERGI.

- trúðu past 3rd pl. 161.

- sótt pp. 205.
- sótti past 3rd sg. 163.
sæla f. joy, happiness.
- sælu dat. sg. 170.
sæmd f. honour.
- sæmd dat. sg. 23, 170.

57

trúr adj. true, faithful 30.
tröllflagð n. trollwife, ogress 158.
tröllkona f. trollwife, ogress 91, 92, 171 etc.
- tröllkonu acc. sg. 211.
um prep. w. acc. about, with regard to 210, over 100, around 132, for (w.
period of time) 22, 60; see also MÆLA, SÍÐIR.
undir prep. w. dat. under, beneath 184.

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ungur adj. young.
- ungan m. acc. sg. 33.
- yngra comp. m. acc. sg. 164.
unna str. w. dat. to love.
- unni past 3rd sg. 158.
upp adv. up 79, 93, 130 etc.
urðu, see verða.
úr prep. w. dat. out of 24, 96, 145 etc.; see also KOMA, STANDA.

Glossaryvera irreg. vb. to be 21, 30, 33 etc.; að ~ með to stay with 154, 214; að ~
í to be wearing 98; as aux. w. pp. in passive tenses 26, 151, 165 etc.; asaux. w. verbs of motion to express perfect tenses 120, 208 etc.
- er pres. 1st sg. 151, 191.
- er pres. 3rd sg. 23, 29, 33 etc.
- ert pres. 2nd sg. 110.
- ertu pres. 2nd sg. w. suffixed pron. 134, 143.
- eru pres. 3rd pl. 174.

úti adv. outside 49.

- sé subj. pres. 3rd sg. 27, 206.

vakna wk. to wake up.

- var past 1st sg. 155- vakna pres. 3rd sg. 208.
Valland n. Gaul, France.
- Vallandi dat. sg. 5.

- var past 3rd sg. 1, 3, 4 etc.
- verið pp. 7, 31, 200 etc.
- voru past 3rd pl. 66, 74, 75 etc.

vallda str. w. dat. to cause 162.

- væri subj. past 3rd pl. 14.

vangi m. cheek.

- væri subj. past 3rd sg. 148.

- vangana acc. pl. def. 100.
valla adv. hardly 55.
vaskur adj. brave, bold.
- vaska m. acc. pl. 147.
veðja wk. w. dat. to bet (s-thing), to put (s-thing) at stake (við e-n withs-one) 88.
vefja str. to wind.
- vefur pres. 3rd sg. 131.
vega str. to kill, to slay
- vegnir pp. m. nom. pl. 14.
vegur m. way, direction; alla vega in all directions, from all sides, allover 175 (‘vega’ acc. pl.).
vel adv. well 63, 83, 150 etc.; see also BÚA, TAKA.
- betur comp. 117.
velgjörningur m. good deed.
- velgjörning acc. sg. 145.

59verða str. to become 89; að ~ að standa to come to pass, to hold true 190(‘yrði’ subj. pres. 3rd sg.); þótti lítið ~ af e-u ‘thought not much would
come of s-thing’, ‘thought little benefit would be derived from s-thing’
162; see also GAGN.
- orðið pp. 127.
- urðu past 3rd pl. 159, 203, 224 etc.
- varð past 3rd sg. 226.
- verðir subj. pres. 2nd sg. 171.
verja wk. to defend (e-ð fyrir e-u s-thing against s-thing).
- varði past 3rd sg. 18.
verri, see illur.
vetur m. winter, year.
- vetur acc. pl. 199.
við prep. w. acc. with 131, 139, against 47, 56, 175, upon (hearing s-thingetc.), as a result of 59, 130, 203; w. dat. (together) with 5, 8.
við, see ég.

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Vilhjálmur m. pers.
- Vilhjálms gen. 4.
vilja aux. to want (to do s-thing), will 24, 101, 105 etc.
- vil pres. 1st sg. 27, 57, 189 etc.
- vill pres. 3rd sg. 71, 100.
- villda subj. pres. 1st sg. 34, 181.
- villdi past 3rd sg. 163, 206.
- villdu past 3rd pl. 83.
- villt pres. 2nd sg. 104, 114.
vinna str. to win 68.
- vann past 3rd sg. 13.
vinsæll adj. popular 3.
vinur m. friend.
- vinum dat. pl. 6.
virðing f. honour, esteem.
- virðingu dat. sg. 23.
vita pret.-pres. to know.
- vissu past 3rd pl. 209.

Glossaryvopn n. weapon.
- vopnum dat. pl. 14.
vorum, see minn.
vöndur m. stick, club, ‘wand’.
- vönd acc. sg. 44.
vöxtur m. size.
- vexti dat. sg. 9.
vér, see ég.
yfir prep. w. acc. over 85, 218, 219.
ykkar, see þú.
ykkur, see þú.
yngra, see ungur.
það, see hann or sá.

þar adv. there, in that place 42, 80, 169 etc.; rel. pron. ~ að where 167;
conj. ~ til until 46.
þau, see hann.
þá adv. then, at that time 42, 49, 61 etc.; conj. ef...þá... if...then... 103,
104, 186, fyrir því af...þá... due to the fact that...then... 179; rel. pron. þá~ when 178; see also ER.
þá, see also hann.

vitur adj. wise 3.

þegar adv. immediately 107, 165.

vík f. inlet.

þegja wk. to be silent 206.

- vík acc. sg. 77.

þeim, see hann or sá.

víking f. viking expedition, raiding trip.

þeir(ra), see hann.

- víkingu acc. sg. 58.

þessi dem. adj. this 2, 226; dem. pron. this.

víkingur m. pirate, raider.

- þennan m. acc. sg. 85, 87, 104 etc.

- víkingum dat. pl. 18.

61- þessara f. gen. pl. 196.

vísa wk. to show; að ~ e-m á e-ð to direct s-one to s-thing, to send s-one
to fetch s-thing 51 (‘vísaði’ past 1st sg.).

- þessari f. dat. sg. 183, 194, 210.

víss adj. certain; n. ‘víst’ as adv. certainly 88, 111, 114; adv. ‘að vísu’certainly 28.

- þessu n. dat. sg. 75, 147, 199.

vondur adj. wicked, evil 125.

- þessum n. dat. pl. 177, 186, 193.

- þessi n. acc. pl. 130, 167.
- þessum f. dat. pl. 198.

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Glossary- þetta n. acc. sg. 21, 32, 45 etc.

- ykkur acc. dual 113.

- þetta n. nom. sg. 44, 184, 209.

- þig acc. sg. 88, 111, 116 etc.

þiggja str. to receive, to accept 104, 144.
þinn 2nd poss. adj. your 108.

- þér dat. sg. 27, 30, 35 etc.
því conj. because 29, 82, 116 etc.; adv. thus, for that reason 19, 127.

- þinn m. acc. sg. 145.

því, see also sá.

- þinni f. dat. sg. 50.

þvíat conj. because 55, 145.

- þitt n. acc. sg. 177.

þykja wk. imp. to think.

- þín f. nom. sg. 172.

- þótti past 3rd sg. 82, 95, 162.

- þín n. acc. pl. 182.

- þykir pres. 3rd sg. 115.

- þína f. acc. sg. 112.

- þykist refl. pres. 3rd sg. ‘thinks that he’ 106.

- þínar f. acc. pl. 129.

þær, see hann.

- þínar f. nom. pl. 143.

æðruorð n. a word of fear, a cowardly word 75.

- þínu n. dat. sg. 86.

æður f. vein.

þjóna wk. w. dat. to serve, to assist (s-one).
- þjónar pres. 3rd sg. 120.
- þjónir subj. pres. 2nd sg. 58.
þola wk. to endure, to suffer 126.
þora wk. to dare.
- þyrði subj. past 3rd sg. 35.
þó adv. however, nevertheless 42, 83, 157 etc.; conj. although, eventhough 104.
þrífa wk. to grab, to seize (í e-ð s-thing).
- þrífur pres. 3rd sg. 122.
þrot n. lack; að þrotum kominn on one’s last legs 81.
þræll m. thrall, slave.
- þrælar nom. pl. 183.
þurfa pret.-pres. aux. to need, to be obliged to.
- þarf pres. 3rd sg. 118.
þú 2nd pron. you 58, 85, 86 etc.
- ykkar gen. dual 112.

- æðar nom. pl. 143.
æfisaga f. life story, biography.
- æfisögu acc. sg. 148.
ætla wk. to think.
- ætla pres. 1st sg. 55.
öðrum, see annar.
öðrumegin adv. on the other side 91.
öfunda wk. to resent, to begrudge s-one s-thing.
- öfundaði 19.
öll(um), see allur.
örlög n. pl. fate.
- örlögin nom. def. 128.

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