VIKING SOCIETY FOR NORTHERN RESEARCHTEXT SERIESGENERAL EDITORS
Anthony Faulkes and Richard Perkins
VOLUME XVIEINAR ÓLAFUR SVEINSSONTHE FOLK-STORIES OF ICELAND

Einar Ólafur Sveinsson

THE FOLK-STORIES OFICELAND

Revised by Einar G. Pétursson
Translated by Benedikt Benedikz
Edited by Anthony Faulkes

VIKING SOCIETY FOR NORTHERN RESEARCH
UNIVERSITY COLLEGE LONDON
2003

ISBN 0 903521 53 9
© Viking Society for Northern Research 2003

The cover illustration is of Valkyries (from Vƒlundarkvi›a), 1975,
oil painting by Jóhann Briem (Stofnun Árna Magnússonar á Íslandi),
reproduced by kind permission of Katrín Briem

Printed by Short Run Press Limited, Exeter

CONTENTS
PREFACE ............................................................................................ 7
PART I: SURVEY ............................................................................... 9
I: Prologue .................................................................................................... 9
II: What is a folk-story? .............................................................................. 13
III: Categories of folk-story ........................................................................ 16
IV: Stories, variants, motifs ........................................................................ 23
V: Characteristics of oral stories (Olrik’s ‘narrative laws’) ........................ 26
VI: Notes on the origin of particular classes of folk-story ......................... 31
VII: Wonder-tales in ancient times ............................................................. 32
VIII: Theories of origin .............................................................................. 38
IX: Folk-belief, folk-legend and fantasy: the history of wonder-tales ....... 50
X: Remnants of folk belief in folk-legends and wonder-tales .................... 56
XI: The origin of folk-legends, historical events, spontaneous changes;
story-tellers and audiences ................................................................. 63
XII: Conclusion .......................................................................................... 69

PART II: SOURCES .......................................................................... 71
I: Folk-stories in pagan Iceland .................................................................. 71
II: The Commonwealth in the Christian period .......................................... 74
III: The late Middle Ages ............................................................................ 79
IV: Sixteenth century .................................................................................. 82
V: Seventeenth century ............................................................................... 91
VI: Eighteenth century .............................................................................. 117
VII: Eiríkur Laxdal ................................................................................... 122
VIII: Early nineteenth century .................................................................. 131
IX: Jón Árnason and Magnús Grímsson ................................................... 134
X: Collections of Icelandic folk-stories .................................................... 141

PART III: FOLK-BELIEF AND FOLK-LEGENDS ....................... 149
I: Superstition comes to Iceland; beliefs and legends about land and law 149
II: Non-human beings in Iceland and elsewhere; ‘land-spirits’ ................ 159
III: Trolls and giants ................................................................................. 163
IV: Elves ................................................................................................... 170
V: Ghosts and revenants ........................................................................... 183
VI: Second sight and magic ...................................................................... 188
VII: Stories of magicians of various periods ............................................ 195
VIII: Magicians and books of magic; Galdra-Loftur ................................ 204
IX: Historical events in Iceland and the historicity of folk-stories ........... 213
X: Outlaw stories ...................................................................................... 217

PART IV: ICELANDIC WONDER-TALES ................................... 226
I: The word ævint‡ri .................................................................................. 226
II: Before 1200; myths of the gods and legends of heroes ....................... 227
III: The earliest step-mother story: Grógaldr and Fjƒlsvinnsmál; Celtic
influence; wonder-tales in the fourteenth and fifteenth centuries .... 230
IV: The age of wonder-tales in Iceland; criteria of age ............................ 235
V: Imported wonder-tales—from where? Changes in Iceland; ‘periphery
phenomena’; Icelandicisation: Búkolla, Cupid and Psyche ............. 239
VI: Bjarka fláttr; folk-beliefs combined with wonder-tale motifs; widespread use of stepmother-motif and casting of spells ...................... 243
VII: Personal names in Icelandic wonder-tales ........................................ 247
VIII: Folk-story style, wonder-tale style; narrative formulas; small
narrative details ................................................................................ 249
IX: Geographical and social setting and description ................................ 259
X: Saints’ legends, Novellen, comic stories ............................................. 264

PART V: THE WORLD OF MEN AND THE HIDDEN WORLD ... 267
I: Eiríkur of Brúnir’s stories of elves; sightings and sounds of elves ....... 267
II: Mysterious or supernatural phenomena the basis of many folk-stories .. 270
III: The cultivation of supernatural gifts and second sight ....................... 272
IV: Various influences on the content of what is seen; accounts modified
by local culture ................................................................................. 275
V: Some stories invented, others created to account for strange (butnatural) occurrences ......................................................................... 276
VI: Folk-stories a mirror of social life ...................................................... 277
VII: Satire, vengeance, social class, wealth and poverty .......................... 279
VIII: Folk-stories as wish-fulfilment; desires and fears; curses ............... 284
IX: Symbolism; objectives of wishes; influence of childhood
experiences ....................................................................................... 291
X: Strong colours and poweful antitheses in Icelandic folk-stories ......... 304
XI: Written stories ..................................................................................... 307
XII: Some characteristics of Icelandic folk-stories .................................. 310

ABBREVIATED REFERENCES ................................................... 314
ICELANDIC FOLK-STORIES IN ENGLISH TRANSLATION ... 319

PREFACE
This English translation of Einar Ólafur Sveinsson’s book Um íslenzkar
fljó›sögur, originally published in Icelandic in 1940, has a long history. First of all, Benedikt S. Benedikz began the translation in about
1970, assisted by Jacqueline Simpson, especially with the verse quotations, and the author himself at that time made some revisions to the
Icelandic text. Einar G. Pétursson contributed to the author’s revisions up to 1980, especially as regards the sources for folk-stories in
Iceland after the Reformation. Einar Ólafur died in 1984, having been
ill for some time, and was not able to attend to the revision as much as
he had hoped. Contributions to the translation of Part I and the firsttwo sections of Part II were made by Peter Foote and Rosemary Powerin the 1990s. The whole translation was then edited and revised by
Anthony Faulkes and Einar G. Pétursson, with contributions to thebibliography by Richard Perkins, and is now published as volume XVIof the Viking Society Text Series.
The text of the book naturally shows clear signs of having beenoriginally compiled at the beginning of the Second World War. It was
not practicable to rewrite it completely, and anyway it is doubtful
whether that would have been desirable. My role in the final preparation of this publication has mainly been to try to bring up to date andmake consistent the footnotes, and to check and supplement the references, bearing in mind that they were now intended for a non-Icelandic
readership. An attempt has also been made to a certain extent to provide
fuller refences than were in the original book, by, for instance, giving
the full names of authors and titles of articles, instead of just letting
the name of the periodical suffice, though entire consistency has notbeen possible throughout the book. Even so, it ought now to be fairly
easy to locate the writings referred to, and such inconsistencies asremain should not cause too much difficulty.
An attempt has been made to include references to works publishedafter the original book came out, and in the footnotes the chief of themore recent pieces of research on particular topics, such as, for example, tilberar (magical beings that stole milk from ewes and cows) and
exposure of infants, have been referred to. Though these references
are undoubtedly incomplete, they may perhaps be of use to some.

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THE FOLK-STORIES OF ICELAND

Particular care has been taken to extend the coverage of Icelandic
material in Part II, on sources, and Part III, on Icelandic folk-belief
and folk-legends. A good deal of unpublished material is referred tohere, and these sections are therefore of particular value. Since thepublication of Einar Ólafur’s original book in Icelandic, great strides
have been taken in research into Icelandic history and literature of thesixteenth century onwards. It was obviously necessary to take accountof this more recent research, and those who have been involved in the
final stages of the preparation of the present book have been particularly well qualified to do this.
References have usually been made to the first and second editionsof Jón Árnason’s folk-stories; when the second edition is specified,
which is in other respects a reprint of the first, it is usually to its extended indexes. This is more convenient than using the third edition,and since that has page references to the previous editions, stories areeasy to locate whichever edition one looks in. Of course it is necessary
to use the third edition for stories in the later supplementary volumes.
All quotations from Icelandic texts have been translated into English, but note that in Icelandic words and names, fl is pronounced liketh in ‘thin’, and › like th in ‘there’.
Finally, I would like to thank all those who have helped to make thisbook possible. I hope it will help to promote the study of the subject in
the future.
E. G. P.
March 2003

SURVEY

9PART ISURVEYI
An Icelandic old wives’ tale tells of a princess, Mja›veig Mánadóttir,
who fled from her stepmother and found herself a refuge far from all
human habitation—some say at the tip of a peninsula out in the sea,some say in a hut in a forest which was so protected by magic that she
was invisible to her persecutors. Her sanctuary is described in thislittle verse (JÁ II 312):
fiá gala gaukarog flá spretta laukarog flá fer hrútur úr reyfi sínu.

There cuckoos singand herbs spring
and there the ram sheds his fleece.

Mja›veig’s name is not to be found in any church register, nor does
any historical source tell us where she lived—for this is a fairy-tale.
Her father’s name (Máni, ‘Moon’) adds a mythical overtone, and her
own name is peculiar to her and suggestive; a personal-name scholar
has speculated that she was originally some kind of fertility goddess.
She is seen there, walking in golden shoes in this Icelandic fairy paradise, the spring sun shines on the dew on the green plants that grow inthis place of peace, cuckoos with human intelligence sit in the birches
and rowans, and the ram sheds its fleece four times a year and changes
colour each season. There is all that she could want, and she is wellcontent, in spite of her solitude. Each day is more beautiful than thelast, but behind it all is an impenetrable curtain which she has no wish
to have drawn back. And her refuge is surrounded by menace, for it is
not far to the world of men. Behind the peninsula are cliffs and narrowpaths, and it is a good thing that no one can find the way without theaid of the fine ball of thread which her mother had given her. Inlandfrom the cliffs are dark forests. She had got lost there, and would have
fared worse if her mother had not come to her in a dream and given
her what she needed. Beyond the forest she sees in her mind the trolllike figure of her stepmother, the ogress, who had put on a queen’s
shape, tricked the king into marrying her, and laid these heavy trials
on her. This stepmother must not get angry, for then her human shape

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THE FOLK-STORIES OF ICELAND

got too tight, and she was transformed into a most horrible hag. In
time she would eat up all the king’s people and kill him too.
The story is not without complexity, but each component is simple
and unified, each personality is consistent (only King Máni’s is split),
and this is revealed by events; impulse leads directly to action. The
ideas of the story are found in the plot itself, not in description or
stylistic adornments. Incidental details are included only if they arenecessary to the story; it is this reduction to essentials that lends thestory its strength. And without any long description each of the basic
elements is clearly impressed on the mind’s eye.
This internal consistency is the strength of the story; it is whole
cloth from beginning to end. But there are many other things to noteas well. The story is timeless and unlocalised, so that for the listener ittakes place at all times and places as well as here and now. It is wroughtout of the depths of human life, but lifted above the everyday level by
its exaggerations and supernatural subject-matter—it is as if the ideas
break reality’s unnatural bounds. It has some of the characteristics ofa myth which is set in the morning of time but still fresh and valid
every day. Truly, the story is a myth created by ordinary people, by
women and children, and on it the light of hall or castle has nevershone—it is a folk-story. But, like other folk-stories, it possesses something of the primeval power, the fecundity and imaginative wealth ofmyth; such stories were invented at a time when Greek mythology
was exhausted and Christian ‘mythology’ had become remote, northof the Alps at least, and they were given a warm welcome by ordinary
people, and poets and artists found in them a new and inexhaustiblemine of materials for their creativity.
On the lips of men and women these stories were so sifted that trifles
and irrelevancies were removed and only what was most importantand meaningful was left. An audience with unsophisticated and lively
imaginations and sharp wits, children, women and men in twilightand leisure hours, preserved that awareness of the primary experiences of life which many of these stories possessed from the beginning, and renewed the vitality of that awareness every time they weretold. But the simplicity of oral transmission and the homogeneity ofsociety kept the stories within the bounds of common human experience, so that every listener could invest the story with his own concerns,
and every artist or poet with his own ideas and feelings.

SURVEY

11

It is the plot that dictates the tone of the narrative; emotions are notgiven separate lyric treatment except sometimes in short pieces of verse.
Mja›veig’s sanctuary gains from the little verse that celebrates it, as
does the story of the Deacon of Myrká from the stanza intoned by theghost (JÁ I 281):
Máninn lí›ur,dau›inn rí›ur;sér›ú ekki hvítann blettí hnakka mínum,Garún, Garún?

The moon glides
and death rides.
Can’t you see a white mark shineon this bare nape of mine,
Garún, Garún?

The moon’s pale light is spread over the whole scene, fearful, perplexing. There is a partial analogy to Mja›veig’s refuge in many outlaw legends, though in them it is given greater particularity. It is ahidden valley in the wasteland; no snatches of verse convey the idyll,but the delight of the discovery of the valley is revealed in the simple
words of the narrative that there were green slopes there, rich grassland, fine sheep, and a brook babbling down the middle of the dale.
This is enough to affect a listener’s mood, but it does not interrupt
the story, the sequence of events which is the heart of the matter. Thereis no lack of clarity or speed in the Deacon of Myrká, and the stanza isafter all only one of those snatches that can dominate a story and set a
stamp on it. Otherwise the story is a well-composed and logical wholewith sharp contrasts, deep shadows and bright lighting, and a dramatic conflict between them. A woman has a man who is both herlover and a dangerous ghost who wants to drag her into the grave withhim. One emotion after another passes through her mind: anticipation, joy, puzzlement and terror, and these are reflected in the narrative, in her actions and those of the revenant. This dramatic pace andtension, this tug-of-war uncertainty, all within the compass of a consistent and orderly structure, makes such stories highly effective when
told in the right place and in the right circumstances and can makethem excellent material for artistic reworking afterwards.
These stories are the fruit of feelings both tender and hostile, of loveand hate, of joy, grief and fear. This is revealed in symbols and fantasies of the most diverse kind, powerfully affecting and rich in poetry.
Outwardly their origin is varied; they are masks of every shape andkind, some smooth, beautiful and cheerful, others imposing, fearsome
or strange, weird, distorted and hideous. They show all too well the

12

THE FOLK-STORIES OF ICELAND

signs of being the expression of the nature of a poor and oppressedpeople, but they are imposing and poetic none the less.
The imaginative life of the folk-stories was shaped by an Icelandic
rural culture which was homogeneous, simple and poor looked at fromthe outside, but at the same time enriched by knowledge and practiceof poetry, familiarity with a literary tradition and unbroken links withthe ancient culture of the country. Their imaginative world was enlarged
both by their native traditions and by Christianity, and it may be that
this enlargement so counter-balanced the poverty of the Icelanders
that their folk-stories are much more than reflections of those of neighbouring countries. Not but what the folk-stories of all countries bear
witness to the effects of stepmotherly neglect, and their horizon becomes in consequence rather narrow. Yet sometimes these stories contain simple truths in effective dress, common human attitudes depictedfrom profound experience. Nowhere else has faith in a good heart, or
trust in the inner worth of an unimpressive and despised exterior, been
expressed with such firm conviction. In that and in many other respects, this Cinderella among the creative arts had a function to fulfil.
The Mja›veig story is a fairy-tale, remote in content from people’s
everyday activity; but legends about the hidden valley inhabited byoutlaws have grown out of the life and work of men in Iceland, as akind of ‘myth’ that came into being from the experience of tending
and rounding up sheep in autumn and of journeys through the wastelands of the interior. The Icelandic way of life, collectively and individually, and the nature of the country—all are mirrored equally inthese outlaw legends; they reflect above all Icelandic humanity, what
people have wrestled with, the victories they have won and the defeats they have suffered, their joys and their sorrows. Their origins arevarious—some stories are clearly Icelandic in origin, others are foreign. But these latter have become no less Icelandic than the others;
they have received an Icelandic impress and are imbued with an Icelandic spirit from having been told and heard by Icelanders and passedon as a legacy from one generation to another. The folk-stories are agood example of the balance that ought properly to exist between thenative and the foreign in Icelandic culture. National characteristics
are strong and firmly entrenched in people’s minds. While they arevery eager to know what is going on in other countries, and to learn
from them, what they acquire they reshape to suit Icelandic ways andSURVEY

13

habits. That is a natural and necessary attitude for this island people.
Whatever may have been their origin, the folk-stories come to mirror
the people’s life and character, and in the period when the idea gained
ground that all power comes from the people, their poetry and lore
became sacred things which were revered and looked to as a potential
source of strength. Icelandic folk-stories were similarly an importantelement in the Icelanders’ struggle for national and cultural integrityin the nineteenth century. They were more truly Icelandic than anything else worthy of the name.
II
This book is intended to deal with folk-stories and their history, andthe reader may well wish to be told at the outset, clearly and unequivocally, what it is that is being discussed. And even though the reader
may know precisely what a folk-story is, the author may still want todiscuss the term to ensure that they are both talking about the samething when they use it.
What are folk-stories and fairy-tales? What are their characteristics? How are they to be defined? This is our first matter of concern.
First, then, we must see to what extent the meaning of these terms
can be defined. Such definition can never be mathematically precise.
That is possible in those sciences like logic or mathematics which are
created from first principles entirely in the human intellect. But thesituation here is very different. In our material very complex phenomena are described, which are sprung from many roots, and the mostdiverse beings meet and mingle in them. Here we are dealing withstories that have arisen from men’s daily lives and thoughts, from reason and superstition, from the old and the new; here all kinds of story
exist side by side, mingle together and are influenced by all literary
genres and aspects of culture. Literary genres are often developed bythinkers who devise rules for their composition during their formative
stages; but here we have art-forms of ancient origin which we meet
only in their extreme old age. Analysis can therefore only take placelate in the day; the primeval forest, which has grown spontaneously
without ever feeling the axe, has to be controlled and classified. Moreover, the names popularly given to these art-forms are very muddled,
and the science of folklore has still a long way to go towards maturity.

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THE FOLK-STORIES OF ICELAND

We must not therefore expect too much. We cannot give a proper definition, just a description which may possibly be of benefit.
The first and most noteworthy quality of the folk-story is that it isan oral narrative. It is told. A written folk-story may well be a faithfultranscript of an oral story, but in many ways it follows different rules
and to some extent achieves its effects by other means. On the other
hand it does not matter if a folk-story originates from a written story;
it is just as much a folk-story for all that. A number of Icelandic fairytales and comic folk-stories are of literary origin; the fairy-tale of
Hermó›ur and Há›vör is descended from a written source, and theanecdote of the demon on the church beam is found in texts of thethirteenth-century Maríu saga (MS 176–80). But for a written story to
become a folk-story, it must circulate orally, not necessarily throughmany tellers, though if it is to be effective in its oral version, the narrator should have lost sight of the book. Hans Christian Andersen’sstory ‘The Tinder Box’, which I have read in his Fairy Tales and tell tochildren, is no folk-story; but it could become one in a society lessrich in books. Moreover, it was one before Andersen wrote it (AT 562‘Fire-steel’), and who knows its real age? Many folk-stories are centuries old and some have been current for thousands of years.
An old oral story tells how a man saw a ghost. A man tells me today
his own experience of a similar event. This latter story is not a folkstory; to be one it has to circulate orally more widely. Properly, it
should not be possible to trace the links in the transmission back to theoriginal teller, and to be a good specimen it should bear the marks oforal currency. On the other hand it does not matter whether the hero is
known or unknown, given his right name or not. Thus the greaternumber of Brynjólfur Jónsson’s Dulrænar smásögur (1907), ‘Mystical anecdotes’, are not folk-stories, but accounts of people’s paranormal experiences, in themselves of no small importance for an understanding of the genesis of folk-stories.
The folk-story is a prose narrative. It may contain verse, even several stanzas, but the story itself is in prose. Poems based on the story
may indeed be composed, and they may even circulate orally, but insuch cases only the content can be labelled folk-story. This procedure
was very common in earlier times, when the matter of a folk-story
was reworked in a different medium or style that was in better accord
with contemporary ideas of what literature should be. Versions of this

SURVEY

15

kind are often important sources of our knowledge of the plots of folkstories told in former ages.
It is hardly necessary to emphasise that there must be a story in afolk-story. An old custom, belief or superstition is no folk-story. It is
not a folk-story to tell that elves live in such and such a hillock. It only
becomes a folk-story if and when the account reports some specific
event. Nor is a family tree a folk-story, even though it is entirely madeup of oral information which has been handed down from one person
to another; once again the story is missing.
The more recent a folk-story is, the harder it is to separate it fromother matter. As time passes unimportant, non-essential details areforgotten and the main points alone are preserved. Those stories which
may be counted among the best are old, usually it is impossible to say
how old, told by one person to another. They are generally easily
recognised. Other stories are younger, even contemporary, but they
have circulated orally, and sometimes cannot be distinguished from
common gossip. There are innumerable long-lived anecdotes about
comic old men and women that have come down orally, and thesecannot be denied the honourable title of folk-stories. Then we may not
be in a position to distinguish these in manner and matter from contemporary anecdotes, or even from an event which the author or reader
may himself have witnessed.
But what about its truthfulness? Some will say a folk-story is always an invention. Yet this is not an absolute criterion. It may be thata very high percentage of folk-stories are either pure invention or atleast heavily adulterated truth. It is a fact that may be noted in describing them but no story is excluded from the ranks of the folk-story
solely because it is true.
There is supernatural material in most folk-stories, but this is not anecessary condition for inclusion in the category either. The story ofGrámann (JÁ II 511–16) is one of those that contain no supernatural
material, but it is a perfectly valid folk-story. The same applies to anumber of stories connected with specific persons of earlier centuries.
Next, it is right to look at the term ‘folk-story’ (Icelandic fljó›saga).
An appropriate name should tell us something about what it stands
for. This term is really only a translation of the German Volk(s)sage,
Volksmärchen. The first element, ‘folk’, Icelandic fljó›, reflects two
ideas which have both been professed by scholars in the past. Volk has

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THE FOLK-STORIES OF ICELAND

been used in the sense of ‘nation’; folk-stories were supposed to be
the creation of the nation as a whole, as the brothers Grimm believed.
This notion is partly right and partly wrong, and I shall come back to
it later. Alternatively, Volk can mean ‘people’ in the sense of ‘the common people’, ordinary folk—that is not the nobility or clergy—and
then the folk-story becomes the story that belongs to the people. Thisis an interpretation that reflects notable features of folk-stories andtheir background in many parts of the world. The folk-stories havegrown in the shadows as it were, and flourished best among common
country folk who were either totally illiterate, or else put their reading
and writing skills to very little use. They were peasants in societies
where many other people, individually or as whole classes, were educated among books and fostered a literature very different from theverbal arts of the rural population. The songs and stories of the folk
were generally not regarded as fit for written record without considerable alteration.
This viewpoint, that folk-stories are the oral stories of the common
people, greatly helps towards an understanding of them. One must,however, observe a certain caution as far as Icelandic folk-stories areconcerned. Reading and writing have been far more widespread accomplishments among all classes in Iceland than in other countries,
and literary influences on Icelandic folk-stories are commoner thanelsewhere, as are also the influences of folk-stories on literary works.
Class distinction has also been less sharp than elsewhere, and the
Icelander’s universal antagonism towards foreign domination andforeign superiors affected every aspect of national culture. If these
special conditions are kept in mind, then the idea that folk-stories are
the oral stories of the common people can serve a valuable purpose.
III
So far only a little has been brought forward to define, or rather describe,
folk-stories. If we try to come closer, we discover how very heterogeneous they are. We cannot postpone facing the issue; sooner or later
we must attempt to comprehend their differences and see how far they
can be classified. It is also very true that classification will bring us
much closer to understanding what the word ‘folk-story’ refers to.
Let us first of all look at oral narratives on the fringe of the folkstory, or even outside it, for these ought to be mentioned too. Every-

SURVEY17

one knows contemporary anecdotes, more or less humorous, of thestupidity or funny ways of old men or women, their odd replies, trickiness or wit, and everybody in Iceland knows little stories with a verseas the kernel. Much of this kind of stuff lives on in men’s memories,
from one generation to another, and often one has no inkling of theantiquity of the anecdote until one comes across it in ancient sources,
or unless it contains a reference to outdated manners or a verse thatgives away its age. In these stories it is impossible to separate truth
from fiction, but they have one factor in common: the events could
have happened, there is nothing inherently supernatural in them, andthey survive because of their entertainment value or because of theverse. All these stories are as short as can be, usually anecdotes of asingle happening. It is common for several anecdotes to exist about
one person, whether because of his odd behaviour or his wit, but eachof them is a self-contained entity.
Another group resembles these in verisimilitude, but not at all in
expansiveness and theme. These are narratives of events that took placeat least one generation ago, or narratives to do with personal or family
history. Enough of note happens in every age, and in every age there
are plenty of people about whom stories would exist if there was anyone to tell them—not merely funny anecdotes, but whole chains ofevents. Recollections of such subject-matter may live on in oral tradition, but in order to do so, the events have to be in some way peculiar
and memorable, and even then only a summary will be preserved,
usually of only the most important events, often quite distorted. Genuine folk-stories, stories with a supernatural element for instance, often
come to be mixed in with these, but it remains characteristic of suchnarratives that most of what they tell is ‘natural’ and concerns historical events. Such stories are usually longer than the folk-story in general. Such oral ‘histories’ have existed in Norway, with some of theircomponents going back to c.1600. These have been called ættesogor,‘family stories’, by Norwegian scholars even though in some cases
the collection relates only to one person.1 I think it likely that many ofGísli Konrá›sson’s sources were narratives of this kind. The composite stories that are often found in Jón Árnason’s fijó›sögur and elsewhere and add up to fairly long narratives, are most probably the workof scribes or editors.
1 See Knut Liestøl, Norske ættesogor (1922).

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THE FOLK-STORIES OF ICELAND

This finally brings us to stories which are unquestionably folk-stories
proper. These can be classified into two extensive groups. One is in
German entitled Volkssagen, which I refer to as ‘folk-legends’; theother is the Märchen, which Jón Árnason translated as ævint‡ri, andwhich English-speaking scholars usually now refer to as fairy-tales or‘wonder-tales’.
Folk-legends comprise an enormous group of stories, and cover theusual stories of trolls and elves, ghosts and wizards, dreams, weird
happenings, beasts, people of a heroic past and outlaws. A mass ofplace-names is embedded in these stories, and some independent stories
are solely concerned with the explanation of place-names. Almost allthese stories are given Icelandic locations and they often concern people
known to history, Sæmundr the Wise (1056–1133) for instance, orTorfi of Klofi (died c.1504), or fiormó›ur of Gvendareyjar (c.1668–
c.1741) (JÁ I 485–502, 541–54, II 132–38). They are often associatedwith particular places and sometimes they explain features of a particular site; Skessulág, ‘Ogress’s rest’, is a name used to explain a dip
in the ground, rocks are trolls turned to stone and so on. Some stories
have little or no supernatural matter in them; they then tell of somememorable event, and are unhesitatingly believed. Others are admittedly about supernatural beings, e.g. elves or ghosts, but these arelegitimate extensions of beliefs actually held by the people. They may
be called ‘legends based on popular beliefs’ and if they do not overstep certain limits they are found credible as long as these beliefs
flourish. The titles given to such legends in printed collections are
misleading, because in them many stories are often linked into one
narrative. The individual legend is in fact normally rather short, sometimes indeed extremely brief, and tells of only one event, but others
relate to a sequence of events and many extend into several sections.
The longest are like simpler fairy-tales in the way their parts are disposed. Some, such as the longer outlaw stories, have little supernaturalcontent and make a kind of Novelle. In this respect they remind us ofstories in the section ‘Romantic tales’ (Novelleartige Märchen) in AT.
In the same way one is able to find some narratives very like fairytales among stories of elves and even of trolls. On the other hand it isby no means rare for a short fairy-tale to turn into a folk-legend. One
such is the story of Gilitrutt, which is given a local setting underEyjafjöll and made to conform to the pattern of an ordinary story of

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19

trolls (JÁ I 181–82). As for the story of the eighteen outlaws (AT 956B)
and some of the hagiographical anecdotes, which are counted among
wonder-tales in the catalogues of non-Icelandic scholars, it is very
hard to know where to place them.
Various scholars have proposed a subdivision of this large class.
Maurer’s classification, which follows, is governed by expediency:
I.

‘Mythological’ stories (1. Gods; 2. Elves; 3. Water and sea beings;
4. Trolls).
II. Stories of ghosts (1. Revenants; 2. Reawakened ghosts; 3. Fetches(Icelandic fylgjur)).
III. Stories of magic (1. Stories of ‘second sight’ etc.; 2. Magic formulas; 3. Stories of individual magicians. The division between
subclasses 1 and 3 is unsatisfactory, and subclass 2 belongs to
the section on folk-belief, not folk-story).
IV. Stories of natural phenomena (1. Animals; 2. Plants; 3. Stones; 4.
Heavenly bodies and atmospheric phenomena; 5. Place-namestories. Much of this material belongs to the realm of folk-belief,
and the division is unnatural).
V. Stories of religious import (1. God and the Devil; 2. Saints; 3.
Heaven and Hell; 4. God’s punishments; 5. Papistical superstitions. Since 5 deals with beliefs, the division is unnatural).
VI. ‘Historical’ stories—which Jón Árnason calls ‘Stories of events’(Icelandic vi›bur›asögur) (1. Ecclesiastical stories; 2. Stories ofancient times (before the end of the Icelandic Commonwealth);
3. Stories of later centuries; 4. Stories of outlaws).
VII. Fairy-Tales or Wonder-Tales.
VIII.Humorous Stories.
Jón Árnason accepted this classification with two modifications; heomitted the ‘mythological’ stories (those about heathen gods) and madethe Stories of outlaws into a separate main class. Many others have treatedthem in the same way. Jónas Jónasson used the following divisions:
I.

Stories of human nature (a. Dreams, b. Waking visions, c. Mysterious talents, d. Mysterious powers, e. Other beings in humanshape (elves, trolls, sea beings), f. Influences from the next world,
g. Influences from religion).
II. Stories from the natural world (a. Animals, b. Earth, c. Air).
III. Stories of events (a. Historical legends, b. Outlaws, c. Wonder-tales).

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THE FOLK-STORIES OF ICELAND

Sigfús Sigfússon divides his material into thirteen sections (SS Ífl; hisentire work is in fifteen parts, but two of these represent other interests). The stories concern:
1. The highest powers, 2. Visions, 3. Ghosts, 4. Earth beings, 5. Sea
beings, 6. The natural world, 7. Superstitions, 8. Magic, 9. Placenames, 10. Exceptional men (this occupies 2 volumes), 11. Outlaws, 12. Wonder-tales, 13. Humorous stories.
The present author used the following classification in EÓS If:
1. Stories connected with Icelandic history.
2. Place-name stories: churches, wells, graves, buried (hidden) treasure, caves, avalanches, volcanic eruptions, geysers.
3. Animal stories: from natural animals to supernatural ones, ending
with the merman (where the category begins to approach the human).
4. Elves.
5. Trolls.
6. Ghosts.
7. Magic, including second sight etc.; stories of magicians, leading
into those involving the Devil.
8. Stories of religious content, insofar as they can be counted amongfolk-legends.
9. Stories of outlaws.
None of these classifications, which are fundamentally attempts toarrange an existing corpus of material, is scientifically satisfactory,
though one must admit that others proposed by scholars outside Iceland fail the same test. One of the most noteworthy is Carl von Sydow’s
attempt to classify the stories by their origin.1 Some of them are answers to the question, How did this or that come about? These vonSydow calls upphovssägner (aetiological stories): the rock became as
it is because the dawn caught a troll unawares and turned him to stone.
The second class is the memorat or minnessägner, stories which relate
what a specific person saw or experienced. The third is the fabulat orvittnessägner, where the imagination has a greater say, though thecontent of a story always depends on some folk-belief.
1 C. W. von Sydow, ‘Om folkets sägner’, NK IX B, 96–112.

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We now turn to the fairy-tale (Icelandic ævint‡ri), the wonder-taleclass. It is fairly easy to subdivide them, and essential to do so if weare to comprehend this vast and varied group with its extreme diversity of origin. The first subdivision covers the Fables, i.e. stories withanimals as central figures, illustrating the cunning of the fox, the prodigious feats of the bear and so forth. They do not exist in Iceland, so
we may pass quickly on to the second subdivision. This comprisesævint‡ri proper, the wonder-tales, stories of the old man and old woman
in their cottage and the king and queen in their palace. Most of thesestories are full of the most amazing wonders, supernatural beings, spells
and magical objects, and no popular stories stray so far beyond thebounds of credibility as these. Indeed, it may be said that one principal difference between them and folk-legends is that for many centuries no one has believed the wonder-tales, everyone knowing them tobe fabrications. They take place in foreign parts, no one knows where,
and though the heroes are given names, everyone knows that they are
not to be found in any historical record. Most of the wonder-tales arelong stories with many episodes, and they are usually constructed withgreat skill. Love affairs are at the heart of many of them, and they
always have a happy ending. Qualities like valour, enterprise andshrewdness feature in many of them, but faith in simple human goodnature is the essential mark of their ethical outlook. A few stories inthis great gathering have a hagiographical tone; God, Christ, the apostles or other saints replace trolls or other creatures of superstition as
the central characters, and the outcome then naturally conveys a religious and moral message. Another small group of stories are thosewith little or no supernatural content, which tell of adventures, i.e.
uncommon experiences, encountered by the characters. These are romantic stories, and since they are related to the Novellen of past writers, one might describe these as ‘Novelle-type stories’. Next comehumorous stories, and on their borders are stories of tricks played bymen on stupid giants. After these giants have been dealt with, nothing
supernatural remains in the stories. Next comes a huge group of stories
which, in comparison with the wonder-tales themselves, may be called
realistic; not all of them are credible, but there is nothing supernaturalin them. They include the purely funny stories, Numskull stories, about
the brothers of Bakki (cf. the English ‘Wise Men of Gotham’ or the
inhabitants of Mols in Denmark), for example, or the man who believed

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THE FOLK-STORIES OF ICELAND

he was dead. There are also, by contrast, a good many stories where
cunning and trickery play a major part, as in the stories of Grámann
the Master Thief or Sigur›ur Bag-beater (Big and Little Claus in Hans
Christian Andersen’s version); stories too of good or bad luck as in
the story of ‘Christ with the cross on His shoulders’ or of the old man
who got four shoemaker’s needles for a golden comb. There are alsocountless comic stories, not always over-polite, about parsons; andfinally there is a good number of outright tall stories. These stories arevery variable in length, some tell a single episode, some relate a sequence of events like the wonder-tales. Characteristic of these stories
are their joie de vivre and plain speaking; the rule of life they illustrateis ‘beati possidentes’, and good luck to the swindler who wins thetrick. They often attack the hypocrite and charlatan, and parsons are
sometimes put down. Some of these anecdotes make fun of the magical objects of the wonder-tales. Such stories are later creations, bothin matter and content, stemming from the irreverence of the townee,
the third estate. The stories with a religious tone are of clerical inspiration. On the other hand, the general run of the folk-story of theævint‡ri class contain relics of older provenance.
Some scholars count such mnemonic poems as the ‘story’ of
Brúsaskeggur (Brush-beard) next after the ‘Tall Stories’, and with this
we are in the field of folk poetry. The stories of the brothers of Bakki
are closely akin to ordinary ‘humorous stories’, and the circle is thus
complete. We have now surveyed the classes into which the folk-stories
may be divided.
It is obvious how diverse and varied folk-stories are in origin andcontent. In oral transmission, however, they influence each other, and,like all stories passed on by word of mouth, they are given a characteristic stamp, and so come to resemble one another still more. It is clearthat some classes of stories are closely related to certain literary categories. Thus the animal stories are related to the exempla with animal characters found in Aesop’s Fables or the Indian Pantschatantra.
Stories of religious bent are closely related to medieval saints’ lives
which, though they were of course written compositions, were often
read aloud to audiences, especially but not only in churches, and usedin sermons, and so in a sense were orally transmitted. Intention andcontent were at one in religious stories. The aim was to proclaim as
movingly as possible Christian faith and conduct and trust in the
supernatural person (angel, Virgin Mary, apostle or other saint) of whom

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the story told. The content was precisely fitted to this aim, and manyof these stories were very influential. Some medieval stories of thiskind have joined the corpus of Icelandic folk-stories, as I shall discussin more detail later (pp. 75–76 below). We must also remember thatthe fabliau (German Schwank) was a very widespread literary form in
the Middle Ages and the Reformation period. The medieval examples
were chiefly in verse, but prose versions began to appear in Renaissance Italy, and similar prose versions soon followed in other countries. Stories that have circulated orally in later times are frequently
found in early written collections of stories, and one may statecategorically that numerous Icelandic fabliaux descend from such
written sources. Lastly one should mention that the ‘Novelle-typestories’ are related to romantic stories which an author like Boccaccio
included in his Decameron, though it is true that he inclined more
towards stories of the fabliau type. One of his stories, that of Patient
Griselda, has become an Icelandic folk-story (AT 887), and the storyof the nun wearing the abbot’s drawers for a wimple (JÁ II 73) is also
to be found in Boccaccio. All these literary genres, saints’ lives, fabliaux
and romantic Novellen, lived half their lives in oral transmission andwere highly appreciated (otherwise they would not have been given
literary form). It can be safely affirmed that their reputation and popularity as literature are responsible in no small measure for the fact that
we now find whole groups of folk-stories and wonder-tales related tothem, and we must bear this in mind when discussing their origin anddissemination. But the great majority of folk-stories, especially thetrue wonder-tales, have other origins, much more complex and much
more difficult to detect.
IV
In the previous section we considered classes of stories, but any classis composed of individuals, and in this context that means individual
stories. Let us take, for, instance, the story of Vilfrí›ur Völufegri (‘thefairer than Vala’). It is found in Jón Árnason’s fijó›sögur, and at theend Jón says that it exists in numerous versions and gives further details about them (JÁ II 406 n.) This is to be understood to mean thatseveral different stories are known, all about a woman called Vilfrí›ur
Völufegri, or with a name something like that, and that the main storyis the same in them all. In other words, these are all variants (‘tilbrig›i’)24

THE FOLK-STORIES OF ICELANDof the same story.1 Variants can differ so much that only the principal
points remain alike, but their various relationships divide them intoclasses and the variants within each class are similar enough to makeit clear that they are all descended from one original. A class of thiskind is then called a redaction (Icelandic ger›). As was pointed out
earlier, the wonder-tales are often long, with many episodes and admirably constructed; it is easy to distinguish their parts, but that pointneed not be discussed here. On the other hand it should be observedthat in surveying the contents, one can find in them smaller units fromwhich the whole is constructed. These are called its motifs (Icelandic
minni). It is difficult to define this concept, because the word is usedof so many and various things. Many stories have the motif of thecruel stepmother, for instance, and magic curses, magical objects, tasks
or trials to be undergone, are all called motifs. These components ofstories are invariably such that they catch the audience’s attention,
make a lasting impression and are easily retained in the memory. They
often occur in more than one story; some travel all over the world, andcan then be called ‘wandering motifs’ (farandminni). Naturally theease with which they move from story to story varies greatly.
Earlier I mentioned the stepmother motif, which Icelandic storytellers have found very convenient to use as the source of evil powerin the plot. It is in fact the commonest way these stories begin. Suchan opening may go: ‘Once upon a time there were a king and queen in
their kingdom; they had one son (or daughter). When he (she) was
grown up the queen fell sick and died. The king grieved deeply forher, but after some time he took another wife . . .’ Normally, however,
the opening is more detailed. It is often specified that in his grief theking sat on the queen’s grave and did not attend to the government of
the kingdom; his counsellors saw that this would not do, and so pressed
him to take another wife. At length he gave way and sent them to finda possible wife, but stressed that he did not want an island-woman ora wood-wife. On their journey they encounter fog and lose their way
at sea, but come to land at last. They are relieved to find themselves
on solid ground, leave the shore and walk inland. Then they hear thevery beautiful sound of a harp, follow it and come to a tent where theyfind a woman with whom they talk. (Here certain minor motifs come1 All the known Icelandic variants of this story are listed in Verz. 98–102.

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25

in, which can be omitted for the present.) The upshot of the talk is that
their king is to marry her. When they return with her to the ship the fog
clears and they see they are not on the mainland, but on an island. So
one could continue. Certain key-words have been italicised in thissketch. They are details of the story and I call them ‘narrative motifs’,
as they do not affect the main plot but only fill out the narrative. It
may be said that as a whole the story is untouched by the inclusion oromission of this or that detail, but narrative motifs of this kind naturally add some adornment to the telling. The wording in general also
tends to be somewhat stereotyped, and we shall return to this featurewhen we consider the style of the wonder-tale (pp. 249–59).
We now come to other minor details which are similar to narrative
motifs in as much as they are hardly necessary to the action. One ofthese is the clew of thread that shows the way. This is an essential itemin the Greek legend of Theseus and Ariadne, but one can imagine thatpeople brought up in Icelandic landscape would be shown the way byother means, and it has a slightly false ring in an Icelandic wondertale. Two other small motifs may be mentioned. In some medieval
sagas we hear of an ogress whose nose is so long that she can use it asa poker; in others of an ogress or a woman under a spell who wore adress of skin long in front and obscenely short behind. These minor
details are of course of no importance in the main thread of the story,
but they will have amused some listeners. It would be possible to lista large number of minor motifs of this kind that are of small import tothe story as a whole. There are on the other hand motifs which are themain props of the story, and others again that have an intermediate
importance. It is of course easiest for the motifs that have least significance for the plot to move between unrelated stories.
It is sometimes maintained that major motifs are original parts of astory, but this can hardly be right, for stories mingle and alter in theirtransmission, and some motifs are fashionable at one stage and othersat another. Naturally these facts influence the preservation and dissemination of stories. A motif which is popular because of current
fashion can spread a long way in a short time. On the other hand, if amotif is not popular, for instance for religious reasons, it is likely to bealtered—even if only by such a change as the substitution of a Christian saint for a pagan god. In an age of rationalism motifs with supernatural elements are in danger and it is likely that their supernatural

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THE FOLK-STORIES OF ICELAND

content will be watered down. When this has happened the motifs are
termed verblichene Motive in German (‘faded motifs’). Sometimes
another motif is substituted for an older one of this kind, though thiscan also happen for other reasons. We shall consider changes in stories
at several later points in this book.
Motifs follow a rigid pattern in the wonder-tales, but in legends based
upon folk-beliefs they are much more flexible and irregular, more likethe living beings or events of real life. It is also more difficult to classify such legends in single, independent types, for everything is fluidin form and resemblances and differences are always shifting. The
stories normally come to have a more settled shape if they are transmitted orally over long periods—a notable fact of which much could
be said. Oral stories generally have this faculty of acquiring a characteristic stamp. Their typical features are ascribed to what have beencalled episke lov, ‘narrative laws’, and Axel Olrik has made the best
study of them.1 I shall say something on this subject in my next section.
V
A good way to get our bearings on the form of the folk-story is to lookat the story of Ki›hús as told by the artist Sigur›ur Gu›mundsson to
Jón Árnason (JÁ II 508–09).
Once upon a time there were an old man and his wife in their cottage; they
were so poor that they possessed nothing of value except a golden whorl tothe old-wife’s spindle. The man’s custom was each day to go hunting or fishing to keep body and soul together. Near the cottage was a big hillock. People
believed that it was inhabited by an elf called Ki›hús, who was thought to berather an ugly customer.
One day, as often happened, the man went hunting, while the old-wife stayedat home as she usually did. As the weather was good that day, she sat down
outside with her spindle and spun for a while. It then happened that the golden
whorl fell off and rolled away to one side, so that the old woman lost sight of
it. She was upset by this, and looked for it everywhere about, but all in vain;
she could not find it anywhere. Later her husband came home, and she told
him of her misfortune. He said that Ki›hús must have taken it, and it was justlike him. He now got ready to go out again and told the old-wife that he wasgoing out to demand from Ki›hús either the spindle-whorl or something for
it. At this the old-wife cheered up somewhat. The husband now went directly
1 Nogle grundsætninger for sagnforskning, 1921; translated by Kirsten Wolf
and Jody Jensen as Principles for Oral Narrative Research, 1992.

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to Ki›hús’s hillock and beat on it long and savagely with a thick stick. At
length Ki›hús answered:Hver bukkar mín hús?
Who gives my house such a thwack?
The old man said:
Karl er fletta, Ki›hús minn,
Ki›hús, your old neighbour’s back,kerling vill hafa nokku›
my old woman must be paid
fyrir snú› sinn.
for the golden whorl she mislaid.
Ki›hús asked him what he wanted for the whorl. The old man asked him for a
cow that milked three gallons at a go, and Ki›hús obliged him with that. So
off he went home with the cow to the old-wife. Next day, when she had milked
the cow and filled all her pots and pans with milk, she thought she would
make porridge, but remembered that she had no meal to make it with. So shegoes to her husband and tells him to go to see Ki›hús and ask him for some.
The husband goes to Ki›hús’s hillock and bangs on it with his stick as before.
Then Ki›hús says:
Who gives my house such a thwack?
The old man said:Ki›hús, your old neighbour’s back,my old woman must be paid
for the golden whorl she mislaid.
Ki›hús asks what he wants. The old man tells him to give him something forthe pot, because he and his old woman are going to cook themselves someporridge. Ki›hús gave him a barrel of meal. The old man took the barrel home,
and the old-wife makes the porridge. When the porridge was ready, the couple
sat down to it and ate as much as they could. When they were full there wasstill a lot left in the pot. They then started to think about what they ought to dowith the left-overs; they decided it was most fitting to present it to their dearSaint Mary. But they soon saw that it was not going to be easy to get up towhere she was. So they agreed that they should ask Ki›hús for a ladder thatreached up to the sky, and felt that even at that the whorl was not overpriced.
The husband goes and bangs on the hillock. Ki›hús asks as before:
Who gives my house such a thwack?
The old man once more answers:
Ki›hús, your old neighbour’s back,my old woman must get paid
for the golden whorl she mislaid.
At this Ki›hús grew annoyed and said, ‘Is this confounded whorl never paidfor?’ The man kept on demanding and explained that they intended to present
the porridge left-overs to Our Lady in buckets. Ki›hús then let himself be
persuaded, gave him the ladder and raised it up for him. The husband waspleased at that and went off home to the old-wife. The couple then got ready28

THE FOLK-STORIES OF ICELAND

for the journey and took the buckets of porridge with them. But when they
had got very high up the ladder their heads began to swim. They were so
affected by it that they both fell down and shattered their skulls. Splashes ofbrains and porridge flew all over the world. Where the spatters of brain landed
on rocks they made white lichen patches, while the porridge made the yellow
patches, and both of these can be seen on rocks to this day.

Every work of art makes a kind of selection from the diversity of reality; one subject is treated, or perhaps a few, and only a small numberof the incidents that go with it or them are included in the story. In
folk-stories this selection tends to be narrow, as is clearly seen in theKi›hús story, which deals only with the golden spindle-whorl, thepayment for it and what the outcome of that was. It is extremely simple to grasp this subject-matter, the arrangement is so orderly that it is
no trouble to divide the story into acts and scenes like a play. Here we
do not find the muddle of cause and effect, the connections and tangles of human life; all the steps of the story are clear and simple. Whena lot of things ought to happen all at once, the folk-story makes themcome in orderly sequence, one after another.
Similarities are turned into parallels, differences into oppositions.
The man goes three times to ask Ki›hús for payment for the whorl,
the action is absolutely identical each time, the same words are repeated, only the payments differ. Such repetitions are extremely common. That the old man asks Ki›hús three times for payment is morememorable than a single demand; it creates suspense when in the storyof Búkolla the sisters three times ask the cow to bellow.
Repetition and mounting tension often go together (‘incremental
repetition’), as when Helga Karlsdóttir meets first one-headed, then
two-headed and finally three-headed trolls, or when Red Bull goes
through woods where the leaves are first of copper, then of silver andfinally of gold.
The story of Ki›hús is very well told, but nothing of the narrative
would survive unchanged in oral tradition except the verse refrain,
and it would therefore have to live on its subject-matter. It is in thecontents, the action, that the characteristics and outlook of the man,the old-wife and Ki›hús appear. The thread of the narrative is a sequence of living pictures which are clear and readily comprehensible
to the listener’s mind: the old-wife spinning, the man beating on thehillock, the old-wife making the porridge, the pair of them on the ladder, even the brain-splashes and porridge-splashes may be visualised

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in the mind’s eye. The descriptions are very simple, the stories belong
among people with primitive, lively imaginations; a thing only needs
to be mentioned and the listener sees it before him. Opposites arebrought up against each other and contend on the story’s stage: theold-wife and Ki›hús, the husband and Ki›hús. The scenes that are
produced by this means are often very memorable, and they are equallyvivid whether the matter is supernatural or pure invention.
The story is a single logical whole; each scene has its purpose andnothing is superfluous. The principal themes appear clearly. Every
folk-story is normally a single narrative entity, though it is far fromunknown for two or more wonder-tales to be joined together, and morethan one unrelated motif may well appear in the same folk-legend. In
the long oral histories the framework may be a family or the career of
an individual, which does not in itself make a complete whole (this isoften the case in the Norwegian ættesogor).
Things are usually described in temporal and causal sequence, withno digressions and no references to earlier events interpolated. It isalso counted a characteristic of oral stories that the narrative does notproceed on two fronts, but sticks close to the hero. This is in fact themost usual pattern, though we can find occasional examples in Icelandic stories of a two-stranded narrative, or where past events appear in
dialogue in such a way as to appear as a story within a story rather
than as part of a conversation.1 It is highly likely that these deviations
from the norm are due to the influence of literary narratives whichwere familiar to everyone in Iceland.
Personages in folk-stories are usually few and normally there is only
one clear principal actor. It is impossible to decide which of the old
couple is more important in the story of Ki›hús, and this is the case inother stories too which deal with husband and wife; sometimes it turns
out in such stories that the man is the principal in name (and narration)
but the woman is the principal in fact.
Two persons occupy the scene at a time, or else only one: the old
man goes out hunting, so that the old woman can lose her spindlewhorl at leisure. Ki›hús is an invisible actor in this ‘scene’. Then the
couple come together, after which the man leaves his wife to go and1 Examples: Hildur álfadrottning, JÁ I 109, 114, 116; the story told by thetroll-wife to the counsellor in some stepmother stories, JÁ II 359, 367; thestory of Geirlaug and Græ›ari, JÁ II 379–83.

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THE FOLK-STORIES OF ICELAND

bang on Ki›hús’s door. This is the predominant procedure in folkstories, and when more than two people are ‘on stage’ at once, theextras are over-shadowed and they vanish from the narrative, or else apair do the deeds of one, like the Haddings in Hervarar saga, andfunction as a single person. The interacting characters always appear
as contrasts: they are presented as opposites in one way or another, either
as direct enemies or with antithetical characteristics, big and little,
good and evil, wise and foolish, so that each casts a light on the other.
Some numbers appear with greater frequency than others. The potent numbers, 3, 6, 9, 12 or 7, are particularly common; so is 5, andalso multiples of all these. The husband goes three times to see Ki›hús:
three is the commonest number of all, and one of the most typicalmarks of the folk-story.1 It is almost always the case that when a series
appears in a story, there will be emphasis on one particular step in thesequence. It is usually the last; for example, when there are three brothers, the youngest proves the best and a third attempt succeeds when
the previous two have failed. But it can happen that the first memberof a series is emphasised, as a form of distinction, as in Ó›inn, Vili, Vé
for instance. Olrik calls these phenomena forvægt ‘initial emphasis’and bagvægt ‘concluding emphasis.’ In the Ki›hús story the greatest
weight is laid on the last request, because the couple polish themselves off as a consequence of it.
The beginnings and ends of the stories are normally according to set
conventions, as may be seen in our example. It begins in a calm unhurried manner with the description of the couple and their affairs, but
it comes in no time to peculiar and exciting events. Nor does the story
terminate abruptly with the end of the main narrative. At this point
some quiet observations are introduced: the brain-splashes and porridge-splashes are still to be seen, the audience has a chance to calm
down. Often wonder-tales end with a wedding or a general remark on
the happiness of the hero and heroine in later life. A story often begins
and ends with a set formula, which can often turn into a whole rigmarole, e.g. Áttu börn og buru, ‘They had offspring and sons’, and so on;
see pp. 250–51, note 2. It is all meant to set the audience at ease.
We have now considered those rules governing the form of oral
stories which Olrik describes in his book. They apply most closely to
folk-stories, especially to wonder-tales. The closer the story comes to
1 For examples of this, see JÁ2 II 665–707.

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31

reality, the farther it departs from them—or, alternatively, the farther
it is from bearing the marks of having been current among the ‘folk’.
These rules apply more strictly to European folk-stories than toothers. Jan de Vries, for example, has pointed out that stories from
Asia and eastern countries or from primitive peoples are far more disparate and fragmented than European ones.1 If we examine individual
variants of wonder-tales, we find that they too are generally less perfectthan people imagine the ‘genuine’ story should be. It is a point worth
bearing in mind.
VI
The classification of oral stories and the description of individual types
presented above depend on our knowledge of what has been current inEuropean countries in recent centuries. It would be rash to make any
dogmatic assumption that they are equally relevant to the folk-stories
of any nation whatsoever and at any period. We have already observedthat the stories of some non-European peoples have a different structure. We noted too that saints’ lives, fabliaux and Novellen existed as
esteemed and popular works, whether written or oral, in the Middle
Ages and Renaissance and subsequently had a considerable influenceon folk-stories. Legends of saints naturally accompanied the northward spread of Christianity. Fabliaux and Novellen are closely connected with urban culture, and were not native to the early Germanic
world; they belong rather to Mediterranean and eastern civilisation,
among Greeks, Romans, Indians and Arabs, or else they came into
being at later stages of historical development. There can be no doubtthat humorous stories existed among the early Germanic peoples, but
their nature was conditioned by the rural way of life.
At the time of the settlement of Iceland there were many stories incirculation, including myths, heroic legends and stories of Viking exploits. Around 1200 the first evidence of folk-stories becomes visible,
and many stories of great events of the Saga Age must have been current, doubtless providing the first foundations of the Sagas of Icelanders. Associated with them would be stories based upon folk-belief andstories that accounted for place-names and other things—material thatwould be comparable to the folk-legends of later ages. Later on I shall
1 Jan de Vries, Die Märchen von klugen Rätsellösern, 1928 (FFC 73), 408–10.

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THE FOLK-STORIES OF ICELAND

try to give a more detailed account of the interrelation of all thesekinds of story.
Folk-legends may be regarded as either ancient or modern, according to one’s point of view. Doubtless a great many individual stories
are of recent origin, and in some types motifs and attitudes of mind
have certainly been more or less modernised. Nevertheless, this kindof story is unquestionably one of the oldest in the northern world.
Folk-belief has been hardy and slow to alter, and similar stories could
grow from it in any and every age. Stories sprung from folk-belief arein consequence like a freshwater spring, the same well but always
new water. In contrast the wonder-tales are more like a river which
has rolled far from its source. It seems to me most likely that legends
about revenants, trolls and place-names show the strongest connections with the earliest times in Iceland. Besides these, however, we
may be sure that in Scandinavia there were once other stories thatwere similar in form to the extant Icelandic folk-legends and linked
with various superstitions but are now for ever lost, though the odd
motif from them may have found its way into surviving wonder-tales.
VII
The wonder-tales have a different history, and in order to grasp it, wemust search for their existence in ancient sources. If these ancient
sources show a narrative sequence and plot similar in many ways tothose of the wonder-tales of our own time, then this is unquestionably
worthy of note; the likeness may appear so close that it becomes possible to postulate a definite relationship between them. Sometimes
this proves to be so on a cursory examination—the similarities are
obvious—but at other times a closer investigation is called for. It isthen necessary to be confident that our technical vocabulary is sufficiently precise and capable of sufficiently delicate nuances, for twostories can be similar in content but very different in intention andimagery and in the stage of their development. The name ‘wondertale’ (ævint‡ri) is used in this book of a particular kind of popularstory of recent centuries, but we cannot be sure that these are entirely
identical to ancient stories containing similar subject-matter. If thelatter are to be considered in detail, several things have to be taken
into account besides the narrative structure itself: the social plane of
the story, for instance, and the degree of credence accorded to it. WhenSURVEY33

we come across similar subject-matter in an ancient and a modern
source, it does not follow that the ancient story was regarded in thesame way as the wonder-tales of the last three to four centuries. It isconsequently unjustifiable to use the same term for both manifestations. To distinguish the two I shall refer to such narratives in ancient
sources as ‘archaic wonder-tales’. This may stand as a provisionallabel until it perhaps becomes possible to discern their true nature.
Egyptian civilisation is among the oldest known. Much has beenpreserved from its heyday, including superb works of art which after
thousands of years still have the power to enchant. They must undoubtedly have possessed a great literature, but little of it is now preserved:
inscriptions on stone, a few writings on papyrus, and a few of their old
stories now extant in early versions in other languages. But among these
we find stories which contain some of the same motifs as are known tous from stories of later times. Not just the motifs, but also the thread of
the story may be similar, and then we can speak of ‘archaic wondertales’. A full survey cannot of course be given here, but we may lookat some conspicuous instances. (The accounts of stories from ancientcivilisations that are given here are mostly derived from BP IV; references to English versions of them will be given below where possible.)
The most famous is the story of Anpu and Bata (sometimes transcribed Bitiu) in a papyrus dated to the thirteenth century BC.1 It tellsof two brothers. In the first part of the story we have the Joseph andPotiphar’s wife motif: Anpu’s wife tried to seduce Bata, failed andslandered him. Bata said that he would go to the Valley of Cedars andhide his heart in a flower on a certain tree. Anpu was to watch his beer;
if it began to foam unduly, then someone had hewn down the tree, andthe heart had fallen to the ground. Anpu was thereupon to go to theValley of Cedars and search unceasingly until he found the heart, which
he was then to place in a bowl of clean water. Bata would then return
to life and take vengeance on the person who had done him injury.
The second part tells of the wife whom the gods gave to Bata. She
was very beautiful, but not without flaw. Once she lost a lock of her
hair in the sea, and it floated all the way to Egypt; it gave off a sweetodour and was brought to the Pharaoh. The Pharaoh wanted to wed
the woman from whom the lock of hair came, and sent men to search
1 Translated in William Flinders Petrie, Egyptian Tales, Second Series, 1895,

36–65.

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THE FOLK-STORIES OF ICELAND

her out and bring her to him. She was willing to go, and she had thecedar tree hewn down (which meant the death of Bata), and accepted
the Pharaoh’s embraces. Then Anpu went to the Valley of Cedars andbrought his brother back to life; Bata took on various guises and finallyaccomplished his revenge.
The second part of the story, Bata’s vengeance on the woman who
betrayed him, corresponds to a story still to be found in Russia andCentral Europe. The names in this story are those of Egyptian gods,
and various incidents are thought to have parallels in Egyptian myths.
There is another Egyptian story from about the same period whichlooks in every respect like a wonder-tale.1 It tells of the prince at whosebirth it was prophesied by the seven Hathors that he would die because of a dog or a crocodile or a snake. Later he wins the king ofNaharana’s daughter by climbing up to her window, a hundred feetabove the ground, and finally we are told how his wife kills the snake.
It seems that the crocodile will not be fatal to him, either, but there thepapyrus breaks off. We may guess that his death was ultimately caused
unintentionally by his dog.
The Hathors in the story correspond to fairies or sibyls in later times,
and the climbing feat of the prince is also well known in later stories.
The story of ¯rvar-Oddr and his horse looks like a very remote echoof this story.2
I would like to mention a few more examples from Egyptian sources.
We have here a host of stories of magic and magicians; for many ofthe motifs in these stories we find welcome parallels in the Old Testament. There are also traces of animal stories. Of particular importancefor the study of folk-stories of later times is the story Truth and Falsehood (AT 613), found in a papyrus of the thirteenth to twelfth century
BC. The Norwegian scholar, Reidar Th. Christiansen, made a study ofthis type before the Egyptian version came to light and at a time when
the oldest known variants were from India. The Indian traditions tempted
him, naturally, to think of the East as the origin of this type, but the discovery of the Egyptian variant should prompt us to caution in the future.3
1 ‘The Doomed Prince’, Translated in William Flinders Petrie, Egyptian

Tales, Second Series, 1895, 13–27.
2 ¯rvar-Odds saga, ed. R. C. Boer (1888), 14–17 and 194.
3 Reidar Th. Christiansen, The Tale of the Two Travellers or the Blinded
Man, 1916 (FFC 24).

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I would also like to mention a papyrus fragment whose content isalso dated to the thirteenth century BC. Here we read about a king ofLower Egypt who sends messengers to his colleague in the south, complaining that the hippopotamuses in the latter’s pool disturb him during the night. The king of Upper Egypt consults his ministers. There
the manuscript breaks off, leaving the reader tantalised, but I am inclined to think that we are dealing with a story similar to that of Haikar
the Wise in A Thousand and One Nights (AT 922B, Achicar), the oldest version of which otherwise is an Aramaic translation found in Egypt,
written about 420 BC, which has an Assyrian bias. Finally I may mention a humorous story, the story of the Master Thief (AT 950), preserved in Greek translation by Herodotus; it is a well-known migratory story in Scandinavia.
In Babylonian literature we have stories of gods and heroes. The
most famous of the heroic is the Epic of Gilgamesh, which contains a
number of motifs found in stories of later times. They include the two
fosterbrothers, Gilgamesh and the wild man Enkidu, their fight with afire-breathing monster, a bull in the sky and so on. Some motifs or
episodes in other epic poems remind one of details in later stories.
From the Epic of Etana, for example, who was carried to heaven by aneagle, we have a mutilated version with parallels in East European
and Finnish folk-stories. From Babylon we have also traces of animal
stories and other motifs.1
In ancient Hebrew literature we come across many religious or narrative motifs that are of interest in the present study. A complete story(AT 507) corresponding to one of our wonder-tales is provided by theBook of Tobit. Later we meet a great many exempla and other stories
built on folk-story motifs.
With their poetic and artistic genius, the Greeks created a host of
stories about their gods and heroes. Some supernatural elements naturally always feature in stories of gods, but a comparison of Greek
hero-stories with those of the Germanic peoples shows that the former
have much more supernatural matter in them than the latter. Now, fora long time the Greeks believed in their stories of heroes as much as
they did in those of the gods, and some of the heroes enjoyed a cult.
No wonder therefore, that the Greeks could use the same word, mythos,for both categories of story.
1 See The Epic of Gilgamesh, tr. Andrew George, 1999.

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THE FOLK-STORIES OF ICELAND

If we compare the subject-matter of Greek myths with the wondertales of later times, we find plenty of identical motifs in them, andevery now and then we meet whole stories in the myths that are moreor less the same as in later stories. Thus the myth of Perseus reminds
us strongly of AT 300, ‘The Dragon Slayer’, and there is not muchdoubt that our wonder-tale descends in some way or other from themyth. This and some of the following examples from Greek sources
may well arouse the suspicion that what we have named ‘archaic
wonder-tales’ are in reality identical with narratives we now call ‘myths’.
The same seems to be the case with the myth of the Argonauts whencompared with AT 513–14. Those are two outstanding and famous
examples; others may easily be found. If the story of Bellerophon inBook 6 of the Iliad had been known in Iceland and got into oral
tradition, nobody would have been able to distinguish it from other
Icelandic wonder-tales. Such a notion is of course only a flight offancy, since only educated people in Iceland could get to know the
Greek story. That a hero is required to perform difficult tasks imposedon him is a common motif in Greek hero-stories. The labours of
Hercules are probably the best known. Stories of this kind are also
very common in Icelandic romance sagas (lygisögur) and oral stories(especially in types of the latter that appear to be ancient), and it would
not be difficult to point out intermediary versions. In the Odyssey wemeet the humorous story of the giant Polyphemus, which spread andis known everywhere in later times. There are Greek versions of thesilly wish motif (cf. the story of Ki›hús, pp. 26–28 above). The mythof the death of Pan, told by Plutarch, is found as a folk-legend in various countries in later times (Stith Thompson F442.1). Animal stories
are also found in plenty (cf. Aesop’s Fables). All this material comesfrom before the birth of Christ. In the second century AD, however, wefind Apuleius basing his Golden Ass on Greek writings, and tellingthe story of Cupid and Psyche—which in turn became a well-known
and widespread wonder-tale (AT 425).
India has often been called the classic home of the wonder-tale, forthere such stories have flourished as in a primeval jungle. Everythingis found there higgledy-piggledy: myths, heroic legends, stories ofholy men, humorous stories, fables (often animal ones) and wondertales. Some of the Indian stories are of great antiquity. The story ofUrvası – and Puru–-ravas, the swan-maiden and the man who wins her,is already in the Rig-Veda, and is subsequently told in many other

SURVEY37

works. The story is closely related to a widespread wonder-tale (AT400), and the swan-maiden motif is found in Vƒlundarkvi›a as well as
far and wide elsewhere. The great verse collections, Maha–-bha–rata
and Ra–ma–yana, contain various wonder-tale items, as do also theaccounts of sacred Buddha, especially the Jatakas, the stories of hisformer incarnations. Finally there are the collections of fables, someof which have stories akin to Icelandic folk-stories. The oldest andmost interesting of them is the Pantschatantra, compiled at some timewithin the great span of 300 BC to AD 550. The greater part of thiscollection consists of exempla, chiefly animal fables, intended to teachwisdom and prudence. It was very popular, and was translated andretranslated, first into Persian, then Syriac and Arabic, and later into
numerous European languages. There is an Icelandic version possibly
made around 1600, which is extant in a number of manuscripts.1 But
stories similar to wonder-tales are more numerous in other Indianbooks, such as Somadeva’s Katha– Sarit Sa–gara (The Ocean of Story),
the Veta–la-panchavinsatı – and the Suka-saptati. It can be seen that theseworks had their sources in certain important collections of folk-stories
from the first millennium AD. It is not possible to give a more detailed
account of them here, but these works are conglomerates of such complexity that one cannot classify their contents in the same way as thefolk-stories of Europe.
The Persians, and later the Muslims, followed the Indian practice ofwriting works of ethical and entertaining content. The first were translations, the Kalila va Dimna (of the Pantschatantra) and the Tutinameh(of the Suka-saptati), along with the Seven Sages (a work later translated into Latin and several other European languages; in Iceland rímur
were composed from it by Björn Sturluson c.1600). Finally, there is
The Thousand and One Nights, one of the world’s most famous collections of stories. Its kernel is a translation from the Persian (probably based on an Indian original), but a whole host of stories wasadded to it later, first in Baghdad and then in Egypt, so that as it stands
it is a massive and diverse work. It was not translated into any European language until c.1700, but after that it spread rapidly all over theworld, and has had some influence on folk-stories collected in thenineteenth century.

1 Lbs. 549 4to, JS 86 4to, AM 94 8vo.

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THE FOLK-STORIES OF ICELAND

Extensive legends and many ancient and fascinating beliefs havesurvived among the Celts. Little of all this has been recorded except in
the British Isles among the Welsh and Irish; the quantity of stories in
Ireland is especially great and their contents often archaic. Christianity and continental contacts led to considerable foreign influence onthem, but in medieval Irish manuscripts there are stories with substantial remnants of ancient beliefs and customs. Numerous peculiar motifs
have been preserved in them, many of which also appear in latersources. Some of them reached Iceland and helped to add a particularatmosphere to the older wonder-tales of the Icelanders (see Part IV,
especially pp. 231–32). As time passed, new stories grew out of theold ones. In these imagination was given freer rein and they appear as
types of prose romance, much of whose material has been preservedin oral tradition in Irish stories of the last two centuries.
Finally, we should note that late in the twelfth century Abbot Karl
Jónsson and his fellow Benedictine, Oddr Snorrason, explicitly testify
to the existence of ‘stepmother stories’ in Iceland. From the centuries
before and after that time there is also ample European evidence ofthe existence of some kind of wonder-tale, first and foremost in various clerical writings, collections of exempla, sermons and saints’ lives,
but also in ribald poetry and secular anecdote (especially at a laterdate); and they can even be found in the courtly romances. There is
therefore no doubt that wonder-tales (ævint‡ri) must have existed ingreat quantity in western Europe at that time.
VIII
Next we must examine what evidence ancient and medieval sources
provide on the history of folk-stories in former ages. The first scholars
to undertake this were the brothers Grimm at the beginning of thenineteenth century. At that time the evidence to be found in the literatureof ancient Egypt and Babylon was buried in the sand or else undeciphered,and many things were less well known than now. Even so, there wasmuch material that demanded a scholarly explanation. The same stories
were found among peoples living far distant from each other, reshaped
according to the local conditions and culture of each nation, but visibly
sprung from the same root—in short, the same stories.
One might say that the explanation that was offered was already inthe atmosphere of the age. It was in precise accord with the discover-SURVEY39

ies made at that time by the brothers Grimm, among others, of thekinship of many European and Asian languages.
Earlier, various expedients had been tried to explain the origins ofwords, e.g. by deriving them all by hook or by crook from Hebrew.
Now it was noticed that the same words were found in several languages with only such differences as could be explained by regularrules, such as the so-called Germanic sound-shift (which led to correspondences between Latin and English words such as pater : father,cornu : horn, piscis : fish, tu : thou, and so on). It was also discoveredthat these languages have the same grammatical structure. This was tobe explained not as the influence of one language on another, but as aresult of their kinship: they are all descended from the same rootlanguage, and they branched off from each other as the nations scattered over the earth. They were called the Aryan or Indo-European
family of languages.
The Grimms worked out a similar explanation of the spread of folkstories. They noticed that they were commonest among the IndoEuropean peoples—of course, it was among these peoples that they
were first collected. From this arose the so-called Aryan hypothesis,
propounding that the wonder-tales which are now universal common
property were the heritage of the Indo-European nations, and belonged
to them in origin. Even if examples of them could be found among
other races, they came to them at second hand.
Common to all the Märchen are the remnants of a belief going back to theearliest times which expresses itself in figurative representation of immaterial
things. These mythical concepts are like fragments of gems lying scattered on
the grass and flower-covered earth, which can only be discovered by a sharpsighted eye. Their meaning is long since forgotten, but it can still be perceived, and it gives the Märchen substance while at the same time satisfying
the natural desire for the marvellous; they are never the mere play of empty
fantasy. The mythical stretches further back the further we go back in time,indeed it seems to have formed the only content of the earliest literature.1

A deep feeling for the poetic content of folk-stories appears in all that
the Grimms wrote about them, but, on the other hand, the dangers
inherent in the Aryan hypothesis are not much in evidence in theirwork. Those dangers become all the more noticeable in the work oflater scholars who followed the Grimms’ lead. Elaborate efforts weremade to explain all myths in terms of natural phenomena, and, since
1 J. and W. Grimm, Kinder und Hausmärchen, 3rd edn, 1856, III, ‘Literatur’, 409.

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THE FOLK-STORIES OF ICELAND

wonder-tales were thought of as descended from myths, they had toreflect natural phenomena as well. It is hardly necessary to point out
that the methods used to demonstrate this were not at all dissimilarfrom those used earlier to derive Icelandic or French words, say, from
Hebrew. As an example of this form of ‘scholarship’ we may take theexplanation of the story of Little Red Riding Hood:
The red hood is the colour of dawn, and Red Riding Hood is the breaking
day. The bread and butter she is carrying were perhaps brought as offerings. The grandmother is the dawn of yesterday. The wolf is either theburning sun or the clouds and night.

While all this was going on, a new voice was heard. In 1859 Theodor
Benfey brought out a German translation of the Pantschatantra, withan introduction in a separate large volume that was longer than thework itself. There he charted its passage westwards, and examinedother similar works of Asian provenance such as the Seven Sages and
The Thousand and One Nights and traced their transmission to theWest. He reckoned that these and similar works were largely responsible for the movement of Oriental folk-stories to the West and theirdiffusion there. Though Benfey made much of the literary transmission of the stories, he also thought that they had been carried orally
from country to country. Thus he pointed out that the Tartars would
provide links between Asia and Russia. Benfey’s hypothesis has beencalled the Indian hypothesis. His principal contention is that folk-stories
are transmitted from one country to another, with great emphasis placedon the part played by books in the process, and finally that India wasthe cradle of the folk-story.
This last point was bolstered by many arguments. The ancient Indian collections contained a great mass of folk-stories, and the oldest
variants of numerous stories were found among them. The Indian
stories were rich in imaginative power, varied and splendid in form. It
also appeared most probable that they had grown out of the culture
and religion of the people. Benfey maintained that they had originatedamong Buddhists. His primary argument for this was the great quantity of these stories in the Buddhist scriptures, which spread in all
directions in translation: east to China, Tibet and Mongolia and thenwestwards. The stories were for religious use, for instruction and edification. Benfey thought that they were mostly inspired by Buddhist
ideals and shaped by Buddhist thought, and that although various

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41

marvels, belief in magical objects and other features, pointed to theEast in a general way, other things pointed specifically to Buddhist
origins, such as the evident love of animals and the belief that they
were possessed of human intelligence, and stories of spells and shapeshifting, all of which were rooted in such Buddhist notions as the transmigration of souls.
It is generally agreed that the Pantschatantra is the oldest Indiancollection of wonder-tales, and Benfey thought that it was originallycompiled by a Buddhist. Later researches, based on better texts than
Benfey had at his disposal, show that this is not so, but that the author
was a Vishnu-worshipper. Not much account is taken nowadays of his
theory of Buddhist origin, however Indian these wonder-tales mayotherwise be.
This was not the only objection to Benfey’s hypothesis. He had
maintained that the Indian animal fables were descended from Greek
fables (Aesop’s and others), which were found in older sources. Benfey
did not deny that other people besides Indians had had their fantastic
stories, and that wonder-tales were descended from them, but he heldthat Indian wonder-tales had so excelled preceding ones that they had
superseded them and swallowed them up. He said he only knew of
one story of wonder-tale kind that was certainly of Western origin, thestory of Midas and his ass’s ears. But the stories of Eros and Psyche
and the story of Tobit must certainly be added, as well as Egyptian and
Babylonian stories which were not known in Benfey’s time.
Benfey considered that folk-stories known in western Europe had
not reached the region much before the Middle Ages and then as translations of Oriental originals; anything that had appeared before thetenth century, however had come by oral transmission. Little regard
was paid to Benfey’s cautious approach and his disciples generally
assumed that transmission occurred after about AD 1000, and thenmostly by literary means. Joseph Bédier opposed this view in Les
fabliaux (1898). He showed that the translations of Oriental books
came too late to provide the originals of French fabliaux, and maintainedthat as many arguments could be adduced to show that the stories
were of Western origin and had been transmitted eastwards, as for the
opposite view. Such stories, he thought, could originate anywhere at all.
If one looks at the Icelandic evidence, one may learn to be circumspect in approaching the problem of the age of folk-stories in western

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THE FOLK-STORIES OF ICELAND

Europe. I shall come back to this topic. The same Icelandic evidence
should also deter one from believing too firmly in literary influence
from India in the period before AD 1000.
British anthropologists led the opposition to Benfey’s theories thatthe beliefs or superstitions of the wonder-tale were peculiarly Indian.
In the van were Andrew Lang and E. B. Tylor, who were specialists inthe culture of primitive peoples, history of religions and folklore. In
their view, anthropological research demonstrated that the way ofthought of primitive people all over the world was very similar andthat their principal ideas were all pretty much the same. They describedand accounted for the characteristic outlook of primitive people asanimism, which sees everything in nature as possessed of a life-force.
From this, they maintained, came every idea about magical objects,
spirits and taboos, the psyche and its life, spells and witchcraft. They
pointed out that there are numerous elements in wonder-tales that are
explained by reference to popular beliefs, the beliefs of peoples ancient and uncivilised. All these elements in the content of the stories
which Benfey thought of as particularly Buddhist were, in fact, known
all over the world. Transmigration of souls is known in popular belief
far more widely than just in India. Moreover, there are other elementsthat cannot be understood at all unless the Buddhist explanation isabandoned.
Anthropologists have been of inestimable service to folk-story study
by their researches into remnants of ancient beliefs in wonder-tales.
They have demonstrated that many kinds of strange marvels and exaggerations, which at first sight appear to be the work of the caprice ofa fertile imagination, are in reality a kind of fossil, memories of ancient belief and custom that are themselves now no longer understoodby the story-tellers. The contribution of anthropologists to the discussion of the home of wonder-tales was to establish that the ground ofancient belief from which they sprang was everywhere. They argued
that they could have sprung from this ground anywhere in the world,so that the same story could have originated independently in moreplaces than one.
In the twentieth century Scandinavian scholars, Axel Olrik prominent among them, have made a great contribution to the study of theevolution of folk-stories. Finnish scholars have led the way and others
have learned much from their methods and results. The pioneers of

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the Finnish school were Kaarle Krohn and Antti Aarne. The latter’s
work on methodology, Leitfaden der vergleichenden Märchenforschung,1913 (FFC 13), is a classic of its kind.
The Finns denied the doctrine of the Grimms that wonder-tales werethe especial property of the Indo-European race. How could they bewhen they were found among so many other peoples? They agreed
with Benfey inasmuch as they firmly believed that folk-stories had
travelled between nations. On the other hand they set far less store by
literary transmission than Benfey and his followers. They pointed outthat oral folk-stories often stand quite apart and differ from writtenversions, even when the oral versions are found in places far apartfrom each other. From this they drew two conclusions: that writtenversions had little impact on oral ones, and that folk-stories told at thepresent time will often be more original in content than the stories
available even in ancient written sources.
They objected to the anthropologists’ theory of the simultaneous
origin of stories in different places, and pointed out that they did not
distinguish clearly enough between a motif and a complete story. An
individual motif may indeed originate independently in several places
as a result of common belief or circumstances, but it is out of thequestion that a complete story, composed of several characteristic
motifs in a specific sequence, should come into being in several places.
On the other hand, these long stories were doubtless put together rather
late in time, and the archaic religious concepts reflected in them musthave been derived from ancient ideas and customs with which thefolk-story authors themselves can hardly have had any real engagement.
For the rest, it is only by investigation of each individual story that its
age and origin can be determined. There may be some difference between the abilities of peoples to create such stories—while the Hindus
clearly had an exceptional capacity to do so, they had no monopoly of
the gift, for it is easy to point to folk-stories not known in India.
Finnish scholars called their method historical and geographical,
and thought that an exact and methodical examination of all known
variants of any story from its earliest appearance would enable themto determine its first form, its country of origin and the paths of its
migration. I have no doubt that they were following a trail which leads
to a greater body of evidence than it was possible to find by earlier
methods. Sometimes they may really have come upon the true answer,

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THE FOLK-STORIES OF ICELAND

but I think that their results must often be counted dubious, primarily
because of our ignorance of earlier sources. They assume that the original version of a story would have been a logical and consistent whole,
but the truth is that it is quite uncertain whether one may trust thisassumption. A good narrative thread may only emerge after a long
period of retelling. I honestly admit that to my mind the origin and transmission of many folk-stories will remain for ever an unsolved mystery.
As time went by the number of supporters of the Aryan theory grewsmaller. On the other hand, the other three theories gained ground,usually with scholars trying to pick the best out of each one. Overall,however, the Finnish school gained most adherents, and their methods spread and improved the work of others. People learned to take afirmer grip on the material, differentiated more clearly between a motif
and a story (composed of several motifs), and learned to define eachsingle story, each species—to use a term from natural history—much
better, and to differentiate it from related species.
All this came to the aid of the Swedish folklorist Carl von Sydow,
who revived the Aryan doctrine in a revised form. His arguments appeared in his articles ‘Folksagan såsom indoeuropeisk tradition’ and‘Folksagoforskningen’.1
Von Sydow tried first of all to dispose of the Grimms’ theory thatthe wonder-tales are descended from divine and heroic myths whichhave decayed and lost their ancient splendour. He maintained, on thecontrary, that heroic myths may commonly be seen to have been affected by wonder-tales. He thought this was evident in many of the
Greek heroic legends, and from that it was a straightforward deduction that wonder-tales must have been common among the Greeks
around 1000 BC—and many of them the same as those still in circulation in Europe today.
Von Sydow does not really dispute much else in the old doctrine of
the Grimms, but he tries to tidy it up in various ways and brings forward new arguments. He makes use of the classification of stories
already made and develops it further. He thought that animal stories,
many of which are exempla, and comic stories could have travelled
between countries (if conditions were favourable), since they are easily remembered and could be made to feel at home in a number of
1 AfnF XLII (1926), 1–19; Folkminnen och folktankar XIV (1927), 105–37.

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places with only minor adjustment. But it is another matter with thelonger stories, the real wonder-tales, which are more complex andharder to remember. Von Sydow did not wish to deny the migration ofsuch stories entirely (for this would not be easy, as will presently appear), but he placed more emphasis on the other argument of theGrimms, that these stories are an ancient heritage which was originally the exclusive property of the Indo-European peoples.
Von Sydow says that research has shown that wonder-tales, longstories of supernatural content, are to be found among all the IndoEuropean nations, and that the same stories are usually found among
many or all of them. Sometimes these stories may also be found among
other peoples, but this can easily be explained by transmission from aneighbouring Indo-European nation. On the other hand he thinks that
other races may well have had different kinds of narrative treasures—for instance the Semitic nations, among whom quite long Novellen
were common, though with much less marvellous matter and withlooser narrative threads than in the Indo-European wonder-tales, which
are often superbly constructed. Stories illustrating wisdom and perspicuity (as in the judgments of Solomon) have been common among
Semitic peoples since the earliest times, as have pure exempla. Of
course any race may have received stories from another, but wondertales are the most outstanding type among Indo-European oral stories,
while Novellen are the outstanding type among those of the Semitic
peoples. And when works such as The Thousand and One Nights, whichcontain many wonder-tales, turn up in Semitic literature, then he suggests that they may be derived from the Persians.
On the age of the wonder-tales von Sydow has similar opinions tothose of the Grimms. He does admit that it is wrong to regard them all
as of equal age, but he thinks that the bulk of the stories most commonly found, and the genre as a whole, are very old indeed, from thetime when the Indo-European peoples inhabited a smaller area thanthey have subsequently. He hints at the Bronze Age or even the
Neolithic. He considers the great majority of wonder-tales to be theancient heritage of these nations, which survived among them andspread with their migrations.
The arguments in favour of such great age depend on the ancientIndian sources, the Greek heroic legends, which in von Sydow’s view
drew heavily on wonder-tales, and the Egyptian story of Anpu and46

THE FOLK-STORIES OF ICELAND

Bata. Indo-European origin would thus have to be imputed to this last,which according to von Sydow was brought to Egypt by foreign mercenaries or merchants.
Von Sydow expounds his thesis skilfully, but nearly every point heuses to buttress it is open to a different interpretation. When he propounds such a far-reaching theory, and one so contrary to the views ofmost contemporary scholars, readers would have liked him to provide
more detailed support for them from his extensive knowledge of folkstory and legend. We would have liked fuller evidence to back theassertion that wonder-tales did not travel between unrelated nations,and a much closer examination of the oldest variants of wonder-tales,
especially of their position in relation to myths and heroic legends. In
connection with the problem of the dissemination of stories among
nations, it must be counted strange that von Sydow considers that thestory of Anpu and Bata, which has sometimes been called the oldest
wonder-tale, must have been brought to Egypt from Indo-European
sources. The fact is that among the Indo-European stories, the Egyptian specimen looks very much like an intruder, and scholars long ago
pointed out its particular links with Egyptian myths. Moreover thisstory is far from being the only ancient story known from an early
civilisation which has a parallel in some form among the wonder-talesof Indo-European peoples of later times. The situation appears similarin the case of some Babylonian stories, many of which can be traced
back to the Sumerians, a people who are thought to be as unrelated to
the Egyptians as to the Indo-Europeans. The Greek myths are closely
related to Greek religious practice, but much of that is in turn related
to the pantheon of peoples beyond the Aegean and the Bosporus.
Now it is difficult to understand why folk-stories which it is acknowledged sometimes travelled from one country to another, should
not have done so consistently, and it is hard to accept that the world’s
earliest recorded wonder-tale should be found, not in the country of
its origin, but in a distant land to which it had been taken by sometraveller. As for the age of the wonder-tales, we cannot a priori be
sure that it was they that influenced myths of gods and heroes; it could
just as well be the other way round. But more of that later.
Thus I cannot accept that von Sydow has succeeded in proving his
Aryan theory. On the other hand, his ideas about ‘ecotypes’ are worthyof note, for when a story is preserved for a long time in one particular

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country it must inevitably be influenced by the religion and outlook of
the people, and by their songs and other stories, whether oral or written.
It may finally be said that the claim that there are essential differences between the stories of the Indo-Europeans and those of otherraces is far from adequately supported. Is there not ample supernatural matter in the myths and stories of magicians from Egypt? And thesame is true of Babylonian myths and heroic legends. Skilful workmanship could turn the Gilgamesh epic into a wonder-tale. Moreover,Indo-European languages are now spoken in many countries where
people speaking other tongues used to live, and it is hard to tell whether
the oldest surviving narratives in such places originated with the indigenous population or with the invaders. It is also difficult to imagine that the armies which spread Indo-European languages over theearth would remember their fabliaux better than the religious stories
in which they believed. Yet anyone who goes hunting after Pan-Aryan
myths has little to work on. By contrast, the religious stories of the
Greeks contain not a few elements that are closely related to thosefound among the non-Aryan peoples of western Asia.
Before I conclude this summary survey of scholarly opinion, I mustmention a book by a German folklorist, Albert Wesselski, Versuch
einer Theorie des Märchens, 1931. Wesselski was an exceptionallywidely-read man and especially skilful at exhuming variants fromsources ancient and medieval, European and exotic. It seems to me
that he hardly touched a subject without illuminating it in some way.
He was, however, extremely sceptical of the notion of oral narrative.
‘The “folk” does not create’ was his motto, ‘it receives and reshapes.’
He did not completely deny that stories can be preserved and transmitted orally, but he underrated by far too much this factor in the survival and dissemination of stories. In consequence scholars who have
lived where oral tradition has flourished may have tended to overlook
the merits of his work. Like most modern scholars in the field, he laid
great stress on differentiating the multifarious classes of narrative andattempting to understand the nature of each individual one, and relied
there on the observations of Naumann and Jolles.1 Here we need only
1 Hans Naumann, Primitive Gemeinschaftskultur. Beiträge zur Volkskunde undmythologie, 1921; Grundzüge der deutschen Volkskunde, 1929; André Jolles,
Einfache Formen, 1930.

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THE FOLK-STORIES OF ICELAND

examine his conclusions about wonder-tales. He regards them as fictitious stories, i.e. stories that no one believes, told only for amusement; but they are descended from stories which were once matters offaith, from myths of gods and legends of heroes and from other stories
which everybody believed to be true. Wonder-tales then came into
existence just in the period when people were ceasing to take them
seriously. The Hindus really have no wonder-tales—they believe theirtall stories. Nor did the Greeks and Romans possess any wonder-tales
as we understand the term. This may seem a somewhat perverse conclusion, but it seems to me to contain a large element of truth and may
well lead to an improved understanding of the history of wonder-tales.
I shall discuss it a little further in Part IV. There are several othermatters in Wesselski’s book which, though he doubtless thought them
important, do not seem to warrant discussion here.
In the foregoing pages I have examined various theories about theorigins of wonder-tales. The scholars I have mentioned were not the
only ones who have done sterling work in the field. These others weremen of their times, but they put their main effort into the collection ofsources and analogues. I have already mentioned the emphasis thebrothers Grimm laid on finding old or new variants of this and thatstory. This search has continued to the present day, and the work ofcollection has borne much fruit. Even in countries where collection
started very late the result has sometimes been astounding. I need only
mention the example of Ireland, where since 1920 an immense harvest of stories has been garnered by Séamus Ó Duilearga (J. H.
Delargy). Also, as time passed, recording of oral stories became moreaccurate. Here it is not possible to go deeper into this matter, or torehearse the names of the very many great collectors. The time wasripe, however, for the foundation of institutions to organise the workof collecting and the archival preservation of the material, as well as
to support research on it.
In Benfey’s day the investigation of ancient sources, both eastern
and western, became a matter of lively concern and a great deal ofmaterial was gradually made available. Highly valuable helps to study
were published, one example of which may be mentioned here. The
Danish scholar, H. F. Feilberg, compiled a dictionary of the Jutland
dialect (Ordbog over det jyske almuesmål I–IV, 1886–1914). Because
he was immensely widely read and extremely energetic, he gathered

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such a mass of material into his four volumes that it became a veritable cornucopia of folklore. On his death Feilberg left a huge collection of material on slips. This has unfortunately never been printed,
though many later scholars, including Stith Thompson, have had great
benefit from it.
Inevitably, the Anmerkungen of the brothers Grimm were expanded
and became one of the most solid and useful source-books in the fieldof wonder-tale research. Two scholars, Johannes Bolte and Georg
Polívka, compiled an index of all variants and analogues of the Grimm
stories, which was published in five massive volumes (Anmerkungenzu den Kinder- u. Hausmärchen der Brüder Grimm, 1913–32; = BP).
The last two volumes contain a survey of folk-story collection andresearch in various countries, for which material was contributed by anumber of other scholars. The value of this compilation cannot be
overestimated.
We now return to the ‘Finnish school’. It was mentioned earlier that
Antti Aarne wrote on the methodology of folk-story research. He also
produced a survey of folk-stories old and new among various nations,and there listed both earlier and more recent collections (Leitfaden
der vergleichenden Märchenforschung, 1913 (FFC 13); Übersicht derMärchenliteratur, 1914 (FFC 14)). He also compiled an index of theprincipal types of folk-story, based largely on European material(Verzeichnis der Märchentypen, 1910 (FFC 3)). Finally he and K.
Krohn made numerous investigations in which they demonstrated how
a mass of folk-story variants could be studied so as to provide a fairly
comprehensive overall view of them (K. Krohn, Die folkloristische
Arbeitsmethode, 1926). These studies were mostly published in the
Folklore Fellows Communications (FFC), a Finnish series that has
since become a depository for the work of numerous scholars. Particular mention may be made of the indexes published there of typesof stories in individual countries along with enumerations of variants;
and also of the monographs on individual stories in which all known
variants, wherever they might be found, are registered and examined.
In any work on Icelandic folk-stories it is especially necessary to
draw attention to Reidar Th. Christiansen’s Norske eventyr, en systematisk fortegnelse, 1921; Örnulf Hodne, The Types of the Norwegian Folktale, 1984; and Einar Ól. Sveinsson, Verzeichnis isländischer
Märchenvarianten, 1929 (FFC 83; hereafter Verz.). The most weighty

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THE FOLK-STORIES OF ICELAND

works in the FFC series, however, are the great motif-indexes, Antti
Aarne and Stith Thompson, Types of the Folktale, 1928 (FFC 74; revised and enlarged edition 1961, FFC 184; AT) and the latter’s MotifIndex of Folk-Literature, 1932–36 (FFC 106–09, 116–17; revised andenlarged edition in 6 vols, 1955–58). Another work by Stith Thompson
which ought to be mentioned, though it is not otherwise referred to inthis book, is The Folktale, 1951. We also have a Motif Index of Early
Irish Literature by T. P. Cross, 1952, and a Motif-Index of Early Icelandic Literature by Inger Boberg, 1966 (BA XXVII). The latter was
unfortunately published posthumously without the additions and final
revision which would have added much to its value.
On the relationship of Icelandic folk-stories to Scandinavian and
Irish ones, one should note especially BP V, which has a good surveyof the Scandinavian material, and also Reidar Th. Christiansen, The
Migratory Legends. A proposed list of types with a systematic catalogue of the Norwegian variants, 1958 (FFC 175), and Studies in Irish
and Scandinavian Folk-tales, 1959; Seán Ó Suilleabháin and Reidar
Th. Christiansen, The Types of the Irish Folktale, 1967 (FFC 188);
Alan Bruford, Gaelic Folkstories and Romances (Béaloideas 34, 1966);
Einar Ól. Sveinsson, Celtic Elements in Icelandic Tradition (Béaloideas25, 1957) and Löng er för, 1975; Íslenzk fljó›menning V and VI, 1988
and 1989; Waldemar Liungman, Das wahrscheinliche Alter desFolksmärchens in Schweden, 1955 (FFC 156).

IX
The layman may have little interest in the above survey of scholarly
opinion, and may feel that one scholar proclaims this and another that,and a solution is no nearer in the end. I am, however, confident that a
number of things can be learned from the discussion, and I should liketo offer a brief appraisal of what seems to me to be the outcome.
No objection, it seems, can possibly be raised against the assertion
that in favourable conditions wonder-tales migrate from country tocountry (the same is true of certain folk-legends). All attempts to prove
the opposite have failed. This migration of stories is no singular thing.
Many elements of human culture spiritual and practical have spreadthrough the world in the same way, including religious notions andeven such customs and habits as are usually counted firm fixtures in

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the folklore of a particular society.1 Difference of language is no barrier to such migration.
It is not necessary to describe the migration of stories more closely.
The better the intercourse between nations, the easier it becomes, easiestof all when people move between countries and stay abroad for long
periods, though this is not an essential pre-condition. It is worth observing that in cultural exchanges a more highly developed nation is
generally the donor, and is looked up to with respect. It is easy to findexamples of such connections in nearly every cultural sphere. One
may not, of course, believe every instance blindly, but to ignore themcompletely can have grievous consequences.
There is a by no means unbridgeable gulf between written stories
and oral folk-stories. If the written story is well adapted for it, it caneasily enter the oral repertoire, and there are many examples of thishappening. I once attempted to see how this applied to Icelandic folkstories. I found that fabliaux and stories of religious import seemed toshow most traces of literary influence. The romantic Novelle camenext in this respect, while literary influence was much less noticeable
in the more fantastic wonder-tales, though even there the examples
were far from few. This does not necessarily mean, however, that thestories spread through the country in manuscript or printed form. It
may be that the common people of Iceland were in former times more
literate than those of other countries, though many think that thetransition from literary form to oral version was also pretty frequentabroad.2
It repeatedly happens that a story which is noted down from a contemporary story-teller turns up in a written source hundreds and eventhousands of years old. Many folklorists have consequently been
tempted to assume a very great age for these stories generally, and to
go on as if time did not exist. Some refer to the stories as if they havebeen preserved unaltered from remote antiquity, and consider themforthwith as more informative sources about an early period than any
other surviving evidence. But if this were true it would mean that thestories were quite unlike anything else in the human world, where
1 See Waldemar Liungman, Traditionswanderungen Euphrat-Rhein, 1937
(FFC 118–19).
2 See for example Jan de Vries, Die Märchen von klugen Rätsellösern, 1928
(FFC 73), 426–27.

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THE FOLK-STORIES OF ICELAND

everything is subject to change—emergence, maturity and decay. New
things grow up at the expense of the old; evolution means that one
physical organ or one species develops and another atrophies, and thegain is greater than the loss. Who would now suspect that our ferns
and horsetails were great forest-trees in the Devonian period? In thesame way ancient kinds of story shrink or disappear as new kinds
grow. What is old must receive new blood or undergo a transformation if it is to live; unchanged, it will not survive.
While the doctrine of evolution was at the height of its popularity
many traced everything automatically from the primitive to the sophisticated—but forgot the process of decay. If two related stories existed,
the less elaborate version was regarded as older and belonging to aless advanced culture. This is doubtless often so, but it works perhaps
as often the other way. The religious stories began among the besteducated class of the Middle Ages, and spread from them to thecommon folk. The ballads were originally composed for the nobility,
but later became popular songs. It is common to find the fruits ofupper-class culture later transferred to the lower classes, often after
the upper echelons have begun to follow a new fashion. It is similarlycommon (as I said earlier) to find that stories, like other things, aretransferred from a more advanced culture to one lower down the scale.
In both instances it is likely that the stories will be changed to suit therecipients’ cultural circumstances. There is even nothing to stop a story,
created in an environment of high culture and bearing the marks ofthat origin, being transferred into a more ordinary milieu by someone
who himself belongs to the superior culture, whether a more advanced
nation or a more highly cultivated class.
I have already intimated that the popular religious folk-stories oflatter-day Europe are descended from the clergy, the upper class in theChristian world of the Middle Ages. Some of these stories are admittedly older, and many are of Eastern origin, but they bear the marks ofgenesis among a people with a high culture. We saw too that many of
the fabliaux and Novellen were probably born in an urban culture, but
their ages vary considerably.
A fact to be stated at the outset is that the more fanciful wondertales of the present-day peoples of western Europe are fictional. Everyone knows that they are made up, and no one believes the wonders
they describe. They are intended to entertain and amuse, and because

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they are blatant fictions they are not rated as highly as stories where
the issue hangs on a matter of folk-belief. The humorous stories andNovellen get audiences everywhere because they are either funny or
exciting. Poets take material from them or retell them. The wondertales on the other hand are relegated more and more firmly to thenursery.
The exaggerations of the wonder-tales are not, however, mere unbridled fantasy. They may also represent remnants of ancient belief.
Let us look at the wonder-tales preserved from classical times.
Apuleius’s story of Cupid and Psyche deals mainly with gods, andmany of its motifs have a prehistory which shows that the story is
closely bound up with pagan religion, whatever one makes of the story
itself (cf. BP II 267–68). One may therefore regard the story as a parallel to many of the medieval stories of religious content. The principal characters in the Egyptian story of Anpu and Bata also have thenames of gods, as has already been noted (p. 34 above), and the Hathors
who foretell the prince’s fate also contribute to making the narrative
myth-like. These stories clearly show a close connection between
wonder-tale and myth, the most highly regarded kind of narrative of
those days. There are also stories in Indian folklore which have a very
similar narrative thread to European wonder-tales. In their homelandthese stories are not regarded as fictitious, but as true stories of divine
powers. The gods are very active in them, in the manner of the saints
in the religious stories of Europe, and the wonders fit in with the faithof the people. Scholars regard it as impossible to distinguish between
wonder-tale, myth and folk-legend in them. These stories are not theparticular property of the common people, but are current everywhere,
and survive as upper-class literature in the ancient collections ofwonder-tales. They live there as happily in written as in oral form,
which is, as has been observed earlier, one of the most promising conditions for the survival of a story (cf. BP IV 286–314).
There is therefore a great gulf fixed between these stories of the
fantastic, Greek, Egyptian, Indian, and the wonder-tales of modern
Europe. The latter have no ties with popular religion. We can see it
already in seventeenth-century Iceland when a man as steeped in superstition as Jón lær›i Gu›mundsson (1574–1658) does not bolster his
beliefs with the evidence of wonder-tales, even though otherwise he iscapable of swallowing the largest of camels. He mentions the story of

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Vi›finna Völufegri,1 for instance, but is quite ready to agree that it ispure fiction.
It is not advisable to quarrel over words, but it is certainly advisable
to differentiate between ancient myths and fictitious stories, ‘wondertales’ as we are calling them here. These appear when belief grows
shadowy. Undoubtedly this came about in various ways; each wondertale has its own history and the same story is held to be true by somewhile others in the same locality do not believe it. There can be a wide
no-man’s land between belief and disbelief in the same mind. Before
we reach the stage when a story is regarded as pure fiction there isundoubtedly a period in which there is a neutral attitude towards truthfulness, and it may well be imagined that that period is sometimes along one.
The first edition of this book appeared in Icelandic in 1940. Since
then I have sometimes tried to explain my view of the history of ourwonder-tales by the simplified series: myth—mythical story—wondertale (ævint‡ri). The first item in this series would generally be connected with the cult of a deity, a hero, a saint or a sage, and many ofthe motifs would belong to the supernatural. But the essential condition would be that people believed in the story. As time passed the old,serious cult legends were often expanded; at the same time primitive,
often naive ideas about gods and heroes were altered, extraneousentertainment was introduced, and sometimes romantic or lyrical
touches. We come to the no-man’s land mentioned above, and soon a
strange game is played between belief and unbelief, though the old
motifs remained in the story. Behind the development lie cultural andsocial changes, urbanisation, and in due time enlightenment of somekind, rationalism and in some civilisations the advance of scientificthought. Then comes the third stage, when people no longer believe at
all in these stories and regard them as a pure play of fantasy. This may
coincide with a time when people liked the thought of going back tonature, when romanticism, nostalgia for the primitive, childhood andyouth and the dayspring of the world, was in the air. Then ‘contes desfées’ become fashionable, and ‘Märchen’ offered themes dear to poets.
If the evolution described above may seem to be simple, reality can certainly make things more complex. Changes of religion, upheavals insociety, sudden alterations of ideology could lead to all kinds of confusion.
1 AT 709; Verz. 100; JGl Um Íslands a›skiljanlegar náttúrur, 15–16 and 39.

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Stories that have been brought from foreign countries may also be
alien to the ways of the people of the new country. Foreign wondertales may still be linked with folk-belief in their new locality, or they
may be seen as pure stories of fantasy, and changes may result frommixing of motifs.
Let us take an example. A fantastic story from India (where its truth
is not doubted) reaches western Europe during the Middle Ages. It
may be that its religious content is not so different from folk-belief inEurope, and on that basis it could become a folk-legend, told with fullbelief. One can easily imagine a story in which the individual motifs
were regarded as in themselves not incredible, while there was something about the story as a whole that made people draw back from anabsolute judgment on its truthfulness. The attitudes and customs revealed in it might well, for instance, appear strange in the host country, and that could be a reason why it was never assimilated, not, atleast, without total reconstruction, to the native folk-story stock.
Many of the wonder-tales that exist in present-day Europe are undoubtedly of European origin, or come from the Middle East. Thechange they have undergone in time has proved better for them thanthe change in environment. The stories of Anpu and Bata and Cupid
and Psyche are narrative wholes, created and developed in countries
where people believed in the reality of their principal personages. In
consequence they have a more or less religious content. One could
well imagine a conversion of the story of Cupid and Psyche into a
Norse myth, but where polytheistic religion gives way to Christianity,
such a narrative runs the risk of turning into a wonder-tale. Some othersimilar stories may have become attached to Christian saints and so
kept their credibility longer; others may have been changed into folklegends, and it is by no means rare for stories to move from one groupor type to another.
It is likely that many European wonder-tales originated as compositions primarily for entertainment, made up of a variety of individual
motifs drawn from stories already well known, myths and legends,
heroic and otherwise. If such motifs were not simply taken over, they
could be imitated. This of course could also happen while the beliefs
on which the ancient stories depended still flourished (examples canbe found in the medieval Perceval poems).
The ‘original stories’ which I have thought of as the sources of thewonder-tales of western Europe were respected and their veracity

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trusted. It is not at all unlikely that many of them came from the great
civilisations of the Mediterranean basin or western Asia. This theory
may be thought an empty one, for in the case of many wonder-taletypes we have no evidence to prove it, but those civilisations possessmany qualities to favour such a contention. They had a level of culturethat made them likely to be givers rather than takers in this sphere.
They had an overwhelming regard for all manner of supernatural forces
and influences which might explain much that is marvellous in ourstories, and they were of great antiquity, which may account for thewide distribution of the wonder-tale type. On the other hand, the peoples who lived to the north of those countries doubtless also had theirown store of ancient motifs (in stories founded on beliefs which were
held in honour there), though these are almost totally forgotten or now
found only as remnants commingled with what has been introduced
from elsewhere. Even so, I do not consider that there is much likelihood that the pall of mystery that hangs over the origins and pre-historyof our wonder-tales will ever lift completely.
X
It has already been said that a principal source of the folk-story (whatever class it may belong to) lies in beliefs held by human beings. Folkstories arise persistently from folk-belief and as this, their source ofbeing, alters its character, so they alter theirs. In the following pages I
shall endeavour to expound this further (see also Part III of this book).
Motifs occasionally occur in folk-stories that point to a belief which is
now obsolete, and this is frequently the case in wonder-tales. Let me
give a few examples.
All kinds of taboos and bans figure largely in the superstition oflater centuries, and stories concerning them are common (cf. JÁ2 II
668 (bann), 703 (varú›)). The root of this is primeval man’s belief
that all nature was endowed with a power which could bring both
good and ill to human beings. The whole outlook of men who had toexercise intense caution in dealing with anything particularly endowedwith such power was characterised by deep fear. Men guarded theirown life-force with anxious care, especially from strangers or enemies.
Their whole existence was fenced about with precautions and taboos.
This is so well known that there is no need to amplify it or give references to other writings on the subject.

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I will mention one example here of an ancient precaution which isundoubtedly the mainstay of a story, though in its present form theoriginal meaning has clearly begun to fade. It occurs in the story of
the church-builder at Reynir (JÁ I 58).
A man lived at Reynir in M‡rdalur. He was having a church built, but he waslate in getting timber and could not find a carpenter because the haymaking
season was near. Once when he was walking about in a melancholy state he
met a man who offered to build the church for him. In return the farmer was totell him his name before the building was finished, or else hand over to him
his only son, then five years old. They agreed on this, and the builder set towork. He worked with alarming speed, and the farmer began to grow uneasy,
though he could do nothing about it. One day when the building was nearlycompleted, he was wandering about the meadow until he lay down near ahillock. He then heard a voice from inside the hillock, and a mother sang to
her child:Senn kemur hann Finnur
fa›ir flinn frá Reynme› flinn litla leiksvein.

Soon Finnur your father
comes home again
with a small playmate
for you from Reyn.

The farmer was cheered by this, and went along to the church. The builder
was just nailing the last plank into place over the altar. At that the farmer said,‘You’ll soon be finished, Finnur,’ and at that the builder was so taken by
surprise that he let the plank fall from his hands and disappeared, and he has
not been seen since.

This story exists all over Scandinavia. In Iceland it is reckoned among
stories of elves, but in continental Scandinavia, Finnur is a giant. The
mainland version is fuller inasmuch as St Olaf or St Lawrence, or
whoever it is, offers the giant the sun and the moon and his head or hiseyes if he cannot tell him his name. This is clearly an supernaturalelement since a mere human being can have no disposal of the heavenly
bodies, but it also gives the story’s origin away. It is descended fromthe pagan story about the citadel built for the Æsir. Snorri Sturluson
tells this story in Gylfaginning ch. 42. A giant is promised the sun, themoon and the goddess Freyja if he can build a fortification aroundÁsgar›r in a single winter—and the Æsir were entitled to promise thesun and the moon, for these were their own handiwork.
Thus one principal element of the story can be traced back to a pagan
myth—but the other is sprung from a superstition which is doubtlessolder still. This is the requirement that the farmer must name the

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THE FOLK-STORIES OF ICELAND

builder’s name. On the surface this appears to be nothing very significant, merely that the builder does not think the farmer has a hope offinding it, so that when the farmer does come out with it he is so
disturbed that he vanishes. This story-element has long been understood in this way and the analogous story of the giantess Gilitrutt will
have been similarly understood (JÁ I 181–82).
But there is a deeper undercurrent. A man’s name is now only asound in the air and letters on a sheet of paper, but in earlier times anextensive and varied belief was centred on it. A man’s name was avital part of him, a part of his soul. To know a man’s name was thus togain a certain power over him. Many things point to this belief as ahidden force in the story. Various examples can be cited to show thatsuch a belief in names was by no means extinct in Iceland in earlier
times any more than elsewhere.
There has survived a medieval Icelandic prose romance called
Vilhjálms saga sjó›s. There we are told that Vilhjálmr plays chesswith a giant three times, and when he loses for the third time the giant
imposes a duty on him to return within three years to the giant’s caveand to name by name ninety trolls who dwell there. Later it turns outthat ‘their lives are at stake, if any man is able to name them all,’ andwhen Vilhjálmr rehearses the names, the trolls all die (LMIR IV 66).
Similar incidents occur in numerous Icelandic sources, and I shall dono more than recall that the water-spirit in horse-shape, the nykur or
kelpy, cannot bear to hear his name. In Elenarljó›, an Icelandic balladsurviving in a seventeenth-century manuscript, a nykur in the guise ofa young man is said to have caught little Elen, as she was going forwater, and was going to take her down into the lake with him. Whenhe asked her to marry him she answered, ‘Eg flví ekki nenni’ (lit. ‘Ihave no mind for that’; ‘nennir’ is a name for a kelpy) and with that hevanished. Later folk-stories about kelpies have similar endings (Íslenzk
fornkvæ›i VIII 152 and references; JÁ I 137, Jfiork 365).
There is another example in the Poetic Edda. When Sigur›r Fáfnisbani had wounded Fáfnir, the dragon asked him his name, but ‘Sigur›r
concealed his name, because it was the belief of men of old that adying man’s word had great power if he cursed his enemy by name’(Fáfnismál, prose after st.1). One need hardly emphasise the pointthat there is a vast body of superstition among many nations connectedwith names, and all manner of precautions concerning them. Nor is

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this merely among ‘primitive’ people but among ‘civilised’ nations as
well. One thinks of the Romans as having gained their mastery of theworld by their vigour and toughness, political acuteness and militaryability, with the other qualities that lead to dominance. But they did
not consider these all-sufficient. They took the greatest care to keep
the name of Rome’s tutelary deity a secret so that their enemies could
not contact him and get a hold over him—and so could not win powerover the Romans themselves.1
Before leaving superstition to do with names, I should like to mention two things. Both in ancient and more recent stories we commonlyfind that some being of great power tells someone to name his name in
his hour of need, and when this happens he comes to his rescue. Nowadays the motif occurs largely (or perhaps only) in wonder-tales (e.g.
JÁ II 390, 414, 447), but earlier it appeared in stories that had close
associations with folk-belief. Conversely it can be dangerous to nameevil beings or any creatures so imbued with magical power that they
are too much to face. At sea, it was perilous to name anything whichmight suggest monstrous fish; and it was not safe to speak of evil
spirits or trolls, since ‘talk of the Devil, and there he is’.2 An amusing
example of this is in one of the manuscripts of Vilhjálms saga sjó›swhere alongside the versified list of trolls’ names the scribe added thewords ‘ora pro nobis’—he had clearly become nervous. The Rev. Jón
Erlendsson says of the same list that these hateful names should not
be read out to any frivolous audience.3
The idea that a man’s soul can leave his body during sleep and learn
many things in distant lands appears in many stories. This belief musthave gone hand in hand with belief in shape-shifting and the two musthave grown and dwindled together. Yet the wonder-tales contain evenstranger ideas about the soul’s ‘travels’. Such is the very popular notionof a fjöregg, ‘life-egg’, where the vital force of a being is thought toreside in an egg, an object outside the body. One of the oldest Icelandic
instances of this is in Sigrgar›s saga frœkna, a story of the fourteenth
1 On all kinds of superstitions about names, see for example E. Clodd, Tomtit tot, 1898. A great deal has been written on this topic.
2 Cf. ¯rvar-Odds saga, Fas. II 254.
3 See ÓDav. fiulur 109. For superstitions about names in folk-stories see
JÁ2 II 691–92; further Magnús Finnbogason, ‘Máttur nafnsins í fljó›trúnni’,Skírnir 1933, 97–116.

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THE FOLK-STORIES OF ICELAND

or fifteenth century (LMIR V, 39–107). Other instances from before
1800 are in Sveins rímur Múkssonar and the younger version of Bósa
saga (both from the sixteenth to seventeenth century) and Eiríkur
Laxdal’s Ólands saga (late eighteenth century), and the theme is common in nineteenth-century stories. The word fjöregg itself first appears in Bósa saga.1 One wonder-tale, recorded in the nineteenth century, tells how a certain Sigur›ur comes to a giant’s cave and meetsthe princess whom the giant had carried off and wanted to marry. Whenthe giant’s return draws near Sigur›ur successfully hides. Following
the advice he has given her, the princess now pretends to want to marry
the giant, and tricks him by flattery into showing her his life-egg, which
is a deadly blue in colour and so poisonous that it may not be touchedwith the bare hands (this seems to be rare in Icelandic stories aboutlife-eggs, but originally must have been an indication of its power,
which made it dangerous to handle). It is kept wrapped in a cloth which
is locked in a casket which in turn is locked inside a chest. The next
day Sigur›ur breaks open the chest and smashes the egg against thegiant’s forehead, whereupon he dies immediately (the story is printed
in JÁ3 V 112–14). There are similar stories in western European folklore, with the egg concealed in similarly elaborate ways. It may, forinstance, be inside a bird which is inside an ox which is on an island in
the middle of the ocean. There is this sort of complexity in the story of
the Red Bull (JÁ3 IV 529–55) and many other wonder-tales. When thestory appears in Asia, the soul or life-force of the giant is often preserved in a living animal, and if the latter comes to harm, loses a leg,perhaps, the giant undergoes the same mishap.
The word fjöregg indicates that these stories are very old in Scandinavia, for fjör is used here with its now archaic meaning ‘life’ or ‘lifeforce’. There is also one fairly old instance in Icelandic of a ‘lifestone’. I cannot on the other hand find any trace in Scandinavia of thebelief with which these concepts are associated. It is, however, a belief that is very common among peoples on a more primitive culturallevel. They, for instance, customarily deposit an individual’s soul (orpart of it) in animals or inanimate objects, and do so through magic
ritual and incantation. This is doubtless done principally as a precaution to ensure the safety of the person’s life—as is implied in thewonder-tales. We may note that this belief is not unknown among the
1 Bósa saga in zwei Fassungen, ed. Otto Luitpold Jiriczek, 1893, 108.

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Jews. Thus Abigail says to the outlawed David, ‘Should men set out
to hunt you down and try to take your life, my lord’s life will be kept
close in the satchel of life with Yahweh your God, while as for the
lives of your enemies, he will fling them away as from a sling’ (1 Sam.
[1 Kings] 25: 29; Jerusalem version). The story of Samson and Delilah
is also quite similar to our wonder-tale about a giant and his fjöregg,
though Samson’s life-force is not hidden in an object outside his body
but in his hair (known, of course, both as an ancient and a modern
superstition). Further, the fact that in the Egyptian story of Anpu andBata, the latter keeps his heart in a cedar tree, shows that similar stories
of an externalised soul were known in the Middle East.
Often two or more giants share the same ‘life-egg’. It was also thoughtthat human lives could be tied closely together in a similar way. We
recall the story in Morkinskinna, preserved in a thirteenth-century
manuscript, of King Haraldr har›rá›i’s daughter, who died in the samehour as her father was killed in battle far away, ‘and men say that theyshared a single life’.1
I would like to make two more points. In the story of Princess Kisa
(see Verz. no. 711) we are told that a certain queen drank from a brookat the suggestion of a witch or sibyl. As she had been led to expect, awhite trout swam into her mouth, but what she had been warned against
also happened: a black trout held onto the tail of the white one with its
mouth and so went down the same way. The queen gave birth to a fairdaughter but also to a black cat. After many adventures the cat was
finally freed from the spell that had been put on it and turned into abeautiful princess. Originally, of course, they were both princesses
who had been put under a spell by their stepmother and turned into
trout. It must be admitted that this story has not been thoroughly studied
and little is known about its dissemination. Even so, as far as we cansee, it does not appear to have enjoyed a wide circulation. There arevarious parallels to the sibyl’s counsel to the queen, to mention a common motif (T548.2). The story appears to reflect in a fragmentary
fashion the ignorance of some primitive people about the physiological processes of procreation.
The second point to notice is the belief in metempsychosis. In thestory it is recast as a belief in the power of magic spells to transformhuman beings into other creatures, but there is no doubt as to its origin.
1 Morkinskinna, ed. Finnur Jónsson (1932), 232.

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Here one princess is turned into a trout, then into a cat, and finallyback into human shape. The belief in transmigration of souls is very
common among primitive peoples. The soul may lodge in a beast,
bird, plant or even a stone on the death of the human being, but returns
to be reborn into its original caste. A similar belief may be observed in
more advanced societies. It is the mainstay of the story of Anpu andBata. It is common among the people of the Indian sub-continent andwas well known to the Greeks, for Plato has much to say about it. It is
often reflected in early Irish legends and the people of pre-historic
Scandinavia were familiar with it too. In a prose passage in the Poetic
Edda (at the end of Helgakvi›a Hundingsbana II) it says, ‘It was anancient belief that men were reborn, though this is now called an old
wives’ tale. Helgi and Sigrún were said to be reborn. He was thencalled Helgi Haddingjaskati and she was called Kára Hálfdanardóttir.’
But when such belief in reincarnation had died out in Europe, the story
had to be recomposed and its principal points re-explained, and so the
new tellers of the story fell back on the well-known spell-binding motif.
Lastly, I would mention one other motif, which mirrors part of anancient ritual. It is very common in lygisögur written in Iceland fromabout 1300 onwards and then in subsequent ballads and stories. In
time this motif appears less frequently—it must have been found offensive to prevailing ideas of good taste. The motif is this: a princess hasa spell put on her by her stepmother, who transforms her into an ogressor an ugly old hag and lays it down that she shall never be released
from this enchantment until a man kisses her, sleeps with her or marries her. Unlikely as this is, it does, however happen, and she is released from the spell. This occurs, for example, in Gríms sagalo›inkinna, fiorsteins saga Víkingssonar (c.1300), and thereafter innumerous other texts. Thus in Sveins rímur Múkssonar we are toldthat the woman under the spell was named Forrá› ‘Rule’ or ‘Sovereignty’ and we may note that the rímur poet was following a prose
original which was written before 1569. Such stories were fairly common elsewhere in Europe, sometimes in this form, sometimes withthe woman changed by the spell into the shape of an animal or monster (cf. the Scottish ballad of Kemp Owyne); in a Mediterranean variant she is changed into a snake or a worm. Let us however look solely
at the first variant, transformation into an ogress or ugly hag. This isvery common in medieval versions, not least in Britain (e.g. in

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Chaucer’s Wife of Bath’s Tale), and sometimes the word ‘sovereignty’
floats like a wandering sub-motif into the story. There are also ancient
Irish stories with this motif, where it is connected with the High Kingship of Ireland. One such is The Adventures of the Sons of Eochaidh
Muigl Mheadhoin. In this story the sons of King Eochaidh were hunting in the forest and had found a place to rest, but lacked water. One
after another they went in search of it. By a spring in the wood they
met a hideous old woman who guarded the water. She offered thewater to any of them who would kiss her. Only one, Niall, was willingto sleep with her, whereupon she changed into a most beautiful maiden
and said she was the ‘Sovereignty’ (flaith) of the land. Shortly afterwards Niall became king. In this enactment we are probably witnessing part of a ritual associated with the king’s wedding to his kingdom.
His queen will then have signified his sovereignty, and the rite wasintended to rejuvenate the king’s power, his land and his people.
XI
How do localised and historical folk-legends come into being? Certainly in more ways than one. The first thing is the event itself, reportsof which are made and repeated. A great part of the story is lost or
forgotten. The stories fight, so to speak, for their lives, and their survival depends on whether they are found amusing, exciting or affecting, or are connected with the things which sustain them and makethem matters of interest. Thus an unremarkable place-name legend
can be preserved in its locality, but how far it is disseminated will
depend on the fame of the place. If the story itself is thought to havesomething worthwhile in it, it can fly around like a butterfly and settle
somewhere else. The same applies to anecdotes and jokes about individuals, whether known or unknown, named or unnamed. Entertainment value carries the stories round the world and preserves themfrom oblivion.
It is a special bonus for a story if it contains some supernatural element
which appeals to people’s credulity, for the secrets of hidden worlds
attract men’s minds and rouse fear or excitement. Such stories are
better fitted than most to be retained in popular memory, and the greaterpart of recorded folk-stories undoubtedly contain such subject-matter.
Less essential ingredients tend, understandably, to sink into oblivion.

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But a story is not preserved orally for long without alteration. It
takes on the customary form of oral stories, and the incidents on which
it is based are changed. In Part V.I, I shall draw attention to a numberof stories concerning hidden people or elves from Eiríkur Ólafsson of
Brúnir’s narrative, in which we may see how the material alters imperceptibly through the unconscious workmanship of the story-tellers. It
is only necessary for one of them to have a slightly different understanding of some small point, and the story takes a new direction andis drastically altered before one is aware of it. Folk-beliefs and folklegends are readily absorbed in it, and the new story is influenced bythem and takes on their tone. It also seems that a story often possesses
a tendency to develop in one direction and not in another, and if thecause of the story, the original events, do not suit this development,
the chances are that it will depart from them in accordance with thisinherent tendency. Everyone who has told a joke will recognise thistendency. Then there are also negative causes of alterations, of which
forgetfulness is the most obvious. If it leads to the omission of individual small points, or even of whole events, the story-teller will thenendeavour to fill the gap, and will insert into what he remembers aplausible replacement, or what he feels is most in keeping, and thenthe story does not take long to change its character.
As here described, the creation and subsequent modification of folkstories were an unconscious process. An account of a true event turns
bit by bit into a folk-story, and it is not easy to determine when thetransformation actually occurs. Thus anyone and everyone is partauthor of the story, and all who tell it contribute to its eventual shape.
It is then the work of ordinary people, a folk-story in the fullest senseof the term.
Yet this is far from being the only way in which a folk-story grows.
It may be regarded as certain that many a story is the work of one man
or at best of a limited number, so that even though a story has been
told by many and its details affected by frequent re-telling, its basic
structure will have been created by one person, or sometimes perhaps
in just a few ‘stages’. It is, for instance, obvious that most exempla orother stories of ethical or religious import have a literary origin, andwere composed at one go. When a story says that an ogress was turned
into a particular crag, even though the rock has no discernible features,
then this is an explanation, whether put forward in fun or seriously,

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which stems from one man’s imagination. Simple stories about specific localities may be interesting when one is close to the spot, but
their interest may fade at a distance from it. On the other hand, a short
anecdote may become longer and more detailed and so acquire new
motifs and further appeal.
Although folk-belief is the primary source of many folk-stories, it
should nevertheless be observed that the wishes of story-tellers andaudiences are of great importance. Many folk-stories may be justly
called wish-fulfilment fantasies, and in large part draw more on
people’s desires or dreams than on actual experience, whether of thisworld or the next. The most obvious examples are stories of successful hunting and fishing or superlative prowess, which are often purefiction of the most blatant kind, but the same spirit animates manystories of how men overcome or trick evil beings who are otherwise
too powerful for humanity, in the way that Sæmundur the Wise andother master-magicians beat the Devil at his own game, for instance(see JÁ I 485–502). I shall return to this theme in more detail later on.
A good story-teller cannot keep quiet when he has a spirited tall story
on the tip of his tongue, one he knows will send cold shivers down thespines of his audience. Goethe’s ‘die Lust zum Fabulieren’ is a verystrong factor in the human make-up. To tell a story is a primitive humanurge, especially when the story is entertaining, and grips the audience,
so that they are fascinated or frightened, intent or on edge. While thisis in progress, there is total suspension of disbelief.
There can be no disguising the fact that deliberate fiction is created
not only when a story is invented from beginning to end, but also
when old stories are retold. I named just now one important reason forchange: forgetfulness—because if a story-teller knew that he had forgotten something, he tried as best he could to make up for it. Manyother factors, however, come into play, too. An old story may havecontained some motifs that were at odds with new manners and modesof thought, and so coarse or brutal incidents were excised or bowdlerised. There is no doubt that as the wonder-tales became more andmore the preserve of the nursery they lost many characteristics whichwere not thought proper for children’s ears. Thus in the story of Phaedra
the queen tries to seduce her stepson, and though this motif exists insome of the earliest Icelandic stepmother stories, I do not think it occurs
in a single wonder-tale of the nineteenth century. Nor is it uncommon

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for the main trend of a story to be altered, and in the process for it tobecome necessary to change a great many of its elements—a necessity which occurs most often when a story moves from one country toanother or from one genre to another.
It is common for individual motifs or incidents to be added to otherstories, especially at the beginning or end, and it is by no means rare
to find wonder-tales joined together. Thus the story of Mja›veig Mánadóttir sometimes deals only with Mja›veig, her stepmother and stepsister, and ends when the prince finds the right owner of the golden
shoe, but sometimes it is augmented by the story of the troll-wife in theboat of stone to explain how Mja›veig fell into the hands of the trolls.
This can be clearly seen from the variants among the recorded narratives (Verz. no. 510; cf. no. 403). Nor is there any doubt that many of theancient wonder-tales were composed by accretion in a similar way,while others are the result of a story-teller taking some old story and inventing a new one on the basis of its principal motifs. Though their material may be old, wonder-tales commonly develop in stages or leaps.
The individual’s part in the making and alteration of folk-stories
has become more obvious in late years. One approach, for instance,
has been to compare all the stories recorded from certain good storytellers, and from this it has become clear that each narrator has his
own leanings and peculiarities. One lays stress on telling a story as
nearly as possible in the way he heard it, another treats his originals
freely, sets more store by lively narration, even perhaps acts the dialogues. Taste, ways of thought and the accidents of a story-teller’s life
can lead him to leave some things out or to amplify the detail or to add
fresh matter. With such a narrator everything is lively and capable ofvariation, subject to his temperament and artistic ability.1
The story-teller is tied to his audience in every way as much as apoet to his readers, or even more, in that he stands face to face withthem, and they either dampen his enthusiasm or excite it. He sees thesmiles on their faces, hears their laughter when he says something
funny. Apprehension or excited attention in their looks urges him on
to use his power to impress to its fullest extent. He also sees the bored
expression or the sour look if the audience do not like the story. Thus
he receives pretty well instantly their judgment on the story and its telling.
1 On this see Mark Asadowskij, Eine sibirische Märchenerzählerin, 1926 (FFC68); further Knut Liestøl, The Origin of the Icelandic Family sagas, 1930, ch. IV.

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All this can be seen even today, though oral narration has shrunk toslight proportions since papers and books and schools began to filleven rural areas and noise and bustle to cut into the quiet hours ofleisure. In former ages country folk on their scattered farms had ample
time to listen and learn, ideal conditions for the survival of the folkstory.
Otherwise the native ground of folk-stories can be very varied, andto some extent it conditions their nature and length. A story can become
a common proverb: ‘He eats everything, just like the Bakki brothers’
cat’—and we get the point of the reference straight away (see JA II
526–30). Humorous anecdotes can belong anywhere. Place-namestories come to life when the place-names come under discussion orwhen one sees the places. Shorter stories of this sort take little time in
the telling.
But longer stories, whether folk-legends, fabliaux or wonder-tales,
need greater leisure and a more special occasion. From the earliest
times children have been the best and most eager listeners to that sortof story, and an old woman surrounded by the small folk was seen in
every home. St Paul spoke of old wives’ fables (1 Tim. 4: 7), and thesehave not decreased in number since his day. It was thought an excellent diversion to have a story told when many people were gathered
together and there was no other activity, or when the work was of akind which permitted one to listen while busy at it. In the East men
told stories while sitting in coffee-houses or in caravanserai on desert
journeys. It has been the custom in many places to have stories told
while people sat round the fire. It must have been restful and refreshing after the day’s labour to let the mind range through a world of
fantasy while staring into the glow of the fire. An early French poem
tells how it is the custom in Normandy for a guest to repay the night’s
hospitality by telling stories to his hosts.1 Under such conditions it
was better to have a good stock to draw on, and there are many examples of story-tellers going from one place to another and making a
livelihood by telling their stories or reciting poems.

1 This poem has not been traced, but cf. Stith Thompson, M231, and thestory of Math son of Mathonwy in The Mabinogion, tr. G. Jones and T. Jones,
1974, 56–57. (We are grateful to Annalee Rejhon, lecturer in Celtic Studies at
the University of California at Berkeley, USA, for this reference.)

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Stories were regarded as excellent entertainment where many people got together for work that did not make much noise. This was, forinstance, common in houses in Denmark and Germany where woolcarders or knitters foregathered, as may be seen from St. Steensen
Blicher’s collection of Jutland peasant stories, E Bindstouw (1882;
reprinted in Hosekræmmeren og andre noveller, 1985, 159–95).
A storytelling session is often mentioned in Old Icelandic literature,
at weddings or assemblies or in ships at evening, but the references
are to other kinds of stories than folk-stories. The monk Oddr Snorrason(c.1190) says that shepherd boys tell stepmother stories—though hedoes not specify whether this was while watching over their flocks or
at home in the evening. There is ample evidence of story-telling sessions
from later times, and I shall mention just two examples. In the evening
work-hour (vaka) it was usual to read sagas or to chant the long narrative poems called rímur, while the time for telling folk-stories was in
the dusk, after the outdoor work was over but before the lights were lit
for the evening’s indoor work. The Rev. Jónas Jónasson gives the following description of the dusk-hour stories (JJ Ífl 245):‘Where it was customary to sleep during the dusk-hour, there was little
activity, as may be expected, but where it was not so, people made what
use they could of the time. The principal amusement was to talk, to tellstories, recite verse epigrams, chant rímur, or cap verses. It is incredible
what a vast store of stories the people had, especially stories of outlaws
and wonder-tales of kings and queens in their palaces and old men and old
wives in their cottages. Then there were the stories about ghosts or fairy
folk, and of those there was an inexhaustible store. I knew one old man
who was able to tell three stories a night all through the winter fishingseason, 2 February to 12 May, and had still not reached the end of hisrepertoire.’

It was the same when a body of people met for some specific task,such as the annual herb-gatherings. Jóhannes Fri›laugsson describes
them as follows: ‘We did not invariably go to sleep after our evening
meal, but sat down and started to sing songs and recite poetry . . . nor
was it uncommon for stories to be told of outlaws, trolls and elves, orwonder-tales.’1 It was doubtless the same in fishing huts and when
men were out gathering sheep and so on.

1 Jóhannes Fri›laugsson, ‘Grasafer›ir’, Eimrei›in 1929, 275.

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In such a company anyone who wishes can tell a story. But not everyone is equally skilful in the art, any more than at anything else; thepower of memory is variable and men differ in their ability to learn
folk-stories. There is no doubt that the stories owe their existence andquality not a little to a band of exceptional story-tellers who were
better than others at remembering and making the most of them. There
are references to distinguished rímur-chanters in Iceland, and somevagrants were good story-tellers, but their livelihood did not dependon it and I know of no instance of anyone who ever made story-telling
his profession.
As is to be expected, old people often have a larger store of folkstories than younger ones, and sögukarl and sögukerling (‘an old man
or old-wife full of stories’) are well-known words in the Icelandic
language. If one wanted to divide the honours between the sexes, I
suspect that women would come out better than men. At any rate, I am
certain that in later centuries women have been far more active thanmen in the preservation of wonder-tales. Unfortunately, the name of
the teller of a story is rarely recorded, so that in 265 variants of wondertales that I once collated from manuscripts, only 92 were attributed toknown story-tellers—80 of whom were women.
As I leave this subject I would like to mention one example of awoman who was such a storehouse of stories. In the National Libraryof Iceland there is a manuscript (Lbs 536 4to) written during the years
1862 and 1863–64 by Páll Pálsson of Árkvörn, then a boy below confirmation age. It contains stories told by an old parish pauper Gu›rí›ur
Eyjólfsdóttir. There are 60 in all, of which 26 are wonder-tales andhumorous stories, many of them rare and hard to find elsewhere. The
narrative is of the most laconic kind and fairly poor in style, probably
because little Páll was so slow a scribe. But as a whole the manuscript
bears good witness to this old woman’s knowledge of stories.
XII
Although I have referred to a good number of Icelandic examples in
the foregoing sections, my main aim has been to give a general pictureof folk-stories, their external and internal characteristics and their dissemination, irrespective of nationality. We now come to the point where
we turn completely to Iceland, and consider in greater detail how Icelandic folk-stories originated, from what materials they were built and70

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in what way they were transmitted. As we have noted, the main originof the stories is to be sought in folk-belief and folk-life, but in Section
X a further element was demonstrated: beliefs which have disappeared
but are preserved in fictitious stories born out of old myths. We will
return to this point later, but first the reader must be given as reliable asurvey as possible of the sources old and new on which our known
body of Icelandic popular stories depends.

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PART II
SOURCESIThe oldest Icelandic sources are in verse, poems composed before theage of writing began. We already find in them material related to thestories and legends of later ages. Icelanders began to write manuscript
books in the twelfth century, and from then on men recorded on vellum stories, poems and miscellaneous lore of many kinds. Some ofthis was new, but some of the poems were old and written down froman oral informant, one or more. Many stories and anecdotes in thesagas were similarly derived from what people had passed on by wordof mouth.
If we divided up this early period according to the surviving sourcematerial, it would be proper to let the beginning of the age of writing
mark the arrival of a new era. In the present survey, however, it ismore practical to make Period I begin with the settlement of Icelandc.900 and let the victory of Christianity over paganism in about AD
1000 mark the beginning of Period II. This then ends late in the thirteenth century, with the social and literary changes that followed fromthe Icelanders’ surrender of political independence in 1262–64. Period
III then stretches to the beginnings of the Reformation in the early
sixteenth century, a time when sources that provide insight into popular beliefs begin once more to multiply.
The various kinds of folk-story cannot be distinguished as clearly in
Period I as in later periods. If each category of nineteenth-century
story is represented by a circle, then each circle could be shown as
overlapping one or more of the others, but not necessarily having large
areas in common. But in the tenth century the centres of the circles
would fall much closer together, and the circles would be much larger
and overlap much more. In the following discussion we must therefore constantly bear in mind that all stories from this period in effectoccupy the same ground. We can give the principal categories names,such as ‘myths’, ‘heroic legends’ (mainly in verse), ‘viking stories’,‘anecdotes and longer accounts of actual events’, ‘folk-legends’, ‘fantastic stories of Celtic origin’ and ‘stories that have motifs in common

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THE FOLK-STORIES OF ICELAND

with international wonder-tales of modern times’, but the overlap between them is such that clear-cut classification is hardly feasible.
It seems likely that there were innumerable stories of ghosts andwizards in heathen Iceland, stories that is that depended on folk-beliefs
and told of individual men and women; as such they corresponded to
the folk-legends of later times. The end of Helgakvi›a Hundingsbana
II points to the existence of ghost stories, and many other things in theheroic poems of the Poetic Edda point to stories of magic. Yet would
people at that period have considered their stories about elves to bemyths or folk-stories? Stories about the dealings of gods and giants,
the beginning and end of the world and other cosmological mattermight be counted myths, while those that concern dealings between
men and giants, especially those connected with particular places, might
be counted folk-stories. The place-name G‡gjarsporsá, ‘River of theogress’s footprint’, in Landnámabók points to a troll-story of the mostprimitive kind. Among the Eddic poems, Alvíssmál tells of a dwarf
Alvíss who came to fiórr and demanded his daughter firú›r in marriage. fiórr prevaricated and started to ask the dwarf all manner ofquestions until the sun rose and Alvíss was turned to stone. Hrímger›armál, which is interpolated into Helgakvi›a Hjƒrvar›ssonar, tells how
Helgi slew the giant Hati, who had abducted men’s wives, and how
Hati’s daughter Hrímger›r sought atonement for her father’s death.
Atli, who is keeping watch in the bow of Helgi’s ship, answers her
and keeps her talking until day breaks. She is then turned to stone andstands there still as a harbour mark. The same basic motif—a monster
delayed till sunrise—is at the root of these poems and of later folkstories, even though Alvíssmál belongs to the mythical and Hrímger›armál to the heroic sphere, and both exist in different conditions fromthe folk-stories of modern times.
A second example of similar material in a myth and a folk-story is
the motif common to the giant builder of Ásgar›r in the Prose Edda
and the church-builder at Reynir. As I mentioned earlier, it is probablethat the latter has grown out of the former but under the influence ofother sources.1 Here, therefore, a story has been brought down to a
1 This is also the opinion of C. W. von Sydow in his article ‘Studier i
Finnsägnen’, Fataburen 1907–08, 19–27, but I do not agree with his further
conclusions. He thinks that the story of the gods’ builder ended with the builder
turning to stone. But if the end of the story as it appears in the sources (fiórr

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73

lower level. But of course there were other stories of giants whichhave been less altered. Grottasƒngr tells of the giantesses, Fenja and
Menja, who helped the good Guttormr, and were then sold to Fró›i;the poem is counted among the heroic lays, but in Snorri’s version in
his Edda of how Bragi and an ogress capped verses, both matter andtreatment are at folk-story level.1
Various things appear in the mythical and heroic poems of the Edda
which are related to the wonder-tales of later ages, the swan-maidens
in Vƒlundarkvi›a, for example, and the quern which grinds out gold
in Grottasƒngr. We shall look more closely at these and others in Part
IV of this book.
The Celtic stories that were brought to Iceland were doubtless very
diverse in character, some most likely brief anecdotes, others someform of romantic heroic stories, still others belonging to legends ofsaints. Those that survived in Iceland have ended up in various classesof narrative, but they are all imbued with a curious imaginative power
and with wonders that make them stand out among Icelandic stories.
In pagan times some of them may have been given the status of myths,
but in later compositions they were absorbed into the ‘sagas of ancient
times’ (fornaldar sögur), also called ‘mythical-heroic sagas’, and otherhyperbolic stories (see Section III below). In general it has been thefate of legends from the Heroic Age and the Viking Age to come closer
together and include more and more fantastic and far-fetched matter.
Some, perhaps many, of the poems that tell us something about thefolk-stories of the pre-Christian period are certainly Icelandic, butothers may equally well be Norwegian or from even farther afield. We
must be on our guard, however. I said earlier that in Norse mythology

kills the giant in Vƒluspá, a mare (Loki) seduces the horse in Gylfaginning) is
not acceptable, all we can do is admit that we do not know how it ended
originally. Alvíssmál and Hrímger›armál of course say nothing about it.
1 The kernel of the story is presumably that the supernatural creature will
have power over the human being unless he is able to answer immediately.
Cf. Jfiork. 27, ÓDav. 32–34, ÓDav.5 II 55–56; Feilberg, Ordbog IV s.v. gab,O. Nicolaissen, Sagn og eventyr fra Nordland, 1879, I 85, Ivar Aasen, Prøver
af Landsmaalet i Norge, 1853, 6, Skar GS II 109. Hostile encounters between
men and giants are also indicated by Hárbar›sljó› 23, Helgakvi›a Hjƒrvar›ssonar 19, and the giant(ess)-names Greip (‘she who grips’), Hrossfljófr (‘horsethief’) and Búseyra (‘homestead-plunderer’; perhaps a sort of personification?).

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THE FOLK-STORIES OF ICELAND

motifs similar to those of wonder-tales are to be found, but it may be
doubted whether the poems that are our sources provide any direct
evidence of the existence of wonder-tales in Iceland, a country settled
only at the outset of the last century or so of heathendom in the West
Norse world. The subject-matter of the mythology may often be very
old and depend on archaic beliefs and religious practices; but many
myths may have migrated from the traditions of other nations.
II
Equal importance was certainly not attached to every story told in the
pagan past. A myth was far more important than a place-name story,
and it may be that the favourite stories of master and slave were not
the same. Yet it was all one unbroken whole. Christianity broke it. The
myths lost their prestige, and would have been forgotten altogether if
the poets had not needed them. The nature-spirits believed in by thepeople lived on, but their status fell because in the Christian systemthey could only be found a place as demons. That was not how thecommon people saw them, however, and they did their best to keepthem outside the church’s world of ideas. So ancient belief in spirits,
dreams, apparitions and ghosts continued, without ever being assimilated into the Christian scheme of things. The divinities who had
enjoyed public cult disappeared, while those supernatural beings related more closely to particular places and families survived; mythological stories vanished, though not entirely. There must always havebeen a considerable contrast between the worship of the gods and thepractice of magic, and many other dichotomies must have existed side
by side in tolerable comfort. With Christianity came full hostility between the new faith and the old. The Church further introduced a whole
new world, teaching the existence of Satan and devils and Hell, and agreat deal of new magic came with these concepts from the European
mainland. The old beliefs and the darker Christian superstitions entered into partnership, each influencing the other, but they did not coalesce until much later, and then only in part. Gradually the power ofthe old superstitions faded and in some cases were quite forgotten,
though they may perhaps have left traces in the more fantastic kind ofstory, in wonder-tales for example. But there was a glow in the embers
which lasted a long time.
Christianity brought to Iceland its own stock of stories to replace

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the myths and related stories it drove out: stories of angels, of theBlessed Virgin Mary, the apostles and other saints, of their miracles
and glorious acts. There is no need to emphasise how enormous anddisparate this material is, both in colour and quality. The shorter miracle stories have had most influence on popular legend, and some ofthem have been naturalised, such as the story of the imp on the churchbeam (AT 826).1
Some of this material may have reached Iceland through oral transmission, as is likely in the case of the story of how Sæmundr the Wise
escaped from his master.2 One story is referred to the authority ofBishop Páll of Skálholt (1156–1211), who heard Archbishop Absalonof Lund (c.1120–1202) tell it when Páll went to Lund to be consecrated in 1195.3 Finally, reports of miracles attributed to the intercession of the Icelandic saints Bishop fiorlákr and Bishop Jón and thesaintly but uncanonised Bishop Gu›mundr sprang from the same roots.
They are shaped by local conditions and local people. Many of them
have a childlike beauty, reflecting as they do the daily life, joy andsorrow of the ordinary man and woman.4
1 JÁ II 4–5, MS 174–80. Other examples: Unborn child given to the Devil,
MS 325–31, cf. JÁ II 13–14; Verz. nos 810–14; Man makes a contract with theDevil, MS 65–69 etc., common in folk-stories; comradeship of souls after death,see Verz. no. 759* I; traces of vision-legends have also been preserved down
to recent times; talking piece of meat MS 154, cf. JÁ I 549, Skrif Ólafs gamla(Jón Eggertsson), BE Munnmælasögur 16–17; old man understands the wordsof the priest literally, that people will be rewarded for their gifts a hundredfold, MS 955–56, 1049–54; this motif found its way into the story of Grámann,JÁ II 511, Verz. no. 1525 A, probably before it reached Iceland; the Polyphemus
story appears in MS and many other medieval Icelandic sources, see Lagerholm
DL xxxii–xxxiv, but since then only in the story of Surtla in Blálandseyjar, JÁII 348, Verz. no. 327 A; woman disguises herself by stretching a membrane or
fish-skin over her face, Clemens saga, Postola sögur 129, cf. fiáttr af Játvar›iok Ermingá in Mágus saga, more recently in the wonder-tale of Tístram andÍsól, JÁ II 320 (derived from Mágus saga); child put in a tarred chest andpushed out to sea (Júdas), Postola sögur 153, cf. JÁ II 321 n.; man summons
spirits by cutting a square of turf is both in MS 147–48 and Færeyinga saga,
tr. George Johnston (Thrand of Gata), 1994, 93–94; cf. JÁ2 II 694 (reitir).
2 See Halldór Hermannsson, Sæmund Sigfússon and the Oddaverjar, 1932
(Islandica XXII), 51–52; BS I 227–29; JÁ I 485, 492–94.
3 MS 153.
4 See Einar Ól. Sveinsson, ‘Jarteiknir’, Skírnir 1936, 23–48.

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THE FOLK-STORIES OF ICELAND

Various stories with a supernatural content, telling of the acceptance of Christianity and how the heathen deities reacted to it, mustlargely have had clerical origins. Most of them are connected with themissionary kings of Norway, Óláfr Tryggvason and St Óláfr Haraldsson. In them we meet heathen gods, trolls and other malevolent beings all lumped together with devils, while Ó›inn has become thePrince of Darkness himself. The Icelandic monk Oddr Snorrason, in alife of Óláfr Tryggvason which he wrote in Latin about 1190, tells of
Eyvindr kinnrifa—doubtless a very religious man by heathen standards, and acquainted with sorcery—that he was an evil spirit who entered the womb of his ‘mother’ to be born in man’s shape.1 Oddr clearly
did not know the revolting ecclesiastical theories of incubi and succubi which were current in the thirteenth century, but his story is none
too pleasant even so. (In the Middle Ages such notions were common.
One of the most famous examples is the story of the prophet-magician
Merlin, who was the son of an evil spirit and a pure maid—a clear
parallel to the birth of Christ, the son of God and the Virgin Mary).
One of the most pathetic of the stories dealing with the conversionof Iceland is the twelfth- or thirteenth-century story of fii›randi, sonof Hallr of Sí›a, who was killed by supernatural beings. He went outside into the moonlight to see who had knocked at the door. Then
seven dark-clad women came from the north of the home-field andseven white-clad women from the south; the dark ones attacked him,
and though the others tried to shield him, the former had the better of
it and left fii›randi mortally wounded.2
One of the last stories of heathen gods that I recall is from the southof Norway. A blacksmith undertook to forge horseshoes for an unknown guest, but it was only when he gave up trying to control it thatthe forging was successful, and the horseshoes turned out to be amazingly large. The guest named the places where he had stopped; he had
been travelling more than a week’s journey in a day. He said he wason his way to Sweden and, finally, jumped his horse over a fourteenfoot wall and named himself as he vanished: ‘Have you heard tell of
the name of Ó›inn?’ Four days later there was a battle in Sweden.
1 Oddr Snorrason, Ólafs saga Tryggvasonar, ed. Finnur Jónsson, 1932, 140.
2 ÓTM II 145–50. Cf. Dag Strömbäck, ‘Berättelsen om Tidrande och diserna’,
Forhandlinger paa det ottende nordiske Filologmøde i København den 12–14
August 1935 (1936), 65. Though the story is highly coloured by saints’ legends,
I can hardly believe there is not some ancient kernel to it.

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This story is an unspoilt folk-story, for the smith himself told it to Jarl
Fillippus (fl. c.1210) when he was in Túnsberg that same winter, and‘a man who was there listening told us’.1‘Folk-legends’ i.e. oral stories about specific men or families, orabout major events in national life, must also have been in circulationin this post-conversion period. More or less accurate accounts fromparticipants or witnesses must have been quickly altered, in the same
way as other stories carried in men’s memories. Poetry and superstition got mixed in with them, if they were not already in them from thestart. As at other times, what people thought they experienced will
have been shaped by popular belief. Apparitions, ghosts and supernatural beings are seen by people who believe in them.
Numerous regular folk-legends, not least place-name anecdotes,
some of them going back to heathen times, have survived independently. Many of them might also be combined or incorporated into narratives of specific individuals or families. Some scholars are temptedto think of such local legends as much larger and more clearly shaped
unities than they actually were. Oral stories have then been conceived
as very like the written sagas, while the great and vital part that thewriters, the authors, have in the latter has tended to be forgotten.
Most of the early Icelandic local and historical legends were undoubtedly woven into the written sagas; they will generally have been
shaped in saga-style and can now only be distinguished by their content.
As is to be expected, not every kind of folk-legend would have fitted
easily into the sagas. Their inclusion and adaptation would dependvery much on their subject-matter. Thus the sagas have very manystories of ghosts, dreams and sorcery, but other classes would be scantily represented, were it not for their appearance, in typical guise, inLandnámabók and the Sagas of Bishops. If we gather the examples
together we can get a reasonable idea of the folk-legends of the period,and it is clear that they flourished as freely then as later on. I shall deal
with them in more detail later on,2 but at this point I shall quote two
short complete stories from Gu›mundar saga biskups. The first is abouta fowler saved from a cliff-troll (BS I 599, II 111).
1 Fms. IX 55–56 (Hákonar saga Sverrissonar). Cf. Carl J. S. Marstrander,
Randbemerkninger til det norsk-irske spørsmål, 1928.
2 The chief discussions of this material are Dehmer 1927; Dag Strömbäck,
Sejd, 2000; Henzen 1890; Kelchner 1935.

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THE FOLK-STORIES OF ICELAND

There was a man named Eiríkr, son of Árni; he was a great hunter and catcher.
He went to the rock-cleft known as Gráhnakkaskor (‘Greyneck’s cleft’)—agreat place for birds, but no one should go to take them there before midmorning, nor stay there later than evening. Eiríkr went there and spent the day
catching birds, eight hundred or more, and this made him tarry on the cliff andstart to leave later than he should have done. Then, when he went to haul
himself up, a huge hand holding a cleaving-knife came out of the cliff-faceand cut through eight strands of his climbing-rope; those fell down over hishead but one stayed unsevered, the one that Bishop Gu›mundr had blessed,
and this one saved his life.

Folk-legends must have been told in the some such way as this. A
particular phrase or remark in a story could also turn into a proverb, as
commonly happened in later times. In an account of Bishop Gu›mundr’s miracles, we are told that he spent most of one summer at
Ei›i in Kerlingarfjör›ur.1
It was uninhabited and isolated and so horribly haunted that no one could staythere before the bishop and his men pitched their tents there. One night when
the bishop and his party had gone to bed, they heard great crashes and manykinds of frightful noise and the sound of a violent struggle. One of the monsters then spoke:
Hér sofa drengir‘Here lads sleep
ok hér sofa drengir
And here lads sleep.’
The bishop went out with his sacred relics and put an end to the visitations ofthese ogres.

Those who had most say in Icelandic literature during the early medieval period were rather austere men. They looked for truth or at leastverisimilitude in the stories that were composed, and whether as patrons
or authors they would not allow their desire to entertain to lead theminto narratives that were at odds with their notion of the possible. They
believed in dreams, portents, apparitions, ghosts, second sight andmagic (the beliefs may vary in intensity, but they are generally present)
and that is why they had no objection to manifestations of these in thesagas that were written then. On the other hand, there were doubtlesssome people who were more judicious and had some aversion to belief
in trolls and nature-spirits. In Sagas of Icelanders these are conse1 BS I 598. Here it speaks of hauntings, and this can refer both to trolls or
troll-wives (flag›agangr) and ghosts. Cf. Grettis saga and JÁ I 154, 156–57,
166; further the story of St Óláfr in Hkr, Óláfs saga helga ch. 179.

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quently less prominent, though they abound in Landnámabók and inclerical writings; as noted earlier, however, clerical authors tended toturn the trolls of folk-belief into demons. But when we turn from suchstories which have some basis in folk-belief and look for sheer fictionof the fantastic and wonder-tale kind, the sources are meagre, for thesimple reason that no one thought it worth while at that time to spend
precious vellum on them. Admittedly, King Sverrir of Norway (1152–
1202) declared that ‘lying stories’ were the most entertaining of all,and must to some extent have been voicing the popular opinion of histime. On the other hand he was a remarkable and unconventional man,and it may be that this statement of his was remembered and recorded
because it was typical only of his bold and independent attitudes. We
can guess it was Sverrir himself who inspired, or perhaps even uttered,
the words in Sverris saga, which compared his journey through thewilds of Värmland to ‘what we are told in ancient stories happened
when royal childrren had spells put on them by stepmothers’.1 It iseasy to conjecture that this refers to wonder-tales Sverrir had heard in
Norway or the Faroes.
In Iceland there are no examples of chieftains or literary men comparing themselves to the heroes of wonder-tales. Still less were they
willing to record wonder-tales or other fantastic stories. Snorri
Sturluson put myths, some of them at folk-story level, into his Edda,
but this was for the instruction of poets. As far as we know, fornaldar
sögur (mythical-heroic sagas) were not committed to vellum to speakof until after the middle of the thirteenth century. There are very few
wonder-tale motifs in the extended narratives we have, though we cannot conclude from this that such stories were particularly rare; stepmothers, ‘male Cinderellas’, and magic spells are after all commonplace story materials. I shall come back to this subject in Part IV ofthis book.
III
Towards the end of the thirteenth century it seems that Icelandic sagawriters cease to be content with reality as it is, and become more ready

1 Sverris saga (The Saga of King Sverri of Norway), tr. J. Sephton, 1899,

repr. 1994, 7.

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THE FOLK-STORIES OF ICELAND

to listen to the promptings of their own hearts (and those of others)
which demand more consolatory subjects. A tendency towards entertainment was already noticeable in the early sagas, and this now becomes more dominant. The people’s taste for exaggerated stories does
not meet the same opposition as before, and in any case the writingsof ecclesiastics had from the beginning dealt with supernatural material. Now that was supplemented by the chivalric romances, full of
fantastic marvels and wonderful adventures. At this time a new kindof literature begins, which indeed had ancient roots in oral narratives,though it had not been thought worth expending parchment on. These
are the fornaldar sögur (‘sagas of ancient times’). To begin with they
deal with old heroic material, but very soon the elements of fiction
and fantasy grow, till they predominate. They are generally set in the
Scandinavian countries, but sometimes more distant lands are mentioned, and they show considerable knowledge of geography, especially of areas the Vikings had been to. As time passed the invented
and fantastic elements grew in importance, and these sagas began toshow influences from translations of French romances; they infectedboth their style and their subject-matter. From this mixture a new genre
came into being; it has sometimes been called lygisögur (‘lying sagas’),and these then predominated in Icelandic prose fiction for many centuries. Sometimes elements from the fornaldar sögur are stronger inthem, sometimes elements from the romances. In many of them wemeet motifs or even series of motifs of the sort integral to wondertales. These sagas are generally set in distant, suitably vaguely locatedlands and treat time and space, and indeed everything else, very freely;
they are fantasies of wish-fulfilment that always end happily. The
heroes are usually kings or princes, though poor peasants or peasantlads often turn up, and the whole tenor of these later sagas is much
more fantastic than that of the earlier, more realistic ones. The plots
are pure fiction, put together using all kinds of motifs which are largely
already fully developed, and from older narratives; some of them arejust escapist fantasies, and others originally derive from superstitions
which may once have been seriously believed in, but by now no longer
reflected contemporary popular belief. Many of the motifs are common
to fornaldar sögur, lygisögur and wonder-tales of later times, and there
is no doubt that much in the first two types is derived from contemporary stories which we may safely call wonder-tales.

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On the other hand, local and historical legends or their influences
are now hardly evident. Yet at the beginning of this period there werecomposed two Icelandic sagas which lean directly or indirectly on
folk-legends to some extent—indeed, on the very ones to which earlier authors objected most, namely, stories about trolls and giants. Theseare Bár›ar saga Snæfellsáss and Grettis saga. We find trolls also described in Brandkrossa fláttr and Fljótsdœla saga; elves are barely
touched on anywhere, though serpents in seas and lakes are mentioned.1
The influence of wonder-tales is far stronger in the literature of thisperiod. Even the style of the wonder-tale greets us in some places, asin Bjarka fláttr (in Hrólfs saga kraka) and Hjálmflérs saga ok ¯lvis,
which are worth their weight in gold for that reason. Sometimes theplot is similar to that of wonder-tales of later times, while wonder-talemotifs abound. Here is the stepmother, here are spells, here is the sending on dangerous missions, here are the hind in the wood, the life-egg,
the girdle of power, the flying cloth, witches and stolen princesses,
and here appears for the first time north of the Alps the motif ofCinderella’s shoes (see further Part IV below).
International stories more or less free of supernatural content(Novellen and various anecdotes) are often found in these writings,
and I name a few specific examples. In Flóamanna saga comes thestory of the cockerel who rules over his hen (and so is an example tohusbands; cf. AT 670). In the episode of Spes and fiorsteinn in Grettis
saga we find the motif of the equivocal oath (AT 1418) similar to thatin one version of the Tristram and Iseult story. Good counsel appears
in Hervarar saga and Hákonar fláttr Hárekssonar (Fms. XI; cf. AT
910–15); one could go on for a long time. All these story-elements
appear to have reached Iceland by word of mouth; their contents areentertaining and the stories well adapted for dissemination. Then there
are other stories, which have travelled in books. Saints’ lives went on
being translated as in earlier years, but the exempla so popular as
sermon-material with itinerant monks, friars and other clerics (witness
Chaucer’s Pardoner’s Tale) also began to be turned into Icelandic.
These were in fact all manner of stories which had as a common factor
the possibility of theological or moral lessons being derived from them.
1 See Skálholts annáll 1345 (Islandske annaler indtil 1578, 211); BS II 129(Norwegian).

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Huge collections of these exempla are found in Europe, and the moral
is often merely tagged on to them. Completely secular stories could
be used for this purpose, and if the moral was taken away, there wasoften no trace of ecclesiasticism left in them. One man, Bishop Jón
Halldórsson of Skálholt (died 1339), is known to have used such stories, and from the centuries after his time there exist large collectionsof such material, which are extremely varied in content. There we findfor instance the story of the man who learned the physician’s art from
Death (one of the earliest recordings of this story, type AT 332). Subsequently translation of entertaining anecdotes continued, and there isa vast store of them in Icelandic manuscript collections. Those editedby Gering were identified by Reinhold Köhler1 and editions and studies of others have since been published.2 It is interesting to note thatfragments of an English collection of exempla not known to Gering
have been brought to light by Einar G. Pétursson.3 The story of Jonathasin Gesta Romanorum was translated into Icelandic and later turned
into rímur. From these is derived an Icelandic version of AT 566.4
Jón Halldórsson’s name is also associated with the translation of
Clári saga, a French story which had been made into a Latin poem.5
Hans Christian Andersen used a similar subject for his story of theSwineherd. Thus such stories go by various routes and could provide
inspiration for great writers at various times and of various nations. In
Iceland the fate of this story was that someone who heard it read out,or else heard a ríma chanted that was based on it, retold it, and so it got
into the stream of oral transmission (AT 900).6IV
Fifteenth-century sources for Icelandic folk-stories, folk-beliefs andwonder-tales are scanty and one-sided; they are almost entirely proseromances in the style of older fornaldar sögur and riddara sögur (chiv1 Íslendzk ævent‡ri, ed. H. Gering, II, Anmerkungen und Glossar mit

Beiträgen von Reinhold Köhler, 1883.
2 See Einar G. Pétursson, ‘Einn atbur›ur og lei›sla um ódáinsakur’, Gripla
IV, 1980, 138–39.
3 Mi›aldaævint‡ri fl‡dd úr ensku, 1976.
4 See Peter A. Jorgensen, The Story of Jonatas in Iceland, 1997.
5 Ed. G. Cederschiöld, 1907 (ASB 12).
6 On wonder-tales in older Icelandic sources see the introduction to Verz.

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83

alric romances), or rímur on similar subjects. In the sixteenth century
the sources become more varied, and more things come to light thanhave appeared for some time previously, and these sources become
still more plentiful in the seventeenth century, when several separate
brief treatises are added which deal very largely with popular lore, andare full of stories connected with folk-belief. We also have evidence ofwonder-tales, but no complete ones were recorded before 1700.
Descriptions of Iceland and anecdotes about events in Iceland begin
to multiply in books on geography in the sixteenth century, and towards the end of the century quite a considerable literature on Iceland
had sprung up, by both Icelanders and others. On the whole, narratives by foreigners tend to be imperfect and unreliable, full of ignorant anecdotes of Icelanders and old wives’ tales and superstitions
about hell-fire under Hekla, but this sold the books. Still, there is some
information to be had from them on folk-belief and folk-legends, andwith care one can make some use of this material.
I would like to mention some points in these foreign geographies
which may be based on Icelandic legends. In 1532 Jacob Ziegler published his book Schondia, which contains a chapter on Iceland. Among
many other stories we find the following: ‘It is said that spirits walkthere in broad daylight, because the ghosts of those who have drowned
or died violently in some other way come so openly to meet theiracquaintances that those who do not know of their death receive themas if they were alive and shake hands with them, nor do they perceive
their error until the ghosts are vanished. The people [of Iceland] oftenknow beforehand what will happen to their great men (the ghosts tellthem).’1 Laurits Benedict’s maritime chart has a note that there arewhalebones on Hestfjall by Hestfjör›ur, and such legends are known
in Iceland from that time.2
The Icelandic contributions to this subject all belong to the last yearsof the century. Firstly, oddly enough, we must mention the map of
1 After Ólafur Daví›sson, ‘Ísland and Íslendingar’, Tímarit hins íslenzka
Bókmenntafélags VIII, 1887, 122. This essay and Lfrs. are the chief sourcesof this section. Similar ghost stories derived from Ziegler are found in othergeographical treatises, such as those of Olaus Magnus (1555), Gemma Frisius(Regnier; 1550) and Hieronymus Cardanus (1540) (Lfrs. I 131, 136, 151, 152).
2 Lfrs. I 254, II 179 (Jens Lauritzsøn Wolf, Norrigia illustrata (1651), 165);
De mirab. 68 (Icelandic translation 113).

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THE FOLK-STORIES OF ICELAND

Iceland drawn by Bishop Gu›brandur fiorláksson of Hólar (1542–1627)
and first printed in Abraham Ortelius’s Theatrum Orbis Terrarum in
1595, though drawn at least a decade earlier. This map has here andthere illustrations and annotations, and some of these touch on folkbeliefs. Lómagnúpur is illustrated with birds and foxes which bite eachothers’ tails, with this explanatory note: ‘astuta vulpecularum venatio,in nidis volucrum investigandis atque diripiendis’ (a cunning methodof hunting by little foxes for finding and plundering birds’ nests); thisis the same story as Eggert Ólafsson tells of the fox.1 There is a pictureof a cow under Eyjafjöll with the legend ‘Vaccae marinae’. Presumably Bishop Gu›brandur had heard from that district some stories offine cows that came from under the sea, such as are common in later
lore. Above Stafholt in Borgarfjör›ur is marked a natural hot springthat moved because of a man’s covetousness, the monstrous serpent
in the river Lagarfljót is mentioned, and Áradalur, ‘Demon Dale’, isdrawn on the north side of Vatnajökull. Ortelius’s geographical treatise, which his map accompanied, mentions trolls in Iceland.2
The Latin treatise Qualiscunque descriptio Islandiae (QDI), written about 1588, probably by Bishop Oddur Einarsson,3 contains various items of folklore. It tells of both trolls and ‘hidden folk’, i.e. elves.
Trolls dwell in fearful lonely places, and the troll-wives are often seen,‘therefore do old women say that male trolls are nearly extinct and sothat race increases rather little’. Of elves it states that they live in hillocks and are seen by people with second sight. They are like humans
and have many dealings with them. Men have been known to begetchildren by their females, and their males to have intercourse withwomen, or else they carry off children or young people; some returnsafe and sound after a few days or perhaps weeks, but some are neverseen again, while others return with distracted minds. The author does
1 Eggert Ólafsson, Reise 354 (1975, 123). Also in De mirab. 60 (Icelandictranslation 99–100).
2 Lfrs. I 158.
3 Oddur Einarsson, Íslandsl‡sing. Qualiscunque descriptio Islandiae, tr.
Sveinn Pálsson. Introduction by Jakob Benediktsson: ‘Nokkur or› umÍslandsl‡singu eftir Sigur› fiórarinsson’. 1971 (= QDI). See Jakob Benediktsson, ‘Hver samdi Qualiscunque descriptio Islandiae?’ Nordæla, 1956, 97–
109; repr. Lærdómslistir, 1987, 87–97; Jón Samsonarson, ‘Nokkur rit frá 16.
og 17. öld um íslenzk efni’, Opuscula 3, 1967 (BA XXIX), 229–38.

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not know whether they are the Devil’s delusions or whether thesebeings are in some way mixed in their nature, intermediate between
physical beings and spirits. These two explanations often reappear
after this, the second among those who are more fixed in folk-belief
and the first from those whose faith is more orthodox. We can see herethat the stories of elves are in full flower, and similar in character tothose which were written down later. The treatise also mentions a watermonster (this is undoubtedly the Lagarfljót serpent), poets whose verse
has supernatural power, and the curious case of rau›aundur.1
Arngrímur Jónsson (1568–1648) does not have much superstitious
matter in his writings, and he is rather suspicious of such things. He
objects to the stories current about ghosts in Iceland, but in a letter to
Ole Worm he expresses certain beliefs in the influences of ebb andflood tides.2 In his Rerum Danicarum Fragmenta, written in l596, hementions elves in connection with the name Álfr in old stories. He
states that they show themselves occasionally, but make themselves
invisible at will, that they pass through rocks and hillocks and live inthem, and that their way of life is like that of humans.
People come upon elf-women while they are washing clothes or doing otherdomestic chores. Thus one of my workmen, a truthful person, saw their clothes
spread out to dry on a large stone in an uninhabited area, but he was afraid totouch them, and when he turned round they had vanished. They speak a strange
language, go out to sea to fish, and understand the winds and tides and otherthings. It is therefore said in eastern Iceland that one boat was saved whenothers perished in a violent sea because it followed an elf-crew who werefishing there, whom no one except the skipper saw as they rowed for the shorein calm weather during the first or second hour of the day. They spoke thesewords of warning to the skipper: ‘Wind in your lines, Glove-friend. There
will be many a widow tonight.’ He was called ‘Glove-friend’ because he had
given gloves to the elves. Elves often steal human babies or young children;some return and some do not, and those who return (especially the older ones)
can tell many things about the elves, but some of them remain more or lessout of their minds for the rest of their lives. Elves take on the parents’ likenesses and imitate their speech, and so find it easier to lure them away. It is a
1 QDI 14–15, 20, 70, 86 (Icelandic translation 48–49, 57, 134–35, 158). On

rau›aundur see KS 21; De mirab. 69 (Icelandic translation 116).
2 Lfrs. I 233, 235; Ole Worm’s Correspondence with Icelanders, ed. Jakob
Benediktsson, 1948 (BA VII), 56–59 (nos 25–26); Breve fra og til Ole Worm
II, 1637–1643, tr. H. D. Schepelern, 1967, 91–92 and 132–33.

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fact that elf-women have intercourse with men; they then make great efforts
to have the offspring of such unions baptized, carrying them to church on
major feast-days. They place the child in the churchyard or some other place
where everyone will see it, and wrap it in costly cloth (such as priests’ chasubles
are made of), which is intended as a fee to the priest for the service. The
mother does not appear herself, but she will nonetheless ask the human father
to see to the child’s baptism; when he refuses she removes the child in anger
and lays a curse on the father. This men say and believe, but I cannot believe
it, though there are many witnesses to it.1

The belief in elves described here corresponds closely to that of thenineteenth century, and the content of the stories is similar. The story
of Glove-friend is rare in Iceland, but very common in other countries.2 Down to the nineteenth century there is an unbroken traditionof stories about the elf-woman who brings her child to be baptized (cf.
pp. 178–79 below).
We now come to a number of events of the sixteenth century which
point to beliefs current among the people. A number of witchcraft troubles arose, such as the cases of fiorleifur Björnsson of Reykhólar (1546)
and Oddur fiorsteinsson of Tröllatunga (1554), the forged letters about
Jón Magnússon’s practice of magic (1593) and Bishop Oddur
Einarsson’s decrees on defensive magic (1592). There is also from thetime of Bishop Gu›brandur fiorláksson (though this is not actuallyfrom this century), the accusation of witchcraft against Einar fiorvaldsson which the bishop prevented from going to court in 1617–18, andGu›brandur’s letter concerning Jón of Helgavatn (1612).3 In this hestates that this Jón goes in for dreams, visions and prophecies, whichsome take to be divine revelations, and that Jón has intercourse withelves or ‘hidden folk’, which is not in accord with the teaching ofGod’s word, wherefore Jón should unequivocally leave the society of
Christian people and join the elves. All this shows that BishopGu›brandur regarded such accusations as rather silly.4

1 Aarb. 1894, 130–31 n.; BA IX 461–62 and XII 260.
2 It is found in the fláttr of fiorbjörg Kólka in Laxdal Ósfi (IV 15 (14)), andpart of the verse in Jfiork. 244; for other countries see Feilberg Ordbog s.v.
vante.
3 PEÓ Menn og menntir II 418–20, III 605, 733–36.
4 Cf. Jón Samsonarson, ‘Fjandafæla Gísla Jónssonar lær›a í Melrakkadal’,
Gripla III, 1979, 40–70.

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The story of Gvendur loki, who returned as a ghost because he was
not allowed to go on the parish in Hjaltadalur, killed cows at Hólar
and attacked a girl there, is more serious. It ended in his body being
exhumed and beheaded and the girl being made to walk between hishead and body before the remains were burned. Björn Jónsson ofSkar›sá (1574–1655) tells the story in his Annals, and it must be close
to the truth, since in 1609 a royal letter was published which sternly
forbade the exhumation, beheading and burning of dead bodies.1
All that has so far been mentioned points to folk-belief and folkstories as they passed from person to person. But the sixteenth century
is also peculiar in that it possessed poets who wrought from suchmaterials fine and noteworthy poems. Their contents are usually mostnearly related to elf-stories and wonder-tales. They are composed infornyr›islag. Kötludraumur, ‘Katla’s dream’, appears to be one of theearliest. It tells of the extremely intense love of a man of the hidden
folk for a mortal woman, and his grief when she leaves him to returnto the dwellings of men. Snjáskvæ›i, Kringilnefjukvæ›i, Vambarljó›,
Hyndluljó›, Gullkársljó›, Brynger›arljó› and fióruljó› are all wondertales in content.2 Snjáskvæ›i tells of an elf-woman who has had a spell
cast on her by her stepmother which has made her forsake her husband and child and go to the human world in man’s clothing. She
must become a wolf and live among wild animals after ten years unlesssomeone can tell her what is the matter with her and where she goes atnight (at which time she is allowed to dwell in the world of elves).
There is an atmosphere of deep grief and a pleasurable mystery in the
narrative of this poem, the relationship of which with the nineteenthcentury folk-story of Una (Úlfhildur) the Elf-queen is obvious.3 Gullkársljó›, which tells of a princess whose lover is a man of the hidden
1 Annálar 1400–1800 I 182–83; Alflingisbækur Íslands IV 116; PEÓ Mennog menntir IV 619–20.
2 Printed in ÓDav. fiulur.
3 For related stories and variants see Verz. no. 306 I–III, JÁ I 440. Doubtless
the foreign wonder-tale AT 306 is also related. On the basis of the poem,Snækóngsrímur were composed late in the seventeenth century by Steinunn
Finnsdóttir of Höfn (Hyndlu rímur og Snækóngs rímur eftir Steinunni
Finnsdóttur, ed. Bjarni Vilhjálmsson, 1950, Rit Rímnafélagsins III). There arealso Snjásrímur by Gu›rún Jónsdóttir of Stapadalur, see Páll E. Ólason, Skráum handritasöfn Landsbókasafnsins III, 1935–37, 577b. It may be mentionedthat in one version of the folk-story in JÁ I 116 there appears a ríma stanza

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THE FOLK-STORIES OF ICELAND

people, has an elf-story flavour about it; the story is probably from awonder-tale, though somewhat altered.1
Finally, Vambarljó›, the heroine of which is transformed into a cow’s
stomach, but magically forces a prince to marry her and is thus disenchanted, seems to have been composed from a wonder-tale which wascurrent at the time, even though most of the more recent versions of
the story are influenced by the poem. I once heard the story of Rolling
Belly told, and in it there came this remark: ‘Often have I seen a sadbride, but I have never before seen a bridegroom weep.’ This appears
in st. 53 of the poem.2 Brynger›arljó› contains this stanza, known tomany in Iceland:
Jafnt er okkarást í milli
sem hús standi
hallt á brekku.
Svigni súlur,sjatni veggur.
Sé vanvi›a›,völdum bæ›i.

Such is our love now,
you and I,
as a house on the hillsidethat stands awry.
The walls are sinking,warped is the frame.
If it now crumbles,
we both are to blame.

As well as these narrative poems one should also mention Ljúflingsljó›,
a cradle song sung by a man of the hidden folk to send his son by amortal woman to sleep; this poem has become very popular in Iceland, so much so that its metre, fornyr›islag, has been renamed ljúflingslag after it (ÓDav. fiulur 254–58; cf. pp. 182–83 below).
Besides such poems composed in simple metres, rímur were also
made on similar topics at this time. Mó›ars rímur is made from amournfully sad elf-story, while Hermó›s rímur is composed fromwonder-tale motifs and is, as one might expect, somewhat in thesimilar to stanzas 26 and 36 of Snjáskvæ›i but not from Steinunn’s rímur.
Which is older?
1 Cf. AT 432. Further Jonetsljó› in Strengleikar, ed. R. Keyser and C. R.
Unger, 1850, 74; Strengleikar. An old Norse translation of twenty-one old
French lais, ed. Robert Cook and Mattias Tveitane, 1979, 229–45.
2 Cf. Verz. 38–39; further JÁ I ix, n.; JÁ3 II xviii, n. 1. I believe Hyndluljó›
to be based on Vambarljó›; Steinunn Finnsdóttir of Höfn also composed rímur
based on it.

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89

fornaldar saga style. A wonder-tale which was current in oral form in
the mid-nineteenth century is descended from it.1
One can learn a great deal about the wonder-tales current in thesixteenth century from such rímur, and there can be no doubt that they
did flourish then; they appear also to be behind a refrain in a poem by
Jón Pétursson.2
Skemman gullinu glæst
See the bower, bedecked with gold,
glóir hún öll a› sjá;
glittering to behold;flar leikur jafnan minn hugurinn á. thereon ever plays my desire.

Besides all this evidence of the existence of Icelandic folk-stories andwonder-tales, there is ample evidence that a vast number of exempla,
fables, Novellen and humorous stories reached Iceland from abroad
during this period. In contemporary manuscripts such literature is called
simply ævint‡ri, and they are a direct continuation of the medieval
importations in this category. Whole collections of this kind of translation exist from about 1600 down to our own times, and certain individual stories are scattered in manuscripts in various places.3 Large
numbers of rímur and other poems were composed on such subjects.
1 Mó›ars rímur are edited in ÍRSA 5. See Verz. no. 443*. On these rímur see

also Verz. lxiv, and especially BKfi Rímur 509–12. The author of the latterwork clearly believes that Hermó›srímur were based on a written saga, andthat may well be. One might also mention here Ásmundar rímur flag›agæfu,which are certainly based on a much older (medieval) saga). See BE Munnmælasögur clvi–clxi, 92–104.
2 PEÓ Menn og menntir IV 625.
3 Cf. Verz. lxvi–lxxi. There is more recent research especially in Opuscula
IV–V (BA XXX–XXXI, 1970, 1975). In the second of these Vésteinn Ólason(among others) has shown that some ballads (fornkvæ›i) were derived fromtranslated stories; see also the same writer’s The Traditional Ballads of Iceland, 1982. Exempla translated into Icelandic from Middle English in the late
fifteenth century have been edited in Mi›aldaævint‡ri fl‡dd úr ensku, ed. Einar
G. Pétursson (1976); some had also been printed by Gering, see Peter A.
Jorgensen, ‘Ten Icelandic exempla and their Middle English source’, OpusculaIV, 1970 (BA XXX), 177–207); ‘The Icelandic translations from Middle English’, Studies for Einar Haugen, 1972, 305–20; ‘Four Ævent‡ri’, Opuscula V,
1975 (BA XXXI), 295–328. Besides these there are translated stories of thistype to be found widely in manuscripts and they have had varied influence on
folk-stories, especially those of a religious kind, but the manuscripts are numerous and the stories usually rather short, so that they have not always been
noted in manuscript catalogues. Collections of such stories went on being

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THE FOLK-STORIES OF ICELAND

From the sixteenth century we have fijófa rímur, Skógar-Krists rímur
and Jónatas rímur (as well as the corresponding prose story of
Jónatas).1 In a large manuscript note-book of miscellanea (Syrpa) madeby the Rev. Gottskálk Jónsson of Glaumbær there are three such poems, all composed from non-Icelandic materials.2 One of his stories isfound in The Thousand and One Nights (the story of the little cripple),and other of his poems are derived from foreign stories and exempla.
His Syrpa is a highly varied miscellany, containing many other poems
and odd stanzas, some riddles and number games.3
We have attempted to give a survey of what folk-legends there aretraces of in the sixteenth century, and a great deal has had to be mentioned,
even though much of it is of slight importance. It is clear that at that time
all the categories of story which are found later existed already then,though it is not until the next century that the sources become fullenough for us to be able to make a serious comparison of earlier andlater stories. If one wanted to pick out one major characteristic kind ofsource during this period, it would be the poetry that grew out of elfstories and wonder-tales. Some of this material is, however, alteredunder the influence of ancient literary forms or later fantasy stories, orelse it takes on the style and rhetoric of the rímur, while some manages
to keep more of its folk-story character, is less tied by ancient conventions and has a more natural heartbeat. These are the narrative poems
most closely based on folk-beliefs. It is as if the subjects are brightened and filled with a kind of lyric strength. It is a matter of opinion
whether these poems were not the first growth of a new spring in Icelandic poetry—even though this growth was stunted by a later frost.

translated right on into the nineteenth century; see Mariane Overgaard,
Opuscula VII, 1979 (BA XXXIV); one motif is examined by Agnete Loth,‘Utroskabs hævn. Motivet Stith Thompson Q 478.1.4 i nogle islandske kilder’,Gripla V, 1982, 216–56. All this illustrates how difficult it is to distinguishbetween oral tradition and literary tradition, folklore and booklore, in Iceland.
1 BKfi Rímur 453, 465, 457; on the third of these see Peter A. Jorgensen,ed., The Story of Jonatas in Iceland, 1997.
2 Ed. Jón Helgason, Gamall kve›skapur, ÍRSA 7, 1979. This work includes
other poems derived from similar sources.
3 See Jón fiorkelsson, ‘Séra Gottskálk Jónsson í Glaumbæ og syrpa hans’,
AfnF XII (1896), 47–73.

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V
Evidence of folk-stories appears in far more sources in the seventeenth
century than in earlier periods, and they are sometimes told well andclearly. There are even complete collections of them from this time
and the evidence for wonder-tales is also more widespread. Considerations of space make it necessary to deal with this period more rapidly, and so we shall linger only over the more extensive sources.1
First then, we look to works of geographical description that contain bits and pieces of a folk-legend nature. The treatise Qualiscunquedescriptio Islandiae mentioned above was used by Bishop Gísli Oddsson (1593–1638) in his De mirabilibus Islandiae (1637) and by P. H.
Resen in his Nova descriptio Islandiae (c.1680) (though Resen also
drew on other sources). Then there are the works of Jón Gu›mundsson lær›i in this field, written before the middle of the century, andBishop fiór›ur fiorláksson’s (1637–97) master’s degree thesis Dissertatio Chorographica (Wittenberg, 1666), an essay by Hannes fiorleifsson (died 1682) on the óskabjörn ‘wish-bear’ (the crab oniscus) andanother by Jón Eggertsson (died 1689) on the development of Iceland,
to which we may add Jens Lauritzsøn Wolf, Norrigia illustrata (1651)
and various smaller items in other non-Icelandic writings.2
There is a good deal of superstitious matter in the annals of bothrecent and earlier times. Skar›sárannáll and especially Fitjaannáll
contain a number of outright folk-legends that had been transmitted inoral tradition over a long period,3 and there is also Bishop Gísli’s hotchpotch of preternatural annal entries Ann. farr. (1637).
Superstition developed rapidly in Iceland in the seventeenth century. People suspected of dealing in witchcraft were now dealt withmore severely, fear of it grew and spread, and many were burned at
1 One of the most important sources for the study of writings about folklorein seventeenth- and eighteenth-century Iceland is BE Munnmælasögur.
2 Bishop Gísli’s writings are printed in Islandica X and translated by Jónas
Rafnar, Íslenzk annálabrot og undur Íslands (1942), Jón lær›i’s Um Íslandsa›skiljanlegar náttúrur in Islandica XV; Peder Hansen Resen’s in Íslandsl‡sing, tr. Jakob Benediktsson, 1991 (see Aarb. 1934); fiór›ur fiorláksson’s inÍsland, Stutt landl‡sing og söguyfirlit, 1982 (photographic reprint of the original edition, with a translation into Icelandic). On Jón Eggertsson’s essay see
BE Munnmælasögur lvii–lxii. For the others see Lfrs. II.
3 Annálar 1400–1800 I–II.

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the stake. There were precedents enough for this from abroad and thechurch was not backward in proclaiming the danger. Even though theirconceptual world was largely non-Icelandic, much Icelandic folklegend material and folk-belief is found in the writings of Icelandic
churchmen. The first of the theological polemics against witchcraft isfound in Hugrás, ‘Mind’s free run’, by the Rev. Gu›mundur Einarssonof Sta›asta›ur (1627). Ari Magnússon, sheriff in Ögur, wrote a reply
to this to defend the sheriffs from blame. The Rev. Páll Björnsson of
Selárdalur (1620–1706) and others also wrote about witchcraft.1 Bothhere and elsewhere we can see the contrast between the attitudes sprungfrom folk-belief and those of learned people derived from foreign
Christian writings. The Rev. Jón Da›ason’s Gandrei›, ‘Magic ride’,contains various things connected with folklore which he regards as
white magic—and we may mention that the Rev. Eiríkur Magnússon
of Vogsósar (1638–1716), one of the master magicians of later legends,
was brought up by Jón.2
We can get some insight into the ideas of the magicians themselves
by studying documents relating to witchcraft trials. We can learn evenmore from some of their poetry that conveys a strong impression of
the supernatural power they believed lay in their verse, in charms
against evil spirits, sickness, dangers, piracy, etc., such as Jón lær›i’s
Snjáfjallavísur, composed to lay the Snjáfjöll ghost and the Rev.
Magnús Pétursson (died 1686) of Hörgsland’s Tyrkjasvæfa, ‘Charmagainst Turkish pirates’.3 It may well be that on occasion people really
did let fly with little spells, as folk-legends say. Not a few of the persons who are associated with witchcraft in later legends appear to havebelieved in the supernatural power of their verse, and have written
about such matters or even indulged in a little white magic.
We turn next to those who have written specific treatises on elves,
ghosts, second sight etc. The first of these is Jón lær›i, whom we shallconsider later. The Rev. Einar Gu›mundsson of Sta›ur (died 1650)
wrote a treatise on elves which is now lost, but a fragment of it ispreserved in the preface to fiormó›ur Torfason’s translation of Hrólfs
1 On these writings see EGP Eddurit I 111–17 and Lfrs. II.
2 On Gandrei› see Lfrs. II.
3 For the first of these, see Huld V 22–31, Huld 2 II 85–94; for the second,
Jfiork. 274–75 and Jón fiorkelsson, Tyrkjaráni› á Íslandi 1627 (1906–09),
515–23.

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saga kraka, which contains a description of elves and the substance ofsome folk-stories.1 In the seventh decade of the century Gísli Vigfússon,
Rector of Hólar Cathedral School, wrote a tract on spirits and ghosts,of which a summary appears in Resen’s Nova descriptio.2 About thesame time the Rev. fiorsteinn Björnsson of Setberg (died 1675) composed his Latin poem Noctes Setbergenses on the beginning of theworld and the creation of the earth, chronology, etc., ending with adiatribe against an unjust judge. The second section of the poem deals
with elves, the third is about men endowed with second-sight, though
in fact both topics are mixed together in both sections, together withother matter from folk-belief and folk-legend. Some relevant items
from the poem are listed here, as the work has never been described
before. The following is based on the copy in Lbs 1652 4to.
The whinny of the water-horse (nykur) is heard in lakes and rivers, especiallywhen they are covered with ice, while it is sometimes seen on dry land. A
story is told of its use as a hay-carrier from ‘our annals’ (probably Landnámabók). Sometimes it is in the shape of a bull and its bellowing is heard in lakes.
From this one lake in eastern Iceland (Sænautavatn on Mö›rudalshei›i?) takes
its name.
Since water-horses whinny in lakes, why should there not be mermen in thesea, as there are stories about them ‘in our ancient writings’?
There are monsters in lakes, and when they stick up their heads or someother part of them is visible it forebodes plagues and other disasters, whilerivers are inhabited by strange fish (skate) and monsters.
Hot-spring birds are sometimes seen in Ölfus at night, swimming on theboiling water; they dive when they are approached, but do not fly upwards.
They are the same size as crows, black as ravens and like them in appearance,
though the author makes no attempt to decide whether they are evil spirits inbird-shape or actual birds.
It is said that rocks are trolls turned to stone, while the author appears toknow of dwarves only from ancient written sources.
Elves are similar to men in size and appearance, but their bodies are madeof a light, fine-grained matter, for they are neither men nor spirits, but half-way

1 fiT HHrkr, Preface. The passage was translated by Einar Ól. Sveinsson
and printed in Blanda VII, 251–57.
2 See note 2 on p. 91 above and Aarb. 1934, 176–79. Little is really known
about the writings of Einar Gu›mundsson and Gísli Vigfússon, since they arelargely lost; see Jón Samsonarson, ‘Nokkur rit frá 16. og 17. öld um íslenzk
efni’, Opuscula III, 1967 (BA XXIX), 238–61.

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beings. It is said that they die like humans. Those who have seen them say thatthey have no division between their nostrils. They live in hillocks and rocks.
Things often disappear and are yet found again on the same spot; sometimes new-born calves are found in the mangers. Both are the work of elves.
Elves appear to humans in three ways: they are heard, seen or dreamed of.
It is reliably reported that two shepherds went to see to their sheep and hearda terrible voice say, ‘Now cover the hill-tops, Grímur, as quick as you can’and in that instant a thick fog covered everything.
Not far from here lived a serving-woman known to me by name, a virtuous
and truthful person, now very old. Some years since she told me this story: ‘I
was once watching over the sheep in a meadow near a hillock; I was worn out
and had laid down in the grass to rest. Then I heard the sound of butter churning from inside the hillock. I leant towards it and said: “Bring the butter out
here.” And what happened? A woman came suddenly out of the tump carrying
a jug in her hand. I was amazed and frightened, ran off as quick as I could andtook it to my masters.’
A similar story is told of a woman milking a cow and unable to get anythingout of her, whereupon she was going to leave her to her own devices. Then a
bit of a woman appeared and patted the cow and spoke thus to it in elf-verse:
Ló, ló mín Lappa,1
Lully, my Lappa, lee,Votir eru tappar,
Wet now your dugs be,
Illa ger›i konan
The woman here
til ljúfrar Lappar.
Did ill-treat thee,Löpp my dear.
It happened in our time at the farm called Reykjavík that serving-women spread
clothes out to dry on two rocks that stand out in the open there. In the evening
the farmer’s wife gathered up the washing and took it home. She was sittingin the entrance to the farm busy with something when an unknown woman
appeared suddenly, out of breath with running, and asked: ‘You haven’t seen
my child’s drawers, have you? They were hanging out on the rocks.’ The wife
was taken aback and could not get a word out. The strange woman rooted
about in the washing, found the drawers, went out to the rocks and vanished there.
A man from Grímsnes told the same woman a dream that a man had comerunning to him and told him to drive his animals away, and pointed out to him
the grazing-land and the animals he meant, and the road he was to take; ‘because,’ he said, ‘there is a great herd grazing there and they are eating all mymeadow-land bare’. The farmer did not, however feel up to carrying out theorder, and so did not move at all.
It can happen that men who lack second-sight suffer loss or run into danger
or even lose their lives, if they do a forbidden thing unwittingly. Near Setberg
here a green, flowering branch grew out of a rock. A man chopped it down in
1

The text of this line is adapted from JÁ I 39.

SOURCES95

our own time, but he went mad and threw himself in the lake and drowned thesame year. Something similar happened in the north, a man lopping off abranch broke his leg. ‘The man had often carried a lighted candle to this thicket
when he had met with some misfortune, and no wind could blow out the light
until it had burned out. So he made a vow for himself and his household, andthereupon was finally freed (i.e. from his distress).’
In some places it is forbidden to fish in the brooks either with nets or withhooks, and similarly some spots on rocks and skerries are avoided, and men
are wary of taking birds or eggs there. Those who break these rules suffer
harm, either bodily or in respect of their property.
Iceland has numerous stories of second sight and of people with secondsight who see ghosts and spirits—and not only people, but also dogs and horses.
This may partly be because the ground is more sulphurous here than in manyother countries. Besides, people with second sight do not see what they see
because of the sharpness of their eyes, but beings appear when they wish to;people with second sight see even with their eyes shut or with a cloth overtheir face, especially in the dark.
A person with second sight can let others see his visions. ‘If you go forward
before the person with second sight takes away the arm he has held over yourhead, then you must beware of the apparitions you wanted to see. A man will
see with second sight it if he walks forward under the outstretched arms, andthen he will be afraid of the apparitions afterwards. But if he walks backwards
from where he stood he will no longer see them.’ As confirmation of this I
will tell a story that took place in our own time. A man who knew some magic
was indoors, working at carpentry. He worked through the night and until
morning, as he wanted to finish his job. Suddenly the light went out just as hewas cutting the wood into shape. He went to relight it, and as he hurried as fast
as he could with the lamp, a vision appeared before him every time he looked
towards the door. The man tried to get outside, but the ghost stood in the way
and prevented him from going past. There was a young lad in the house withthe carpenter who couldn’t see the apparition and he ran out. The boy was
unafraid and knew nothing of ghosts or magic, but he passed under the carpenter’s outstretched arms, and then he saw the ghost with his own eyes andlet out a cry, after which he ran wildly to and fro, and now has second sight.
He has often been frightened when he has seen apparitions, but later he became a parson and after that he was never left in peace by them. Then his
second sight became second nature to him, and he could see, without being
upset by it, elvish people both at a distance and nearby as they played happily,in beautiful clothing, handsome and fine-limbed.’

There is no record of fiorsteinn composing anything other than this
poem, but Jón fiorkelsson the younger has surmised that it was he who
wrote down the accounts of the Rev. fiorkell Gu›bjartsson preservedin Stockholm Papp. fol. nr 60 and 64 in the Royal Library in Stockholm,

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THE FOLK-STORIES OF ICELAND

which were copied in 1686–87 by Jón Eggertsson from one of theRev. fiorsteinn’s books.1 This narrative is closely connected with SkrifÓlafs gamla, ‘Old Ólafur’s writings’, which are also in Stockholm
Papp. fol. nr 64, and there is scarcely any doubt that both these works
were originally by the same person.2 I doubt, however, whether SkrifÓlafs is by a man from the south of Iceland, because the stories in it
are from the north or west of Iceland. Skrif Ólafs can be dated by areference to a war between Sweden and Denmark which has peacefully ended, though Christian IV, the Danish king, had had to ‘cede
sundry lands to Sweden’. This could refer to the Peace of Brömsebro
in 1645, three years before Christian IV’s death. The duration of thewar in the text does not, however, tally with that of this particular war.
Apart from those discussed above, the authors who give most information on folk-belief and folk-stories are Bishop Gísli Oddsson and
Jón lær›i. We have already mentioned Bishop Gísli’s works, which
are a veritable gold-mine to the folklorist. As they are easily available
in print, and well commented on by their editor, I shall not use up
space here on recapitulating their contents.3
We now come to Jón lær›i. Much has been written about him, bothin English and Icelandic, and some recent research has caused us to
1 See Huld IV 22–35, Huld 2 II 19–32, where these accounts are printed, andBE Munnmælasögur lxxvi–lxxxii, 3–11.
2 In Skrif Ólafs appears the following (BE Munnmælasögur 16): ‘Many
accounts have circulated about the Rev. fiorkell Gu›bjartsson’s various magic
doings, not least when he contended with the bishop at Hólar (about this has
already been written, so it is omitted here, and can be read in the previousbook)’ and then other material follows. Here the scribe himself omits matterand says so. One may therefore assume that originally the passage about theRev. fiorkell came in this place. On the other hand it is clear that the separate
account has been expanded by the addition of genealogical information about
the people of Svalbar› both at the beginning and end, and perhaps by further
interpolations. One may guess at who added the genealogical material: it was
actually the scribe, Jón Eggertsson himself, who was descended from Magnús
prú›i and his wife Ragnhei›r Eggertsdóttir. It is not surprising if he should
boast about this family and copy out lawman Eggert’s title to nobility.—Bjarni
Einarsson, in his edition of Skrif Ólafs gamla in BE Munnmælasögur 11–22,
suggested that Ólafur gamli was Jón Eggertsson. Cf. pp. 114–15 below.
3 They are edited in Islandica X (see note 2 on p. 91 above). Eight passages
from them are translated into Icelandic by Jón fiorkelsson in Huld VI 37–51,
Huld 2 II 185–200.

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97

change our attitudes to him considerably from the stance taken in the
Icelandic edition of this book.1
Jón Gu›mundsson was born in 1574, and is thought to have died in
1658. He was born and brought up in Strandas‡sla (north-west Iceland) and lived there throughout his youth, and then moved to theBrei›afjör›ur area. He also travelled widely throughout Iceland, andeven spent the winter of 1636–37 in Copenhagen. In the conventional
sense Jón was not learned, for instance, in the Greek and Latin of thegrammar schools, but he had an insatiable thirst for books, whether
old or new, and was never tired of talking with knowledgeable people.
Some Icelandic manuscripts must have passed through his hands, andhe must have tried to discover their contents, while equally, he musthave had access to some of the European literature on geography andworld history. He certainly refers on more than one occasion to German works.2 He must also have had access to either manuscript or
printed maps, as he himself made a map of the northern seas.
It is clear from his writings that all his miscellaneous knowledge ofancient Icelandic stories and Norse translations of Latin saints’ lives,
wonder-tales and rímur, native superstitions about ghosts, elves, spirits,
magic and so on, and beliefs from many sources about animals, ran
together in his mind, and that he tried to form a syncretic whole fromit, making tremendous efforts to provide a classified system for thismiscellaneous material. Unfortunately, his credulity was great and his
critical sense small (defects which he shared with many of his contemporaries), but his capacity for observation was tremendous, and
it is difficult to avoid the feeling that he knew something of what are
nowadays known as parapsychological phenomena. In this context I
refer to the following section from Jón’s work on the Prose Edda (EGP
1 The principal earlier discussion of Jón and his work are in Icelandic PEÓ
Menn og menntir IV, 315–49, 695–98, and Jón’s own verse autobiography
Fjölmó›r, ed. Páll Eggert Ólason, Safn V. See also (in Danish) Jón Helgason,‘Til Hauksbóks historie i det 17. århundrede’, Opuscula I, 1960 (BA XX), 1–
48, and (in English) Halldór Hermannsson, Jón Gu›mundsson and his Natural
History of Iceland, 1924 (Islandica XV). More recent scholarly investigation
is especially that in EGP Eddurit; BE Munnmælasögur, Introduction; EGP Rit.
2 There is a Heims Historia (Welt Historia, 1612) by Hermann Fabronius ina seventeenth-century Icelandic translation, thought to be by Jón, the manuscript of which (AM 201 8vo) is also supposed to be in his hand. On this booksee EGP Eddurit I 134–36.

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THE FOLK-STORIES OF ICELAND

Eddurit II 53–54, see the notes in I 346–48; the manuscript is Stockholm Papp. fol. nr 38).
For example, people here are said to have second sight, even though theymight be of small intellect and entirely unlearned (though not all such areunlearned) and one may receive this gift from another. The gift may also becontrolled if the visions become too excessive in force. How much greater
must have been the spirit-inspired desire for knowledge of heathen sages, or
the Trojan men of Asia! Some folk here have also had the power to see distantcontemporary events, not as if in visions, but as if in a kind of daze or paralysis.
One such man, a poor, pious, unlearned one, lived in my home district. He
died in the year of the great loss of life, 1602. He was shown important happenings from all over the country, such as fatal accidents, loss of shipping andmen’s deaths, how they came about, sometimes four months before they took
place; one such was the murders at Öxl.1 Every day, while awake and standing up, he also saw a certain sign over every person’s head, which he interpreted as warnings and signs of the future. Other folk see or hear of good andspiritual things, such as when the shocking drumming and banging of unclean
spirits warns of their approach, or on the other hand when sweet pleasurable
song and blowing of trumpets by good angels proclaim their coming. Yet
none hear this except such as are of that nature and are given this gift [ofhearing], nor yet do they see who contacts or has dealings with whom, etc.
The ancients have recorded very many examples of such and many [other]kinds of strange visions; not least the most learned master Johannes Herolt,
who lived in the period between Johann Huss and Dr Martin Luther,2 whichbook is, like all my others, lost to me since 1616, about which there is no pointin speaking.
We hear and read in very many old histories about the arts known to the
Gautish and Lappish people, in Gandvík, Malanger and Varanger, no less thanof the blackest kind of magic practised in Finnmark, and the miraculous effectsof their spells and their escaping from their bodily shapes and returning tothem, so that [the magician] is in two places at once, also being in the shape ofbeasts or birds; though they do not do this according to the Neapolitan Greeklearning or by anointing but rather according to the arts of Ó›inn and thepeople of Asia, which he also left here to his men of the North.

Jón’s erudition must soon have been noted, and he acquired his byname ‘lær›i’ (we may guess he was first so named by ordinary people,
1 The farmer Björn of Öxl in Snæfellss‡sla was involved in 1596 in the mostgruesome murder cases of Reformation Iceland; see Annálar 1400–1800 I 180.
2 Johann Huss was burned for heresy at the Council of Constance in 1415;
Martin Luther was born in 1483 and died in 1546. Johannes Herolt (died ca.
1468) was a voluminous writer on many subjects. The book referred to here
has not been identified.

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99

and the name later became fixed as a surname). He is also, however,called ‘painter’ and tannsmi›ur ‘tooth-worker’ (probably this referred
to his carving of walrus and other teeth or tusks; certainly, some artistic inclinations may be noted in his written work). It is not surprisingthat in his curiosity and undisciplined search for ideas Jón should haveclashed with the views of the local clergy and other persons who hadreceived formal schooling. As a result, he was involved in lawsuits
involving charges of magic, imprisoned and driven far across the country. The persecutions began when he composed three poems against aghost on Snæfjallaströnd which was supposed to have done much damage there, for these compositions collided sharply with contemporary
clerical attitudes.1 He also made the tactical error of being an apologist for the Spanish (or rather Basque) sailors who were brutally executed by the local district judge in Ísafjör›ur.2 Many threads became
entangled here, and Jón was driven to flee around the country, andeven to Copenhagen, as we have already mentioned. In the end he wastaken under the protection of Brynjólfur Sveinsson, Bishop of Skálholt(1638–74), and lived peaceably in eastern Iceland until his death, writing a number of works at the bishop’s behest.
Some of Jón’s works have survived in autograph, but we may wellquestion whether he wrote them out only once, or perhaps, having noprinter to disseminate his work, made multiple copies himself for distribution.3 And, we may ask further, did he then confine himself to
precise transcripts or did he alter each copy as he made it, putting inand taking out material as his preferences of the moment suggested? I
would like to draw attention to two stylistic characteristics in works
attributed to Jón, as indicators of the nature of the problem.
l) Some of his narratives are laconic in their brevity, the main points
barely adumbrated, while when the same story is told in another workof his, it is much more detailed.
1 See PEÓ Menn og menntir IV, 324–33; EGP Eddurit I 60–99.
2 This was Ari Magnússon; see Ólafur Daví›sson, Víg Spánverja á Vestfjör›um 1615 and ‘Spönsku vísur’ by the Rev. Ólafur á Söndum, Tímarit hinsíslenzka Bókmenntafélags 16 (1895), 88–163; also Jónas Kristjánsson (ed.),Spánverjavígin 1615 (ÍRSA 4), 1950.
3 It is not out of place here to mention how this habit of Jón’s resembles thatof his younger English contemporary John Aubrey (see the textual arrangement in Aubrey’s Brief Lives, ed. A. Clark, 1898).

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THE FOLK-STORIES OF ICELAND

2) It often happens that Jón does not mention a particular person’sname in one autograph, though he will state that he knows it (this wasof course sometimes a necessary act of prudence), while in anotherversion he sometimes gives the name outright, even in the context ofthe same story.
There is of course a further point to be remembered: we do not always have Jón’s autograph of a work, only a copy made by someother person, and in such cases we must necessarily investigate whether
the copyist(s) altered the substance of the text, or whether an intermediate copyist departed from the holograph—and, if so, in what way.1
Some of Jón’s work has reached print. These editions will be notedas they become relevant in this account. Unfortunately, however, very
little text-critical work was done by the editors, and it cannot be stressed
too strongly that it is absolutely necessary to provide texts of Jón’s
work which have been prepared according to today’s strictest editorial standards. Jón Helgason has laid down the lines which need to befollowed.2 As will become obvious to the reader, Jón lær›i’s works
are a rich mine of pure gold for the student of the folklore and folkbelief of Iceland in the seventeenth century. For the purpose of thepresent study, most attention will be paid to matter which can be seen
to be popular stories, for Jón’s writings abound in these.
The principal surviving works are:First, three items in verse: l) The poems concerning the Ghost of
Snjáfjöll.3 2) Fjölmó›ur, ‘The Much-Wearied One’. 3) Ármanns rímur,1 We may note, as an example of such textual uncertainty, that Gísli Konrá›sson states in his story of Landa-Hrólfur that he (Hrólfur) had sought and foundN‡jaland ‘Newland’, and that his wife had there helped a woman of the hidden people to bear a child (Huld 2 II 15–18). Gísli refers to a narrative by Jón
lær›i, though this is nowhere to be found in Jón’s existing works, as far as
they are known at present. It is of course possible that Gísli’s story is fromsome lost note or reference by Jón about the northern seas, for which he had agreat enthusiasm, though it must also be regarded as possible that Gísli inserted a spurious reference to Jón to make his account more plausible.
2 Jón Helgason, ‘Til Hauksbóks historie i det 17. århundrede’, Opuscula I,
1960 (BA XX), 25: ‘I det 17. århs. Island, hvor udbredelsen af ikke-religiøse
bøger normalt foregik på meddelalderlig vis gennem afskrivning, må den
mulighed, at flere og mugligvis også indbyrdes noget afvigende autografer
har eksisteret, altid tages under overvejelse.’
3 The second part of them is printed is printed in Huld V 22–31, Huld 2 II

SOURCES

101‘The Epic of Ármann’. No. 3 was composed in 1637; it is in the formof rímur, i.e. an epic-scale narrative in fits in a variety of metricalforms, which became a popular way of versifying the older prose sagas,
where pure metrical skill often outweighed all consideration of intelligibility.1 In this medium Jón’s diction is usually fairly simple andcomprehensible, if not very sophisticated (the same criticism applies
to the newly discovered poems which can be attributed to him, notleast the Bjarnarey poem, which deals with the island where Jón dwelt
for a while in a kind of outlawry, even if content enough with his
habitation).2 Sometimes his poems suggest that he is visualising a drawing or a painting, particularly when he is writing of landscapes.
The first part of Ármanns rímur takes place at fiingvellir and in themountains to the north (Ármannsfell, etc.). This narrative bears considerable resemblance to folk-legends, and tells of fiorsteinn, a farmer’sson, his dealings with troll-women and the assistance given him byhis helper Ármann (originally the guardian spirit of the fell).3 Thereafter the narrative turns into a fairly straightforward wonder-tale:fiorsteinn is sent on an enforced journey to northern Norway andBjarmaland (F110, Wonder Journey) and receives assistance there fromÁrmann’s brother Grámann, who transports him on a flying cloth(D1155, ‘Magic Carpet’) to a queen who is under a spell: she gets him
to perform three great deeds for her, completely in the wonder-talemanner (H900–1199). We should note here that two prose stories havebeen composed from these rímur, and that chs 35–37 of Eiríkur
Laxdal’s Ólands saga draws on them.4 In some places in the rímur
85–94 and in Ólafur Daví›sson, Galdur og galdramál á Íslandi, 1940–43,
120–21. More of Jón’s verse (Áradalsó›ur) is printed in Huld IV and Huld 2 II.
See PEÓ Menn og menntir IV, 695–96.
1 JGl Ármanns rímur. The introduction deals in great detail with the folkstory material.
2 See ‘Vænt er útí Bjarnarey a› búa,’ Mímir 2, 1963, 6–11; further on these
poems, see EGP Eddurit I 143–44.
3 Jón Helgason notes the words of the Old Man’s Daughter of the wondertales ‘Live happy in your hill, good man’ (JGl Ármanns rímur, Introduction,x); we can add to this the reply by Ólafur mu›ur (mouth) to the troll-woman’s
greeting (JÁ I 158).
4 The oldest version of Ármanns saga composed from the rímur is published in the 1948 edition, and in GJ Íslendinga sögur XII. It was probably
written in deliberate close imitation of the Old Icelandic sagas, in order to be

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THE FOLK-STORIES OF ICELAND

there seem to be references to older poems, and the name of the eponymous hero does not appear to be Jón’s invention. So Jón’s poem maywell be a mere reworking of a lost narrative poem on this subject.
Um Íslands a›skiljanlegar náttúrur, ‘The various natures (of things)
in Iceland’. This is Jón’s greatest scientific work, as well as the firstdescription of Iceland in Icelandic.1 It contains a certain amount ofsuperstitious matter, such as the story of the mjaldur (a kind of whale,
Delphinapterus leucas or white whale) and beliefs about bears, and is
the work that contains the most material concerning folk-beliefs about
the natural world. We also find there part of the wonder-tale of Vi›finna
Völufegri (AT 709, the Icelandic equivalent of ‘Snow White’), whichis the earliest fragment of an actual wonder-tale to survive in Icelandic literature (poems or sagas composed on the basis of wonder-tales,or from wonder-tale motifs, being another matter). It may have a rival
as far as age is concerned in the fragment in AM 119 b 8vo, whichKålund maintains is from the seventeenth century, but this manuscript
is probably later than those of Íslands a›skiljanlegar náttúrur.2
Samantektir um skilning á Eddu, ‘Collectanea towards an understanding of the Edda’. This accumulation of notes, intended to assist
readers of the Prose Edda, contains a great deal of material for the
student of folklore. Here occurs the first variant known to the present
author of the story of the ‘seal-maiden’, and because of its wide popularity in north-western Europe, it is well worth while translating it
here.3
accepted as one. The younger version (possibly by Halldór Jakobsson) was
printed at Hrappsey, 1782, reprinted in Akureyri, 1858 and in GJ Íslendinga
sögur XII. On the Ólands saga version, see JGl Ármanns rímur, Introduction,
xxxi–xxxiii, and also K. Maurer, ‘Über isländische Apokrypha’, Germania
XIII (1868), 63–79. It should be noted that the younger version is very well
written; the author was clearly well versed in the Sagas of the Icelanders andthe influence of Bár›ar saga is particularly strong. There is also some indebtedness to oral wonder-tales, especially in the formally worded exchanges in
dialogues, though these are treated freely, and we have older and better sources
for most of the examples.
1 Edited by Halldór Hermannsson in Islandica XV (1924).
2 See Verz. 50. The fragment is printed in BE Munnmælasögur 106.
3 Edited from Stockholm Papp. fol. nr 38 in EGP Eddurit II 55–56; see also
the notes in I 352–54. On variants of the story see Verz. no. 400, I (p. 35), JÁ3
I 629, cf. also 697, IV 10–12, cf. also 663; also fiorsteinn Erlingsson, fijó›sögur,SOURCES103

Many strange happenings have been told us by old men (which may be true),
relating to elves, the nature of the polar bear, seals, whales, sea-cows andother such beasts. Some old, truthful men have told me that a certain Parson
Jón of Laufás1 (in Eyjafjör›ur), who lived shortly after the time of Bishop
Jón,2 proved in writing by solid proofs such a wondrous story as hereafter
follows. A certain unmarried man in the north was on his way to attend church
at Christmas tide—it is not certain whether on Christmas Eve or New-Year’s
Eve. He was delayed on his way, night fell while he was journeying, and hisroute lay along the seashore. Out ahead, in a great cave above the shore, heheard the sound of feasting. Secretly he drew near and saw great sealskins
lying on the shore like empty bags, near the people who were feasting anddancing, about the same number as there seemed to him to be people. At
length he seized a sealskin which did not appear to be too great in size, folded
it up and hid it under his clothes in his armpit. But as soon as the merrymakers
saw him, they were shocked and all ran with much noise and crashing, each
into his skin, and fled out to sea, except for a young woman who remained
behind. She attacked the man to recover her skin, but he defended himself andheld on to it, so that in the end she had to go with him whether she wished toor not. He was said to have lived with her for twelve years and had a son and1954, 277 and SS Ífl VI 26–27 and SS Ífl 2 IV 187–88; for non-Icelandic examples, see Reidar Th. Christiansen, The Migratory Legends, 1958 (FFC 175),
4080; Stith Thompson, Motif-Index, 1932–36, B81–82; also S. O’Duilearga(ed.), Leabhar Shéajn í Cornall, 1948, 438–39; Bo Almqvist, ‘Of mermaids
and marriages’, Béaloideas 58 (1990), 1–10. It should also be mentioned thatin ÍB 85 4to, a manuscript reckoned to be from c.1600, there is a note that
‘Luther states that a sea-monster in a woman’s shape was once caught from a
ship; one of the fishermen took her for his wife and had a child by her, but
before three years were over, she went with him to the same fishing grounds
and jumped overboard into the sea’. Such a story, told with the authority ofLuther, might well be considered ‘written authority and true’ for the view thatthe seal-maiden was a true phenomenon, and ample subject matter for an academic dissertation. The seal-maiden is, of course, an ancient thread in the
weave of Celtic folklore, and has even been brought into twentieth-century
literature and music. See M. Kennedy-Fraser and G. Bantock’s opera The
Seal-Woman (1906).—A number of stories in JÁ are derived from Tí›fordríf,
and Jón lær›i is the earliest writer used in that collection. Of course the trustworthiness of a source is greatly dependent on the age of the earliest manuscript that contains it.
1 The ‘Parson Jón of Laufás’ probably meant the Rev. Jón Sigur›sson (incumbent at Laufás 1559–1615), see Sveinn Níelsson, Prestatal og prófasta áÍslandi, 2nd edn., 1949–51, 292.
2 Probably Jón Arason, 1524–50.

104

THE FOLK-STORIES OF ICELANDa daughter by her. All that time a single seal was seen in the sea by their home
(he was supposed to have been the maid’s fiancé). Then, at the end of thetwelve years, once when the man was not at home, the woman searched out
her skin, found it and vanished at once out to sea. People have made manyguesses in their arguments as to what this story is about. To me it seems most
likely that these people were sea-people in seal-shape, who kept their night ofrejoicing at Christmas in imitation of land-people and elves, who greatly enjoy good moderate entertainment, especially that of good singers.

This book also contains the story of a vessel which went through the
air as ships travel the sea, and its anchor got caught for a while in the
ground.1 The commentary to the Edda itself is followed by the storyof a Norwegian farmer’s daughter who got lost in a fog and stayed ina hidden valley (in Svafadalir) with a people who slept all winter; shemarried a farmer’s son and had a son and a daughter by him; later her
son woke up his father [during the winter], whereupon all the peopleof the valley went mad, the woman fled and made contact with ‘King
Olaf’s [St Óláfr’s?] men’ ‘and so this story found its way into
Norwegian books and stories’.2
Um ættir og slekti, ‘On families’, was probably written by Jón toshow his neighbours in eastern Iceland that he had many eminent men
in his ancestry,3 though even in a work of such dry-as-dust nature
there is folklore material concerning the magician Ólafur tóni, theprophecies of Bishop Sveinn (Pétursson, of Skálholt, 1465–76) andother soothsayers. Jón’s works on herbs and medical lore also containmiscellaneous superstitions, though there is no cause to investigate
them here, as much of the material is copied from other medical
manuals and originates for the most part outside Iceland.
This brings us to the one of Jón’s books that is of most value to thestudent of folklore. Tí›fordríf, ‘Pastime’, was written in 1644. It is an
extraordinary farrago of material, some of it of no particular value,
but much of it very interesting, dedicated to Bishop Brynjólfur, and it
is clear from the book that the bishop had encouraged its composition.
1 Cf. KS 26; BP III 273; EGP Eddurit II 60 and notes in I 363–64.
2 EGP Eddurit II 88, cf. notes in I 382–83. The ‘Land of Sleepers’, where

the people sleep all through the winter, is also mentioned in the wonder-taleabout Döggvar in Lbs 417 8vo (see Verz. 44). Bishop Gísli Oddsson refers to
the stories that birds sleep all the winter in Áradalur (De mirab. ch. 14).
3 Um ættir og slekti is edited by Hannes fiorsteinsson in Safn III, 5, 701–28.

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To judge by the form in which it is arranged, Bishop Brynjólfur musthave written to Jón, sending him a series of questions (possibly notunconnected with enquiries arising from the bishop’s reading of S. J.
Stephanius’s Notæ uberiores 1). The bishop’s request may have arisen
from his intention to write a book about ancient religion and elves.2
Jón’s endeavour to cram in everything he knew in order to please hisgreat patron would then account for the formlessness of the tract. The
manuscript that was thought to be his autograph of this work is now
not thought to be in his hand, though it is the oldest and best, while inother copies various points are considerably expanded in a way whichsuggests that the interpolations are the work of the copyists, probably
most often Jón Eggertsson. Some of the divergencies could of course
be Jón lær›i’s own later additions and alterations. The most notable ofsuch additions is the one on Drangey and bird-catching there in Papp.
fol. nr 64 in the Royal Library, Stockholm. This manuscript is largely
written by Jón Eggertsson; there is also later in it a section on the worldof elves underground, and on how one goes about opening the earth togain entrance to their homes (see pp. 273–74 below). If this part is notcomposed by Jón lær›i it is the work of a man with no mean talent forimitating his style, and it is most likely to have been Jón Eggertsson.
It is obvious even from this brief survey that those sections ofTí›fordríf that survive only in Stockholm Papp. fol. nr 64 are lesstrustworthy than those whose text is supported by other sources aswell. Nonetheless, this is still an unsettled question, which may possibly be solved by a rigorously edited text being made available, so that
textual comparisons may be made. It should also be noted that these
are not the only sections of the Stockholm manuscript which havebeen thought to be additions by Jón Eggertsson. Other sections, which
will be discussed presently, are also suspect.
An account of the contents of Tí›fordríf is now necessary. After the
dedication Jón discusses ancient books which dealt with various arcane
matters, such as angels, spirits of the air and demons, in all of which
the author believes (he had seen fragments of one such book at Laufás:
1 See S. J. Stephanius, Notæ uberiores, 1645; cf. J. Benediktsson, ‘Íslenzkar

heimildir í Saxo-sk‡ringum Stephaniusar’, Árbók Landsbókasafns Íslands,
1946–47, 104–14.
2 See EGP Eddurit I 37 and 338. On Tí›fordríf in general see EGP Eddurit
I 52–54 and 122–27.

106

THE FOLK-STORIES OF ICELAND‘I think that the Rev. fiorkell Gu›bjartsson had also seen it and othersuch works, and had studied it’); he also refers here to having read
Postula sƒgur and Basilíus saga, and believes implicitly in the accountsof spiritual beings in them. In connection with angels Jón refers tovisions. It is clear that he knew contemporary accounts of people invisionary states, and that his own experiences and those described in
written stories about supernatural events correspond so closely that heregards each as throwing light on the other (cf. EGP Eddurit I 386–
87). This section is outstandingly noteworthy, closing as it does with
Jón’s paean of praise to the glory of creation which no one can understand or describe in its fullness.
Now come a few words on ‘our land’ (i.e. Iceland) and its various
properties, which are followed by a long passage dealing with magicstones, in which Jón names various people as owners of them. Without further preamble there follows the story of the merman,1 and it issucceeded by a short note about the properties of plants. Almost at
once, however, the narrative returns to stones; here Jón inserts an anecdote of how his wife Sigrí›ur found a magic stone in a gravel heap by
the sea, and how, when she placed it in water, it looked as if a great
crowd of men entered the water. Here are also observations on Ólafur
Pétursson’s attempts to obtain stones from birds, in among which isadded the story of St Peter and the Jewish fisherman.2 Then follow
questions (included in the text) about ig›a ‘nuthatch’, hlébar›i ‘leopard’, ylgr ‘she-wolf’, finngálpn (a monster similar to a centaur) and1 Jón’s text of the merman story in Tí›fordríf is printed in JÁ3 I 126–27. The
story is widely found in numerous variant forms: the unexpected laughter(usually threefold) is a principal theme, but who the laughing creature is varies, and also what he laughs at. The oldest Icelandic example of this creature
is in the thirteenth-century Hálfs saga, ch. 7; then we have Jón’s story; otherwise see Verz. 113–14 and Laxdal Ósfi III 19, 25. There are innumerable nonIcelandic versions, cf. J. D. Bruce, The Evolution of Arthurian Romance, 1928,
I 138–49; R. S. Loomis (ed.), Arthurian Literature in the Middle Ages, 91–92;
BP IV, 181; Jan de Vries, Die Märchen von klugen Rätsellösern, 1928 (FFC73), 42–44; AT 875D, also D1318.2.1 and N456.
2 The story of St Peter and the Jewish fisherman is in JÁ I 634; II 25. The
Gospels stress St Peter’s skill as a fisherman, and various stories about thisare gathered in O. Dähnhardt, Natursagen, 1909, II 180–83, though this story
is not there, nor have I found it in any European sources, though it is likely to
be of non-Icelandic origin.

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hjassi (another fabulous beast most notable for its longevity).1 Jóngoes on to discuss Jƒtunheimar ‘the world of giants’ and other mythical geographical locations, and then he moves on further to the underground land of the elves, in which we find his fullest discussion ofthat race. After referring to sea-dwellers and sea-cattle Jón then goeson to discuss contacts between elves and men, beginning with written
sources such as fiorsteins fláttr bœjarmagns (especially the passage
about the journey to the subterranean world), Vƒluspá and more recent works such as Mó›ars rímur,2 and the tragic story of Bergflór andthe elf-woman Bergljót,3 after which we come to what are by our definition folk-stories.
At this point in the book the manuscripts of Tí›fordríf begin to diverge more substantially than before; this may be the result of variantsin Jón’s autograph copies. One has to determine whether any copy notin Jón’s hand is the sole authority for its type of text before Jón’s
authorship can be demonstrated; we shall discuss some of the most
doubtful passages a little later on. In Tí›fordríf, we next encounter
mention of certain folk-stories telling of contacts between elves andmen. First we have a brief version of the story of the farmer of StóraFjar›arhorn in the parish of Fell, who had a wife from the race ofelves and had children by her. Because of her origin she could notendure any of the rituals of the Christian religion, and died because ofthis.4 This is followed by the story of Sigur›ur of ‘Hóll á Fjalli’ (anolder form of the name Ví›irhóll á Fjöllum (Hólsfjöllum), perhaps
used deliberately to mislead). All the people of the farm died of aplague, but the hidden folk came and helped with the farm work, though
they remained invisible to men.5 In some manuscripts the names in
1 For hjassi see Lagerholm DL 4–5 and note.
2 See Mó›ars rímur og Mó›ars fláttur, ed. Jón Helgason, 1950 (ÍRSA 5).
3 I do not know of any version of this story except Jón lær›i’s retelling.
4 The story of the farmer in Fjar›arhorn and the elfwoman he married isprinted in JÁ I 104–05; it is related to a narrative printed in Gering ÍÆ I 246–
54, with a German translation and notes (II 185–92 and 396). It is unquestionably of non-Icelandic origin and may perhaps have spread from the ‘greatbook of Sau›afell’ which Jón lær›i called ‘Mother of Sagas’.
5 The story of Sigur›ur, the farmer of Hóll on Fjall, is preserved separately
in some manuscripts (e.g. Lbs 724 4to, p. 155; ÍB 250 4to, p.14; Lbs 1565 4to,p. 65) and also in Setbergsannáll 1397 (Annálar 1400–1800 IV 35–36); there
and elsewhere it is combined with the story referred to in the previous note.

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this story are very confused, while in some the story of the parson ofMö›rudalur is included here (it is substantially the same story as thatof Sigur›ur of ‘Hóll á Fjalli’, but more powerfully told).1 It may ofcourse be possible, though it is perhaps not all that likely, that these
are two variants of the same basic story, and that Jón lær›i himself
heard the one about the parson of Mö›rudalur after he had started his
work, which was all written in eastern Iceland, and inserted it in oneof his copies at what seemed to him an appropriate point.
Jón now comes to Snjásljó› and Gullkársljó›, notes two half-stanzas
from them and goes on to write of elf-kings and of the forms of justicepractised by elves, of stones on desolate heaths which are the sarcophagi of the elf-kings, and of books from the elves. Here he alsocomments: ‘It has happened that some of the elf-people wanted theirhalf-caste children to be baptized, so as to enable them to obtain immortal souls, and they have also sometimes stipulated that a childshould enter the religious life.’2 He now cites the tragic story of Mó›ar,from which, he maintains, we can see that elves are not a race of demonic origin, as some have declared. There follows a stanza from
Jón’s poem Fjandafæla in the style of a hymn, ‘Careful folk keep
their laws’, and a clause from the law of the hidden folk with whichmost manuscripts of Tí›fordríf conclude their account of elves. At thispoint, however, Stockholm Papp. fol. nr 64 continues with discussionof poetry attributed to elves, and a long section on the island Drangey
in Skagafjör›ur with a description of bird-catching activities there.
This is followed by the story of the Drangey cliff-dweller who tried to
cut through a bird-catcher’s rope and succeeded in cutting all the strands
except the one blessed by Bishop Gu›mundr the Good (cf. BS I 599).
The cliff where this is supposed to have happened is named Skálmabjarg, ‘Swordcliff’, and a similar story is told of Skálmabjarg inEyjafjör›ur.3 There follows in this version a longish chapter on how
1 The story of the priest of Mö›rudalur is printed in ÓDav. 1–3; ÓDav.3 I
232–37; ÓDav.5 I 40–42 and 93–97; and in Setbergsannáll 1463 (Annálar
1400–1800 IV 47–49), and is also preserved independently in the manuscripts
listed in the previous note. It is related to the story referred to on p. 107, note 4.
2 For parallels see JÁ3 VI 300, under skírn.
3 It is of course perfectly possible that this entire passage may be explainedby the fact that it was written by an observant traveller, who drew on the
narrative of a reliable, locally knowledgeable man. The words ‘Two men oncetalked together; their names were well known, though they are not noted here’

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people entered rocks and hillocks to ask the elves for news, all very
interesting material to the student of folklore (see pp. 273–74 below).
The next main section of Tí›fordríf deals with Indian kings, the towerof Babel, the journey of Zeth, the Fields of the Undying1 and the Gospelof Nicodemus. These are followed by explanations of some words
and island-names (‘referred to in the letter’; presumably Bishop
Brynjólfur’s lost letter containing his enquiries to Jón), and by thepoem Kortmál, ‘Brief Verse’ (possibly a deliberate misnomer, as thewhole poem is 70 stanzas; or perhaps the title means the same as‘skemmtun’, something to shorten a long working-session of anevening, a pastime). After these comes a sequence of stories; one about
the ship Trékyllir (after which Trékyllisvík, an inlet in Strandas‡sla, is
supposed to have been named), others about ghosts walking after thesea-battle of Flói (cf. JÁ I 259), Skáld-Helgi’s fight with the revenantfiorgils, other examples of the efficacy of axes against revenants (e.g.
against Jóra of Jórukleif), and an account of the event in the days ofBishop Árni fiorláksson of Skálholt (1269–98), when a grave-dweller
chanted ‘Thick blood, Weary men’ (JÁ I 424), and of the crowing hen,
to which last Jón adds the comment: ‘The book that I call Sagnamó›ir(‘Mother of Stories’), because many stories were copied from it, explains all this; it belonged to Ólafur Hannesson of Sau›afell.’
The last section of the book includes stories of church robberies inEngland in the days of St Anselm and St Thomas Becket, stories ofDuke Robert of Normandy, of the ‘Emperor’ Quintilian2 and Master
Perus—these are stories of trickery—some magic numbers, ‘St
Anselm’s Prayer’, notes on ‘Ireland the Good’, a list of episcopal seesin various places in the world, and a note on Ásólfr the Christian who
settled at Kirkjubólsta›r (Innri Hólmur) on Akranes in south-west Iceland in the ninth to tenth centuries. There are stories of Greenland anda glance at genealogies from western Iceland (including Jón’s own,
which appears here in this farrago of miscellaneous knowledge, as it
have been pointed to as evidence of such caution in Jón Eggertsson’s works,
but such a remark is frequently found in the work of his older namesake, andthe phrase will therefore be of his composition.
1 Cf. The History of the Cross-tree down to Christ’s Passion, ed. Mariane
Overgaard, 1968 (EA B 26), 59–85.
2 See Gering ÍÆ I 51–67 (nos xvi–xvii); Mi›aldaævint‡ri fl‡dd úr ensku,
ed. Einar G. Pétursson, 1976, 9–11.

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does in Um ættir og slekti). Right at the end comes another piece about
finngálpn and a few disparate verses. Some manuscripts also add at
the end the story of how St Óláfr of Norway and an ogress exchanged
verses, she pouring out curses on the people, ‘Come sickness, let thepeople groan, come down snow, and make hunger widespread’, which
he turns instantly into blessings: ‘Come rain, come calm, come goodcatches and men to take them’ (JÁ I 164).
This takes us to Jón’s best-known poem, Áradalsó›ur ‘The Chantof Demon Valley’.1 It deals with outlaws who, the poet maintains, aredescended from ancient Icelandic settlers who could not get on withordinary people, went up into the highland interior and by their magicarts cast a spell of concealment over the valleys they inhabited.2 Healso connects these men who lived in the wastelands with Grettir andother ‘woodsmen’ (i.e. outlaws, Icelandic skógarmenn) of the medieval sagas, and seems to think that the outlaw habitation of the uplands has been continuous down to his own time.3 The place-nameÁradalur, ‘Valley of the Demons’, is not Jón’s invention, as it occurs
on the map of Iceland drawn by Bishop Gu›brandur fiorláksson of
Hólar (1571–1627), published by Ortelius in 1595. There the valley ison the north side of Vatnajökull, but Jón, who knew his Grettis saga,has been influential in the place-name’s being transferred to the western uplands of Iceland. The valley is also mentioned before Jón’s timein Bishop Gísli Oddsson’s De Mirabilibus Islandiae, where it is statedthat birds sleep there on the first day of winter.4 Áradalsó›ur is composed in a simple metre and a simple style such as is frequently foundin many of Jón’s other verse compositions (e.g. Ármanns rímur), but
1 Áradalsó›ur was first printed in Huld IV (1894), 53–69, by Ólafur

Daví›sson; reprinted from this edition in Huld 2 II 48–62 and by Einar. Ól.
Sveinsson, Fagrar heyr›i eg raddirnar, 1942 (repr. 1974), 267–80.
2 Cf. Bár›ar saga Snæfellsáss and Jón’s own Ármanns rímur.
3 It is interesting that the name Áradalur occurs in a verse epistle by Bjarni
Gizurarson, addressed to Stefán Ólafsson and preserved in Thott 473 4to andBodleian Library 78, on Atli and Dulur the Brave. These two rave about theabundance of grass in the mountains and talk the local people into trusting
their livestock to the winter-grazing there — with, of course, disastrous results. It is not impossible that Bjarni is making fun of Jón lær›i’s marvellous
pastures in Áradalur.
4 De mirab. 52 (ch. 14). On Áradalur see Haraldur Sigur›sson, KortasagaÍslands frá lokum 16. aldar til 1848, 1978, 13.

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Jón adds a refrain to each stanza in the manner of the dances known as
vikivakar. Áradalsó›ur consists of five stories in verse, many of which
are known in nineteenth-century oral versions. These stories concern:
I. The ancient settlers who moved into the uplands.
II. The outlaw who fetched his wether from a pen in one of theordinary settlements.
III. A girl who loses her way, stumbles on a habitation of outlaws
and lives with them for a year (this is supposed to have happened in
the poet’s grandmother’s youth).
IV. Steinku-Var›i (i.e. Steinunn’s fiorvar›ur), who seems to havebeen a shepherd, and who comes to Áradalur in a dream and accepts
the hospitality of the Lord of the Valley. This Lord gives him a young
wether and describes its ownership mark; then Var›i wakes up by theside of his Steinka, but the wether, a big, handsome one, is there toprove his journey was true.
V. A man from Snæfellsnes who went up to Hvítársí›a to look forwork and met an outlaw who hired him. The section goes on to tell of
the enormous wages which he received at the end of his period ofservice, and how he lost part of them because his horse bolted. It is
worth noting that the poem is written in a light, humorous tone (especially the last two sections), and that Section IV shows some affinity
with the fifteenth-century humorous poem Skí›aríma.1
An essay entitled ‘On hidden places and overshadowed (or secret)valleys in Iceland’ contains much material related to Áradalsó›ur. This
composition is preserved only in Stockholm Papp. fol. nr 64, where it
is in two parts, though originally there was probably only a single
essay.2 The scribe, Jón Eggertsson, states that it is by Jón lær›i, and in
spite of everything scholars in recent times have said about Jón Eggertsson, it is likely that direct attributions by him to his learned namesake
1 See also Finnur Jónsson, Rímnasafn, 1905–22, I 10–42; BKfi Rímur 366–
90; Skí›aríma is also in Kvæ›asafn eftir nafngreinda íslenzka menn frá mi›öld,
ed. Jón fiorkelsson and Sigur›ur Nordal, 1922–27, 161–215, and there is also
a separate edition of this poem by Th. Homan, Skí›aríma: An Enquiry into theWritten and Printed Texts, 1975.
2 In the original preface to JÁ I Gu›brandur Vigfússon speaks of two essays
with similar names by Jón lær›i (‘On hidden places and shadow-covered valleys’ and ‘On places of hidden-folk and secret dales’), but these are two names
for the same essay, cf. Halldór Hermannsson in Islandica XV, xix. It should

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are reliable (his interpolations into Jón lær›i’s work are of course another matter). It cannot be denied that there are considerable differences between the poem and the essay, but it is doubtful whether theseare so great as to make it certain that they are by different authors.
Finally we come to a brief narrative containing two stories of theRev. Árni of Látrar, who talked with ravens. The first tells how a ravencroaked at the church window while Árni was preaching and would
not stop until the parson said, ‘Oh, eat it’, whereupon it flew away.
When people asked Árni what this had meant, he answered that theraven had told him that there were sheep in the island Höskuldsey, andamong them a dead ram belonging to himself. The raven had wanted to
eat the ram’s eyes and had nagged on about it until the parson gave
him permission to do so. The second tells how the Rev. Árni discovered aman who had stolen fish from his fishing-nets with the aid of a chess-piece.
Jón lær›i refers thus to this priest in Tí›fordríf: ‘When I was young
I heard and saw on my own an old parson talking to a raven. I reckon
that the scraps and stones are now rotten which were formerly hidden
at Tunga with the good parson Árni Jónsson, who thereafter went to
his own property Látrar above Flatey.’1 This curious narrative phraseology, which is peculiar to Jón, presumably means that when he himself was young, he met this elderly parson and overheard him talking
also be noted that there is an extract from this work at the end of Jón
Eggertsson’s Adskilligt om Islands Beskaffenhed og Vilkaar (Thott 1738 4to).
Líti› ágrip um hulin pláss is printed in BE Munnmælasögur 24–36, cf. lvii–
lxii, xciii–xcv. The work is preserved in only the one manuscript, in the handof Jón Eggertsson, and it it has been suggested that he composed it and attributed it to Jón lær›i to shift responsibility onto him. See EGP Rit 42–52; EGP
Eddurit I 138–40.
1 These narratives are printed with some notes in Einar Ól. Sveinsson, ‘Sagnir
um séra Árna á Látrum,’ Blanda VII (1941), 189–92; BE Munnmælasögur
23–24 (Notes xci–xcii); see also EGP Rit 52–53. See also Gísli Konrá›sson,‘fiáttur Árna prests Jónssonar í Látrum’, Syrpa úr handritum II, Sagnaflættir,
1980, 24–35, printed from Lbs 1128 4to (cf. Sunnudagsbla› Vísis, 1940, no.
17; 1292 4to, 281–85 and Lbs 1770 4to, 49–58). There are stories of other
Icelandic churchmen who understood the speech of ravens, such as Bishop
Sveinn Pétursson the Wise of Skálholt (cf. Biskupa annálar in Safn I 37–38)
and Oddur Gottskálksson (see Annálar 1400–1800 II 65). The Rev. Fri›rik
Eggerz mentions that the Rev. Gu›mundur Jónsson (died 1716) was anotherso endowed, see Jfiork. 15.

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with a raven. He is, however, curiously reticent about his own firsthand knowledge, only making the one brief reference to it, though hehappily retells old stories about Árni.
The works which we have considered here can all be attributed to
Jón with some certainty. On the other hand, the curious collection ofverse prophecies commonly known as Krukkspá, ‘The prophecy of(Jón) Krukkur’, which has been attributed to him by some writers,1cannot possibly be his work. For one thing, the compiler of the prophecies was well acquainted with West Skaftafellss‡sla in south-eastern
Iceland, where Jón never went in his whole life. This point alone issufficient to rebut the attribution absolutely.2
After considering Jón lær›i and his work, we must pause for a noteon the two Stockholm manuscripts Papp. fol. nr 60 and 64. As alreadystated, these are largely in the hand of Jón Eggertsson, and it is therefore necessary to consider how much of their contents may be attributed to his authorship. First a few biographical details.
Jón Eggertsson was born in 1643 and died in 1689. He was from a
distinguished family, a quarrelsome, difficult man who was for muchof his life at loggerheads with numerous Icelandic officials. In the end
he entered the service of the Swedish government, and bought someold manuscripts in Iceland on their behalf in the summer of 1682. Hewent to Copenhagen in 1683, was arrested for debt in 1684 and spent
the next three years in prison, where during the winter of 1686–87 hewrote the two manuscripts relevant to this book, subsequently sellingthem to the Swedish College of Antiquities (Collegium Antiquitatum).
Only parts of these manuscripts contain material such as folk-stories
relating to this study. The rest is copies of ancient literature, translations of European chap-books and Novellen and (something which
the scribe will have felt to be even more important) tables of Jón
Eggertsson’s own genealogy and the patents of knighthood or nobility of his forebears. He no doubt thought that these were good things
to show both to his patrons and to his enemies, as being able to prove
1 Krukksspá is printed (but not with a critical text) in Jfiork. 213–27.
2 It may be added that Ólafur Halldórsson, Grænland í mi›aldaritum, 1978,

maintains that Jón lær›i was the main author of Grænlandsannál, rather than
Björn of Skar›sá, as formerly thought. This work has little relevance to folkstories, however. But it is likely that many attributions of works of this period
may sooner or later have to be revised.

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such descent could be of help to him in his various dealings with theauthorities. When Jón Eggertsson took the trouble to copy long extracts
from Tí›fordríf, it doubtless shows that he had discovered them to beof interest to people who mattered. On the whole this copying is donewith apparently scrupulous acknowledgement of authorship, but there
is a long collection of stories, especially about parsons who practised
various kinds of magic, which are attributed to Ólafur gamli, ‘Old
Ólafur’. Jón fiorkelsson the younger thought that this was a pseudonym
for the Rev. fiorsteinn Björnsson, the author of the already discussed
Noctes Setbergenses (see pp. 93–95), and it is easy to see what gave
him the idea. In the genealogical part of Jón Eggertsson’s manuscript
we are told that he is following a book by the Rev. fiorsteinn ofÚtskálar.1 This is not a valid argument for the authorship of the stories,
however, as the reference is only to the genealogical material, which
has nothing to do with folk-stories. It was pointed out in the original
Icelandic edition of this book that the viewpoint of the compiler of thestories is northern Icelandic, while the Rev. fiorsteinn spent his life in
the south of Iceland. It may therefore be surmised that Jón Eggertsson
himself was the author, and this has been the opinion of Bjarni Einarsson
and Einar G. Pétursson (cf. p. 96 above). There are, however, the following reasons to doubt this view.
Although the attributions of the scribe, Jón Eggertsson, to the Rev.
fiorsteinn and Old Ólafur (‘who was so named’) of the essays Um ætt
Magnúsar Jónssonar and Um rúnakonstina ‘On the art of runes’, aswell as of the collection of stories of magic, may be an invention,
there are at least two powerful arguments against his being the realauthor of these pieces. Firstly, there is a reference to a myrkvi›arskógur‘deep forest’ near Laufás in Eyjafjör›ur.2 I find it quite inconceivablethat a man who knew deep forests in other countries could have usedthat word of any Icelandic woodland whatever; on the other hand, aman who had never seen forests on the European mainland could easily have taken the word myrkvi›arskógr from Mágus saga3 to make
1 Jón fiorkelsson published Um ætt Magnúsar Jónssonar in Huld IV 22–35,
Huld 2 II 19–32. A full critical text has been published, with a detailed examination, of this and Um rúnakonstina (Skrif Ólafs gamla) in BE Munnmælasögur, 3–22; see also lxxvi–xci.
2 Um ætt Magnúsar Jónssonar, BE Munnmælasögur, 6.
3 See Mágus saga 19. I am of the opinion that the difficulties the Bishop of

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his story as impressive as possible, as he would not realise how inappropriate such a word is in such a context. Jón Eggertsson, on theother hand, was well acquainted with the difference between Icelandic and European forests. Secondly, there is the statement that theking of Denmark had to give up ‘various lands’ to the king of Sweden(Skrif Ólafs gamla 19). The former Administrator of the Mö›ruvellir
lands (and servant of the Swedish government) would never have used
so loose a phrase; he must have known very well how great was theloss to Denmark and gain to Sweden. From these and other lesser
points it seems likely that Jón Eggertsson was basing his account on
an older one written by a man who did not know the affairs of thegreat world outside Iceland as well as he himself did. How far thisoriginal would have been altered by Jón is difficult to say, except that
he has taken the section on the Rev. fiorkell Gu›bjartsson and the
Bishop of Hólar from its proper place and attached it to the end of his
own genealogy. He made an effort to make a single unit out of thetwo, but the lack of real continuity between the parts is nonethelessperfectly clear. The contents of the manuscript have also been further
muddled through sheets being misplaced when the book was bound.
Moreover resemblances can be detected between ‘Old Ólafur’s writings’ and those of Jón lær›i, however these may have come about.
Here are a few examples of such resemblance.
‘Old Ólafur’s writings’ is an entertaining work with an individual
character. Even though it was composed at the time of the witchcraft
persecutions (1625–90), and the consequent fear of accusations ofwitchcraft, there is a curious late-medieval tone about the narration;
there are motifs that are easily found in stories from the late Middle
Ages when such stories were told for entertainment without any noteof fear or psychological stress. Thus the Rev. Hálfdan draws ale fromthe corner-post of a house, horse-thieves get stuck to the backs ofstolen horses, a fox comes hurrying to obtain the parson’s forgivenessfor attacking his sheep, a stolen sheep bleats inside the thief who has
Hólar encountered on his journey to see the parson of Laufás are the rationalisation of a non-Icelandic medieval story of magic, in which the magician wasa weather-worker, by an Icelander who tried to find natural explanations of
the episcopal misadventures. In another context, that of the parson’s journeyto Hólar, the chronicler realised that he must not omit the episode of smellilegur(the Devil), since otherwise this story would have lost its point.

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eaten it, and so on. Many of these motifs can be found in European
literature (Faust and Mephistopheles drawing wine from a beam, thesheep bleating in the thief’s inside, etc.).
The similarities between ‘Old Ólafur’s Writing’ and Jón lær›i’s
works are of this type. Jón knows of the two parsons of Laufás, fiorkell
Gu›bjartsson (mentioned in Tí›fordríf and Um ættir og slekti) and Jón
Sigur›sson (see EGP Eddurit I 353 and II 56), though ‘Ólafur’ seems
more knowledgeable about the churches served by the latter during
his ministry. ‘Ólafur’ knows that Parson Hálfdan drew ale from a beamin his house, and Bishop Sveinn of Skálholt drew ale from the shaft ofa spear. Jón has such a story about Ólafur tóni (he was said to havedrawn ale from a rock near Hvoll in Saurbær, though this ale was theproperty of Governor (hir›stjóri) Björn fiorleifsson’s fierce widowÓlöf the Powerful). ‘Ólafur’, like Jón, mentions Straumfjar›ar-Halla.
Both tell of contests between her and Ólafur tóni, with Halla getting
the better of it (Jón uses a specific formal phrase of this contest). Bothstate that Ólafur made spirits take stones from Tónavör near Skar›;both refer to magicians opening the ground and entering hillocks.
It could well be that these similarities are to be explained by one of
the two works being the source for the other. Even if one writer had
only a cursory acquaintance with the other’s work, or if they had justtalked together, this would suffice to explain the similarities, thoughsome connection appears undeniable. Who then is the real ‘Old Ólafur’?
The name can hardly be a pseudonym for Jón Eggertsson, he being
the author of the section of stories of magic. Even if he was an inaccurate copyist, that does not make him a liar. In such a case I follow theLatin rule: in dubio pro reo. We have in Jón Eggertsson’s hand thewords: ‘The writings of Old Ólafur, who was so named’. One might
respond, Si non e vero e ben trovato, for it looks highly likely that the
scribe may unwittingly have been telling the truth. Unbiased interpretation of these words suggests that the author was really called ‘theOld’ by some group of people. The name Ólafur has of course always
been a popular one in Iceland, no less in Skagafjör›ur than elsewhere,
and naturally some bearers of the name will have lived to a ripe age.
That the writer had lived in Skagafjör›ur for a while could be argued
from Bjarni Einarsson’s suggestion that his ‘writings’ were written asa kind of continuation of Björn Jónsson of Skar›sá’s essay on runes.
But whether the real ‘Old Ólafur’ will ever be tracked down with certainty must remain an open question (cf. p. 96, note 2 above).

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VI
Descriptions of Iceland in general, and of individual parts in particular, continued to be compiled in the eighteenth century, as were essays
on Icelandic fauna and annals concerning both Icelandic and foreign
events. All these sources provide much material for the folklorist. Thus
we find the story of the Island-dweller of Súlnasker in a description of
the Westman Islands by the Rev. Gizur Pétursson from the beginningof the century, stories of mad Jóra and of Ingólfr Arnarson’s burialmound in a description of Ölfus,1 and an anonymous essay dealing
with robbers in Surtshellir and Grettistök (huge stones popularly believed to have been lifted off the ground by the outlaw Grettir).2 Páll
Bjarnason Vídalín (1728–59) writes of outlaws,3 Jón fiorkelsson(Thorchillius) (1697–1759) writes of the Turkish piracies of 1627,4
and the learned if ill-tempered Jón Marteinsson (died 1771) has muchto say about backward-finned fish, waterhorses, water-monsters andwrestling-spells (these last are contemporary with the writer).5 Johann
Anderson, Mayor of Hamburg, has a good deal of folklore material in
his book,6 and Eggert Ólafsson (1726–68) and Bjarni Pálsson (1719–79) have a great deal in theirs,7 as has, later, Ólafur Olavius (1741–
88).8 There is some material on water-horses, water-snakes and hidden folk in an essay by Sæmundur Hólm (1749–1821) which mentions the rock Systrastapi.9 Among annals and historical works it is
1 These works have been published respectively in fiJ Örnefni 93–108, andLandnám Ingólfs III (1937–39; also Árness‡sla. S‡slu- og sóknal‡singar Hinsíslenska bókmenntafélags, 1979; see Indexes under Jórukleif and Jórutindur).
2 For Grettistök see Lfrs. II 295–96.
3 See Lfrs. II 304.
4 Lfrs. II 313; Jón fiorkelsson (Thorchillius), Æfisaga, ed. Jón fiorkelsson(the younger), 1910, I 324–25.
5 Jón Marteinsson, Islands nærværende Tilstand (Thott 961 fol.; there isanother piece by Jón Marteinsson in Thott 953 fol.). See Lfrs. II 328–31.
6 Johann Anderson, Nachrichten von Island, Grönland und der Strasse Davis,
1747, 1–144.
7 Eggert Ólafsson, Reise 6.
8 Olaus Olavius, Oeconomisk Reise igiennem de nordvestlige, nordlige, og
nordostlige Kanter af Island, 1780. Cf. the Icelandic translation in Ólafur
Olavius, Fer›abók, 1964–65.
9 In ÍB 333 4to. Previously mentioned in the Rev. Einar Hálfdanarson’s
Gestur og gar›búi (ÍB 130 4to, cf. Steingrímur J. fiorsteinsson, Upphaf
leikritunar á Íslandi, 1943, 9–10); also JÁ II 71–73.

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proper to mention the writings of the Rev. Jón Halldórsson (1665–1736); his Biskupa sögur have an account of outlaws in Ódá›ahraun.1
The Rev. Jón Steingrímsson’s writings also contain folklore material,both in his autobiography and in his work on the eruption of Katla.2
There is a curious document, Árnaskjal, which exists in numerous
manuscripts from a date not much later than the events involving men
and elves that it purports to relate. This short work appears most likely
to be a fairly accurate description of a madman’s fantasies.3
There is particular reason to mention here three men who provide
information on the folk-stories of the period. Two, Árni Magnússon
and Jón Ólafsson from Grunnavík, are from the first half of the century, the third, Eiríkur Laxdal, from the second half.
Árni Magnússon had a profound contempt for superstition and madeup stories, for he was by nature the most accurate and clear-headed ofmen, fully in harmony with his times with their emphasis on reason
and level-headedness. He was, however, the keenest and most knowledgeable collector of both ancient and more recent manuscripts, and1 Jón Halldórsson BS I 190–93; also JÁ II 251–53.
2 See especially Safn IV, 1907–15. The latter work is reprinted in Jón Steingrímsson, Ævisaga og önnur rit, 1973, 393–403. JÁ I 185 gives as a source
for Jón Steingrímsson’s work a manuscript miscellany containing various stories gathered by District Judge Einar fiorsteinsson (d. c.1691, not to be confused with the Bishop of Hólar of the same name, d. 1696). Folklore materials
directly relating to Jón Steingrímsson are to be found in his Æfisaga3, 191–93.
3 This document is printed in JÁ I 93–100 and JÁ3 VI 12–18. It should bepointed out that another version of Árnaskjal was translated into Danish, andprinted as an item of great curiosity: En kort dog fuldstændig Historie af enIslænder ved Navn Arne Joensen, som Anno 1747 kom i Laug med et underjordiskt Fruentimmer og derefter blev lykkeligen frelset af Hendes Snare. Trykti Dette Aar, 8vo, 16 pp., Copenhagen (eighteenth century); there are also Norwegian, Danish and German translations of the text in JÁ (Norwegian in
Islandske Folkesagn efter Arnason, Maurer og Fleere, Christiania 1863, 24–
34; Danish in Islandske Folkesagn. Paa Dansk ved Carl Andersen, Copenhagen 1862, 17–31, and 1877, 14–25; German in Central-Organ für die
Interessen des Realschulwesens XXI (1893), 593–602). The story has turned
up in Færoese oral tradition (see Jakob Jakobsen, Færøske Folkesagn ogÆventyr, 1898–1901, 629–30). Bibliographical information about the Norwegian and German versions was kindly communicated by the late Professor
Pétur Sigur›sson. See Einar G. Pétursson, ‘Um sögur af Álfa-Árna’, Úr manna
minnum, ed. Baldur Hafsta› and Haraldur Bessason, 2002, 127–56.

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could not resist the lure of old written stories or rímur which were notyet found in manuscript, but which people remembered, and which hecaused to be noted down. As a result of his keenness there was preserved all that has survived of the Rímur of fiorgeirr stjakarhöf›i andthe contents of the story of Vestfjar›a-Grímr and Grímr Skeljungsbani;
moreover the Rev. Eyjólfur Jónsson of Vellir copied out a summary ofa story (or rímur) about Ásmundr flag›agæfa and King Jón of Upplönd(derived from Dámusta saga)1 at Árni’s request. Árni had a great interest in Icelandic archæology and place-name history, and so could
not help gathering legends which were told in connection with actual
sites, such as those of Jóra of Jórukleif and fiorleifr beiskaldi, andrecording references to such people as Gullbrá of Hvammur.2 His collector’s urge also forbade Árni to stop there, and he had stories ofSæmundr the Wise gathered together,3 and even some stories without
place-name connections, such as the wonder-tales of Finna the Wise,Mærflöll, Brjám4 and Himinbjörg,5 and he gathered up the surviving
fragments about Vilfrí›ur Völufegri.6 Some of these stories are better
written than most other literature of the century, and they are a mostvaluable source for the folklorist. They are the earliest examples ofwonder-tales written down in their oral form, since previously they
were usually dressed up in an antiquarian ‘saga-style’ or some otherliterary costume, and considerably altered in the process. All the fourstories mentioned here have some important elements. The stories of
1 JÁ I 167–79; also I 245–56 and 284–85; Huld I 19–21, Huld 2 I 16–18; BE

Munnmælasögur, Introduction and pp. 48–59 and 81–104.
2 Árni Magnússon, Brevveksling med Torfæus, ed. K. Kålund, 1916, 66; BE
Munnmælasögur 59–60. There is also AM 213 8vo (printed in Árni Magnússon, ‘Chorographia Islandica’, Safn til sögu Íslands, Annar flokkur I (1955),2), which refers to the outlawing of Torfi of Klofi.
3 Printed in JÁ I 485–90 and in BE Munnmælasögur 39–48; cf. ÁrniMagnússon, ‘Vita Sæmundi multiscii’, Edda Sæmundar hinns fróda, 1787–
1828, I i–xxvii (repr. in Finnur Jónsson, Árni Magnússons Levned og Skrifter,
1930, II 89–108); also Einar Ól. Sveinsson, ‘Folksägner om isländska
häxmästare’, Arv 1946, 111–24 and Benedikt S. Benedikz, ‘The Master Magician
in Icelandic Folk-Legend’, Durham University Journal LVII (1964), 22–34.
4 JÁ II 383–86, 424–27, 505–08; see also Gráskinna I 41, Gráskinna 2 I 37;
Nordal Íl, 80–86; BE Munnmælasögur 61–63, 64–67, 68–72.
5 Gráskinna I 29–41; Gráskinna 2 I 26–37; BE Munnmælasögur 72–81.
6 JÁ II 399–407; BE Munnmælasögur 67–68.

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Mærflöll and Himinbjörg are pure wonder-tales, found only in thiscollection, though wonder-tales related to Himinbjargar saga are foundboth earlier and later. We will examine this point later. The nameMærflöll is a corruption of Mardöll, a name given to the princess
because she weeps gold like Freyja (cf. Gylfaginning ch. 35). The
stories all show a relationship to literary poems written from the sixteenth century onwards and of which traces can be seen in Icelandic
wonder-tales of the nineteenth century, though this influence showssome signs of decline. Brjáms saga, which was written down from thenarrative of Hildur Arngrímsdóttir (d. 1724), the daughter of Arngrímur
Jónsson lær›i, and mother of the poet Lawman Páll Vídalín, is really
two stories joined together. One is a comic story of a boy who follows
his mother’s advice on what to do literally, but always at the wrong
moment (AT 1696; ‘What should I have said, mother?’); the other is a
half-remembered version of the story of Hamlet.1 The story of Finna
forvitra blends motifs typical of elf-stories and wonder-tales in muchthe same way as the narrative poems of the sixteenth century, and in avery melancholy tone, just like them.2

1 Besides the brief version given to Árni by Hildur Arngrímsdóttir we haveother forms of the Hamlet-legend in later Icelandic recensions. The oldest ofthese is probably Páll Bjarnason’s Ambáles rímur, written late in the seventeenth century (ed. Hermann Pálsson, Rit rímnafélagsins V, 1952). The author
states (Ríma XXI 5–8) that he has never seen this story in his mother-tongue
and that he owned it once in a German book which somebody then stole fromhim, so that he now has to rely on his memory, which is not as good as it once
was. Besides these rímur there is a prose version, Ambáles saga (first printed
by Einar fiór›arson, 1886, and then edited in full state by Israel Gollancz, see
below). This prose version is usually thought to derive from the rímur, andmay even be by the same author. It is obviously derived ultimately from Saxo
Grammaticus, though the intermediate links are now unknown. See I. Gollancz,
Hamlet in Iceland, 1898, lxviii–lxxv and 247–49. Both prose and verse versions
show the influence of an Icelandic oral tradition as well as a ‘German book’;
the length of this tradition may be seen from the existence of a stanza mentioning ‘Amló›i’ in Skáldskaparmál ch. 25. See further Einar Ól. Sveinsson,Íslenzkar bókmenntir í fornöld, 1962, 446–47; P. Herrmann, Die Heldensagen
des Saxo Grammaticus, 1922; BE Munnmælasögur cxxvii–cxl, 61–63.
2 The story of Finna is obviously related to the Sigrí›ur Eyjafjar›arsól typeof story (patient Griselda), e.g. JÁ II 204, where we also meet the motif ‘Whoowns this? You and I and no one else’. Cf. Verz. 45–46.

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Jón Ólafsson from Grunnavík was Árni Magnússon’s private secretary for many years, and subsequently the holder of the fellowship set
up from the income from his estate, and so lived the greater part of hislife in Árni’s shadow. He was however very unlike his master, being
highly superstitious and very uncritical, though he possessed an enormous fund of knowledge. Though he was endowed with a capacious
memory, he become sadly confused in his later years.1 He had an incredibly wide knowledge of Icelandic popular lore, and this can beseen in his writings. Though he rarely tells actual stories, he often
indicates their essential features or refers to some motif by which one
may be identified. This is a very valuable thing, as Jón lived a century
before his namesake Jón Árnason, the first editor of Iceland’s folkstories. We can thus find references in full or in part to the following
stories in his writings:2
Ólafur mu›ur (Contractismus, JH 312; Dictionary, under bláfell; cf. JÁ I 158);
The ogress given a ride by a man, hence the proverbs ‘Let me ride with you,fellow’ and ‘Each knows his own problems, I bore a child yesterday’ (Dictionary, under kenna; cf. Jón Sigur›sson’s excerpts); The man who fought anogress at Tröllkonugil by Uxahryggjavegur (Book on Giants, JH 216); Thegirl at Hólar who walked into a wall (Dictionary, under álfur; JH 113; JÁ I583); The man at Sta›ur in Grunnavík who walked through a wall (Dictionary, under álfur; JH 113, cf. the story of Galdra-Loftur, and that of a man who
according to an addition made by Jón Eggertsson in a manuscript of Tí›fordríf(cf. pp. 273–74 below) walks through a wall); Ghosts sent to attack Páll Vídalín(JH 11), and Páll the magician’s sorcery against Páll’s grandfather (Lfrs. II,227); The verse composed by Víga-Styrr, Horfinn er fagur farfi (Hei›arvíga
saga, ÍF III 234; cf. JÁ I 242); The story of fiórgunna’s burial (in some younger
manuscripts of Eyrbyggja saga, cf. ÍF IV 145, cf. JÁ I 227; Dictionary, underfiórgunna; JH 115); Jón flak (Dictionary, under flak, kórbak; JH 114; cf. JÁ I233); The voice that chanted the verse Vögum vi› og vögum vi› (Dictionary
under vaga; JH 115; also found in Fitjaannáll under 1707 and Setbergsannáll
under 1347);3 fiorleifr the magician and Ölvir the ghost (Treatise on ancient
funeral mounds, 1753; cf. JH 264); Sea-cows (JH 176); The story of Völustakkr,
1 The outstanding study of this pitiable man is JH. There is a brilliant, if
somewhat farcical portrait of him as Joannes Grinvicensis in Halldór Kiljan
Laxness’s novel Íslandsklukkan, 1943–45.
2 The original of Jón Ólafsson’s Dictionary is in Stofnun Árna Magnússonarin Reykjavík. There is a copy in Landsbókasafn Íslands and the work has been
excerpted by Or›abók Háskólans.
3 Annálar 1400–1800 II 372 and IV.

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about outlaws in the mountain Hengill (Dictionary, under vala; JH 115; cf. JÁ
II 302); The dance at Hruni (Dictionary, under duna, fljó›, kast; JH 114); The
sneezing-sickness (Dictionary, under hnerri; JH 115); The death of the people
at Kaldrani from eating a backward-finned fish—Jón says that an elf-womanchanted the verse (Dictionary, under vana, andvana; JH 114; cf. also JónÓlafsson ’s Book of fishes, JH 175; JÁ I 636); The Monster of Kú›afljót (Dictionary, under kú›i; JH 115; JÁ I 638) and other sea and water beasts (JH 115,
l66, 175; Lfrs. II, 318, 321, 324–25). Jón also refers to the seers’ ritual known
as ‘sitting out’ (see p. 192 below), and to methods of raising ghosts (JH 280),
to superstitions about lings’ heads (as objects of sorcery), cauls and ‘lockgrass’ (a herb reputed to open locks) (Dictionary, under höfu›sma›ur, kufl,lás; JH 115); he refers to the custom of letting the elves take over one’s houseon New-Year’s Eve and the formula of invitation to them: ‘Let them stay whowish to stay’ or ‘Those who wish for the land may stay, those who wish may
go away’. He mentions in the same place the custom of ‘breaking up fuel inthe kitchen on New-Year’s Eve to let any elves who are moving house warmthemselves if they are cold’ (Dictionary, under álfur).

VII
Eiríkur Laxdal (1743–1816) was the son of the Rev. Eiríkur Jónsson,
Rector of Hvammur in Laxárdalur and later of Hof on Skagaströnd(died 1779). He attended Hólar Cathedral School from 1760 to 1765,
and was parish clerk at Reynista›ur and later at Munkaflverá, but hehad to give up his post, having had a child out of wedlock by thebeautiful but ignorant Elín, daughter of Halldór Brynjólfsson (bishopof Hólar 1746–52). After this Eiríkur went to Denmark and matriculated at Copenhagen University in 1769. It is recorded that his preceptor at the University was Chr. Kratzenstein1 whose interests were markedly scientific, and it is likely that the interest in the natural sciences
which is widely found in Eiríkur’s writings is due in part to the inspiration of his former teacher. He had an adventurous time in his student
days and was for a while a naval rating, which experience turned him
forever from the path of an official career. Though he stayed in Copenhagen until 1775 (or according to some 1777) and accumulated muchlearning, this did him no benefit when he returned to Iceland, eventhough his wit and learning were praised by his contemporaries; hewas said to be fluent in Danish, German and Latin. He was, however,
1 See Bjarni Jónsson frá Unnarholti, Íslenzkir Hafnarstúdentar, 1949, 116.

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a singular and eccentric person, said to be an obstinate debater1 and heseems to have preferred freedom to all else. He married Ólöf Gu›mundsdóttir, a widow from Sléttuhlí›, and struggled at farming with her at
Ne›ranes and then at Kelduvík on Skagi, but was said to have little aptitude for farming, though he was a good fisherman (for a while he owned
his own fishing-boat), and finally his farming came to grief, his household broke up, and Eiríkur trudged around as a beggar for his remaining
years, and died at Stokkahla›ir in Eyjafjör›ur on 24th July 1816.
Eiríkur was a versifier, and composed both short lyrics and hymns
as well as some sets of rímur, of which we may mention here Hermó›s
rímur (1777) and Ingibjargar rímur alvænu (1778; from stories in
Laxdal Ós). His two prose works are Ólands saga (The story of Noland;= Laxdal Ós) and Ólafs saga fiórhallasonar (= Laxdal Ósfi).
Ólands saga is now preserved in only one manuscript, Lbs 554 4to,written probably around 1820 by two scribes, the first of whom wasfiorsteinn fiorsteinsson of Hei›i. The manuscript ends abruptly at the
beginning of Book III, ch. 6 (ch. 187 of the entire work), and it is notpossible to know whether Eiríkur ever completed the work. The content is mostly wonder-tales, each woven with great skill into others,though it cannot be denied that this method of composition makes
great demands upon the reader’s attention and memory. There is no
doubt as to Eiríkur’s models, which are such collections of stories as
The Thousand and One Nights, Thousand and One Days, etc., both ofwhich were available in Danish translation in Eiríkur’s Copenhagenyears (there are also Icelandic translations of portions of both collections from the eighteenth century). Eiríkur also reworked his stories
in the manner of the fornaldar sögur and other Icelandic written stories,
and the genealogical material, which is much used to link the various
stories, is clearly based on these models. Though the style is partly
based on older sagas, European influence is even more obvious; theverbosity and pomposity—in short, the periwig style that is so very
prominent throughout the book—spoil the story. Natural descriptions
and other such things are probably copied from contemporary European models, but some, such as the descriptions of cities and orchards,
1 For the type of ridiculous, ultra-logical, obstinate, hair-splitting debating
which was the normal procedure at Copenhagen University in the eighteenth
century, see Holberg’s Erasmus Montanus and G. Brandes, Ludvig Holberg.
Et Festskrift, 1884, 98–101.

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are based on Eiríkur’s own observation; thus in one place a crowd
cheers their queen in a way that suggests a Danish royal event. As togeneral ideas and attitudes, the book is a true product of the Age of
Enlightenment. The author tries everywhere to offer rationalistic interpretations of supernatural matter in the wonder-tales, and this often
has curious results. As mentioned earlier, Eiríkur’s enthusiasm fornatural history is widely evident. In one place he describes how life
developed on earth: first after the great flood there was only rock, andthen lichen grew on it, and from it came more developed organisms,
and so on until the earth was covered with plants as it is now. From theplants there then evolved simple animal species which gradually developed until man was reached. The first men used stones and burnt
sticks, and then they began to dig metals from the earth. Eiríkur alsosays that the dead live on in the stars.
Eiríkur’s political ideas are those of a man dedicated to enlightenedmonarchy. ‘Virtue’ is preached in and out of season, as is characteristic of the time. On the other hand, the subject-matter of the book is apt
to be earthy, and Eiríkur clearly had the uninhibited views on sexuality common in his day—his own love-life may indeed have been somewhat disorderly.
The subject-matter of Ólands saga comes from every imaginablesource. In the last section the Bible is followed at first, and there arealso long narratives based on Ármanns rímur and Hermó›s rímur. Other
parts are more or less Eiríkur’s own invention, or else adapted fromforeign sources (such as the story of Go›fre›ur the Lucky and Forgetful, chs 126–32). Eiríkur often combines wonder-tale motifs into fairly
complete stories, and his narratives cannot be trusted without a check.
Ólands saga contains more or less reliable variants of the following
wonder-tales:
1.–3. fiáttur af Helgu hinni vænu and Rau›s fláttur (chs 1–19, 20–34 and 111–
16); two variants of AT 706 (Björn brag›astakkur and Lauphöf›a), one ofthem poor.
4. Chs 35–47 are derived from Jón lær›i’s Ármanns rímur, with changes.
5. fiáttur af Jarflrú›i og Hvít (chs 48–66); [L425 or] AT 517.
6. Chs 67–75 are derived from Hermó›s rímur.
7. Ingibjargar fláttur alvænu, chs 76–84 deals with the patience of women(AT 887); Griselda might be behind it. Possibly mainly the work of Eríkur
Laxdal himself.

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8. fiáttur af Ingibjörgu Sign‡jarfóstru og dætrum hennar (chs 85–89), on theinquisitiveness and obstinacy of a princess; see no. 20 below and Verz. 710.
9–10. fiáttur af Hrímger›i og Sign‡ju (chs 90–104); princesses make game ofprinces, cf. AT 900. Chs 100–03 are inserted, in which a princess is enclosed
in the burial mound of a ghost (cf. Hermó›s rímur).
11. fiáttur af Ólafi og Eysteini (chs 105–10); king and queen lose their childand find it again. Only one remarkable motif is found here: their son has agolden arrow on his left arm. Cf. Ála flekks saga (Lagerholm DL 87, note).
12. Risinn á Gullskógalandi (chs 117–23), AT 425. The search for the lost
husband, a specific version, and the last half of the type is left out.
13. The story of Döggvar (chs 124–26, 132–34). Another version of AT 425,
and this time the latter half of the type is kept. Chs 126–32, here the story ofGo›fre›ur (see above p. 124) is inserted.
14. The twelve Princes in the shape of oxen (chs 135–40), AT 471; see Saga af
fiorsteini karlssyni, JÁ II 422.
15. A giantess steals from the treasury of the king, then fosters his son (ch.
141), cf. the story of Dofri and King Haraldr hárfagri.
16. Kisu saga (chs 142–48), a poor and muddled version of AT 711.
17. Hrómundar fláttur (chs 149–54, 178–81), AT 510 + 403, the Icelandic
version (Mja›veig).
18. fiáttur af Vilfrí›i Völufegri (chs 155–58, 162–63, 169), AT 709 (SnowWhite).
19. Sigrö›arfláttur (chs 159–62, 177), an altered form of Björn brag›astakkur,
cf. nos l–3.
Finally mention should be made of:
20. fiáttur af Hlini og Sólbjörtu spöku (chs 164–70); here is a summary:When Prince Hlinur was young his aunts (who envied his mother) laid a spellon him that he should never be at ease until he came to the ogress Kolfrosta in
Tröllabotnar and married her. At this a voice (his mother’s) interrupted, ‘unless a woman should release him by being silent for three days’. Hlinur now
spent over three years with the ogresses, but no woman could pass this test.
Then, one day, a king was sailing by when his ship sprang a leak in a storm
and stuck fast on a nearby shallows. Hlinur now came swimming alongside
and offered to release the ship in return for the hand of the king’s daughter
Sólbjört. The king agreed to this on the third day. The princess and Hlinur
then went ashore in his boat, together with her dog, and came to Tröllabotnar,
where Sólbjört was to undergo the silence test. The ogresses tried to tempt her
with a great casket of gems, but failed. Then, on the third day, when Kolfrosta
killed her dog, she could not keep silence, and Hlinur had to go to the ogress.
He pretended to want to marry her, but Sólbjört was present (invisible, thanks

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THE FOLK-STORIES OF ICELAND

to a magic stone). Hlinur tempted the ogress to show him her most precious
things, including a nest of caskets in which she kept her life-egg. Kolfrosta
then went to invite the other giants to her wedding, at which Sólbjört and
Hlinur met them and Hlinur hurled the life-egg between Kolfrosta’s eyes andblinded her. She accused the other trolls of causing this mishap, and they
quarrelled and the quarrel led to a fight. Finally only Kolfrosta survived, andcontrived to put a spell on Sólbjört and Hlinur before she died—which leads
to the start of a new wonder-tale.1
The final episode is a story of a curious woman which can be summarised
as follows: the Princess Ingibjörg is captured by the ogress Króknefja, who
leaves her in her cave and forbids her to look under her bed-curtain. Naturally,
curiosity overpowers her fear of the taboo, and she looks and finds a young
man there, playing chess with himself. The ogress returns and accuses Ingibjörg
of having looked, but she denies it. Króknefja thereupon pretends that she
will kill her unless she confesses it, and first prepares to chop off her head,then to burn her alive, and on the third day to throw her over a cliff, but all in
vain. When Ingibjörg returns home to her bower she is visited by the young
man whom she found under the bed-curtain, and has two children by him. The
ogress takes the children away from her, but the princess still refuses to confess. In the end Króknefja is allowed to spend a night in Ingibjörg’s bower,
and so be released from her own enchantment.

Verz. 710 is a narrative not unrelated to this Ólands saga story, anda not dissimilar variant has turned up in a recently recorded Icelandic
oral version.2 It should also be mentioned that similar motifs are instory no. 6 in ÍB 160 8vo, and the story of Hlinur is one of those listedby the Rev. Fri›rik Eggerz as ‘historiae fabulosae’ (Lbs 939 4to). The
story is in some ways related to the German Marienkind story and we
may add here Bolte’s observations on this wonder-tale (BP I, 14).3
In diesen und den verwandten Märchen handelt es sich teils um eine dem
Mädchen auferlegte Prüfung des Gehorsams oder der Geduld im Leiden, teils
um die Erlösung eines verzauberten Wesens durch standhaftes Schweigen,obwohl der Grundgedanke nicht immer klar entwickelt ist. Wir können drei
Gruppen unterscheiden; entweder ist es die Jungfrau Maria, die ihrem Patenoder Pflegekinde die Probe des verbotenen Zimmers (oder der verbotenden
1 Cf. Verz. 425, I* and ÓDav.3 II 321–26; ÓDav.5 IV 84–88.
2 This story is on a record preserved in the Folklore Department of StofnunÁrna Magnússonar in Reykjavík.
3 For the classic version of this see J. and W. Grimm, Kinder- undHausmärchen, 1913–18, I 13–21 (no. 3); cf. also Stith Thompson, Motif-Index,
1932–36, C911.

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Rosenstockes oder das Hühnleinhüten) auferlegt, oder wie in unsrer zweiten
Erzählung eine geheimnisvolle schwarze Frau, die wie Melusine zu gewissen
Zeiten Tiergestalt annehmen muß oder der Erlösung harrt, oder drittens ein
Mann.

In Stith Thompson’s epitome of the type (AT 710) there is also sometimes a witch or an evil stepmother involved.
Ólands saga can be dated by comparison with Hermó›s rímur andIngibjargar rímur, whose dates of composition are known (Hermó›s
rímur 1777, Ingibjargar rímur 1778) and which are only versificationsof the relevant portions of the saga. Moreover, the rímur refer in passing to longer narratives about the children of the principal personages,
which is in accord with the contents of Ólands saga.1 It may well bethat the version alluded to in the rímur was not identical with the textof the saga which survives (some of the names of the participants, forinstance, are different in the two versions).2
Ólafs saga fiórhallasonar (Laxdal Ósfi) exists for the most part in
the author’s autograph (Lbs 152 fol.), though some early chapters are
missing, and it has no ending (it is impossible to tell whether this is

1 Thus, at the end of Hermó›s rímur it is stated that Hermó›r and Há›vör

have a son named fiorsteinn; Ævisaga er hans löng / Ei fló ritist núna, ‘The
story of his life is long / Though not recorded here’. At the end of Ingibjargar
rímur it is stated that her sister married fiorsteinn Hermó›sson, Kom sízt vi›
sögu flessa / Segir önnur af fleim meir, ‘They do not concern this story / Asanother one tells more of them’ (cf. Laxdal Ós, chs 82–84). Finally we may
note a reference to Ingivör, the daughter of Ingibjörg alvæna, and her sons, af
fleim meira innir saga ‘a story tells more of them’, which also refers to longer
accounts in Laxdal Ós.
2 Thus Hla›vör’s parents are called Hringur of Bornholm and Dagmær in
Hermó›s rímur, but Hálfdán and Svanhvít in the saga. Hermó›r’s father is
Earl Hárekr of Skáney in the rímur, and fiorsteinn Hrei›arsson in the saga.
The evil counsellor is named Rau›r in both (though occasionally, perhaps
from oversight, Úlfur in the saga). The rímur state that the mist before
Ingibjörg’s bower was a magical illusion, but the saga does not mention this.
There are two points in the manuscript of Ólands saga where short chapters(chs 117 and 134) have been crossed out and replaced by longer ones. This isprobably Eiríkur’s doing; he wrote the replacement chapters in his original
manuscript, but forgot to cross out the first version, which was copied out by
the copyist of Lbs 554 4to, who then discovered that the latter version superseded the former, and crossed the shorter one out.

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because the author left it incomplete, or whether the ending is lost).1
From the note of the year 1788 on pp. 3 and 5 of the autograph we canbe sure that it was certainly begun by then, though the manuscript
could of course be a copy of a work written earlier.
Ólafs saga is much more entertaining reading than Ólands saga,
mainly because the narrative is mostly plainer and briefer. There arerhetorical expansions and speechifications in some places, but the style
is often vigorous and effective. The story is also much enriched bydescriptions of folk customs and folk life, of people’s work and leisureactivities, and there are also some descriptions of nature, for instancethose from Skagi, which make entertaining reading.
The story takes place in the homes of elves and in the habitations ofmen, as well as partly in outlaws’ hideouts in the mountains. Eiríkur’s
invention provides most of the matter, though he often bases it on
folk-belief, especially belief in hidden folk, but in some parts he has
put in fairly complete folk-legends. The story may be analysed into
two parts, the frame and the insertions. The latter are narratives about
men and women who cross Ólafur’s path, one story being set Chinesepuzzle fashion inside another, but there is much more to the frame
than in Ólands saga. It consists of the life of Ólafur, his love affairs,
and all the troubles he has to endure because of them. He spends half
his time among elves, and is persecuted and laid under spells by them—though some of the elves themselves are also under spells.
The story contains a great many folk-story motifs and some fairly
complete folk-legends; the following are the most noteworthy:2
l. The outlaw stories. These have been carefully summarised by Jan Spoelstra,and so do not need to be repeated here. I cannot, however, resist the temptation to mention the motif ‘recurrent fight’.3

1 The beginning can be supplied from Lbs 151 fol., a copy by ‘student’Ólafur Ólafsson (d. 1882) who copied chs 1–54 from the autograph (none too
accurately for the most part) while it was still intact. The remainder of thesaga in this copy is a much more accurate continuation by Gu›mundurfiorláksson (1850–1910) made in 1899. A few chapters (I 60, I 14, III 20 inthat order) are also copied out in ÍB 51 8vo.
2 In all references to Laxdal Ósfi the Roman numeral refers to the ‘Evening’(or ‘Section’), the Arabic numeral to the chapter.
3 Spoelstra 1938. The ‘recurrent fight’ motif is handled on pp. 135–37.

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2. The elf story ‘The Girl at the Shieling’ (JÁ I 64–70) appears in a narrative of Kjartan and Gu›rún (II, 25–37) and even more plainly in one of Ólafurand Dvalin (II, 48–55).
3. An elf-woman in labour is helped by a mortal (II, 50).
4. A girl is kidnapped by outlaws (III, 8–11). This story contains the beautiful stanza:
Hjarta› mitt er harmslegi›,
Now my heart is struck with pain,
hvergi finn ég skammdegi›,
the winter nights I crave in vain,sí›an eg fór úr mi›fir›i í sí›asta sinni, since that day which never leaves my mind,
mér lí›ur aldrei dagur sá úr minni; the day I last left Midfirth behind.
seg fla› minni
Tell this to my mother dear,seg fla› mó›ur minni.
tell this to my mother.1
5. The farm Gullkinn on Skagi is deserted because of ghosts (I, 3).
6. Elves take over the farm at Gaukssta›ir while the people go to church on
Christmas Eve, and the house-minders suffer various fates (I, 23 and 32).
7. Ólafur mu›ur (I, 36).
8. Pirates (Turks) in Kr‡suvík (I, 43; cf. JÁ I 577).
9. Portents of shipwrecks. Ship launched in the name of all devils (I, 47–48).
10. A corpse washed up by the sea used for bait—loss of the ship (I, 54–58).
11. The story of Kr‡s and Herdís, told by Álfbjörg the elf-woman (cf. JÁ I
476–77).
12. Hallowing of the bird-rocks on Drangey (III, 16–17); naming the unhallowed part Hei›navík (Heathen cove).
13. The story of the merman (III, 19–25).
14. Changeling story (‘There is a lot of difference between your mother andme: she beats my child and I dandle yours’) (III, 26).
15. The story of Grímur of Grímsborg (III, 27–41, 43) is somewhat longer
than Jón Árnason’s version (JÁ I 27) but has the same verses.
16. Backfin-eating on Kaldrani (III, 33–34).2
17. A story of a tremendous catch of fish in Aravatn with an elvish fishhook (III, 35–37).
18. The giant Gassi on Digramúli turned to stone by daylight (III, 42).
19. The story of fiorbjörg kólka (IV, 3–17). This contains many notable
poems and verses, including Sé eg su›ur til eyja (‘I look south to the islands’,
cf. p. 180 below), fishing-ground verses about Spor›agrunn, ‘Fishtail Shallows’,3 fishing-verses, etc. Here is the verse about Vattavinur, ‘Glove Friend’:1 This story, and the verse, are printed in BBj. II 94–96.
2 Öfuguggi, ‘backfin’, is a mythical fish whose fins all face the wrong way,

and is deadly poisonous if eaten.
3 Cf. Blanda I 203, 289–90; also Gísli Konrá›sson, Sögufláttur Skagstrendinga og Skagamanna in JS 302 4to, 43–44, printed in Saga Skagstrendinga og
Skagamanna, 1941, 55–56 (a longer version).

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THE FOLK-STORIES OF ICELAND

Drögum, vinur vatta,
The hilltops have their storm-caps on,af ve›ri fjöllin hatta;
good glove-friend, pull to land;mönnum flykir mannska›aöld,
tonight there’ll be men lost at sea,of mörg ver›ur ekkja á Skagaströnd í and too many widows made on Skagakvöld.
strönd.
And these rules for making and baiting a fishhook in öfugmæli (verses with areverse meaning):
The hook you have is useless,Ón‡tan hefur flú
another you must make:öngul á færimade from an ice-floe[annan skalt] smí›ais the steel you must take;úr ísmola-stáli,steel chewed and trodden [by horses],tro›i› járn og tuggi›
tempered with [piss];
tempra› . . . vi›,a coffin’s nail’s the only barblíkkistunagla
for a hook like this;láttu á oddinn,file where you hear the soundvi› lárni› og árni›at once of sea and stream.
láttu hann sorfinn,
Burnish it as best you may,fæg›u hann vel,
like a mirror’s gleam;sem fagran spegil.
never let bright sunshine
Aldrei sól skíni
upon your bare hook fall,á öngul flinn berannor, when you go a-fishing,e›ur fla› brúkar
agn til fiskjar.
upon your bait at all.
Just you put upon your hook
Efst skaltu hafaá öngli flínum
fresh gizzard, flounder’s gut,
put gull’s flesh in the middle,
fóhorn n‡tt
og fly›rugarnir,
at the tip a mouse you put.
And when you’ve each single thing,máskjöt á mi›ju
mús á oddi;
yes, everything, I’ve said,
if you still can catch no fish,
feigur ert flú,ef fiskar ekki.
you’ll very soon be dead.
20. A woman at Litli-Bakki brings up a she-bear on milk, and receives in
return numerous seals (IV, 32–33).
21. Ghost-story of Eindri›i of Hlö›uvík (IV, 58–61, 66–67). This is a very
powerful narrative, splendidly told; in it we find this rhyme:
Set eg fót
I set one of my feet
efst vi› rót
up against the rafter,
en hinn ofan í fjalamót.1
and the other where the floor-boards
meet.
1 The whole story is printed in Sópdyngja, fljó›sögur, alfl‡›legur fró›leikurog skemmtan, ed. Bragi Sveinsson and Jóhann Sveinsson frá Flögu, 1944–51,
II 69–84, with notes by Einar Ól. Sveinsson; cf. ÓDav. fiulur 226.

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22. ‘You needn’t dig deep: I won’t lie long.’1
23. Finally there is the story that goes with Ljúflingsljó› and the poem itself(cf. ÓDav. fiulur 254–57).

It is not possible here to illustrate Eiríkur’s narrative manner, but hisÓlafs saga is now available in print (Laxdal Ósfi). It is much to be
desired that Ólands saga should also be printed in part or in full. I suspect that many readers would find both of these rich treasure-trove(especially Ólafs saga). Steingrímur J. fiorsteinsson, in Jón Thoroddsenog skáldsögur hans (1943), counts Eiríkur Laxdal as the first Icelandic
novelist on account of his Ólands saga and Ólafs saga fiórhallasonar.
But his works may be said to have been lost sight of, since even though
their existence was known, few people appear to have read them, andonly very little of their contents are to be found in oral or written folkstories. Nonetheless, the poet Bólu-Hjálmar (Jónsson, 1796–1875)
compiled a narrative of fiorbjörg kólka, which he patched together
from Laxdal’s stories of fiorbjörg, Borgar-Grímur and the backfineating,2 while the story which Björn Bjarnason printed about Ólafr
mu›ur is probably the product of a story-teller who had some knowledge of the version in Ólafs saga (BBj. 7–20).
VIII
As was to be expected, the wave of interest in folklore which arose inEurope in the early nineteenth century reached Iceland in due course,
and we shall now give an account of the result of this interest. First,
however, we should mention the principal sources of those folk-stories
that cannot be directly traced to this European movement, but may
nevertheless be connected with it, even if the links have now vanished.
The first such source is the work of the annalist Jón Espólín (1769–
1836). His Árbækur, ‘Annals’ (12 vols, 1821–55, repr. 1943–47) contain much material connected with folk-stories which he had copiedfrom older annals and similar works, and we may refer here to JónÁrnason’s use of material from his writings (for details, see the references to him in the indexes to JÁ2 and JÁ3). In his last years, however,
he composed a kind of picaresque novel, Saga Árna ljúflings, which
exists in autograph in Lbs. 3501 8vo, and in a single manuscript copy
1 See JÁ I 578; Gu›mundur G. Hagalín, Saga Eldeyjar-Hjalta, 1939, I 68.
2 See Hjálmar Jónsson frá Bólu, Ritsafn V, 1949, 140–59; cf. JÁ II 128.

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in Lbs 2304 4to. This contains much folklore; elves are mentioned
there, as are a chasuble laid on a man to enable him to die, a signingwith the cross that inhibited elves from stealing a child, a horse-rune
to cure horse-disease (glanders?), the idea that elves are descended
from the children whom Eve hid from God (chs 6–7), the dance of thesun on Easter Day, Midsummer Night’s dew and búrdrífa ‘pantry snow’(i.e. hoar-frost), the days used by elves for flitting, sitting out, magicstones, second sight, the prophecies of Jón krukkur (ch. 11), Höf›abrekkuJóka, the belief that making verses, especially hymns, might bringmisfortune to the poet, water-rails, ‘tidemice’,1 thieves’ root (fourleafed grass, Paris quadrifolia, or Mountain Avens, ch. 14), dreams
and their interpretation (ch. 15 and beginning of ch. 16), Finnish
breeches, charms to attract money (ch. 19), spells laid on people orthings (ch. 28), three-headed giants, seals (as Pharaoh’s army—here
is found the story of the seal-maiden, ch. 28), the Black School (ofnecromancy), magicians in west Iceland and elsewhere (chs 31 and33), the putting down of ghosts (ch. 33), swans (as holy birds, ch. 34)
and an excavation into an ancient Icelandic burial mound (ch. 39).
A short list of wonder-tales written by the Rev. Fri›rik Eggerz ofBallará (1802–94) exists, dated 1822. It is of much interest.2
There exists a work on elves by Ólafur Sveinsson of Purkey, written
at the instigation of Lárus Sigur›sson of Geitareyjar around 1830,
though what prompted Lárus to ask for it is not obvious. Ólafur clearly
told him of his belief in the hidden folk, and in the book he tells a hostof stories to prove their existence. This book is available in two autograph manuscripts, with somewhat differing contents.3 The belief inelves is probably found at its liveliest in Ólafur’s booklet; here, cheekby jowl, are old stories and accounts of recent events which occurredin Ólafur’s neighbourhood. The tone of his stories is appealingly simple, and his belief in the existence of elves engagingly frank; each
1 Supernatural mice that bring their owners money from the sea.
2 The list is published in German translation in Verz. lxxv–lxxvi. Eggerz

also made a huge compilation of folk-stories, Lbs 2005 4to (begun before1854), though some of his material is derived from Gísli Konrá›sson, and isdifficult to distinguish. The compilation was used by Jón fiorkelsson and others,
but Fri›rik was remarkably enough not one of Jón Árnason’s informants,though he left a lot of notable records of various kinds.
3 Ólafur’s work is printed in full in JÁ3 VI 3–33, with commentary by theeditors. There exists a third manuscript of the work, but it was not used in JÁ3.

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element is organically integrated with the whole, embracing the lives
and daily work of human beings, the nature of their world, and theactivities of their neighbours of the hidden world. The bulk of Ólafur’swork is from oral sources, but he knew some of Jón Gu›mundsson’s
writing, and he knew Kötludraumur.
Next come some single stories in manuscript, the origin of which is
not easily discovered. The Waking Man’s Dream, or Story of Steinn offirú›uvangur, which exists in several manuscripts from the early or
mid-nineteenth century, is related to legends of saints.1 One story
printed by Jón Árnason is derived from it.2 The story of Hafli›i in
Grindavík reads like a carefully written Novelle.3 A story exists fromabout 1830 of Ólafur of Skútusta›ir.4 There are popular stories fromabout 1840 in the hands of Ólafur Eyjólfsson of Laugaland andRunólfur Runólfsson of Kirkjuból,5 and for the fifth decade of the
century, down to 1853, a manuscript by Björn Jónsson of Bæjarsta›ir.6
Beyond this date we have no reason to go at the moment.
It is now time to mention the efforts made during the period to collectfolk-stories. Firstly, the Commission for the Preservation of Antiquities in Copenhagen sent out in 1817 a demand to officials in Iceland tosend them reports of all kinds of antiquities, among which old stories
and such-like matter were specified. There is a good deal of folk-legend
material buried in the replies received by the Commission.7 In 1839
1 Lbs 681 4to, Lbs 1440 4to, Lbs 1319 8vo, Lbs 1415 8vo, Lbs 1790 8vo(early nineteenth century), Lbs 2636 8vo (about 1810), JS 300 8vo (earlynineteenth century), ÍB 184 8vo (eighteenth or nineteenth cenury).
2 JÁ I 128–29; see also SS Ífl IV 181–96, SS Ífl2 III 198–213; ÍB 161 8vo, pp. 30–32(from 1845–53) and ÍBR 42 8vo, pp. 405–09. There are many other stories ofapparitions in manuscript, both of Icelandic and non-Icelandic origin (see JÁ II 34).
3 ÍB 605 8vo; ÍB 250 4to (1834–38); Lbs 2636 8vo (about 1810); it is printed
in Huld IV 36–41 and Huld 2 II 32–37.
4 Lbs 672 4to; printed in Gráskinna II 95, Gráskinna2 I 172–74; cf. also
Jfiork. 33–36. There is a story of the devil as advocate in the same manuscript,
cf. Verz. 119.
5 ÍB 37 8vo and ÍB 215 8vo.
6 ÍB 160–62 8vo. Stories are printed from these in ÓDav. 18–20, 112–16,
116–20; ÓDav.5 I 157–59, III 286–88, 271–74.
7 The letter is printed in Lovsamling for Island VII (1857), 658–61. A prayer
for cows at grass from one of the replies is printed in Gráskinna III 95, Gráskinna2
I 259–60. The report of the Commission, Frásögur um fornaldarleifar 1817–
1823, was published by Stofnun Árna Magnússonar in Reykjavík in 1983.

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the Icelandic Literary Society began to gather materials for a description of Iceland, and sent out a questionnaire to all incumbents of parishes, asking each one to compile a description of his parish. These
descriptions are a rich mine for the cultural history of Iceland, and agreat deal of folklore is to be found in them, most of which is now
published.1 The manuscripts given to the Society by various people
also included a good deal of folk-story material.2
In 1845 the runologist George Stephens got the Royal Northern
Antiquarian Society to make a collection of old stories and all kinds
of folklore, whether stories or beliefs, as well as all kinds of folk verse.
As a result, the society acquired a fair number of manuscripts, including a collection of folk-stories, superstitions and popular games madeby Magnús Grímsson (this collection is now AM 968 4to), folk-stories
and other matter from Gu›mundur Sigur›sson from Loftssta›ir (AM969 4to) and a collection of stories and poems made by Gísli
Konrá›sson (now AM 276 and 277 8vo). I do not know whether thiscollection overlaps at all with Lbs 1292–93 4to, which he wrote ‘atthe request of the Northern Antiquarian Society (draft)’.3
IX
A much more important event, which was to have a far greater influence on the study of Icelandic folklore, took place in the same yearthat the Antiquarian Society sent out its circular. Two young men combined to begin the collection of folklore materials in Iceland in earnest. They were Jón Árnason and Magnús Grímsson. Jón was a parson’s son, from Hof on Skagaströnd in northern Iceland. Born in 1819,
he matriculated from Bessasta›ir School in 1843, and became domestic tutor to the children of the poet and schoolmaster Sveinbjörn
1 JÁ I xxvi–xxvii, Huld 2 I 231–32; Huld VI 2–42, Huld 2 II 148–71; Lfrs. III

202; fiJ Örnefni 109; Landnám Ingólfs III; ÓDav.3 Descriptions from thefollowing districts have now been published as a whole in editions of varied
quality (Sóknal‡singar Bókmentafélagsins frá 1839 etc.): Rangárvallas‡sla,Árness‡sla, Snæfells- og Hnappadalss‡sla, Bar›astrandars‡sla, Ísafjar›ars‡sla,
Strandas‡sla, Húnavatnss‡sla, Skagafjar›ars‡sla, Eyjafjar›ars‡sla, fiingeyjars‡slur, Múlas‡slur, Skaptafellss‡slur.
2 We may add to the manuscripts already cited ÍBR 46 8vo and ÍBR 113 8vo.
3 Cf. also ÍGSVfi II 2–3; Antiquarisk Tidsskrift 1843–45, passim; 1846–48,
169–72; 1849–51, 24 –27.

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135

Egilsson, in 1848 Librarian of the Provincial (later National) Library
in Reykjavík, then part-time teacher and later Inspector of Dormitories
in Reykjavík Latin School, and was secretary to two successive bishopsof Iceland. He died in 1888. Magnús was a farmer’s son from Borgarfjör›ur. Born in 1825 and matriculated from Reykjavík Latin Schoolin 1848, he took his degree in theology from Reykjavík TheologicalCollege in 1850 and worked for some years at various jobs in andaround Reykjavík until he was ordained to the living of Mosfell in
1855, where he died in 1860. Magnús was a man of many parts, enjoyedmany things, and scattered his energies in a variety of activities, while
Jón continued steadily at his work as scholar, teacher and librarian,remaining connected with the places where it was possible to study.
Both men had had formal schooling, but Jón was to remain in contact
with schoolboys, which was to be of great help to their collecting activity, since many of the pupils afterwards held offices (especially inthe church) all over the country, and so had excellent opportunities to
get to know good and knowledgeable story-tellers (male and female
alike). Very little is known of the collecting activities of Magnús and
Jón in the early years. The initial idea had come to them through reading the Grimms’ Kinder- und Hausmärchen, which had aroused themto emulation, and they knew also of the rise in status which this formof popular literature had won in Scandinavia and elsewhere. The fourthvolume of the periodical Fjölnir has an essay on its value,1 and theworks of the poet Jónas Hallgrímsson (1807–45) and, later, the novelsof Jón Thoroddsen (1818–68) demonstrate how much interest in thiskind of material was in the air in this period. It is very likely that
Magnús, with his many interests and lively mind, may have set Jón
going (whichever one of them it was that had first noticed the field
waiting for workers). They divided the labour at first so that the stories
were to be Magnús’s business and customs, rhymes, chants and verses
Jón’s, ‘but each collected for the other and pointed out to him places
where things were to be found’. In 1852 they published a little specimen of their catch, naming it Íslenzk æfint‡ri, ‘Icelandic folk-stories’.
These are mostly folk-legends, the sources for which are not mentioned, but it is clear that Magnús provided the larger number.2 It may
1 Fjölnir IV (1836), 11–14.
2 Most of the contents of Íslenzk æfint‡ri was absorbed into JÁ, and JónÁrnason’s list of attributions makes it possible to see what derives from whom.

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THE FOLK-STORIES OF ICELAND

be that at first (as Ólafur Daví›sson has maintained) Magnús wanted
to put stories in a literary dress, but he soon adopted Jón’s attitude that
it was better to keep them as near as possible to the oral narrative.1 It
would then appear that the two partners did not collect much material
for a while after 1852, as they had no hope of getting any more printed.
In the summer of 1858, however, the German scholar Konrad Maurer(1823–1902) made an exploratory journey to Iceland and becameacquainted with the material which the two had in their possession,and he also travelled extensively round the country and discoveredthat this sort of folklore was to be found in abundance everywhere. He
noted down everything that came his way and published it in his bookIsländische Volkssagen der Gegenwart (Leipzig 1860). Maurer’s visit
put new heart into the partners, for he offered to get a publisher in
Leipzig to bring out a collection of their folk-materials. Maurer had
also told Jón Árnason about various knowledgeable men and womenwhom he had met on his travels, while the partners knew many others.
Jón Árnason now composed (in the autumn of 1858) an ‘exhortation’in which he gave a list of several categories of folklore about which hewanted to obtain knowledge or to receive written reports. This he sent
to some 40 people.2 He soon received a large quantity of material, towhich he added steadily. It must be considered doubtful, however,whether Magnús can have collected a great deal more during the two
Magnús has contributed the following (the numeration is that of Íslenzkæfint‡ri): 24; 5 ‘from Borgarfjör›ur’; 6, 14, 15 ‘through north-country LatinSchool boys’; 19 ‘from schoolboys from East Iceland’; 4, 8, 9a–e, i, 17 aresaid to be ‘from a story common in Borgarfjör›ur’. All these are most probably from Magnús Grímsson, as well as 10 and 9h (‘from the Rev. Búi Jónsson’)and possibly 25 and 26 (cf. JÁ I 158). 12 is also from his collection (cf.
Antiquarisk Tidsskrift 1849, 24). The sources of the others are uncertain. Except for no. 2, they may be from Jón Árnason. See Nordal SMG for a clear
account of the contributions of the two great pioneers. This study also reveals
that 1, which gave subsequent folklorists such trouble, is in fact a pastiche by
Jón Thoroddsen, playing a similar trick to the one played by the antiquary
Robert Surtees on Sir Walter Scott.
1 Ólafur Daví›sson, ‘Magnús Grímsson’, Sunnanfari V, no. 8, 1–3; but see
Nordal SMG 13–22.
2 Printed in Nor›ri, 1859, nos 13–14, over the name of Jón Borgfir›ingur
the bibliographer; in a longer form in Íslendingur II, 1861, no. 12; and in JÁ I
xxix; see Jón Samsonarson, Ljó›mál: Fornir fljó›lífsflættir, 2002, 1–20.

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137

remaining years before his death, and he can hardly have contributed
much more to the book than his old collections and his enthusiasm.1
The book which they were preparing, Íslenzkar fljó›sögur og æfint‡ri,
is therefore rightly attributed to Jón alone, as Íslenzk æfint‡ri is rightly
attributed to both (with Magnús’s name first), for Magnús had no
greater share in the former than Maurer, to whom no one has dreamedof attributing it.
This is not the place to trace how Jón’s collecting proceeded; thecollection grew and grew, and the edition was delayed until 1862,
when the first volume appeared. In the period after its appearance Jón
1 Jón writes in a letter to Maurer (20th June 1859; Lbs 2655 8vo, now partly

printed in Finnur Sigmundsson (ed.), Úr fórum Jóns Árnasonar, 1950–51, I
125–29): ‘I now come to the point that I do not expect that a press manuscriptof 20–30 sheets [i.e. 320–480 pp.] will be got ready by sr. Magnús and myself
until next spring. Sr. Magnús is in very difficult circumstances at the moment,
and I cannot expect much assistance from him for the present. I regret to haveto tell you this, the more so as he is my good friend, though it is my duty toboth him and yourself to tell you that, as far as I know, his entire property ispledged to others for debts, and Heaven only knows when a creditor (or several creditors) may foreclose his mortage and demand their rights. You will
gather from this there is a considerable bar to the likelihood of the press manuscript to vol. I being ready this autumn. I grant you that if, as I expect, I
receive all the materials for which I have asked, I shall have enough stories tobe able to print a volume of up to 30 sheets, but it will have to be fair-copied,and there are so few people (here) whom I can trust to do it. If sr. Magnús canclear up (for press) the part that he has collected (which you saw at my houselast autumn) I shall regard this as a good thing, but it will not go far towards
30 sheets.’ In order to determine sr. Magnús’s share of JÁ we must base our
calculations on Jón Árnason’s own preface (JÁ3 I xvii–xxiii; but see Nordal
SMG), which states that Magnús’s initials are printed with most of the stories
obtained from him (cf. JÁ3 I xxi, n.), and not on Gu›brandur Vigfússon’s
statement in the first printed Introduction (JÁ I xxvii); though the footnote
shows that these initials have been omitted from one or more stories (as fromsome of the stories from Íslenzk æfint‡ri). Einar Ól. Sveinsson also thoughtthat wherever the caption states ‘Common story in Borgarfjör›ur’ or something similar, one should investigate whether it comes from Magnús, while‘story from Borgarfjör›ur’ means something else (cf. JÁ2 II 718–19). The
whole problem was reopened in Nordal SMG and in his Introduction to vol. I
of his collection fijó›sagnabókin (1971). The most recent contribution to thedebate is Ögmundur Helgason, ‘fijó›sagnasmásögur’, fijó›líf og fljó›trú,
ritger›ir helga›ar Jóni Hnefli A›alsteinssyni, 1998, 406.

138

THE FOLK-STORIES OF ICELAND

acquired much new material. The second volume then appeared in
1864. It had been difficult to supervise the printing, as this took place
far from Reykjavík and communications between Reykjavík and Leipzig were sparse. Maurer and Gu›brandur Vigfússon came to the rescue, however, and did their work with zeal and fidelity. Gu›brandur
was obliged to compose an introduction to the work, as Jón’s manuscript for his own, as far as I know, did not arrive until too late forprinting (it was first published in the second edition (1937–39) andreprinted in the third (1954–61)). Gu›brandur’s introduction is an excellent and scholarly piece of work, written with vigour and sparklingwit. It should also be mentioned that there exists a postscript to Íslenzkar
fljó›sögur by Jón from which it can be seen that not everyone appreciated Jón’s work, though this attitude soon changed.
The contents of Íslenzkar fljó›sögur are divided into ten categories.
Stories make up the bulk of the material, but superstitions, folk-beliefs
and customs also have their sections. Initially Jón had intended tohave fourteen categories, but games, rhymes, riddles and poems were
not ready in time, which is a great pity, since they would have been
better treated had they been published by Jón while he was still in his
prime, even if the size of the contents of these classes would havebeen smaller than they eventually became. Time passed, however, andit was only in 1885 that the Copenhagen division of the Literary Society undertook to sponsor their publication. Unfortunately, Jón was bythen in very indifferent health, his sight partly gone and his hands so
afflicted with trembling that he could not prepare the manuscript forthe press. At this point his young cousin Ólafur Daví›sson (1862–
1903) came to his aid and became his partner in the enterprise. Jón
edited the volume containing riddles, but Ólafur took over and dealt
in due course with popular poetry and dances, games, rhymes and soon. Ólafur was an energetic collector, and enlarged the contents ofthese classes enormously from additional oral and written sources,
but when several manuscripts had to be taken into account to establish
the text of a poem his editorial technique was inadequate. The whole
work appeared from 1887 to 1903 in four volumes under the titleÍslenzkar gátur, skemmtanir, vikivakar og flulur, ‘Icelandic riddles,
entertainments, dances and rhymes.1
1 Biographical details of the Rev. Magnús Grímsson are to be found in the
preface by Hallgrímur Hallgrímsson to his edition of the Úrvalsrit (‘Selected

SOURCES

139Íslenzkar fljó›sögur og æfint‡ri is one of the outstanding masterworks of Icelandic literature. It is an immensely rich and varied collection of folk-legends and folk-stories, together with long chapterson superstitions and customs. Even though large and valuable additions have been made since then, this work remains the foundationstone of all our knowledge of this remarkable imaginative work of thecommon people, the most comprehensive and clearest overall view of
it. The vast majority of the best and most important stories in every
field of Icelandic folklore were included in it. Here this literature appeared in all its great variety and power, warmth and ruggedness, wit
and seriousness; here the bright and the ghostly, the wing-beat of avigorous imagination and the languor of introspective dream-life, taketheir turns. Icelanders recognised their relationship to it and acknowledged this mirror to their land and people, their life and work, thedesires and visions of Iceland.
What makes Jón’s work more varied than many another national
collection of folk-stories is that the stories are not tailored by a single
man to a single style, but are taken from manuscripts written by people
scattered all over Iceland. Jón was lucky enough to obtain the servicesof men who were exceptionally good at setting stories down on paper,and had a good understanding of their content and characteristics.
Íslenzk æfint‡ri had set the tone, and the scribes copied their stories
down in the same spirit. The most famous of these scribes was theRev. Skúli Gíslason of Brei›abólsta›ur (1825–88), in whom an admirable story-teller’s gift went together with a love of powerful and odd
subjects. Others rightly singled out are fiorvar›ur Ólafsson, Jón
Sigur›sson of Gautlönd, the Rev. Sveinbjörn Gu›mundsson, the painterSigur›ur Gu›mundsson, the Rev. Benedikt fiór›arson and Brynjólfur
Works’), 1926, in P. E. Ólason, Íslenzkar æviskrár III (1950), 423–24, and in
Nordal SMG. Details of Jón Árnason’s life are to be found in an essay by
Pálmi Pálsson in Andvari XVII (1892; reprinted in Merkir Íslendingar, 1947,
I 201–20), in Gu›brandur Vigfússon’s Introduction to JÁ and Jón’s own Introduction, printed in JÁ2 and JÁ3. There is also an autobiographical fragment
by Jón in Lbs 2087 4to; his letters to Maurer are in Lbs 2655 8vo, and his
letters to Gu›brandur Vigfússon are in Oxford, Bodley Icel. d. l. See alsoFer›abók Magnúsar Grímssonar fyrir sumari› 1848, ed. Sveinn Jakobssonand Ögmundur Helgason, 1988. To this should be added the entry in P. E.
Ólason, Íslenzkar æviskrár III (1950), 48–49, and the discussion of Jón andhis great work in fijó›sagnabókin (see previous note).

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THE FOLK-STORIES OF ICELAND

Jónsson from Minni-Núpur. Jón did not alter the narratives of the best
narrators, though he sometimes changed a word here and there, making the words and phrases clearer, stronger and more Icelandic in character. He was very anxious to retain any real peculiarity of expression,
odd phrases and so on. Like most of his contemporaries, he had anaversion to the clumsy, Danicised style of the eighteenth century, andhe cleansed the language of his stories of such blemishes. He was also
averse to an artificially antiquated style, which probably explains whyÍslenzkar fljó›sögur contain so little of the work of Gísli Konrá›sson—
though the fact that Gísli put together narrative histories in which hewelded various sources into large units must have been an equally
powerful objection to Jón. In this respect Gísli was the disciple ofEspólín and he in turn influenced others who came later, such as
Brynjólfur of Minni-Núpur, who wrote long composite narratives aswell as folk-stories. Jón was not given to conflating sources—when
he did so it was mostly in the folk-legends.1
In Íslenzk æfint‡ri there is a description of the recommended method
for writing down folk-stories. This insists that the written story should
be as close to the oral narrative as possible. Jón Sigur›sson, in his
review of Isländische Volkssagen, says of the style of the wondertales: ‘Some of these stories are very beautiful, especially where they
managed to be written down verbatim from the best story-tellers, rather
than being written up in an antiquated saga-style. A good example isthe story of Prince Linus and the old man’s daughter, which Maurer
has written down from the narration of old Ebenezer in Flatey (277–80) who is the best teller of such stories that we have heard.’2 Aboutthe same time Jón Árnason was exhorting Brynjólfur Jónsson to findgood story-tellers, either men or women, who could tell a story withlife and vigour, and to write the stories down as close to the way theytell them as he can. Yet I think it is safe to say that this happened but
seldom; the writers normally gave a style to the stories, though peculiarities of word and phrase used by the narrators will normally havebeen retained. It has to be remembered that in rural Iceland both story1 Three fairly recent studies of Jón Árnason’s work are Einar Ól. Sveinsson,‘Jón Árnason’, Arv 25–26, 1969–70, 419–55, J. Simpson, ‘Icelandic Folk Tales
and Legends, 1972, Introduction, and B. S. Benedikz, ‘Basic themes in Icelandic folklore and legend’, Folklore 84, 1973, 1–26.
2 This review is in N‡ Félagsrit XX, 1860, 193–94.

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141

tellers and story-writers had been brought up with the narrative manner and writers’ skill of the ancient, written sagas, and this could not
fail to have its effect. A new folk-story style was created, composed ofmany elements, both old and new. It has a simple everyday quality
and an even, supple flow, but it is smoother and less wrinkled thanoral narrative style usually is, more dignified and powerful. In it are
blended the features of both written and oral tradition. This was atremendous achievement, and it has had a powerful effect on Icelandic prose style ever since. It is another matter that though Íslenzkar
fljó›sögur come closer to oral tradition than the custom was in Europe,scholars would wish to have many more folk-stories which are indisputably copied down verbatim from the speech of the people. One
could speculate further that those scholars who followed Jón Árnason
might well have increased the artistic value of the stories if they hadtaken more note of the peculiarities, inequalities and sudden leaps in
the narrators’ stories, though there is no doubt that it is more difficult
to control so uneven a style than one that is known and tried.
X
In the original edition of 1940 the author provided a short list of folklore collections etc. to indicate the state of the subject at the outbreakof the Second World War. In the latter part of the twentieth century an
enormous amount of scholarly and popular work appeared and thefollowing extended list is now supplied as a guide to the reader who
wishes to investigate the field further using more recent material.

A. Collections of Folk-stories and Folklore1) Íslenzk æfint‡ri. Söfnu› af M. Grímssyni og J. Árnasyni, 1852.
1a) same. Photo-reprint, 1942.
1b) same. 2nd edition, enlarged, 1945. The additions to this edition
are almost all from Magnús Grímsson’s work.
2) Isländische Volkssagen der Gegenwart, vorwiegend nach mundlicherÜberlieferung gesammelt und verdeutscht von Konrad Maurer, 1860.
3) Íslenzkar fljó›sögur og ævint‡ri. Safna› hefur Jón Árnason. 2 vols,
1862–64.
3a) same. 2nd edition (a photo-reprint of the text, with subject-index

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THE FOLK-STORIES OF ICELAND

added by Einar Ól. Sveinsson and full indexes by Gu›ni Jónsson). 2
vols, 1925–39.
3b) same. 3rd edition, supervised by Árni Bö›varsson and Bjarni
Vilhjálmsson. 6 vols, 1954–61. Vols I–II are a reprint of no. 3; vols
III–VI contain new material from Jón Árnason’s collections not previously published by him, critical notes and indexes.
Excerpts from JÁ have been published in numerous collections, andhis manuscript collections have also been quarried for further material to print. It is quite pointless to refer to most of these, except for
two major selections of stories.
4) Íslenzkar fljó›sögur og ævintyri, ed. Einar Ól. Sveinsson, 1944 (2ndedition 1951; 3rd edition 1986).
5) fijó›sagnabókin: s‡nisbók íslenzkra fljó›sagnasafna, ed. Sigur›ur
Nordal. 3 vols, 1971–73.
For information on Icelandic folk-stories translated into other languages
before 1970 it is sufficient to refer to:6) P. M. Mitchell and K. H. Ober, Bibliography of Modern Icelandic
Literature in Translation, 1975 (Islandica XL).
6a) Kenneth H. Ober, Bibliography of Modern Icelandic Literature inTranslation, 1990 (Islandica XLVII).
Subsequent publications of interest are (cf. p. 319 below):7) J. Simpson, Icelandic Folk Tales and Legends, 1972, pbk. repr. 1979.
8) J. Simpson, Legends of Icelandic Magicians, 1975. Each story (intranslation) is fully annotated as to source, parallels and motifs.
9) Icelandic Folktales tr. A. E. Boucher. 3 vols, 1977.
10) Heinz Barüske, Isländische Märchen, 1994.
11) Märchen aus Island, ed. and tr. Kurt Schier, 1983, repr. 1996.
Major collections after JÁ:12) Huld: safn alfl‡›legra fræ›a íslenzkra, ed. Hannes fiorsteinsson,
Jón fiorkelsson, Ólafur Daví›sson, Pálmi Pálsson, Valdimar Ásmundsson. 6 vols, 1890–98.
12a) same. 2nd edition in 2 vols, 1935–36. Vol. I has an introductory
essay on the original editors.
13) Íslenzkar sögur, 1891 (Sögusafn Ísafoldar IV).
13a) same. Printed as pp. 156–370 of Sögur Ísafoldar I, 1947.
14) Íslenzkar fljó›sögur, ed. Ólafur Daví›sson, 1895 (reprinted 1899).

SOURCES

14314a) same. 3rd (more properly 2nd) edition. 2 vols, 1935–39.
14b) same. 4th (more properly 3rd) edition. 3 vols, 1945.
14c) same. 5th edition. Ed. fiorsteinn M. Jónsson and Bjarni Vilhjálmsson, 1978–80.
15) fijó›sögur og munnmæli. N‡tt safn, ed. Jón fiorkelsson, 1899.
15a) same. 2nd edition, 1956.
16) Sagnakver, ed. Björn Bjarnason. 2 vols, 1900–03.
16a) same. 2nd edition, 1935.
17) Adeline Rittershaus, Die neuisländische Volksmärchen, 1902.
18) Fer›amannsó›ur. Fjallabúasaga, 1905.
19) Íslenzkar sögur og sagnir, ed. fiorsteinn Erlingsson, 1906 (Fylgirit
Ingólfs).
19a) same. 2nd edition. fijó›sögur fiorsteins Erlingssonar, 1954. (Thiscontains a reissue of the 1906 volume, together with folklore materials provided by fiorsteinn for Huld, Ólafur Daví›sson’s fijó›sögur
and the newspapers Bjarki and Arnfir›ingur; as well as some fromhis unpublished papers. These additions comprise more than half
this enlarged volume.)20) fiorsteinn Erlingsson, Sagnir Jakobs gamla, 1933.
21) Dulrænar smásögur, ed. Brynjólfur Jónsson frá Minna-Núpi, 1907.
21a) same. 2nd edition, 2 vols, 1955. The second portion is printed forthe first time.
22) Brynjólfur Jónsson, Tillag til alfl‡›legra fornfræ›a, 1953. All except two of the stories in this collection are reprinted in JÁ3.
23) fijó›trú og fljó›sagnir I, collected by Oddur Björnsson, ed. Jónas
Jónasson, 1908. No more parts were issued.
23a) same. 2nd edition, augmented, ed. Steindór Steindórsson, 1977.
This edition contains 251 items, against 176 in the original volume.
24) Vestfirzkar fljó›sögur, ed. Arngrímur Bjarnason and Oddur Gíslason. 3 vols, 1909–59.
25) S‡sluma›urinn í Svartárbotnum, 1950. Previously printed in Tværsögur, ed. Jón Helgason and Karl H. Bjarnason, 1910.
26) Sögur af ‡msu tagi, ed. S. J. Austmann, 1915.
27) Dulrúnir, ed. Sigfús Sigfússon. 2 vols, 1915–30.
28) Íslenzkar fljó›sögur og -sagnir, ed. Sigfús Sigfússon. 16 vols, 1922–
58. The collection is unindexed. There are two forms of the text of
this collection, both in the collector’s autograph, in the manuscript
section of the National Library of Iceland.

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THE FOLK-STORIES OF ICELAND

28a) same. New edition, 11 vols, 1982–93 [Index in final volume]. A
different and earlier collection by the same compiler, containing morestories than the earlier edition.
29) Theodóra Thoroddsen, Islandsk Folketru, tr. F. Paasche, 1924.
Reprinted, together with more folk-material, in Ritsafn, 1960.
30) Sex fijó›sögur, ed. Björn R. Stefánsson, 1926.
31) Gráskinna, ed. Sigur›ur Nordal and fiorbergur fiór›arson. 4 vols,
1928–36.
31a) same. 2nd edition. Gráskinna hin meiri. 2 vols, 1962. In thisedition vol. I is a reprint of the old edition, vol. II contains previously unpublished material.
32) Einar Ól. Sveinsson, Verzeichnis isländischer Märchenvarianten,
1929 (FFC 83).
33) Gríma, ed. fiorsteinn M. Jónsson. 5 vols (in 25 fascicules), 1929–50.
33a) same. 2nd edition. Gríma hin n‡ja. 5 vols, 1964–65. In the revised
edition the stories are in classified order, much additional material
is included, and a general index of the entire collection is provided.
34) Rau›skinna, ed. Jón Thorarensen. 12 vols, 1929–61.
34a) same. 2nd edition. Rau›skinna hinn n‡rri. 3 vols, 1971. The newedition has much additional material and a general index.
35) Íslenzkar fljó›sögur, ed. Einar Gu›mundsson. 5 vols, 1932–47.
36) Einar Gu›mundsson, Gambanteinar: fijó›sögur og flættir, 1955.
37) Einar Gu›mundsson, N‡tt sagnakver: fijó›sögur og flættir, 1957.
38) Einar Gu›mundsson, Dulheimar: fijó›sögur og flættir, 1963.
39) Einar Gu›mundsson, fijó›sögur og flættir. 2 vols, 1981–82. A complete edition of this author’s previous books with index.
40) Vestfirskar sagnir, ed. Helgi Gu›mundsson and Arngrímur Fr.
Bjarnason. 3 vols, 1933–49.
41) Elínborg Lárusdóttir, Úr djúpi flagnarinnar, 1936.
42) Elínborg Lárusdóttir, Úr sí›ustu leit, 1944.
43) Sögur og sagnir úr Vestmannaeyjum, ed. Jóhann Gunnar Ólafsson.
2 vols, 1938–39.
43a) same. 2nd edition, 1966. This edition is slightly altered by minor
excisions and additions and has an index of names.
44) Íslenzkir sagnaflættir og fljó›sögur, ed. Gu›ni Jónsson. 12 vols,
1940–54. Indexes of names are in vols III, VI, IX and XII.
45) Skyggnir, alfl‡›legur fró›leikur og skemmtan, ed. Gu›ni Jónsson.
2 vols, 1960–62.

SOURCES

14546) Sópdyngja, fljó›sögur, alfl‡›legur fró›leikur og skemmtan, ed.
Bragi Sveinsson and Jóhann Sveinsson. 2 vols, 1944–51.
47) Gu›mundur Jónsson Hoffell, Skaftfellskar fljó›sögur og sagnir,ed. M. Skaftfells, 1946.
48) Menn og minjar, ed. Finnur Sigmundsson. 9 vols, 1946–60.
49) Æfint‡ri og sögur, ed. Ásmundur Helgason, 1947.
50) Skúli Gíslason, Sagnakver, ed. Sigur›ur Nordal, 1947.
51) A› vestan, ed. Árni Bjarnarson. 4 vols, 1949–55.
51a) same. 2nd edition, 5 vols (the fifth was new), 1983.
52) Skrudda: Sögur, sagnir og kve›skapur, ed. Ragnar Ásgeirsson. 3
vols, 1957–59.
52a) same. 2nd edition, 3 vols, 1972–74. This edition has further material and an improved index.
53) fijó›sögur og sagnir, ed. Torfhildur fiorsteinsdóttir Holm, 1962.
54) Halldór Pétursson, Ævisaga Eyjasels-Móra, 1962.
55) Sögur og sagnir úr Bolungarvík, ed. Finnbogi Bernódusson, 1969.
56) Refskinna, ed. Bragi Jónsson (‘Refur bóndi’). 2 vols, 1971–73.
57) fijó›legar sagnir og ævint‡ri, ed. Ingólfur Jónsson. 2 vols, 1974–75.
58) Gu›rún Gu›mundsdóttir, Minningar úr Hornafir›i, with annotations and a supplement by Vilmundur Jónsson, ed. fiórhallur
Vilmundarson, 1975.
59) Jónas Rafnar, Eyfirzkar sagnir, 1977.
60) Halldór Pétursson, Bjarna-Dísa og Móri. Tveir austfirskir draugar
sem enn blíva, 1977. Some reprints, but also some more recent stories
collected by the compiler.
61) Sagan af Lo›inbar›a. Skrásett af Pétri Benediktssyni, 1964.
62) Árni Óla, Reimleikar, 1964.
63) Árni Óla, Álög og bannhelgi, 1968.
64) Árni Óla, Huldufólk, 1973.
65) Árni Óla, Dulheimar Íslands, 1975.
66) Árni Óla, Ekki einleiki›, 1978.
67) Eiríkur Ísfeld, Sko›a› í skrínu Eiríks á Hesteyri. fijó›sögur,ævintyri, dularfull fyrirbrig›i o. fl. With explanations and notes by theauthor, Sigur›ur Helgason and Jón Kr. Ísfeld. Ed. Jón Kr. Ísfeld, 1978.
68) Gísli Konrá›sson, Syrpa úr handritum. 2 vols, 1979–80.
69) Björn J. Blöndal, Sagnir og sögur, 1980.
70) Eyjólfur Gu›mundsson, fijó›sögur og flættir úr M‡rdal. Ed. fiór›ur
Tómasson í Skógum, 1981.

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71) Leiftur frá li›num árum. Frásagnir af mannraunum, slysförum,dulrænum atbur›um og skyggnu fólki. Collected by Jón Kr. Ísfeld. 3
vols, 1981–83.
72) fiorkell Björnsson, Af Jökuldalsmönnum og fleira fólki, 1981.
73) Jón Gíslason, Úr farvegi aldanna. 2 vols, 1973–74.
This section is intended to show something of the sheer volume andquality of folk-stories that have emanated from the consciousness of asmall nation. All collections which either are clearly indicated as regional or have been made on an extensive, nationwide scale, havebeen included. It should also be remembered that Icelandic newspapers
and popular periodals, both old and new, have been rich harvesters ofsuch material; many provincial papers have also gathered folklore andlegend.
B. A selective list of works largely derived from oral tradition
1) Amma, ed. Finnur Sigmundsson. 2 vols, 1935–42.
la) same. 2nd edition, 1960.
lb) same. 3rd edition, 1961.
2) Sögur og sagnir úr Brei›afir›i, ed. Bergsveinn Skúlason, 1950.
3) Brei›firzkar sagnir, ed. Bergsveinn Skúlason. 3 vols, 1959–66.
3a) same. 2nd edition, enlarged, 1982.
4) Gils Gu›mundsson, Frá yztu nesjum. 6 vols, 1942–53.
4a) same. 2nd enlarged edition. 3 vols, 1980–83.
5) Íslenzkir sagnaflættir. 4 vols, 1900–11.
5a) same. 2nd edition (by Gils Gu›mundsson). Sagnaflættir fijó›ólfs,1947.
6) Jón Pálsson, Austantórur. 3 vols, 1945–52.
7) Kristleifur fiorsteinsson, Úr bygg›um Borgarfjar›ar. 3 vols, 1944–60.
7a) same. 2nd, enlarged edition of vols. I–II only, 1971–72.
8) Magnús Gestsson, Mannlíf og Mórar í Dölum, 1972.
9) Magnús Gestsson, Úr vesturbygg›um Bar›astrandars‡slu, 1973.
10) Sagnaflættir Fjallkonunnar, ed. Jón Gu›nason, 1953.
11) Vigfús Kristjánsson, Sagnaflættir. 2 vols, 1945–46. With Addenda
to vol. II, 1951.
12) fiór›ur Tómasson, Eyfellskar sagnir. 3 vols, 1948–51.
13) fiór›ur Tómasson, Sagnagestur. 3 vols, 1953–58.
14) fiór›ur Tómasson, fijó›hættir og fljó›trú, skrá› eftir Sigur›ifiór›arsyni frá Brunnhól, 1988.

SOURCES

14715) fiórleifur Bjarnason, Hornstrendingabók, 1943.
15a) same. 2nd enlarged edition, 1976.
C. Bibliography and Scholarly Study
Up to the year 1964 there is a curiously laid out, but reasonably comprehensive bibliography of things pertaining to Icelandic folklore andlegend:1) Steindór Steindórsson, Skrá yfir íslenzkar fljó›sögur og skyld rit,
1964.
2) Bo Almqvist, ‘Steindór Steindórsson frá Hlö›um: Skrá um íslenzkar
fljó›sögur og skyld rit’ [review], Skírnir 1965.
Some very useful information, especially in respect of the rural wayof life, may be found in:
3) Jónas Jónasson, Íslenzkir fljó›hættir, ed. Einar Ól. Sveinsson, 1934.
3a) same, 3rd edition, 1961.
4) Lú›vík Kristjánsson, Íslenzkir sjávarhættir I–V, 1980–86.
5) Árni Björnsson, Saga daganna, 1993.
6) Árni Björnsson, Merkisdagar á mannsævinni, 1996.
There are many useful articles on folk-belief in:7) Kulturhistorisk leksikon for nordisk middelalder fra vikingetid til
reformationstid. 22 vols, 1956–78. The following is a list of entries
that are relevant to folk-belief:Alv, Amulettar, Avgudsbilete, Basilisk, Berserk, Biletmagi, Byting,
De tacksamma döda, De tre levande och tre döda, Djævel, Drake,
Draug, Draumar, Dverger, Dyrehistorier, Döden o. de döda, Enhörning,
Ergi, Eventyr, Fabel, Fabeldjur och -människor, Falloskult, Fornaldarsögur Nor›rlanda, Fylgja, Förfäderskult, Galder, Gand, Gengångare,Gr‡la I, Hamingja, Ham(n)skifte, Helskor, Helvete, Himmelsbrev, Hug,
Husdyrsygdomme, Hår, Ild, Jotnar, Jätteben, Kjærlighetsmagi, Kors,
Korstecken, Kveldrida, Kyrkobyggnadssägner, Kyrkogårdsdans, Källa,Landvette, Legendeeventyr, Magi, Magiske merke, Malstraum, Maning,
Mannbjørn, Mara, Maria, Misteltein, Motsols, Musikmagi, Negl, Nid,
Novelleeventyr, Näcken, Offer, Olav den hellige, Ondt øye, Ordsprog,
Ormkult, Ovund, Petrus, Runemagi, Rævebogen, Sagn, Sagnmotiver
i kunsten, Samisk trolldom, Seierhue, Sejd, Selham, Sending, Själ och
kropp, Sjøvette, Skjebnetro, Skæmtehistorie, Soldyrkelse, Spådom,Surtr, Syndfloden, Sömnmagi, Tabu, Talmagi, Torden, Torshamrar,

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THE FOLK-STORIES OF ICELAND

Troll, Trolldom, Trolldomsbøker, Trollformlar, Trollkar og -kvinne,
Trollkatt, Tryllemidler, ond Tunge, Varsel, Varulv, Venskap, Vetter,
Vildmand, Vindmagi, Visionsdiktning, Vær og vind, Vƒlundr, Vƒlva,Ymir, fiorger›r Hƒlgabrú›r, fiórr, Aar och fred, Änglaböner.
The following have dealt with individual concepts and motifs in folkbelief and folk-stories:8) Else Mundal, Fylgemotiva i norrön litteratur, 1974.
9) Robert James Glendinning, Träume und Vorbedeutung in derIslendinga Saga Sturla Thordarsons, Eine Form- und Stiluntersuchung, 1974.
10) Bo Almqvist, Norrön niddiktning, 1965–74.
11) Dag Strömbäck, Sejd, 1934; new edition with a contribution by
Bo Almqvist, 2000.
12) John Lindow, Scandinavian mythology. An annotated bibliography,
1988.
13) For recent writings on folk-stories see Íslensk bókmenntasaga III,
1996, 947–54.

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149

PART III
FOLK-BELIEF AND FOLK-LEGENDS1I
The settlers of Iceland came from lands which had been inhabitedsince the earliest times. People who had had to adapt themselves tothe land and the land to themselves had lived there since the Stone
Age. From the beginning they had lived partly by hunting, though inlater times they cleared forests and cultivated fields. But always they
had been closely connected with nature and its hidden powers, andthough men’s thinking gradually drew away from the all-embracing
magical concept of ancient animist religion, many ancient taboos andcustoms, superstitions and old wives’ tales remained, and people’s
success in hunting and agriculture was greatly dependent on the support of magical practices. The land was full of powers that were dangerous to handle, except according to customs which were based on
ancient precedent. There were supernatural beings in the woods, themountains and the lakes; the people knew of springs and rivers which
had their own various natures, of burial-mounds with the living deadin them, of ghosts of exposed infants, of trees and stones used in sacrifice. I shall only refer briefly here to the innumerable wells and springs
that have been regarded as sacred down to our times, from which people have sought healing in accordance with ancient custom, and towhich they have often brought offerings.2 This belief must have beenmuch stronger in earlier times, and it may be that some springs were
not to be handled by everyone, any more than other powerful things,
for such things could have both good and bad consequences, just as
the Ark of the Covenant could strike men down with diseases. We
may mention here a spring in Scotland which was so dangerous thatmen who washed in it became lame or stricken with sores until St
1 For the folk-beliefs that underlie the stories in the following sections see
Sluijter 1936.
2 On such springs in Norway see A. Chr. Bang, Norges hellige Kilder efter
Reformationen, 1885 (Forhandlinger i Videnskabs-selskabet i Christiania
1885, nr. 6); in Denmark, A. Schmidt, Danmarks Helligkilder, 1926; in Scotland, Banks I 125–170.

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THE FOLK-STORIES OF ICELAND

Columba blessed it. In the same country there was also a spring which
had to be entered backwards by those who wished to wash there, after
which they had to offer it a coin and go back up out of the spring
without looking back.1
Some settlers came directly to Iceland from ancestral homelands
rich in folklore, though not all from one district, and their folk-beliefs
must have been very varied in character. Many had also been out on
viking expeditions, and had learned to put their trust in their own
strength alone. These men now came to an uninhabited country, notknowing its guardian spirits or any superstitions that might be helpful
there. They approached it with caution; the first Icelandic law was aban on sailing towards the land with figureheads with gaping mouths,
as these might upset the guardian spirits (Landnámabók 313). The
gods were entrusted with finding new homes for the settlers by theirimages or the pillars of the high seats brought from the hall of the oldhomestead being flung overboard; ¯rlygr the Old, who was a Christian, flung iron bells into the sea and made a vow to Bishop Patrick.
Sel-fiórir’s method was even odder, for he, following the advice of amerman, let the mare Skálm choose his residence by noting where shelay down under her burden. This legend must rest on some very ancient superstition, since many European ecclesiastical stories are very
similar.2 Others went round their property with fire and performed
other magical rites.3 Much of this had doubtless been used with goodeffect before the settlement of Iceland, and some of these activities
were considered so sacred and beneficial that people were sure of their
excellence (e.g. the use of high-seat pillars).
Superstition would doubtless have lost much of its power during theupheaval of the migration. People must have discovered that the newcountry was not as bound by superstitions as the old one, and it would
be worth researching what effect all this had on Icelandic folk-belief.
It is, for instance, noteworthy how belief in the evil eye evidently
dwindled in Iceland in the course of time, though considerable traces
1 Adamnan, Vita Sancti Columbae 1857, 119; Banks I 164.
2 Landnámabók 96–97; cf. EÓS If 189 and note 13; Dag Strömbäck, ‘En

kyrkbyggnadssägen från Hälsingland och en notis i Islands Landnámabók’,Gammal Hälsingekultur 1931, 44–52.
3 See Dag Strömbäck, ‘Att helga land’, Festskrift tillägnad Axel Hägerström,
1928, 198–220; reprinted in Folklore och Filologi, 1970, 135–65.

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151

of it may be detected in the Middle Ages.1 Much of the primitive superstition which was linked with particular places in the settlers’ former
homelands must also have faded away. Who knows but that Icelandic
rationalism began with their arrival in a new, uninhabited country?
Even so, superstition took root in many areas, and attached itself tovarious individual places. fiorsteinn rau›nefr took to worshipping awaterfall, and Ko›rán of Giljá believed in a genius loci who lived in arock. fiórólfr Mostrarskegg declared Helgafell to be a sacred hill, andhis kin soon began to believe that after death they would pass into it.
fiórhaddr go›i laid a spell of sanctity (Mærina-helgi, a sanctity comparable to that of Mærin in Norway) on Stƒ›varfjƒr›r. This kind ofreverence diminished with the coming of Christianity, though there
remained a persistent faith in the sanctity of Helgafell. The sacrednessof other places may also have dwindled without belief in them having
wholly disappeared, and it may have blended with belief in spirits,
which doubtless also changed after the coming of Christianity. There
are few taboos or accounts of dangerous places that relate to the earliest period of the Icelandic settlement, though it is said that no one
dared to set up house at Hjƒrleifshƒf›i for fear of its guardian spirits,
and in the saga of St Jón ¯gmundarson (Bishop of Hólar 1106–21)
there is a story of a stall in a cowshed in which a cow could not be tied,or it would be found dead the next morning, though St Jón overcame
this problem by his steadfastness.2 The number of places to which
superstition became attached must certainly have increased in time;
their number is legion by the seventeenth century. It would be difficult to compile a list of such stories and even more difficult to accountwith certainty for all the superstitious notions that appear in them, sothat as yet caution bids one say little about them. Explanations of thesesuperstitions are varied; sometimes a place is called ‘unclean’, affectedby some undetermined evil powers, and sometimes by a specific ghostor spirit. In a meadow in one place are taboo spots where people areforbidden to scythe.3 In another place there is a house that may not be
1 See H. F. Feilberg, ‘Der böse Blick in nordischer Überlieferung’, ZdVfV
1901, 304–30; B. Kahle, ‘Noch einiges vom bösen Blick’, ZdVfV 1903, 213–
16; Lagerholm DL 57.
2 BS I 38–39 and 244–45; cf. ÓDav.3 II 71–72, ÓDav.5 II 285–86; Landnámabók 125, 307, 333.
3 Árni Óla, Álög og bannhelgi, 1968.

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locked up, or a tree that may not be cut, a stretch of water that may not
be fished or a farm that the same person might not inhabit for morethan twenty successive years.1 There are usually stories of the misfortunes that followed disregard of such taboos. Alternatively, people had
to say prayers in specific places or else throw stones at mounds or
unhallowed graves and so on.2 The oddest such ‘sacrifice’ was thecustom whereby a man who came to Íleppsdalur (‘Insole Valley’) had
to leave the insole from his shoe if he wanted to get away from there(JÁ I 665).
In some places, particularly on islands, mice could not survive.3
More significantly, Bishop Gísli Oddsson states that ewes have lambs
sired by elvish rams on Álfsey (‘Elf-Isle’ in the Westman Islands),
while any ram belonging to humans died if it was put with the ewes
there. For a long time it was impossible to keep a bull on Rúfeyjar, forit would be killed, since an elf-bull served the cows there.4 Such legends
are of considerable antiquity, for Landnámabók (330) tells how a rockdwellers’ billy-goat served Hafr-Bjƒrn’s nanny-goats in Grindavík.
Stories are often formed around places where accidents occur, andthe disasters are then normally attributed to spells or curses.5 Sometimes, however, there are only oral legends or prophecies attached tosuch a place. Thus the Rev. Einar Hálfdánarson (c.1695–l753), in
Gestur og gar›búi, ‘Gestur and the farm dweller’, tells about Dufflekja,
a cliff in the Westman Islands: ‘It is said that twenty people must fallfrom it, this is in the prophecy . . . while no one as far as I can remember is to fall from Jappi.’ The Rev. Jón Austmann states that the river
Jökulsá on Sólheimasandur and Dufflekja ‘call one to another’, andthat as many will drown in Jökulsá as fall from Dufflekja.6
1 On this and similar things see JÁ2 II 703 (varú›ir), 685 (kirkja); Jfiork.
68; forbidden to lock sheepshed at Elli›i, Lfrs. II 180 (Jens Lauritzsøn Wolf,
Norrigia illustrata); forbidden to cut trees or fish, Noctes Setbergenses III 209.
2 See JÁ2 II 703 and 699 (varú›ir and steinkast); JJ Ífl 396.
3 De mirab. 59, Icelandic translation 98 (ch. 19); Lfrs. II 138 (Bishop fiór›ur),
180 (Jens Lauritzsøn Wolf, Norrigia illustrata), 351 (Anderson); Eggert Ólafsson, Reise 218–19, 528 (Lfrs. III 54–55); Lfrs. III 112; Jfiork. 9–10 (Öræfi).
4 De mirab. 57, Icelandic translation 96 (ch. 18); JÁ I 36.
5 See JÁ2 II 665 (ákvæ›i).
6 fiJ Örnefni, 115–16; Steingrímur J. fiorsteinsson, Upphaf leikritunar áÍslandi, 1943, 9–10.

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153

It is probable that a good many Icelandic places became taboo at afairly late date, though it is also evident that some of them existedvery early on. There cannot really be said to have been much earlysuperstition attached to wells in Iceland; this is to do with the late date
at which Iceland was settled. I know of one example of it being
forbidden to close a well, and Bishop Gu›mundr the Good blessed
several wells and springs; these were considered to have healthy properties in pre-Reformation times, but subsequently belief in them gradually dwindled, though their names still bear witness to the old ideas.1
On the other hand, legends sprang up about burial mounds and hidden treasure as soon as the country was settled; later on we also hear
about graves of seeresses. We are told in ch. 20 of Hœnsa-fióris saga
(which was compiled in the thirteenth century) that Tungu-Oddr had
himself buried on Skáneyjarfjall, as he wanted to be able to see overthe district after his death. There is a multitude of stories from latertimes about such funerary dispositions by early Icelanders, some ofwhich are both strange and entertaining, such as the common desire to
be buried where the sun was first seen in the morning and last seen atnight; a similar story is told of hidden treasure in Sætesdal in Norway(Skar GS III 138, 139, 141). Later stories variously assume that treasure is hidden in mounds, in inaccessible places, on crags and underwaterfalls, wherever it would be difficult for people to get at it. Thereis great host of such stories, filled with taboos and precautions thathave been ignored, and similar stories are found in Scandinavia.2
These examples suffice to show how ancient superstition became
attached to individual spots in Iceland and grew and developed there.
The settlers also encountered various novel phenomena which surprised them not a little. Their wonder at the colour of rivers running
turbid with silt from glaciers appears in the river-name Hvítá, ‘White
1 On the tabu see JÁ I 661; JÁ II 26–27 (Gvendarbrunnar); Lfrs. II 228 (Jón
Eggertsson); Jfiork. 199.
2 Icelandic examples in JÁ2 II 678 (greftrun), 688 (lei›i), 675 (fólgi› fé);Landnámabók 156, 386; Lfrs. II 96 (Gullkista); Fitjaannáll 1610 (Annálar
1400–1800 II 97), Olaus Olavius, Oeconomisk Reise igiennem de nordvestlige, nordlige, og nordostlige Kanter af Island, 1780, 155 (Ólafur Olavius,Fer›abók, 1964–65, I 242); Hálfdan Jónsson in Ölfusl‡sing 1703 (Landnám
Ingólfs III 14), Eggert Ólafsson, Reise 859; Jfiork. 67, BBj. II 111–12. Burialof a seeress is first mentioned in Laxdœla saga (ÍF V 224).

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River’, and the steam rising from geysers and hot pools must haveseemed even stranger to them. Nonetheless they seem to have regarded
all these things with a fairly rational eye, for there are very few folklegends of geysers, and none of these is found in early sources. Lateron there are some stories of pools or geysers that remove themselvesfrom unseemly behaviour or punish it. Konungsskuggsjá (compiled
around 1250) says of mineral (carbonated) springs that they cannot be
enclosed in a building, otherwise they move away. The Ortelius map(drawn c.1585) indicates that there was one above Stafholt that moved
because of a farmer’s greed.1 Some legends say that ghosts are relegatedto geysers, and from AD 1600 onwards there are numerous stories of‘geyser fowl’. Some describe them as black, the size of crows, others
as small and red, but all agree that they dive into the geyser whenapproached.2
Because of their terrible awesomeness, volcanic eruptions had a far
greater impact on the imagination of early Icelanders. They began sosuddenly, and the sources of eruption then lay dormant for decades oreven centuries. All this was inexplicable, and ideally suited to produce
folk-legends as explanations. Kristni saga (ed. B. Kahle, 1905, ASB
11, 39) tells us that in the year 999–1000, when the Icelanders accepted Christianity as a nation, an eruption took place which was attributed by some to the wrath of the gods, to which Snorri go›i was
supposed to have replied: ‘What then were the gods angry about when
the lava-field we are standing on ran?’ His words are a good specimenof the sceptical outlook that was about at the time. Many however,turned to superstition. Landnámabók tells of fiorvaldr kolbarki, who
composed a poem in honour of the giant Surtr, and went up to Surtr’s
Cave (which is in the middle of a lava-field) and delivered it there
1 Cf. JÁ II 113. In other countries there are legends about springs that are

dirtied or troubled, see A. Schmidt, Danmarks Helligkilder, 1926, 94–96; Banks
I 134, 142, 169.
2 First mentioned by Blefken (Ólafur Daví›sson, ‘Ísland og Íslendingar,
eptir flví sem segir í gömlum bókum, útlendum’, Tímarit hins íslenzka bókmenntafélags VIII (1887), 144), next by fiorsteinn Björnsson in Noctes Setbergenses; then Hálfdan Jónsson in Ölfusl‡sing 1703 (Landnám Ingólfs II
10–11, see references there; see also Lfrs. II 310; Brynjólfur Jónsson, Dulrænar
smásögur, 1907, 117–20). Further on hot springs and warm pools JÁ2 II 683(hver), 688 (laug); Andvari XVII (1892), 39, 45–46.

FOLK-BELIEF AND FOLK-LEGENDS

155(Landnámabók 240). The fire-giant of Vƒluspá is therefore probably
older than the settlement of Iceland, but was transferred and attachedto the volcanic fire and lava there (PE 11, 12). There is another story
which connects an eruption with a giant, also told in Landnámabók.
When Sel-fiórir was old and blind he saw a great and evil-looking
man row an iron boat into the mouth of the river Kaldá, and then walkover to the farm at Hrip and dig into the ground in the entrance to thedairy there. In the night an eruption began at that spot, and the lavafield Borgarhraun ran from there (Landnámabók 97–99). These notions
became a topic of verse for one poet who, probably late in the thirteenth century, described a volcanic eruption with dark inspiration,
and attributed it to no mean giant (Bergbúaljó›).1 Another explanation of eruptions is that they were caused by magic, as when the settlers
firasi in Skógar and Lo›mundr in Sólheimar each directed the waterfrom the glacier to the other’s land.2 Later legends (from the seventeenth century) tell how Katla, housekeeper in the abbey at fiykkvibær,went wild and flung herself into the gorge now named after her, andso caused the eruptions there. Various other late legends relate how
ghosts were exorcised and laid to rest in craters, and there is also astory of a girl and a dog who were inside a farm house when an eruption
covered it. Some time later the dog was heard to bark by passers-by,
and they were saved. This story existed in the eighteenth century.3
The clergy of those days did not, however, approve of the explanations offered by popular belief, which attributed volcanic fire to trolls,
and they linked them to evil spirits and the torments of Hell. The earliest such connection that I know of is in a book of miracles by the
Cistercian monk Herbert of Clairvaux,4 who obtained a description ofan eruption from Archbishop Áskell of Lund (died 1181), and thismust have given rise to the idea among the clerks of southern Europethat it was a fire from Hell. Saxo Grammaticus gives some description
1 Cf. Gu›mundur Finnbogason, ‘Hallmundarkvi›a’, Skírnir 1935, 172–81;

See Bergbúa fláttr and Kumblbúa fláttr, ÍF XIII, 439–55.
2 Landnámabók 304–05; Sigur›ur fiórarinsson, ‘Jar›vísindi og Landnáma’,
Sjötíu ritger›ir helga›ar Jakobi Benediktssyni 1977, 665–76.
3 Cf. JÁ2 II 683 (jar›eldur), 681 (hraun), 684 (jökulhlaup); Safn IV 192,
199; Markús Loptsson, Rit um jar›elda á Íslandi, 1880, 5–7, 10–12; Jfiork. 126–27.
4 Sigur›ur fiórarinsson, ‘Herbert múnkur og Heklufell’, Náttúrufræ›ingurinn
1952, 49–61; Sigur›ur fiórarinsson, Heklueldar, 1968, 25–29.

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of volcanoes. He thought that the souls of the ungodly were tormented
by cold among the glaciers. Albéric des Trois Fontaines tells of Icelandic shepherds who saw the souls of the departed flying into the
Icelandic Hell in the shape of ravens. He claims to have this from one
such shepherd who afterwards joined the Cistercians.1 After this one
writer reproduces another’s absurdities and this continues down theages until it begins to look as if even Icelanders themselves were beginning to believe in this nonsense; this process was further encouraged by the fact that the Norwegian Konungs skuggsjá, which was
known everywhere in Iceland, took it for granted that the departed
were tormented in the fire and ice of Iceland. People thought they saw
both large and small birds flying about in the flames of the eruption of
Hekla in 1341. They thought these birds were human souls (Flateyjarannáll 1341, Islandske annaler indtil 1578, 401). It was certainly very
necessary in the time of Eggert Ólafsson to examine Hekla with one’s
own eyes and describe it as it really was. European folklore spoke ofblack masses celebrated in Hekla, but this is quite unknown in Icelandic legend. As evidence of Hekla’s fame abroad, we may mention that
it appears in the Norwegian Ståleferd, which was a Christmas journeyof trolls and witches. Stories have come down about this from Sætesdal(Skar GS III 21).
The sea and lakes were sufficiently mysterious and frightening tolead to superstitions about them and the monsters living in them totake root immediately. The section on whales in Konungs skuggsjá
has to be considered as natural history for our purposes, yet superstitions about ‘great fish’ occur not infrequently in it, and such traditions
did not by any means diminish during the following centuries. Precautions that seamen took to avoid mentioning the names of the ‘great
fish’, or suggesting anything that would bring them to mind, are noteworthy (Konungs skuggsiá, 1983, 18–20). Sea serpents are known fromheathen times (the Mi›gar›sormr of Snorra Edda), and a marmennill‘merman’ is mentioned in Landnámabók (96–97). The story of theLaughing Merman appears already in Hálfs saga ok Hálfsrekka (ch.3;
1981, 173–75; a work probably from the second half of the thirteenth
1 Scandia IV (1931), 289–90; Lfrs. I 65–69, 239–42; Konrad Maurer, ‘Die
Hölle auf Island’, ZdVfV 1894, 256–69 and Konrad Maurer, ‘Weiteres überdie Hölle auf Island’, ZdVfV 1898, 452–54.

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century) and then in Jón lær›i’s Tí›fordríf (see p. 106 above), and islater common in Iceland. Sea-cows and sea-bulls are not mentioned inearly literature, unless their existence is to be inferred from the dapplegrey bull, father of Glæsir, referred to in the episode of fiórólfr
bægifótr’s hauntings in Eyrbyggja saga (ch. 63), but they appear assoon as our later sources take over.1 I am afraid that mermaids havenever really become rooted in Icelandic folk-belief, though stories havebeen told about them.2 A somewhat suspicious seal with human eyes
appears in Laxdœla saga (ch. 18), but this is most likely a ghost, as is
Selkolla in Gu›mundar saga biskups (BS I 604–08)—she has a seal’s
head—and in later times seals had a powerful impact on popular imagination. There is considerable evidence to show that people were apt tothink of them as human, a piece of anthropomorphism best seen in thelegend of the seal-maiden who marries a human.3 Oddly enough, thefirst instance of this story in Icelandic seems to be no earlier than fromthe eighteenth century. The very common idea that seals are Pharaoh’sarmy, drowned in the Red Sea, also turns up in Icelandic folklore.4
Later on sea-monsters, shore-beasts and similar horrors become morecommon; long dark nights and fear of the dark must have been instrumental in the creation of these shell-covered and slimy monstrosities.
I do not know their history, but I suspect that their growth escalated in
the same period as the stories of magic developed, as will be mentioned later.5 Water-horses and water-serpents were doubtless quick
to come and live in the waters of Iceland, and both must have been
known in legends brought by the settlers. A water-horse is mentioned
in Landnámabók and frequently thereafter.6 In the southernmost placesof Iceland, in the mountains where the sea comes roaring against the
1 The Ortelius map; JH 176; JÁ 2 II 692 (nautgripir); cf. P. Herrmann,

Erläuterungen zu den ersten neun Büchern des Saxo Grammaticus II, 1922, 382.
2 Cf. Reidar Th. Christiansen, ‘Til de norske sjøvetters historie’, Maal og
minne 1935, 1–25.
3 JÁ I xiii, 632–33; Verz. 35; Saga Árna ljúflings.
4 See Oskar Loorits, Pharaos Heer in der Volksüberlieferung I, 1935. Also
mentined in Saga Árna ljúflings.
5 There are surveys of sea- and lake-monsters in Tímarit hins íslenzka
Bókmenntafélags XIV 98; XXII 127; XXIII 29.
6 Landnámabók 120–21; Íslenzk fornkvæ›i no. 3; De mirab. 40–4, Icelandic translation 68–69 (ch. 6); Noctes Setbergenses II 17–69; Skrif Ólafs gamla

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cliffs, roaring sea-bulls were sometimes heard in the nineteenth century. The Serpent of Lagarfljót is the oldest water-serpent that I knowof in Iceland; it first appears in the annals in 1345, and thereafter times
without number. Huge skates and other giant water-beasts appear inlater times in lakes and rivers, though I do not know how old suchthings are. The notion of various huge animals known as ‘mother ofseals’, ‘mother of flounders’, ‘mother of trout’, ‘mother of salmon’ or‘mother of skates’, is very curious; I know of no Icelandic example
earlier than the seventeenth century, but I find it hard to believe that it
is not very ancient.1 I do not know whether such concepts exist outside Iceland, though in the Shiant Islands (in the Hebrides) vague stories
of a giant seal, a ‘father of seals’, are found.2
I shall not say much about land-creatures, but would mention thatthe belief that cows talk on Christmas Night or Twelfth Night is also
known as a folk-legend in Denmark.3 A curious superstition also existed about the skins of polar bears, which were believed to have theproperty that if a woman bore a child while lying on one, the childwould never feel cold; the word bjarnylr ‘bear’s warmth’ is alreadyfound in Old Icelandic writings, and the concept is clearly stated by
Jón lær›i in the seventeenth century and has probably had very little
added to it since. I think that an echo of totemism can be discerned inthis idea, and the frequency with which the ‘guardian spirits’ of early(i.e. Jón Eggertsson, see BE Munnmælasögur 13–14, about Jón of Svalbar›
and Hálfdán of Fell); Peder Hansen Resen, Íslandsl‡sing, 1991, 138 (Lfrs. II
183–92); Jón Marteinsson (Lfrs. II 329); Eggert Ólafsson, Reise, 55–56, 711–
12; Sæmundur Hólm (ÍB 333 4to, 26v: ‘In Hrútsvatn, Oddn‡jartjörn, Blönduvatn, Víkurtjörn they say and hold it to be true that there is a water-horse or
hippopotamus, also in Nauthúsvatn.’); JÁ2 II 393 (water-horse); Jfiork. 44–
45, 364–65, OBj. 203–05; cf. Finnur Jónsson, Norsk-islandske Kultur- og
Sprogforhold i 9. og 10. Årh., 1921, 103; C. W. von Sydow, ‘Folkminnesforskning och Filologi’, Folkminnen och folktanker VIII (1922), 114–20.
1 Mother of skates in Ann. farr. 8 (1603; Icelandic translation 21), fiór›ur
fiorlákssyni, Ísland, Stutt landl‡sing og söguyfirlit, 1982, [D4v], 40 (Lfrs. II139), Peder Hansen Resen, Íslandsl‡sing, 1991, 162 (Lfrs. II 187), Jón Ólafssonof Grunnavík (Lfrs. II 324, JH 175); mother of trout in Jón Ólafsson of
Grunnavík (Lfrs. II 321); probably also in Laxdal Ósfi III 35–37; JÁ I 632,
634–36.
2 Donald A. Mackenzie, Scottish folk-lore and folk life, 1935, 87.
3 JÁ I 611; Gamle danske Minder i Folkemunde, 1854, 14.

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Icelanders were in bear-shape seems to support this assumption. The
seal and fish ‘mothers’ mentioned above may also, I think, spring fromsome such root.1
II
An Icelander who reads Norwegian, Danish or Swedish folk-legends
is likely to notice first the differences, and only then the resemblances
they bear to his own folk-legends. This is particularly true of thosebeings of folk-belief that are in human shape and live in and on land.
All such beings are clearly categorised in Iceland, so that one is rarely
in doubt about what creature one is dealing with. In Scandinavia thecategories are far less distinct, so that it is very seldom possible todistinguish one class or ‘people’ from another. Even the terms cannot
be trusted, as they are apt to have different meanings in different districts, and are very prone to confusion. Thus the words jutul, gjygr,rise, troll, tusse, which were all at one time used for gigantic beings in
Iceland and Norway, still survive in Norway, but tusse is now used inSætesdal for those smaller, elf-like beings which are called ‘hidden
folk’ in Iceland, and in other places in Norway for earth-dwellers ofmore or less the same kind. Norwegian scholars regard the first threeof these words as referring to a single class of beings (giants), while
Swedish scholars regard ‘trolls’ as more allied to earth-dwellers or
hidden folk, and ‘troll’ is often a rather inclusive term in Norwegian.
Earth-dwellers in Scandinavia, not least in Denmark and Sweden, areoften a kind of dwarf, or of approximately human size. Many terms
beside those just listed are used in these countries, and there is no
point in going further into the matter here, as it would only add to theconfusion. But besides the beings paralleled in Iceland, there are othersin continental Scandinavia not known here. The Swedish Skogsrå
(sometimes called huldre in Denmark and Norway) is a female being
haunting the forests, who lures travellers from the path and sends themastray. Some have suggested that the stafró of the Icelandic poem ofthat name is a corruption of skogsrå, but this being is otherwise unknown in Iceland. The Norwegian fossegrim, an elf who haunts waterfalls and who has taught many a man to play the fiddle (relative of the
1 Further details about Icelandic legends about the natural world in EÓS If

189–90; see also especially JÁ.

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Swedish forskarl; cf. Strindberg’s Kronbruden), is also unknown in
Iceland, and though nykur, the Icelandic name for a water-horse, andnäck, the Swedish name for a human-shaped water-spirit, are the sameword, the Icelandic creature is never in human shape. The nisse (Swedish tomte, also called gaardbo in Denmark), a type of brownie who is
a popular figure in Danish and Swedish folk-stories, is not found in Icelandic stories, and the skibsnisse, ‘ship-brownie’, only reached Icelandin very recent times, though probably very old legends exist of ships
understanding human speech and conversing with one another.1
I shall not go into the age of the Scandinavian beings not known in
Iceland, though it is certain that waterfalls were worshipped there in
early times and medieval stories of wood-nymphs abound in Europe.
Whenever these beings reached Iceland from across the sea, they nevermanaged to settle; this is understandable in the case of the forestdwelling skogsrå, because of the lack of woodland in Iceland, but theabsence of the brownie-type ‘farm-elf’ is due to the late settlement
and rapid change of religion, both of which were fatal to many anancient local belief.
Next we come to beings that vanished early from folk-belief, suchas dwarves, who were certainly known in heathen Iceland, but seemto have hardly settled there. Remnants of this belief are more widespread on the continent, but it is likely to have diminished soon after
the coming of Christianity. The idea of dwarves—or at least the partof it relating to their size—lived on in the little people of folk-legendsof later times in those parts. The appearance of dwarves (or dwarvish
beings) in Icelandic folk-legends of later times is, however, exceptional, though they are more common in romances and wonder-tales,both oral and written.2
I would regard it as very rash to assume that the meanings at present
attached to the names of various types of beings have remained unaltered down the centuries. Indeed, the history of the Norwegian wordtusse shows that this is not so. On the other hand I reckon that thevague characterisation and categorisation of Scandinavian folklore
1 Cf. Flóamanna saga ch. 26 (ÍF XIII, 307–08); JÁ II 8–9, Jfiork 74–75; cf.

also Laxdal Ósfi I 48–49.
2 See JÁ2 II 672 (dvergar); SS Ífl IV 166–73; SS Ífl2 III 186–90; Hellmut deBoor, ‘Der Zwerg in Skandinavien’, Festschrift Eugen Mogk, 1924, 536–57.

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beings is an ancient characteristic. I think that originally things were
the same in Iceland, but as time went on two main types absorbed all
the others. There were doubtless many reasons for this, and I will
mention the three most important ones. The settlers came to an uninhabited new land; superstitions about creatures that inhabit definite
locations tend to be enfeebled when this happens. Early poets andmythographers made belief in various gods into a theology; their critical, schematising thinking must also have affected the lower myths.
Thirdly, Christianity arrived at a time when belief in these creatures
was young and rootless, and reduced its spread and its vigour evenfurther.
The word landvættir, ‘land-spirits’, appears to have had a very wide
meaning in early Icelandic, and covered every kind of supernatural
being that dwelt in the land when the settlers first arrived. It does notappear to have been extended to cover the shades of the dead buried
within the land, as may often have happened elsewhere in Europe,ages after their burial. The Icelandic landvættir were simply the naturespirits attached to and guarding the land itself.
At first people may not have known what the land-spirits were like,but bit by bit they must have come to know them, and ideas about
them must naturally have been coloured by superstitions brought fromtheir ancestral homelands, though they will have been reshaped by the
new country. The ancient sources we have about popular notions arefew, but they suggest a considerable variety of ideas. In Heimskringla,Óláfs saga Tryggvasonar (ch. 33), Snorri Sturluson tells of a magician who went in a magical shape to Iceland and saw that ‘hills andfells were full of land-spirits, some great, some small’. A great dragon
was accompanied by toads and snakes; a great bird had such mighty
wings that they stretched right across Eyjafjƒr›r, and it was supported
by many lesser birds; there was a great bull that waded out into thesea, and a rock-giant with an iron staff in his hand who had manyother giants with him (Hkr I 270–72). The spirits seen by the prophet
fiórhallr through the window at fivottá appear to have been equallyvaried in character. ‘Many a mound opens, and every being, great andsmall, is packing its bags and preparing to flit’ (ÓTM II 150). The
rock-dweller who offered to be Hafr-Bjƒrn’s partner is more unmistakably in human form, and so were presumably the land-spirits who
escorted him to the assembly (Landnámabók 330–31).

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Land-spirits must have been worshipped, like the rock-dweller who
guarded Ko›rán of Giljá. A sermon speaks thus of them: ‘Some womenare so foolish and blind as to their needs that they take food and carryit out into the open and put it under rocks, consecrate it to land-spirits
and eat it afterwards, so as to make the spirits look with favour onthem, and to make their households more prosperous’ (Hauksbók 167).
I do not know to what extent this is a translation, or whether the passage is Norwegian or Icelandic in origin, but the nick-names of certain Icelandic legendary characters such as Svínfellsáss, ‘god of
Svínafell’ and Snæfellsáss, ‘god of Snæfell’ imply worship; the latter,according to Bár›ar saga (written c.1300), was invoked during his
lifetime by persons in danger; when he died he passed into the worldof the spirits, where he probably met the ‘Svínfellsáss’. This saga andmany others show that people at that time were inclined to differentiate between good-natured land-spirits and trolls.1
As time went on, presumably during the first centuries of Christianity in Iceland, these spirits began to separate into two clear groups,
trolls and hidden folk. Yet there are stories which fall between thetwo, or are on one occasion told of one, and on another of the otherkind. These I consider to be remnants of the older, more variable concepts. In the thirteenth century, Gu›mundar saga Arasonar tells how
Kolbeinn Tumason’s wife was seized by spirits on Kjölur. This is ofcourse a fictitious story, told to shame Kolbeinn and glorify Gu›mundr.
It is probably based on a folk-legend which is well known from thenineteenth century, and deals with the abduction of a woman by earthor rock-dwellers who are variously thought of as trolls or hidden folk.2
Sundry rock-dwellers also finish up outside both categories, being
somewhat ogre-like in size, though like elves in temper and appearance. The legend in Gu›mundar saga of the hand that cut the fowler’srope should perhaps be treated as a troll-story, though the nature of thebeing is not specified. In later stories of the blessing of bird-cliffs thesupernatural cliff-dweller can be either a troll or an elf.3 Lastly there
1 Njáls saga ch. 123 (where some manuscripts have ‘Snæfellsáss’); Bár›arsaga, ÍF XIII 119.
2 BS I 560, II 32; JÁ I 56, 57–58, 526, 568–71, BBj. I 84, OBj. 115. In oneof these stories there is a glass hall, as in the wonder-tale in JÁ II 311; cf. also
Jarlmanns saga og Hermanns, ed. H. Rydberg, 1917, 39.
3 BS I 599, II 111; Jón Eggertsson in his additions to Jón lær›i’s Tí›fordríf;

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are a few rock-dwellers who are given proper names, like the inhabitant of Súlnasker, who is also known as the Skerry-priest (he first appears around 1700),1 and the Squire of Skrú›ur.2 Borgar-Grímr is also
reckoned to be an elf, but the verse in his story is also found in a trollstory (Laxdal Ósfi, JÁ I 27, 186). Ásmundr of Ásmundarnúpur and
Jörundr of Jörundarfell, the guardians of Vatnsdalur, Bergflór of Bláfell
and Ármann (originally árma›r, ‘guardian’) of Ármannsfell have beencreated from place-names (JÁ I 212–13). The old greeting by passing
sailors to the island of Drangey and its attendant rock stacks may also
date from the golden age of belief in land-spirits, whether the formula
itself is old or recent (JÁ I 210):
Heil og sæl Drangey mín og allir flínir fylgjarar,heil og sæl Kerling mín og allir flínir fylgjarar,
heill og sæll Karl minn og allir flínir fylgjarar.
Greetings to you, Drangey, and to all your followers,
greetings to you, Old Woman, and to all your followers,
greetings to you, Old Man, and to all your followers.

III
The word tröll is now used in Icelandic as a synonym for jötunn, flurs(flursi), risi, flag›, g‡gur and skessa (the last two only for females,
and flag› is also mostly used of females), to refer to the same gigantic
beings. Most of these terms are now used in transferred senses and inderivatives, and these reflect their original meanings, so there is noneed to go into further into that. It is only necessary to examine one ofthese words, the commonest one, because it once had a very different
meaning in Old Norse.
Tröll (troll or trƒll in Old Norse) is related to the verb trylla, ‘tomadden, to drive into a mighty rage, fill with furious power’, and inJens Lauritzsøn Wolf, Norrigia illustrata (Lfrs. II 180); JÁ2 II 704 (vígslur);
Sögusafn Ísafoldar 1891, repr. in Sögur Ísafoldar 1947; Vestfirzkar sagnir,
1933–37, I 164–67; cf. Laxdal Ósfi III 16–17.
1 The Rev. Gizur Pétursson and Jón Austmann,Vestmannaeyjal‡sing, see fiJÖrnefni, 104; JÁ II 45; Jóhann Gunnar Ólafsson, Sögur og sagnir úr
Vestmannaeyjum, 1938–39, [I] 25–28; 2nd ed. 1966, 25–27.
2 See Jónas Hallgrímsson, Ritverk, 1989, I 253, III 189–190; Jón Ólafsson,
Söngvar og kvæ›i, 1877, 120.

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Old Norse poetry trƒll means someone full of magic and dark power.
It is frequently used of witches and of creatures raised from the dead.
The curse ‘may trolls take . . .’ indicates unspecified evil beings.
Vƒluspá describes the wolf that pursues the sun as being í trƒlls hami,‘in the form of a troll’. The term is used of evil beings (whether humanor supernatural) insofar as they are evil, but does not necessarily mean
‘giant’. In the eleventh and twelfth centuries the new meaning ‘giant’appears in the kenning trƒlls fákr, since this refers to Hyrrokin whorode the wolf, and she, according to Snorri, was a giantess. In thesagas the meaning ‘giant’ is common, and the older one graduallydisappears. Snorri always says of fiórr that he went to the East ‘tobatter trolls’, and that he was the enemy of the females of that race. In
Njáls saga (ch. 119) Skarphe›inn is described as looking ‘as if he hadcome out of the sea-cliffs’, and also as being troll-like. Thus tröll has
became equivalent to jötunn, ‘giant’. This meaning took over so completely that by the late fourteenth century the older one had disappeared.
In other parts of Scandinavia the word troll began to be used fornature spirits during the Middle Ages, but the change of meaning took
place at different times in different places, as we have mentioned before.
In Norway the result was rather similar to that in Iceland, and I think it
not unlikely that the Icelandic fornaldar sögur that were read there
played a considerable part in this development, for poems were basedon them which were immensely popular and were known all over
Norway and even in Sweden and Denmark. But the word troll did not
become as completely interchangeable with ‘giant’ among Norwegians as it did with Icelanders, because their neighbours developed avery different conception of it.
From time to time stories from the late thirteenth century onwards
differentiate between risar and tröll or jötnar. Risar come to be thoughtof as gentler, less ugly and less dangerous to humans. This appears,
however, to have been only a temporary device of people who felt thatideas about giants were rather inconsistent, and wanted to make themmore logical by this distinction. They particularly disliked telling oflove-affairs between humans and daughters of repulsive giants, andso invented a separate race of risar.
There is no doubt that there were folk-legends about giants in mountains and rocks in heathen Iceland, linked with particular places, andabout their dealings, both good and evil, with humans. But there were

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also legends about the dealings between giants and gods, and thesewere naturally held in greater esteem. We know about these mostly
from poems and verses in the two Eddas, and also from Snorri’s prose
narratives. The giants of folk-legend lived, as far as one can make out,
mostly in solitude, sometimes in caves, sometimes in halls inside cliffs
in particular places in Iceland. They were very ugly and lived likesavages, dressed in goatskins, and carried iron staves or cutlasses intheir hands, and could be turned to stone by daylight. The giants of
mythology, on the other hand, lived in communities in Jƒtunheimar,‘the world of giants’, owned halls and dwellings, rich clothes and fairjewels, were ruled by kings and had beautiful attractive daughters. It
is of course unwise to make too much of this difference, as the wholeconcept was in a state of flux, but these are the most extreme forms of
it. If we could investigate further back, I suspect that we would findthe difference grew less, until we came to undifferentiated stories containing some elements of each type.1
When Iceland was settled, people had various ideas about giants,
and though the ‘upper layer’ (i.e. the aspects present in mythology)
may be mingled to some extent with literary fiction, one may be surethat people believed in the bulk of what was in the myths.
Nor was the look of the country likely to alter the ideas of the settlers
all that much. It was a land of wastes, high mountains, dark winter
1 On the differences between the two ‘layers’ of development of these concepts see the perceptive article by Knut Liestøl, ‘Jøtnarne og joli’, Maal og
minne 1911, 192–205. C. W. von Sydow, in ‘Jättarna i mytologi och folktro’,
Folkminnen och folktankar VI (1919), 52–96, lays great emphasis on the inventiveness of eddic poems when they treat of giants. He compares them withgiant-stories of later times, though if one looks closely, one sees that nearly all
his examples come from modern Swedish and Danish stories; there are only
two references to Norwegian stories and none to Icelandic ones. This is unfortunate, since all skaldic poems and those eddic poems that are in question
here are West Norse, and so ought to be compared with West Norse folkstories. It is of course quite unlikely that beliefs about giants were ever thesame in lowland Skåne and Sjælland on the one hand and in mountainous
Norway and Iceland on the other. Moreover it is unwise to assume without
comment that Danish-Swedish giant-stories give an accurate picture of beliefs about giants a thousand years earlier. They show clear signs that such
beliefs died long ago (doubtless even earlier than in Norway and Iceland) andthe stories are empty; their foundation in belief has gone.

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nights, gales, landslides and avalanches—all phenomena familiar from
Norway. As well as these familiar things were found volcanic fire,lava-fields and glacier-floods, and these features were therefore added
to the phenomena ascribed to the activities of giants.
When the mythology comes to an end, the fornaldar sögur and otherfictitious stories take over. These inherit to some extent the more imaginative features of the giant-stories, and are in that respect a continuation of the mythology, but their contents are thin by comparison,for they were now quite remote from people’s beliefs. In the late thirteenth century there also come into the picture certain Sagas of Icelanders that include material from troll-stories, such as Bár›ar saga,
Grettis saga and Kjalnesinga saga. In some of these sagas it is clearthat the size and strength of these creatures are admired, and so therace of risar (benevolent giants) are separated from flƒg› (ogres) andgiven good looks, strength, wealth and wisdom so that an element ofwish-fulfilment enters into their portrayal. In late, fantastic sagas elements of savage wildness and polished elegance are combined in various ways. Along with all these narrative types there were also the oral
wonder-tales, also not much concerned with folk-belief in this respect
and, indeed, their depiction of giants is very different from that offolk-legends. One might assume that contact with these sagas would
have had an effect on both folk-legends and folk-belief in this regard,
and this may be so, but I am not prepared to go into this possibility.
Stories from later times tell of both friendly and hostile dealings
between men and trolls. The mythology has a similar variety to offer,
though there enmity predominates. Less can be said for certain about
ancient folk-legends about trolls, as they are so little known, but most
likely they were not very full of friendship between men and suchbeings.1 But there must have been numerous land-spirits, fairly big
and burly, with whom people became friends, and I believe that the
majority of this very miscellaneous group must gradually have become more homogeneous and taken on a single aspect, that of trolls,
during the first centuries of Christianity.

1 This is implied by most of the early folk-stories about trolls. Consider for
instance the troll-wife who attacked Snorri of Skálavík; the troll-wives who
made Kerlingafjör›ur uninhabitable; Eydís járnsaxa, who carried a woman
off; the giant who was responsible for volcanic eruptions, cf. p. 155 above.

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As time passed, real men from the early history of Iceland began totake larger than human shape in the legends that gathered around them,and eventually some of them became troll-like in appearance. Special
attention is paid to Grettir’s strength in Grettis saga, and the strengthof the heroic figures in Bár›ar saga and Orms fláttr Stórólfssonar is
exaggerated to excess, while in later stories some of these men ofancient times become very troll-like, though some of them are known
from no other ancient sources than place-names.1 Some of these stories
tell of men of former times who trylltust, that is went wild and turned
into trolls, a phenomenon seen in Bár›ar saga, in the story of Jóra
who is connected with Jórukleif (this story is known in the seventeenth century), and in later stories.2 Parallels to this tendency to thinkof men of the distant past as giants are found outside Iceland. Thus
Danish folk-stories have numerous Kæmper, ‘heroic giants’, who correspond closely to the big heroes of Iceland, and local legends of such
British worthies as King Arthur and Robin Hood often exhibit thesame tendencies. It is, after all, a common day-dream to think of peopleof the past as bigger, better and happier than those of the present.
Finally we must note how clerics tried to identify trolls with evil
demons, and there are plenty of examples of this in the Bishops’ Sagas.
This was the more straightforward in that the word ‘troll’ had becomevague in meaning around 1200, but the attempt had no effect on folkbelief, and it is difficult to see that it made much progress once landspirits had been frankly absorbed into the ranks of either trolls or hidden
folk, until the belief in trolls itself began to decay.
This appears to have happened around the year 1600. At that point
writers begin to state that though old women believe in the existenceof trolls, they reckon that their numbers do not increase much, themale trolls being all dead or past procreation.3 Moreover, the troll1 In the time of Árni Magnússon there were stories about Gullbrá of Hvammur,JÁ I xxi, cf. I 146–50. There are a lot of nineteenth-century stories about thetroll-like size and behaviour of people of ancient times, see JÁ I 211, II 95;
Jfiork. 32; in connection with place-names JÁ I 146, 150, 510, II 76–77, 91–
92; Jfiork. 380–81; BBj. II 31, 67.
2 On Jóra see Jón lær›i, Tí›fordríf; Hálfdan Jónsson in Ölfusl‡sing 1703
(Landnám Ingólfs III 16, 18); Árni Magnússon in JÁ I xxii; JÁ2 II 701 (tryllast);ÓDav.3 II 272–74, ÓDav.5 I 185–86.
3 See QDI 14 (Icelandic translation 47–48), De mirab. 74 (Icelandic

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legends about events that are said to have happened after the Reformation are rather limited in number, and it is usually certain that motifs
in them were taken from older stories and transferred to men of latertimes. Admittedly people went on thinking that trolls had once existed,though by then they were extinct, and it is also possible that belief inthem did not disappear simultaneously throughout Iceland; it probably survived longest in the south-east.1
Folk-legends can of course be created after folk-belief begins tofade, but I think it most likely that nearly all the stories about trolls arefrom before the Reformation. This view can be supported by various
pieces of evidence, first the fact that quite a number of the troll-stories
that are mentioned in writings from the seventeenth and eighteenth
centuries2 are extant in many sharply-defined variants, which is a signof their age. Then there are many similarities between stories of trolls
from Norway and Iceland; they include the voices in the hills crying:‘Sister, lend me a pot!’, a giant in a rage flinging a rock at a church, atroll who turns to stone when caught by the dawn. Such story-elements
occur in both countries. There are also various factors that are relevantto this situation. Similar story-motifs can arise in places where there
are similar folk-beliefs and rather similar terrain. The settlers of Iceland must also not merely have brought their beliefs, but brought themalready formed into legends, and some of the motifs in Icelandic storiesof trolls, such as the dawn-petrifaction motif, may well have comewith the settlers. The ecclesiastical stories are more recent, and it isvery likely that they drifted from one country to another. Some of thematerial of Icelandic stories has, I expect, come from Norway (thoughsome may also have travelled the other way) and this could just as
well have happened after the end of the Republic. Though belief intranslation 123), Lfrs. II 178. In folk-stories some words are used that suggest
a dead belief (in trolls), JÁ I 191 (trolls on the move because of the acceptanceof Christianity); Jfiork. 280.
1 Cf. Jfiork. 21–23, 184, 198–99, SS Ífl IV 232–41, SS Ífl 2 III 256–63; forother stories linked to later times, see JÁ I 153, 179, Jfiork. 58, OBj. 134, 137.
2 E.g. Jóra, Ólafur mu›ur, Vei›imanna fláttur (JÁ I 179–80), see Páll Vídalín,
Recensus poetarum et scriptorum Islandorum hujus et superioris seculi, 1985,
8–9; troll-wife asks a man to take her on horse-back; ogress drives, man rides
behind her knees (Safn I 46, Lfrs. II 178); turning to stone (Noctes Setbergenses
III 227–49; Páll Vídalín, Sk‡ríngar yfir fornyr›i lögbókar, 1854, 67; Laxdal Ósfi).

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giants has not altered greatly in Iceland, I am inclined to link thesurviving Icelandic troll-stories with the Middle Ages.
Before we leave this topic we must refer briefly to the contents oftroll-stories. Icelandic trolls are as clear nature-beings as any can be,
always closely linked with rocks, towering cliffs, deep ravines andhuge mountains; many of them turn to stone, together with their boats
and their livestock. They are personifications of this side of the country’s nature. The ideas associated with them are giant size and strength,
ugliness, heathendom, violence and stupidity but also proverbial constancy. Sometimes the stories grow straight out of the landscape. Can
we not see faces in the rocks in numerous places in Iceland? In someplaces there are great rocks that appear to have human shape, boulders
shaped like boats or other common things, all gigantic and antiquatedin form. In some places stones, stone columns or islands are found in
unexpected places, as if giant beings had been playing at throwing
them down from the high mountains. To explain these remarkable sights
people seized on motifs in ancient stories about giants or other beings
who were turned to stone by daylight, and thus innumerable stories
were easily formed—and it is very likely that some of them were appreciated more for their entertainment value than for their probability.
Nevertheless a different note is sometimes sounded in the troll-stories,
one created not by the mind or the imagination, but by naked emotions, especially fear. A man is alone far up in the mountains, fishing,or merely travelling; he hears shouts ring among the hills; or else men
are burning charcoal in a fog and hear great gales of laughter aroundthem. Perhaps some men feel an uncontrollable desire to get awayfrom others—into the hands of the trolls; then they are being lured bytroll-wives who want to madden them, lie with them, or perhaps justeat them. Danger is close at hand among the cliffs of the high mountains, and it comes as no surprise to find that enmity between giants
and men is a major theme in these stories. Some scholars have beenfascinated by aetiological legends connected with giants, but it is not
right to overlook other features in them which relate to human experience, and it is worth remembering that ancient troll-stories deal with it
quite a lot.
Yet sometimes a frowning cliff can become friendly, and they are
free from treachery and ‘true as the trolls’. Fishermen, caught in asnowstorm, are glad of shelter in a cave, and happy to entertain the

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master of the cave with song and poetry, even though his tastes arerather eccentric. He announces:
Andrarímur flykja mér fínar
en Hallgrímsrímur vil eg ekki.

I am fond of Andri’s strain,
but Hallgrímur’s hymns give me pain.

It is not surprising that he has no interest in Christian teaching such as
the Rev. Hallgrímur Pétursson’s Passion Hymns, but it is curious thatto his ears all poetry should, whatever its style, sound like rímur, since
the style of these secular narrative poems is not particularly like verse
composed in the style of continental Protestant hymns.1
IV
The second major group of nature spirits in Icelandic folk-legends areálfar ‘elves’ or huldufólk ‘hidden people’. The word álfr is common
in Old Norse, and it may still be regarded as a common word in Icelandic,
though huldufólk is now more common in the spoken language.2 The
latter word does not occur in Old Norse writings, and in other parts ofScandinavia is only known in Norway and the Faroes (the Danish
word Huldrefolk is derived from the Norwegian, and the first element
huldre- from huldr, ‘hidden one’). We meet the word hulduma›r, however, in the fourteenth-century fiorsteins fláttr bœjarmagns, where it
says that fiorsteinn and a bald boy ride on a stick to the underworld.
There they enter the king’s palace. A man comes in, we are told, andsays he has been sent to him (the king of the underworld) from themountain called Lucanus, from the earl who ruled over it, and tells theKing that he is a hulduma›r. fiorsteins fláttr uxafóts is probably fromthe same century; it contains the word jar›búi ‘earth-dweller’, whichis frequently used by Jón lær›i about elves, and is here used of somewhat similar beings.
Mythologists are very keen to demonstrate that the ancient belief inelves grew out of people’s ideas about the life of the dead in burialmounds. Despite Óláfr Geirsta›aálfr, a ninth-century local king in
1 In a passage interpolated by Jón Eggertsson in Jón lær›i’s Tí›fordríf, itsays that bird-catchers on Drangey recite rímur to entertain the rock-dweller,
so it is not certain that this legend is as late as all that; moreover other variants
speak of Maríu rímur rather than Hallgrímur’s hymns.
2 In the seventeenth century álfar is the word most often used, and the compounds álfafólk and álfkona are very common.

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Norway, who figures in Flateyjarbók, and who gained his nickname
because he was worshipped after his death, I have never been convinced by this theory—at least I consider it extremely doubtful whether
the first settlers of Iceland saw any connection between elves and deadmen. Belief in elves in the heathen period was clearly rather inconsistent, like the belief in giants. Kormáks saga tells of a hillock inhabitedby elves, on which the blood of a bull was poured and a feast made of
the offal for the elves; this was done to effect the cure of a sick man(ch. 22). It is worth noting that the saga speaks of a hillock and not aburial mound, and that the elves are nature spirits, not ghosts. Also, an
act of worship takes place, and this is reminiscent of what was said
earlier of land-spirits, and also of the later custom of making foodofferings to the hidden folk on New-Year’s Eve, lighting the houseand inviting the elves in. This food-offering, a custom which lasted
into the nineteenth century, is of course nothing other than a sacrifice
or indeed a communion (JJ Ífl 211–12). As for the custom of inviting
elves into the home, it is mentioned by Jón Ólafsson of Grunnavík inhis dictionary early in the eighteenth century, where he speaks of ‘lighting a fire in the house on the evening before New-Year’s Day to let theelves who are moving house warm themselves if they are cold’.
Snorri Sturluson says in his Edda (Gylfaginning ch. 17), when naming
the principal places of the gods, ‘There is a place there called Álfheimr;
there live the people called light elves, while the dark elves live downin the ground; they are unlike in appearance and much more unlike innature. The light elves are fairer than the sun to see, and the dark elves
blacker than pitch.’ Without making too much of this distinction, sinceSnorri could be thinking of good and bad angels, it is worth our while
to take note that the dark elves live in the ground, and correspond tothat extent to the elves in Kormáks saga—and, doubtless, to the folklegends current in Iceland at that time. But elves occupy a more honourable place in many mythological stories and poems. Over and overagain they are mentioned in the same breath as the Æsir themselves:
Hvat er me› ásum, hvat er me› álfum? (‘What is the matter with theÆsir; what is the matter with the elves?’) (Vƒluspá 48). According to
Grímnismál 5, Freyr’s home is Álfheimr, and Alvíssmál lists words
from the language of elves, all of which relate to brightness and beauty(PE 12, 58, 124–29). And though Christianity brought elf-worship toan end (except for such vestiges as the New-Year food-offerings), thesebright images remained in stories and poems, and I think it very likely

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that this was an important factor in preserving their popularity when it
was under threat, and also gave rise to beautiful verse in later times.
Unfortunately there are no early folk-legends available about elves
which specify them by name. All I have to offer is a passage inGu›mundar saga Arasonar: ‘This winter was called the winter ofwonders, because of the many remarkable things that were seen—twosuns were seen in the sky at once; elves and other strange people wereseen riding together in a group in Skagafjör›ur and they were seen byÁnn Bjarnarson’ (BS I 417). In the fourteenth century the author ofGƒngu-Hrólfs saga, which in other respects resembles a wonder-tale,
incorporated certain motifs characteristic of elf legends. Gƒngu-Hrólfr
undertakes the task of hunting down a stag in a forest, so that Vilhjálmr
can win the Princess Gy›a. He chases the stag into a clearing in thecentre of which stood a hillock, high and wide. The clearing was beautiful and covered with thick grass. As Hrólfr was passing the hillock it
opened and out of it walked a woman in a dark mantle, tied at theneck, rather elderly. She addressed Hrólfr and rebuked him for chasing the stag, which belonged to her, though she admitted that she had
sent it out in order to be able to meet him. She offers to let Hrólfr haveit to take to the king, but in return he is to enter the hillock with her.
For I have a daughter and she is under a spell so that she cannot give birth
unless a human lays his hands on her; she has now been nineteen days inlabour, and cannot be delivered.

Hrólfr agrees, and they enter the hillock. There were fine rooms in
there and everything looked lovely, and he found many things in there
were marvellous. He came to where the woman lay, and she was in abad way, but as soon as Hrólfr passed his hands over her she wasstraightway delivered. The elf-women thanked him, gave him a goldring and let him take the stag.
The heart of this narrative is a widespread legend based on folkbelief. An elf-woman is in labour and cannot give birth to her childunless human hands touch her. This is a common element in elf-stories
of later times.1
1 The earliest 1598, see Ann. farr. 6 (Icelandic translation 18–19), Huld VI
39–40, Huld 2 II 187–88; cf. the story said to be in works by Jón lær›i (but notby him, see EGP Eddurit 149–50) in Huld IV 17–18, Huld 2 II 14–16; JÁ2 II
668 (barnsfæ›ing).

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The hidden folk are also thought to steal children, as the hillockdwellers do in a miracle story about Gu›mundr the Good (BS II 140),
and they are associated with the belief in changelings which appears
in early times in the word skiptingr, (or, in some translations, víxlingr),‘changeling’, as they are also with the removal-day legend that appears
first in fii›randa fláttr ok fiórhalls (ÓTM II 145–50; cf. JÁ I 126–28).
On the other hand, elves are not specified in these stories, and all kindsof creatures appear in the removal-day legend. Many kinds of beings
must doubtless have been incorporated with the elves during this period;
they must have reconciled themselves to losing the tail which is nearly
always part of the anatomy of Norwegian hidden folk, and any otheranimal characteristics which they may have had, and must have brought
new blood into the race of elves, and with it a great treasure of stories
and superstitions. I shall turn later to the fact that it is possible to seefrom the evidence of later ages the mixed ancestry of modern elves.
As we have noted already, a few individual creatures in folk-belief
happened not to become attached to either of the two groups and appear
in the stories sometimes as trolls, sometimes as hidden folk.
In a miracle story of St Jón of Hólar we are told of a certain Sveinn
fiorkelsson who went mad ‘because of his love for a certain hallucinatory monster’. It appeared to him as a tall and beautiful woman. She
led him so far astray that he would have nothing to do with other men,went about alone, and neglected all Christian duties (BS I 243). The
description suggests that it was an elf-woman, though the monkishauthor preferred to attribute what happened to evil spirits. The cleric
who wrote Norna-Gests fláttr says that King Óláfr Tryggvason saw an
elf or a spirit. The clergy refused to accept folk-belief, placed elves ona par with fallen spirits and declared that any contacts which people
thought that they had with them were deceptions of the Devil. This
attitude continued well into the seventeenth century, but it had no effect on folk-belief, which continued to flourish and did not relinquish
its power. There the hidden folk were corporeal beings, a brother race
to mankind. This view was reinforced by a myth. It was said that theelves were children of Adam and Eve whom God had ordained should
remain hidden because Eve did not want to show them to Him while
they were unwashed.1 That was the end of it, and ecclesiastical and
1 The oldest example I know of this story in Iceland is in Árnaskjal (JÁ I 5,99), after that Saga Árna ljúflings; it is well known in other countries, see174

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folk-belief reached no closer compromise. In the end, in the memoryof people alive when the Icelandic edition of this book appeared (1940),
the fallen angels ceased trying to conquer Iceland, for they were, noless than the hidden folk, under heavy attack from other influences.
Those supernatural beings who were darkest in character and least
able to take on human shape have rather lowered the race of elves inhuman estimation, but various ameliorating factors have appeared fromother directions. Irish people who came to Iceland during the settlement carried with them stories of Celtic origin, not least those of the
Celtic fairies (side) who dwelt in the green hummocks and hills of
Scotland and Ireland, in the ‘otherworld’ or ‘land of youth’. There
were plenty of stories about all this, many of them deeply poetic andvery strange in character. Irish fairies seem to have been unequivocally in human shape (they could of course change into various forms,
such as birds, but that is another matter), and the stories told of theirkings and splendid dwellings. Those Icelandic elf-stories which may
be reckoned to be of Irish origin long retained a special tone and style,though it is difficult to analyse it properly, and I think it likely thatthey and the ideas behind them survived without becoming fully integrated with native stories, at least for a while. The Eddic poemFjƒlsvinnsmál appears to be based on a Celtic story, and Menglƒ› andher maidens must have been elf-women; elf-wives’ names were notknown in Norse mythology, which is why the maidens acquired names
from all sorts of sources. Hlíf and Hlífflursa probably derived from Líf
and Leifflrasir (Lífflrasir); Bjƒrt, Blí› and Frí›ur, ‘Bright’, ‘Blithe’and ‘Fair’ are personifications of the qualities they represent, Eir isthe name of a goddess of healing, and Aurbo›a that of an ogress (PE53, 293; Gylfaginning chs 35, 37). The giant Gu›mundr of Glæsisvellir‘glittering fields’ (in fiorsteins fláttr bœjarmagns and other fornaldar
sögur) is described as a risi, and his men are strictly differentiatedfrom jƒtnar. Menglƒ› in Orms fláttr Stórólfssonar is of mixed race,
the daughter of a human woman and a giant. Brynjar and Oddr (inReidar Th. Christiansen and Knut Liestøl, ‘Norske folkesegner’, NK IX B
169; BP III 308–21. Jón lær›i believed hidden people came to life from Adam’s
sperm, but Eiríkur Laxdal gives yet another explanation of their origin. In
other countries the legend that they are the descendants of Adam’s previous
wife Lilith is not uncommon, cf. C. W. von Sydow, ‘Sveriges och Finlands
svenska folksägner’, NK IX B 123.

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fiorsteins fláttr uxafóts) are ‘earth dwellers’, though otherwise uncategorised. It is specified in this latter story that Brynjar and his men
are dressed in blue and Oddr and his men in red, which illustrates how
the clear Celtic colours survived for a long time. There is somethingforeign to Norse folklore, something strange, brightly coloured andsplendid in these legends. People immediately interpreted the Celtic
otherworld as an underworld, if the fairies could not be comfortably
accommodated in rocks and hillocks (there were plenty of worlds tochoose from in Norse mythology, both above and below the ground,so that no great adaptation was necessary), but this alteration took
place mainly in poetical fantasies and romantic stories and poems. I
consider that these Irish stories have had their effect on Icelandic belief
and fantasy about hidden folk no less than on other Icelandic stories(especially wonder-tales).1
In the thirteenth and fourteenth centuries various books reached Iceland from continental Europe, especially from France. Some of thesewere translated in Norway and some in Iceland.2 This literature has agood deal to say about fairies of medieval romance (fées), though infact the translations include rather little material about them, but it isquite possible that Icelanders came to know many more such stories
than appeared in written translations. The little that did appear in writing was very soon common property. Everyone in Iceland knows thestory of the magical mantle or shirt made by elf-women.3 The story of
the knight who married an elf-woman became an oral story, and Jónlær›i tells it as relating to a farmer of Fjar›arhorn and his wife.4 Also,
if anyone in Iceland knew Strengleikar, the Norwegian translation of
the lais of Marie de France, this must rather have raised the status of
the hidden people than the contrary. Finally we may mention the latemedieval ballads, such as the song of Ólafur Liljurós, still known toeveryone alive in Iceland.

1 Cf. Einar Ól. Sveinsson, ‘Keltnesk áhrif á íslenzkar ‡kjusögur’, Skírnir
1932, 100–23; Einar Ól. Sveinsson, ‘Celtic elements in Icelandic Tradition’,Béaloideas 1957 (1959), 3–24.
2 See Strengleikar. An old Norse translation of twenty-one old French lais,ed. Robert Cook and Mattias Tveitane, 1979.
3 FSS xxiv.
4 JÁ I 104–05, see Gering ÍÆ, I 246–54 (nos lxxxv A and B).

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At most periods Icelanders had some notion of what was believed
and told about elves among the other Scandinavian peoples, not least
while their contacts with them were most frequent. Many stories likethat of the ‘Father of Eighteen in Elfland’ are common to all four (thisparticular story is also known in several non-Scandinavian countries),1
as are the story of a midwife to the elves who stole some of their eyesalve,2 and the ‘Church-builder at Reynir’ (continental Scandinavian
versions of this involve trolls rather than elves).3 Moreover, since theforms of these stories both in Iceland and elsewhere are so consistent,
we can take it as certain that a vast number of motifs and concepts
were shared. The huldefolk or tussar of Sætesdal in Norway, who, likethose in Iceland, are sometimes Christian and have a clergy of theirown, and are generally speaking very human in their ways, are thepeople most like the Icelandic hidden folk.
Round about 1600 sources for hidden folk become so voluminousthat we can readily define the beliefs and legends about them, andafter that there is one source after another about them right down into
the twentieth century. The elves largely mirror the human race, they
are similar in size and appearance, living, it is true, in hillocks androcks, but in dwellings furnished like human ones. Sometimes they
are richer than their human counterparts, sometimes about equally welloff, often even poor. They own cows and sheep and other domestic
animals, row out to sea to fish and do various kinds of work. They
have some skills that men don’t have: they can open a rock wall—oris this hallucination, is the rock really the side of a farm-house? But
then they can hide their doors and the fronts of their houses wheneverthey want to. They are also able to make themselves visible and invisible to humans, can strike people with illnesses, and can do manyother things, it would appear by natural gifts rather than witchcraft(the spells they lay on people are powerful because of their spiritualnature). They are normally neither friendly nor hostile to men, they
repay kindnesses generously but are extremely vengeful. Their love is
1 Hans Ellekilde, ‘Danmarks folkesagn’, NK IX B 143; Reidar Th. Christiansen and Knut Liestøl, ‘Norske folkesegner’, NK IX B 171; BP I 367.
2 C. W. von Sydow, ‘Sveriges och Finlands svenska folksägner’, NK IX B 122;
Reidar Th. Christiansen and Knut Liestøl, ‘Norske folkesegner’, NK IX B
171; BP I 367.
3 Cf. p. 57 above; BP I 195.

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therefore very dangerous. If it is returned, cohabitation begins between
two incompatible beings; if it is rejected or broken off one can expect
a fearful vengeance. This is all human and comprehensible except thatthe vengefulness is so much more intense than that of normal humanity. Thus elves can seem to fall into two classes, and it is natural for
Bishop Gísli Oddsson to have tried to divide them up, the one classbeing evil and inimical to men (he calls these huldufólk, but there isno basis for this), the others being ljúflingar, ‘the dear people’. In amodern story we are told how his successor, Bishop Brynjólfur
Sveinsson, walked bare-headed round two elf-hillocks and then said:‘Good people in the small hillock, but not so good in the larger one.’‘It is as you say, my lord,’ said the parson who was with him.
Now it is quite unjustifiable to divide the hidden people into classes
in this way, but besides what we might call the orthodox ideas about
them we may note traces of others. They have a kind of obsession
about carrying people off; their falling in love is not an adequate explanation. They have a special desire for human children, and often
take them in exchange for old dodderers from Elfland, and these aged
folk are hideously ugly when seen as they really are. If a cradle has across above and below, this will prevent the elves from taking thechild. ‘You didn’t have to cross it, you wretched brat,’ said an elfwoman to a girl who made the sign of the cross over food she had
been given in the other world. Nor will elf-lads kiss a girl who has justtaken Communion. A kidnapped woman is black as Hel except for thewhite baptismal cross on her forehead. The sea-folk who dance in a
farm-house on New-Year’s Eve make everyone present go mad, butcannot themselves bear to hear the name of God. As well as being
heathen, some elves are so ill-natured that they harm men and beasts
for no reason. People who are not used to it who go into hillocks arefilled with disgust when the elf-women try to get into bed with them.
A child thinks food given to it in an elf-home is full of maggots, andone elf-woman licks her new-born baby herself (though only in one
variant of the story, elsewhere the midwife bathes it).1 Seventeenth
century authors go in for many such things: sores on sheep are calledburns from the smoke of elf-fires, elves do not have a partition between
their nostrils, they talk a strange language, they have no immortal soul,
1 All examples from JÁ.

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they prefer Trójumannasaga (the story of Troy)1 to the Bible, a midwife feels ill with what she is given to eat by elves, and a guest who
spends the night at Mö›rudalur on Fjöll is panicked and unable toreact normally to girls who try to get into bed with him.
These examples contain a mixture of very disparate ideas. Many ofthem are bestial and revolting, some are savage and fiercely impressive, others dark and pagan in nature. Hillock-dwellers were undoubtedly regarded as rather dubious beings in pre-Christian times, but theirreputation probably also degenerated with the coming of Christianity.
One should bear in mind, however, that these are only vestiges ofancient times, and not the most widely held ideas about elves in latertimes, when very many forces united to enhance their character. They
became a mirror of humanity—perhaps a touched up mirror-image.
They still needed careful handling, were dangerous even, but there isa splendour and beauty about them. Their clothes are colourful andelaborate, they often possess rich and rare jewels. They are generally
said to live in places where there is great natural beauty, where there
are green slopes and hills, rocks and crags, beautiful smooth stoneslabs. They do not live solitary lives like trolls, but are whole peoples
ruled over by kings. They are also Christians, they have priests andbishops, compose poems and hymns which men know a bit about. On
Sundays in good weather they can be seen speeding to church, or else
people see a certain rock wall standing wide open, splendid lights shining inside and the elf-bishop in full vestments before the altar.
Elf-kings do not turn up in ordinary everyday stories, but in imaginative and romantic ones, and because Iceland has never been muchof a place for kings, elf-kings are usually given realms in the underworld. Such stories are largely derived from the Celtic stories mentioned earlier. They are also strange in one respect, that they are more
emotional compositions than folk-stories usually are, and they are muchsadder and more moving than Norse stories generally are. Skar tells
the story of a Norwegian elf who wooed a woman who rejected him.
He thereupon seized her hair, tore half of it off and went mad.2 There
are many stories in Iceland of humans who reject the love of elves,and it often falls out that the elf (or elf-woman) pines away with melancholy and eventually dies of grief, and the tone of these stories is
1 Ed. J. Louis-Jensen, 1963 and 1981 (EA A 8–9).
2 Skar GS III 34 (Den hugsprengde Tussen, ‘The Crazy Giant’).

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very different from that of the Norwegian story. One of the most beautiful elf-stories is that of a servant-girl at a shieling who loves an elf
and bears him a child. He takes it to Elf-land, while a little later she ismarried to a man. Her old love then comes to them as a winter servant
but she avoids him until her husband bids her say good-bye to him
before they go to make their Communion. Their old wounds reopen
and they die in each other’s arms. This romantic story is entirely humanin character, all is natural and kindly, there are no savage or violent
emotions in it.1 More powerful and passionate is the story of the manon Geirfuglasker who had a child by an elf-woman and refused toadmit he was the father when it came to be baptized. The elf-woman
then laid a spell on him and turned him into a savage whale. Other
versions set the story in other places, and the elf-woman lays otherspells on the man or causes other kinds of trouble for him. But the
church is given a piece of red cloth which had been over the cradle
and this is afterwards made into an altar-cloth or chasuble. One variant, ‘The Elf-king of Seley’ is by far the most splendid. In this we are
told about the dance of the elves at great feasts. The elf-woman lays
no evil on the man, but invisible hands take the cradle away, and agreat weeping is heard which passes down into the sea.2 The story of
1 JÁ I 64–72; the first appearance of this story is in Eiríkur Laxdal.
2 JÁ I 83–93; SS Ífl IV 80–83, SS Ífl2 III 96–99. Earlier examples: Arngrímur

lær›i (see p. 86, note 1); Jón lær›i, Tí›fordríf (‘It has truly happened thatsome male or female elves have wanted to have their children baptized [which
the history attests about the female who had the child with the one who wasafterwards on Geirfuglasker, also many others]’; the words in brackets are inÍB 84 8vo, which is not one of the main manuscripts of Tí›fordríf); the Rev.
Einar Gu›mundsson of Sta›ur’s essay on elves (relating to Sigur›ur fóstri ofHagi and Andrés Gu›mundsson), see fiT HHrkr, b5–b8 (Icelandic translationin Einar Ól. Sveinsson, ‘Álfarit séra Einars á Sta›’, Blanda VII 251–57); ‘Concerning a whale in Hvalvatn’, Lbs 724 4to, p. 153, Lbs 1565 4to, p. 62, andFitjaannáll under the year 1697 (Annálar 1400–1800 II 329). There is a kindof forerunner of the story in the account in Kjalnesinga saga of Búi Andrí›sson
and his son Jökull (ÍF XIV 42–43), though there it is not a question of baptizing the child, but of the father acknowledging paternity. This is also the casein the folk-story, and it is possible that the outline of the Búi story was at theback of the mind of the originator of the folk-story; otherwise I think thebaptism-motif (which is also in Mó›ars rímur) must be from a time when
there were not so many priests among the elves as are reported in later stories.

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Hildr the Elf-Queen, who is under a spell which exiles her to the worldof men except on Christmas night, is even more romantic, and takes
place partly in a festively brilliant underworld, but a deep melancholy
pervades most of the story, until Hildr escapes from the spell.1 We
may also mention here the story of Sigrí›ur Eyjafjar›arsól, which isprobably an elf-story in origin, and various other wonder-tales orromantic stories which tell of a woman’s mysterious wedding and how
by her patience she overcomes her own and her husband’s troubles.
The earliest of these to be recorded is the story of Finna forvitra, which
was written down for Árni Magnússon about 1700.2 It once contained
three verses, of which one only is preserved:
Hér sit eg ein á stokki,
af mér er gle›innar flokki;tapa› hefur seggurinn svinni
sumarlangt gle›inni minni.
Önnur fékk flann er ég unna,oft fellur sjór yfir hlunna.

I sit alone beside my bed,
my joy is gone, my beauty fled;
all summer long I’ve known no joy.
He stole it all, my handsome boy.
Another won my love from me—over the gunwale floods the sea.

The story of Finna, in its recorded form, cannot be counted as an elfstory, but it is that kind of story in spirit. The verse in it is reminiscent ofa sequence of verses in Ólafs saga fiórhallasonar IV 8 (Laxdal Ósfi 286–87), which is supposed to be a lament by fiorbjörg kólka for her husband:
1. Sá eg su›ur til eyja
sá eg flar ljós á lampa
ljúfan mann á leiki,í línskyrtu hvítri,haf›i hár fyrir augum
og horskan vænleik annan;
fleim eina mundi eg manni
mín til í huga segja.
2. Ein sit eg úti grátin
flá a›rar inn gangasælar silfri búnar,sjáandi vin sinn inni.
Eg veit minn í marfló›imann, flann er best eg unni,
frjáls í farsælu byggir,
fár veit hva› mig hryggir.

On the isles I saw the lamplight glow
as south I gazed across the sea,
and a man was there who took his joy,a man who once was dear to me.
In linen fair, with flowing hair,
he was a comely sight to see;and if I did as my thoughts would bid
then his alone my heart would be.
I sit alone, and my tears run down,
while other lasses walk in pride,in silver clad, their hearts are glad,
each sees her own love stand inside.
I know the man that I love bestis far away in the midst of the sea,
and none can tell what grief I feel
while he lives free and merrily.

1 JÁ I 105–16; ÓDav.3 I 253–61, ÓDav.5 I 98–104.
2 Sigrí›ur Eyjafjar›arsól: JÁ II 204, ÍBR 46 4to (there it is an elf-story);FOLK-BELIEF AND FOLK-LEGENDS

181

I’m like a bird with its feathers plucked
3. Mér ver›ur fuglsins dæmithat shrinks and cowers from the breeze.
er fja›ralaus kúrir,It hastes away when the storm draws nearskrí›ur snart a› skjóli,
and to its rocky shelter flees.
skundar ve›rum undan;Its song is dead, and its joy is fled,t‡nir söng og sundi,
no more it swims upon the sea.
sína gle›ina missir.
Svo kve›ur mann hver flá morgnar, So can each man say at the break of day,when in his grief he is weary.
Mæddur í raunum sínum.
I’m like a harp when its strings are gone,
4. Mér ver›ur háttur hörpu
against the wall it hangs unplayed,
hinnar (er) á vegg hvolfir
and ne’er a strain will it sound again,stjórnarlaus og strengja,
for the harper in his grave is laid.
stillarinn er frá fallinn.
The harp is black with soot and smoke,
Fellur á sót og sorti,
and sorely longs its lord to see—saknar manns úr ranni.
Svo kve›ur mann hver flá morgnar, so can each man say at the break of day,when in his grief he is weary.
mæddur í raunum sínum.
I’m like a house that stands atilt
5. Held eg vi› hússins dæmiupon a steeply sloping hill;
hallri sem stár í brekku,
the time draws near when it must fall,búi› er brátt vi› falli;
and all its heart forebodes its ill.
böli› í skap er runni›.
Its aged pillars bend and creak,
Svigna súlur fornar,
its beams are strained most cruelly.
salvi›urinn dofnar,
svo kve›ur mann hver flá morgnar, So can each man say at the break of day,when in his grief he is weary.
mæddur í raunum sínum.
I’m like a boat that’s left to lie
6. Skal hér til skipsins dæmiunmoored and empty on the strand;skor›ulaust er hvílir
it finds no place where it may rest
autt vi› æginn kalda,
between the cold sea and the land.
öngvan sta› fær gó›an;
Tossed up and down where the breakers rise
rís vi› brattar bárur,in the surf it groans most bitterly.
á brimunum illa flrymur.
Svo kve›ur mann hver flá morgnar, So can each man say at the break of day,when in his grief he is weary.
mæddur í raunum sínum.

At the end the words ‘some is missing’ are added, as if Laxdal knew
more than he wrote down. Another verse occurs later in the same story(IV, 68; Laxdal Ósfi 360):

Finna forvitra: JÁ II 383 (a better text in Nordal Íl and BE Munnmælasögur
64–67); cf. also Verz. 39–46, especially 43–44, and the story of Sigrí›ur offiingeyrar, ÍBR 46 4to; Oddur Björnsson, Gríma III (1930), 56–65; Gríma hinn‡ja V (1965), 209–16.

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Aldrei skyldi kvinna
karlmanni vel unna
fyr en fundi› hef›ifasta ást í brjósti;klók er karlmanns tunga,kann hún flig ginna, svanni,mörg ver›ur tæld á táli,
trú›u ekki gle›imáli.

No maid should ever love a man
till she has proved his love is true,
for men have tongues so full of craft
and, maiden, they can cozen you.
There’s many whose hearts are filled with joy
by hollow words of treachery,so never trust in merry talk,and never give your heart away.

All these verses appear to be related, though nos 3–6 clearly form aunit, and they (or three of them) are in the story of Fiddle-Björn, who
is supposed to have heard elves chant them.1 Much other verse is also
attributed to the hidden folk,2 and Jón Eggertsson in his additions to
Jón lær›i’s Tí›fordríf, for example, gives this as one of theirs:
Úti er hún vi› eyjar blár,
eg er sestur a› Dröngum.
Blóminn fagur kvenna klár,
kalla eg til hennar löngum.

She is in the islands blue,by the rocks I sit and sigh.
‘Fairest flower of womankind’
is my long and weary cry.

The best known poem of this kind is Ljúflingsljó›, a song supposed tobe sung by an elf to his child (by a human mother) when it will notstop crying and people are impatient with it. The first half of it is
sympathetic magic: night and sleep make all living things their children, everything sleeps, each in its place, child, do you the same.
Sofi, sofi sonur minn,sefur selur í sjó,
svanur á báru,
már á hólmi,—manngi flig svæfir—florskur í djúpi.
Sof›u, eg unni flér.

Sleep, sleep, my little son.
on the billow sleeps the swan,out at sea the seal’s asleep,
the cod is sleeping in the deep,—but there’s no one here to lull—on the island sleeps the gull.
Sleep, son, I love you well.

This is the same sympathy with nature as in Jónas Hallgrímsson’s stanza:
Sofinn var flá fífill
fagur í haga,mús undir mosa,már á báru.

The dandelion was asleep
so lovely in the mead,
slept the mouse beneath the moss,
the seagull on the deep.

1 Cf. also fiorbjargar fláttr by Bólu-Hjálmar, Lbs 528 4to; Maurer IV 136–

37; Jfi OmD 200; BBj. I 80–81; Su›ri IV 16; ÓDav.3 II 244–47. Laxdal Ósfiseems to be the earliest source for these verses, and I do not know whether theothers are independent of it or not.
2 E.g. JÁ I 72–73, 77; 464 (cf. note); JÁ2 II 686 (kve›skapur).

FOLK-BELIEF AND FOLK-LEGENDS183

The latter part of Ljúflingsljó› contains good-luck verses.1
Besides these songs, narrative poems were also composed from elfstories (cf. pp. 87–88 above) and a certain melancholy pervades mostof them. Kötludraumar, ‘Katla’s dreams’, is probably the oldest; it
contains many memorable things, such as that Katla thought each wordof the elf-woman was ‘like growing grass’. There is much splendour
in the elf-world, the people finely dressed and the dwellings magnificent. But the main theme of the poem is sorrow and yearning. I canpoint to no parallels to these Icelandic elf-stories and poems except in
Ireland. Scandinavian stories of earth-dwellers are more like the everyday Icelandic ones of hidden folk. This kind of poetry appears to haveflourished most in the sixteenth century in Iceland and though belief
in hidden folk shows no sign of abatement until the nineteenth century, I think there is good reason to regard the sixteenth century as its
golden age. In that period love was mightier than fear and people had
fertile imaginations, so that these ideas became the seeds of the mostbeautiful poetry that the nation possessed at the time. These elf-stories
are the nation’s dreams while the long summer day’s sun shone on thesleek green slopes and mossy rocks, while the spring air and the brightness mingled actuality and wakefulness with day-dreams and visions.
V
But as the summer passes the nights grow longer, the heat-haze and its
mirages (which are indeed not without their dangers to men’s spiritual
health) disappear, the sun’s course grows shorter, and the autumn darkness slowly spreads. Then the powers of ghosts and goblins begin to
get greater; those creatures are at their best when the days are short.
The settlers had to tread cautiously to begin with, while they did notknow what sort of beings the country harboured, or what superstitions
were tied to particular places, but they needed no convincing that assoon as people began to be buried in the land, ghosts would start toappear, just as they had done in the old homelands. Nor have I beenable to find that there was any difference to begin with between
Icelandic and Norwegian beliefs in ghosts. Attitudes to life after death
1 Printed in ÓDav. fiulur 254–58, though this edition is unsatisfactory. The
oldest text must be that in Jón Da›ason’s Gandrei›, and another slightly later
one is printed in Jón Samsonarson, Ljó›mál 2002, 113–14; it is also in Laxdal Ósfi.

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were equally varied and inconsistent in both countries. It was thoughtthat the body lived on, after a fashion, especially while it had not begun
to decay, and if anyone came back from the grave, it was in bodily
form. It might also be that spirits of dead men were around, sincesouls of living people could get about outside the body. The destinations after death varied, however. Some went to dwell in mountains,some went to Hel, and others to Valhƒll; all these notions lived alongside each other. Some tried to distinguish the functions of, for instance,
Hel and Valhƒll, but this was not really necessary, for the two concepts could exist happily side by side without any conflict.
The situation was fairly similar under Christianity. Valhƒll and Hel
were banned, but they were replaced by Heaven, Hell and Purgatory.
Lutheranism abolished Purgatory, and the Lutheran ministers spokein one breath of the dead sleeping until Doomsday, in another of themliving with God in bliss. Not that these teachings were any hindrance
to belief in ghosts—people continued to lead a sort of bodily life in
the graves. Their feet got cold if someone dug a hole into their grave
and forgot to fill it in. Revenants (zombies) were mostly in bodily
form, and they had to stop playing their tricks if their bodies wereburned or their heads were placed by their buttocks and so on. Yet
there were also spirits of a sort, known as svipir ‘phantoms’, vofur‘spectres’, slæ›ingar ‘emanations’. A host of practices and superstitions were connected with these folk-beliefs, such as curious taboos
about corpses, funeral customs and so on, some of which are describedin Jón Árnason’s sections on Draugar and Venjur. And all these miscellaneous notions about life after death lived on easily together side
by side without getting in each other’s way.1
The folk-legends of both pagan and Christian times sprang fromprimitive ideas about another life, from belief in revenants and ghosts.
Under Catholicism there were, certainly, some saints’ lives and visions
that told of experiences beyond this world, and these stories reached
the common people. For instance, a woman in eastern Iceland called
Rannveig saw into the next world, and other such revelations appeared
to Icelanders, or else they knew clerical stories about them. After the
Reformation Purgatory disappeared, as has been mentioned, but people
went on seeing into the next world in dreams and visions—the purpose
1 See Jónas Jónasson, ‘Ódau›leiki og anna› líf’, Skírnir 1915, 44–62.

FOLK-BELIEF AND FOLK-LEGENDS

185

of such visions is always to preach repentance and penance, or else
the Day of Judgment (cf. JJ Ífl 416–17). Some dream-legends circulated orally, such as that of Steinn of firú›uvangur (cf. p. 133 above). But
all this stuff was alien to the stories of revenants which sprang as one
might say from people’s everyday experiences of the departed.
I cannot see that belief in revenants changed a great deal in Icelandfrom the beginning, if we exclude the belief in attendant spirits, which
will be referred to later (pp. 187–88, 201). The main concepts are still
the same, just as loosely linked, and superstitions and taboos seem not
to have changed much either.1 We hear of revenants in ancient times
who were entirely physical and immensely powerful, such as Glámr
in Grettis saga or fiórólfr Club-foot in Eyrbyggja saga. They try tosmash everything they come in contact with. fiórólfr dies in an evilmood, with threats of causing harm which he fulfils only too well. We
read in Laxdœla saga that Gu›rún Ósvífrsdóttir saw the phantom ofher fourth husband, fiorkell Eyjólfsson, when he was drowned in
Hvammsfjör›ur, and I cannot see that there is any difference between
this and later ghost stories. In the same saga a dead prophetess appears
to Herdís in a dream, and complains about Gu›rún’s prayers. The ghostsof exposed children can be quite vindictive, as the story of Selkolla,
the ghost put down by Bishop Gu›mundr the Good, shows. It is immaterial that the story claims that an evil spirit entered the child; thatwas the ecclesiastical explanation, and ordinary people saw it quite
differently.2 I do not know any stories of the ghosts of exposed infants
from pagan Iceland, but it is likely that they existed; there were plentyof children exposed in that period, and stories about them were common in Scandinavia later on.3 Ancient stories of revenants and theirtreasure are rather different from ones told in later times. Hidden treasure appears in various legends, but ghosts are not involved. Treasure
was, however, often buried with people, for their benefit in the afterlife, whether in the grave-mound or in Valhƒll. As time passed these1 On what follows cf. Sluijter 1936, 61–94; Dehmer 1927, 26–50.
2 BS I 604–08; cf. Árna saga biskups, ÍF XVII 23.
3 C. W. von Sydow, ‘Sveriges och Finlands svenska folksägner’, NK IX B

128; Reidar Th. Christiansen and Knut Liestøl, ‘Norske folkesegner’, NK IX
B 164; Juha Pentikäinen, The Nordic dead-child tradition, Nordic dead-childbeings, 1968 (FFC 202); Bo Almqvist, ‘Ni›a(a)grísur. The Faroese dead-childbeing’, Arv 1971, 112–14.

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ideas faded rather. The mound-dweller of fornaldar sögur is very hostile and evil, but is not as pathetic as the ghosts of misers in later times(typified in English fictional ghost stories by Marley’s ghost in A Christmas Carol). There are, also, in the sagas, legends of men who throw
themselves and their money into waterfalls or into the sea, like Búi
digri and Gull-fiórir. They turn into dragons. It is only in later times
that the miser’s ghost is miserable because of the treasure he has buried. This idea reflects the hostility of Christians and the objection of
the community to money being withdrawn from its proper use in thisworld. It is against the law of nature for anyone to benefit from it after
death, when it ought to pass to others. Poverty has made such behaviour seem contemptible, and at the same time given this motif a newlease of life as a secret desire.
Though there seems to be no evidence of a desire for novelty as far
as a belief in revenants goes, and though notions about them seem tohave been fairly static most of the time, yet it is possible that the numberof ghosts and ghost stories was not always as high. How far people
become aware of ghosts and what they are like may depend on purechance (presumably the immediate environment of the ghost is themost important factor), but the volume of ghost stories and how powerful they are will be less a matter of chance. It will presumably depend on the spirit of the age and the power of belief in ghosts at thetime. Many ghost-stories take place in heathen times, and though they
were admittedly not written down until the thirteenth century, they
obviously sprang from ancient roots. One cannot tell how far they
have been exaggerated in the course of transmission. The fact thatghost stories could not be kept off the vellum by critically-minded
men when the sagas were being written down shows the persistenceof belief in ghosts, but I am afraid that it is largely an accident how
few new ghost stories appear in eleventh- and twelfth-century sources.
Selkolla (BS I 604–08, II 77–82) and the revenant at Svínafell (BS I 467)
show that not everyone rested quietly at the time. Then there follows agreat gap during which sources are so scanty that they mention only
the merest traces of hauntings. It is not until around 1600 that historical documents become so extensive as to provide a sample large enoughfor serious testing. Non-Icelandic writers of the sixteenth century makea great deal of Icelanders’ belief in revenants and ghosts, but only a limited number of ghost-stories turn up in Jón Egilsson’s Biskupaannálar

FOLK-BELIEF AND FOLK-LEGENDS

187(Didrik von Minden’s posthumous tricks, the killing of horses and cows
and the haunting by Severin of Kirkjuból; Safn I 72, 99). Jón lær›i’slittle work Um ættir og slekti and the Rev. Jón Gizurarson’s treatise on
the Reformation (Safn I 640–701) contain no ghost stories, and this issignificant. I presume from this that fear of ghosts was at a pretty low
ebb in the last years of Catholicism in Iceland, and that it is likely that
the Church’s many remedies kept this fear at bay. This changed considerably with the advent of Lutheranism, as we shall see in what follows.1
Contemporary sources from 1600 onwards bear witness to quite a
lot of haunting, from Gvendur loki and the Snjáfjöll ghost (cf. pp. 87,
99–100 above) down to our own times. I am not sure, though, whether
this incidence is unnaturally high, but everywhere a wild growth oflegends sprouts all around with exceptional vitality, much of it deadly
poisonous plants, endowed alternately with strange, fearful beauty andhorrible or grotesque ugliness. There is no doubt that dark fear is at
the root of most of these stories. Also, the dead roused up from thegrave and attendant spirits play their tricks at this time so much thatpeople find themselves defenceless in the face of them.
Gísli Vigfússon’s work on ghosts and hauntings, written in the midseventeenth century but known only from what is preserved of it in
Resen’s Nova Descriptio, speaks of revenant trolls, who are people
that die in an attack of rage and threaten to come back and cause harm
to others and be their fylgjur, ‘attendant spirits’, from then on. It does
not say that these ‘attendant spirits’ attach themselves to families2 andI know of no examples of this until the eighteenth century, when theRev. Jón Steingrímsson tells us in his Æfisaga that ‘once a priest who
was attended by a ghost called Flugum‡rarskotta had occasion to visit
the see, and was preceded by this spirit’3 and it went for Jón and flung
him five fathoms down the aisle at Hólar. ‘During the day a rumour
went round the place that this evil spirit had attacked everyone andbeen very rough with some.’ The belief in ‘attendant spirits’ is clearlyno new thing here at this time, but it is unlikely that it was very
1 Cf. PEÓ Menn og menntir IV 312.
2 Aarb. 1934, 178; Peder Hansen Resen, Íslandsl‡sing, 1991, 289. The Rev.

Einar of Sta›ur writes that an elf-woman laid misfortune on a man and his
descendants for nine generations, see fiT HHrkr, preface.
3 Jón Steingrímsson, Æfisaga 43, Æfisaga3 67.

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widespread until the late seventeenth century, or even until on in thenext century, and it is certain that most Mórar ‘Rufuses’ and Skottur‘Long-caps’ (male and female generic names for this kind of ghost)are from the eighteenth century. These ‘attendant spirits’ had one thingin common with the class of spirits known by the same name in ancient Iceland (fylgjur, ‘guardian spirits’), they went in front of the person to whom they were attached, but these did nothing but evil, bothto that person and to others, while the ancient guardian spirits did noharm, unless their ‘owner’ was an evil person or in an evil mood, andthen only to other people. The two types of spirit have thus little morethan the name fylgja in common. The ancient belief in them is still notquite extinct (1940), though now they are mostly seen in dreams, anda few persons with second sight can still see them too.1‘Attendant spirits’ are people called up from the dead, ghosts raisedby a magician—which brings us to a new topic, and it is best to look atbelief in magic before we go into it.
VI
The difference between ófreski ‘ability to see and sense supernatural
beings’, and fjölkynngi ‘knowing many things’ (i.e. knowledge ofmagic), is that the former is an innate gift, while the latter relies onlearning and technique. Even so, it is quite difficult to distinguish thetwo absolutely since, as one might expect, the boundaries between
them are ill-defined. It is perhaps best to say a little about the gift ofófreski before we go on to deal with magic.2
Much of the belief in the gift of ófreski seems to have continued
quite unchanged in Iceland from the beginning. So it is, for example,
with belief in dreams. In times of war people’s dreams are, naturally,
different from in peace-time; the tone is partly, of course, set by thespirit of the age. But all the basic elements of belief in dreams appear
to be constant, and stories about dreams, based on true experiences,
run completely parallel in ancient and more recent times. Thus there
appear in them people with symbolic names, people who utter verses,
prophecies, second sight and so on.3
1 JÁ2 II 676 (fylgja (1)); Haraldur Níelsson, ‘Dulskygni-gáfa systranna íFljótsdal’, Morgunn 1925, 164–87; cf. JJ Ífl 224, 261.
2 On this in general see Sluijter 1936, 10–38; JJ Ífl 412–18.
3 Cf. Sluijter 1936, 39–60; JJ Ífl 414–18; Margeir Jónsson, Draumará›ningar,

FOLK-BELIEF AND FOLK-LEGENDS

189‘We do not rely on dreams for most things,’ said Skarphé›inn, as if
he thought his father Njáll had obtained some of his knowledge of the
future from dreams. It is rarely possible to see where people with prophetic powers get their knowledge from—this can easily be substantiated from both ancient and modern sources. It often comes from apresentiment, sometimes from dreams, sometimes from some kind ofvision.1 It is impossible to see where Bishop Sveinn the Wise drewsome of his prophecies from, or the namesakes Oddur Gottskálksson(c.1514–56) and Oddur Einarsson (1559–1630), though some things
they are said to have known through understanding the language ofbirds.2 Omens are very varied, and it is possible to get knowledge ofthe future from them, and, finally, there are special methods of findingout about the future which we shall come to presently (p. 192).
Second sight is mentioned in both early and late sources, and belief
in it does not seem to have altered. The thirteenth-century ¯rvar-Odds
saga says that men can get second sight by looking under the outstretched arm of a person with second sight and the Rev. fiorsteinn
Björnsson says the same in Noctes Setbergenses in the middle of theseventeenth century; he also states that dogs and horses can have secondsight.
There was a strong belief in the early days in shape-shifting. The
power to change one’s shape was sometimes called hamremmi, literally‘shape-power’, though this word was also used of the preternatural
strength that could come upon men without their changing shape;‘going berserk’ must have been a similar phenomenon to shapechanging. Vatnsdœla saga (ÍF VIII 33–36) speaks of two Lapps(Finnar) who travelled in changed shapes to Iceland while their bodies
1936. On symbolic names see particularly (besides Margeir Jónsson) Kelchner
1935, 113, 120, 121; Henzen 1890, 48–49 (and elsewhere); Jón Steingrímsson,Æfisaga 173, Æfisaga3 192–93; JÁ I 415, 418–19; JJ Ífl 416. On dream verses
see Kelchner 1935, 93–120; JÁ I 229–34, 238, 240–41; Theodóra Thoroddsen,‘Draumljó›’, Skírnir 1916, 51–64.
1 See JÁ I 405–28; further JÁ2 II 675 (forspá; here all examples of prophecyin JÁ are collected).
2 Cf. Safn I 37–38, III 725, JÁ I 412; Annálar 1400–1800 II 65–66, 115,
Lfrs. II 108, JÁ I 413. Jón lær›i tells of a priest (the Rev. Árni of Látrar) who
spoke with ravens; later on this seems to have become less common. Yet it issaid that fiorleifur Skaftason understood the language of ravens. See further
JÁ2 II 676 (fuglar), 681 (hrafnar).

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THE FOLK-STORIES OF ICELAND

remained behind in a trance, and such accounts are common. There
are folk-belief legends in Scandinavia of shape-shifters, werewolves1
and the nightmare (myrkri›a, supposed to be a female creature whorides around in the dark at night, injuring people).2 In Iceland it wassaid that hamremmi departed from people if they were baptized, andnow there are fewer folk-legends about it.3 The story known as ‘theking of silver coins’ is common in Iceland and elsewhere; it is a variant of
the international legend no. 4000, ‘The Soul of a Sleeping person Wanders on its Own’, also known as ‘The Guntram legend’, and it has affinities with the ancient Icelandic belief in the fylgja, the ‘external soul’.4
But werewolves and nightmares are not found in Icelandic folklore, andthere are no stories about them. There must accordingly have been agreat narrowing of the range of Icelandic folk-belief at the end of theSettlement period, or, rather, with the advent of Christianity; and theevil eye and evil tongue seem to have disappeared early. On the other
hand, people appear to have had great faith in the power of words
spoken with inspiration or heat of spirit, whether for good or ill. There
are stories of dangerous curses from later ages. Thus it is said that thepoet Gu›mundur Bergflórsson (1658–1705) became a cripple becauseof the maledictions of two old women who stood cursing each otherover his cradle.5 Such powerful words are called álög ‘what is laid on’in the wonder-tales, though they occur there in a rather special form,
which will be discussed later (pp. 232–34, 246, 255). In folk-legendsákvæ›i is the commoner term. Those who were particularly able toutter these words were called andheitir, ‘fiery-spirited’, or, if poets,
kraftaskáld, ‘poets of power’, from their gifts, the latter being especiallypre-eminent in this group. There was belief in the supernatural powerof poetry everywhere in ancient times, though there are not all that manystories about it. From 1600 on, however, the ‘poets of power’ become
more frequent. Oddur Einarsson says that one called down strange and1 Werewolf = man-wolf, i.e. a man in the form of a wolf.
2 R. Th. Christiansen and Knut Liestøl, ‘Norske folkesegner’, NK IX B 163.
3 JÁ II2 679 (hamfarir).
4 JÁ I 356–57, C. W. von Sydow, ‘Sveriges och Finlands svenska folksägner’,

NK IX B 131; R. Th. Christiansen and Knut Liestøl, ‘Norske folkesegner’,
NK IX B 163; R. Th. Christiansen, The Migratory Legends, 1958 (FFC 175),
no. 4000.
5 Ann. farr. 25 (1631; Icelandic translation 46); JÁ2 II 665 (ákvæ›i).

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191

heavy illnesses on another, and the health and lives of children wereendangered by such verses, ‘though there are few examples of it, andnone from our day’. About the same time Hallur Magnússon wrote:
Kve›a má svo kíminn bragef kappar máli› her›a,annarra hvorra au›nulagei má fagurt ver›a.

If men’s words grow harsh in strife,
you can make so strong a lay
that, for one, his future life
will never hold one happy day.

He goes on to describe how both speech and hearing, success andhealth are destroyed by such poetry, and mentions a certain Eysteinn
who chanted a bishop to death. A little later a rumour had spread allover the country that Hallur himself had laid leprosy on his fellowpoet fiór›ur of Strjúgur, while fiór›ur had laid misfortune on him;
‘whoever caused the misfortunes of Hallur Magnússon of the northcountry and the illness of fiór›ur of Strjúgur, will be revealed when
Christ comes,’ says the Rev. Gu›mundur Einarsson in his Hugrás.1
He also speaks of magicians who by their incantations or verses could
make foxes fall dead, and this later became common—it ought to bementioned in passing that Bishop Gu›mundr the Good killed a fox bycursing it, and the Rev. Hallgrímur Pétursson by flinging his stanza
fiú sem bítur bóndans fé (‘You who bite the farmer’s sheep’) at it fromthe pulpit in anger.2 The nineteenth century is crammed with stories of‘poets of power’, and doubtless many of the verses in them are old,from the seventeenth or eighteenth centuries, which were the golden
age of these poets.3
Many of these potent verses were uttered spontaneously in the heatof the moment, but poets sometimes composed more carefully devised poems, and it is not possible to differentiate them completelyfrom incantations. In ancient times we hear of galdr or ljó›, mighty
poems which were attributed to Ó›inn, or were thought to be very old.
1 QDI, 86 (Icelandic translation 158); Jfi OmD 341; PEÓ, Menn og menntir
IV 530, 578; cf. Aarb. 1934, 178–79, JÁ I 471, Peder Hansen Resen, Íslandsl‡sing, 1991, 239–94.
2 BS I 587; Jfi OmD 359; Aarb. 1934, 178–79; Peder Hansen Resen,Íslandsl‡sing, 1991, 293; JÁ I 466–67, cf. 573; according to Skrif Ólafs gamla(Jón Eggertsson) the Rev. Jón of Laufás enchanted a fox into his hand, but let
it go (BE Munnmælasögur 16).
3 On this see Bo Almqvist, ‘Um ákvæ›askáldskap’, Skírnir 1961, 72–98;
and his Norrön niddiktning I–II, 1965–74.

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THE FOLK-STORIES OF ICELAND

There were also formulas in prose, and some of these doubtless continued in use for a while, but then foreign material reached Icelandwhich probably superseded the native material. In the seventeenth
century people wrote down or composed incantations in verse andprose, and it is evident that superstition was growing at the time, andpeople individually thought themselves capable of creating words andverses with magical power.
In ancient times there was great belief in runes and carved figures,
which lasted a very long time. The runes were altered in various ways,
made into bandstafir (lit. ‘tied letters’, forms of monogram) and soon, while all kinds of symbols came in from other countries, and allthese were to a certain extent amalgamated. The documents of thecourt cases against magicians abound in references to such ‘characteres.’ All sorts of ceremonies and practices were performed, all sorts
of weird substances are used.
Sei›r, ‘magical incantation’ (possibly in connection with shamanistic trance), is mentioned in early written sources, but by the time that
the Sagas of Icelanders came to be written it was clearly mostly known
from legends, and the prophetesses must have disappeared soon after
the nation accepted Christianity. Some other ancient practices, however, must have survived longer. Vƒluspá speaks of the sibyl’s ‘sittingout’ (i.e. sitting all night at a cross-roads at a specified season to obtain prophetic visions or other supernatural knowledge), and laws andstories mention ‘sitting out’.1 This practice was also known later on,
but it is very little mentioned in folk-legends apart from what is told of
Jón krukkur.2 A source from about 1200 speaks of becoming ‘wise
under waterfalls’, which clearly means that people sought inspiration
there, and it is worth mentioning that there was a Krukkur’s Cave nearHöf›abrekka, and that formerly a waterfall fell over its mouth, thoughsand has filled everything up since then.3 Jón krukkur was a legendary
1 See firjár ritgjör›ir, sendar og tileinka›ar Herra Páli Melste›, 1892, 10–11.
2 Cf. JÁ2 II 703 (útisetur); Saga Árna ljúflings; JH 280; JJ Ífl 212–13.
3 Jómsvíkingadrápa 2 (Skj B II 1); cf. NGL II 308. On Krukkshellir seeSæmundur Hólm in ÍB 333 4to, fol. 29: ‘Krukkshellir (Krukkur’s cave) is tothe east of Kerlingadalsá, and can be found only by those who know the area
well, for sand has blown up over the entrance. Inside there is still a fairly large
waterfall, and the river goes underground but comes out as a strong current
under Hjörleifshöf›i. I was told this by the late Rev. fiorlákur Thorlacius who
has been into the cave and seen the waterfall.’FOLK-BELIEF AND FOLK-LEGENDS

193

seer, alleged to have lived early in the sixteenth century and to haveobtained prophetic powers by encountering elves at the crossroads.
Prophetic sayings attributed to him were no doubt current in the seventeenth century, and someone living about the middle of that century
composed Krukkspá for his own amusement using these prophecies
as models, but taking the opportunity to have a dig at one person or
another. Oral prophecies relating to various localities were later attributed to Krukkur, though they can be found earlier attributed to Bishop
Sveinn the Wise.1
To judge from later legends, sitters-out seem to have expected togain their knowledge (or treasure, though this is more recent and lessrealistic) from elves. Jón lær›i mentions another method of making
contact with them and learning from them and he firmly believed in
the possibility of entering hillocks; doubtless this belief still flourished in his day and there were stories based on it, but I think it musthave declined later, even though legends about it continued.
Next we come to belief in Finn-breeches (breeches made in order togain wealth by making an agreement with a donor in his lifetime and,after his death, flaying his body from the waist downwards and stepping into the skin), in the flæ›armús ‘shore-mouse’ (actually a corruption of the German Fledermaus, ‘bat’), tilberi ‘carrier’ (a magicalbeing made from the ribs of a dead person and stolen wool, whichrolled over the ground at great speed and stole milk from ewes andcows for his mistress), and sagnarandi, ‘speaking (i.e. prophesying)spirit’. Of these I know no stories until very late in time. Tilberi appears first in Gu›mundur Andrésson’s dictionary (1683) and Gísli
Vigfússon’s essay ‘De geniis et spectris’ (see p. 93 above); Gísli statesthat a woman was burned around 1500 for possessing such a creature.
1 Safn I 37–38; Krukkspá: Jfiork. 213–27, JÁ I 437–38, Jfi OmD 481–82;

Lfrs. III 118 (Sæmundur Hólm says that a bit fell off the mountain Pétursey
one time onto the farm), Saga Árna ljúflings; in Einar Hálfdánarson, Gesturog gar›búi a prophecy about Dufflekja is mentioned (see p. 152 above); inM‡rdalur it is said that Jón krukkur prophesied that Hafurá would one day run
into Dyrhólaós, and its course would lie in front of Reynisfjall. Jón Ólafssonof Grunnavík speaks of the tradition that ‘fimm ver›i um fífukútinn á dómsdegi’(i.e. five men are needed to lift one cask of dandelions on doomsday [because
men get weaker as time goes on]; JH 216). Cf. further JÁ2 II 699 (spá), Annálar
1400–1800 III 189–90.

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THE FOLK-STORIES OF ICELAND

In an old court charge (from 1281?) mention is made of at villa . . .
mjólk frá mönnum ‘to enchant . . . milk away from people’;1 this was(at least later on) done with a tilberi. These concepts are, for the mostpart, paralleled by Scandinavian ones. Gandrei›, ‘witch ride’, was wellknown in the Middle Ages, but does not seem to have been practisedin later times, even though it appears in stories.
Two motifs are very frequent in later stories of magic: waking up
the dead and sending them to trouble others. These two activities arenormally performed as one operation, the same departed person being
wakened and sent: the sendings can, however, be some such object as
a human bone, which is then invested with power. A related activity is
sending animals to cause trouble by magic means, often mice or foxes.
There exists much defensive magic against these pests, and seventeenthcentury sources speak of magicians driving mice away, or even sealing
them up in a cave.2 Jón lær›i speaks (in Um Íslands a›skiljanlegar
náttúrur) of a fish he calls rá: ‘It eats an amazing amount in a shorttime, and so it is used by sorcerers at sea to eat both nets and seals.’
Magic flies are also very common, Jón calls them gandaflugur, perhaps
through Norwegian influence. He also speaks of galdrageigskot, ‘amagical danger-shot’ (perhaps the same motif as in the legend behindWeber’s Der Freischütz), and both he and others talk of various magic
tricks to annoy, though they do not explain how these are done. Mostof this has parallels in Scandinavia in later times, and it would be
useful if both similarities and differences were investigated in detail.
Niels Lid3 has written interestingly on gandr and magic shots, which
already reveal certain parallels, but Icelandic sendings seem normallyto have tended to be wakened dead, and this strikes me as a peculiarly
Icelandic feature.
Medieval sagas make little mention of sendings, though one may
assume that they were known. The Historia Norwegiae, which dates
from the twelfth or thirteenth century, speaks of Finnish magic, andtalks of gandar in a way that suggests that they were like the later
sendings. But it has been assumed that much ‘Finnish’ magic is of
1 DI II 224. See now Jan Wall, Tjuvmjölkande väsen I–II, 1977–78.
2 De mirabil. 59 (Icelandic translation 99); Lfrs. II 186, see Peder Hansen
Resen, Íslandsl‡sing, 1991, 145.
3 See Nils Lid, ‘Magiske fyrestellingar og bruk’, NK XIX, 29–41, with references.

FOLK-BELIEF AND FOLK-LEGENDS

195

Norwegian origin. fiorleifs fláttr jarlaskálds (a thirteenth–fourteenthcentury text) speaks of a wooden man which was invested with magic
power and sent to Iceland to kill fiorleifr.1 It is often stated, on theother hand, that Ó›inn (and indeed many others) woke up the dead,principally to obtain information about the future.2 The law-codes
speak of the waking of trolls, which could mean the same thing. In theseventeenth century the belief in waking up the dead is clearly widespread, and this art must be descended from the practices attributed toÓ›inn.
VII
It looks as though people in heathen times found some magic practices repugnant. The shamanistic sei›r was clearly sometimes thought
questionable (see the story of Rƒgnvaldr réttilbeini, son of King Haraldr
hárfagri, Hkr I 138–39). According to the ancient law, magic, whenused to harm others, was unlawful. But it could also have a bad effecton the practitioner. In Christian times sacrifices or other worship ofheathen spirits was considered equivalent to magic performed by men
for their own or others’ good, and both, if the accused was convicted,
carried the penalty of lesser outlawry. On the other hand, fordæ›uskapr
was made subject to a full outlawry; as defined in Grágás (ed. V. Finsen,
1883, 27), ‘fordæ›uskapr is if a man by words or magic practice causes
disease or death to men or cattle’. Jónsbók (ed. Ólafur Halldórsson,
1970, 38), the post-republic law of Iceland, declared all fordæ›uskapr,
all spáfarir (expeditions to obtain prophecies) and sittings out, waking up of trolls and other heathen practices to be uncompensatable
crimes. This was how the law-makers looked at it. On the other handmagic appears very little in sagas other than those that deal with thefirst century after the Settlement and the fornaldar sögur (which are,of course, very untrustworthy sources for folk-belief), but the Sagas
of Icelanders suggest that white magic was not severely dealt with(see, for example, the Lapps (Finnar) and the prophetess fiórdís in
Vatnsdœla saga, a work with a lot of superstition in it).
1 A History of Norway and the Passion and Miracles of the Blessed Óláfr,
tr. D. Kunin, 2001, 6–7; ÍF IX, 225–26.
2 See Åke Ohlmarks, ‘Totenerweckungen in Eddaliedern’, AfnF LII (1936),
264–97.

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THE FOLK-STORIES OF ICELAND

In the early Christian period, very varied foreign influences begin
to enter Iceland. First of all there are certain legends that became attached to famous men. There is already a story about Sæmundr theWise (1056–1133) from about 1200, telling how he escaped from his
astrologer master (Jóns saga helga, BS I 227–29). The Dominicanmonk, Bishop Jón Halldórsson, is the source of the story of how Jón
took his master’s magic book and read a chapter in it which caused agreat storm to blow up, though luckily the master came along and atonce read a second chapter which calmed the gale (Sƒgufláttur af Jóni
Halldórssyni biskupi, ÍF XVII 446). There is also a whole narrative
about Master Perus and the magical illusions that he could cause, and
it is clear that stories of such illusions came to Iceland and were popular there.1 Overall there is no doubt that a great many stories of magicians reached Iceland during the Middle Ages and later became thebasis of seventeenth-century stories, and Icelanders did not take them
too seriously. We are told that Laurentíus (Kálfsson, Bishop of Hólar
1322–31) had met a man in Norway called firándr fisiler ‘and he told
Laurentíus many things, for he (Laurentíus) was very desirous of acquiring knowledge while he was young, though he never practised
magic or sorcery’ (BS I 798).
Not that everyone was so tolerant. Heathen gods and less than benevolent creatures and evil spirits were often invoked in magic practices, and the magician had to have some dealings with such company.
Belief in demons increased enormously in Europe during the eleventhand twelfth centuries, and the idea became current that the basis of
magic was a contract between the magician and the Devil. People gavethemselves body and soul to the Devil, and so obtained the power to
do extraordinary things, which were, of course, mainly intended toharm others. This concept of a contract with the Devil appears in accounts of Theophilus and others in Maríu saga (MS 65–69, 402–41,
1080–90, 1090–1104). All this miscellaneous belief in devils was codified by thirteenth-century theologians, and thenceforth dominated thechurch’s teaching. It is as a result of this that a nun could be burned at
Kirkjubær Abbey in 1343 for having pawned herself to the Devil(Islandske annaler indtil 1578, 274, 402). In general, however, magic
1 BS I 228; Gering ÍÆ I 84–86, 217–31; cf. Clári saga, Klerkarímur and themagical illusions in Mágus saga and Dínus saga.

FOLK-BELIEF AND FOLK-LEGENDS

197

is very rarely mentioned in the pre-Reformation period in Iceland,even though a good deal of witchcraft entered the country at that time,
but probably the Church’s various defensive rituals weakened people’s
fear of it. The contract with the Devil appears in stories from around
1700, but in them there reigns an unshakeable optimism about thecleverness and luckiness of the magician, and he always triumphs overthe powers of evil. It is worth our while going into this more closely.
For this purpose it will be convenient to divide the material into fourgroups: l) Seventeenth-century folk-legends about magic in earlier
times; 2) The stories about Sæmundr the Wise collected for ÁrniMagnússon around 1700; 3) Seventeenth-century accounts of contemporary events; 4) Legends from more recent sources.
l) Stories of magicians in ancient times.1 As in later sources, there isa whole series of magicians dealt with under this head: the Rev. fiorkell
Gu›bjartsson, Ólafur tóni, Halla from Straumfjör›ur, Oddur from
Saurbær, Andrés, illegitimate son of Gu›mundur Arason inn ríki (fl.
c.1480), the Rev. fiorleifur Björnsson, Jón of Svalbar›, Jón of Laufás,
Oddur of Tröllatunga, the Rev. Hálfdán Narfason of Fell and the Rev.
Árni Jónsson of Látrar.2 The Rev. fiorkell was educated at the ‘Black
School’, and there is a proverb about Ólafur tóni and Halla that ‘helearned his magic in schools, but she in hillocks (i.e. from elves)’—which was why she was more advanced in the art than he. Books ofmagic are mentioned; the Rev. fiorkell and Ólafur tóni both ownedbooks of spells and Pétur Sveinsson a book of runes. Jón lær›i mentions several books, including one of stories at Sau›afell (probably infact a book of Novellen and the like, and therefore fairly innocent),
and a book at Laufás in Eyjafjör›ur, which he thought contained much
1 Sources: Jón lær›i’s writings, Skrif Ólafs gamla, Jón Egilsson’s Biskupaannálar (Safn I), Fitjaannáll (Annálar 1400–1800 II 22, 52, 65), Hugrás by
the Rev. Gu›mundur Einarsson (Lfrs. II 44), Ari Magnússon’s writings (Lfrs.
II 47–48), interpolations in Björn of Skar›sá’s book on runes in JS 91 4to, pp.
87–90 (these are copied from Papp. fol. nr 64 and are by Jón Eggertsson and
Skrif Ólafs gamla follows on the subsequent pages; now the interpolations are
printed in BE Munnmælasögur lxxxii–lxxxiii). On these works by Gu›mundur
Einarsson and Ari Magnússon see also EGP Eddurit I 73–79 and 111–17.
2 See pp. 190–91 above, on poets of power or power-poets. For sources
relating to Árni Jónsson of Látrar see Einar G. Pétursson, ‘Flateyjarbók og
fiorláksbiblía í Árnastofnun’, Sagnafling helga› Jónasi Kristjánssyni sjötugum,
1994, I 152 n.

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THE FOLK-STORIES OF ICELAND

magic lore; also, like many others, he believed that quite importantbooks existed at the schools of Skálholt and Hólar. But he may haveoverrated their importance. The Rev. Oddur and Ólafur tóni made apractice of entering hillocks. Stories of magical illusions were popular; the Rev. fiorkell fooled the Bishop of Hólar in this way when hecame to visit him, as the Bishop of Skálholt did Torfi of Klofi, andÓlafur tóni the English, making them see an invincible army where
there were only rocks. The Rev. Hálfdán drew ale out of a stick, as didÓlafur tóni and the servant of a bishop (and Mephistopheles in Goethe’sFaust). The farmer Egill fished a black pudding out of the sea, theRev. Hálfdán caught fish through a gap in his cowshed floor, andmagicked fish out of a shed on far-off Grímsey. The Rev. Árni of Látrar
caught a thief by means of a chessman, a (stolen) sheep is made tobleat in the thief’s belly, a horse-thief gets stuck to the horse’s back.
The Rev. Jón of Svalbar› (and the Rev. Hálfdán) rode a water-horse
across a fjord carrying a boy behind him; the Rev. Hálfdán also transported turf on a water-horse, just as Au›un stoti got a water-horse to
carry hay for him in the Settlement period (Landnámabók 120–21). A
farmer got news from abroad from a man in grey, Oddur Gottskálksson
showed Gísli Jónsson what was going on at Selárdalur by letting him
look through some glass, Oddur of Saurbær wakened an ox from thedead. All these stories employ magic for good or harmless purposes.
Jón lær›i has stories of harmful magic: Andrés Gu›mundsson made‘a galdrageigskot [magical danger-shot], as some now do in Iceland,’to be sent against the franklin fiorleifur Björnsson, but fiorleifur put acommon churl in his saddle in place of himself, and he was the one
who was hit. I do not know any other examples of malicious magicfrom seventeenth-century legends about earlier times. It is said thatBishop Ólafur Hjaltason (of Hólar, 1552–69) promised to marry a
Norwegian widow and jilted her, and she used magic to avenge herself, making him impotent (Jón Halldórsson BS II 24–25) There are
no stories from this time of contracts with the Devil, but goblins or
spirits are mentioned. According to Jón lær›i, Ólafur tóni had his ‘lads’(‘demones credo’) clear the harbour Tónavör of rocks, and Skrif Ólafs
gamla states in connection with this story that there is ‘an ancientreport that they could direct some kind of spirit, by means of the Art,
to carry out various great works’—he is no more specific than that.
The Rev. fiorkell has someone he calls smellilegur ‘bright fellow’

FOLK-BELIEF AND FOLK-LEGENDS

199(perhaps ‘good fellow’, cf. the English Robin Goodfellow) pull a man
down into the earth.1
2) Only a few of the motifs found in the previous group are also
found in the legends about Sæmundr the Wise collected around 1700
for Árni Magnússon.2 Sæmundr attends the Black School, and there isan account of his departure from it rather like the ancient one in Jóns
saga helga. He is also said to have promised some hag in Saxony
marriage and when, like bishop Ólafur, he retracted his offer, she issupposed to have sent him a gilded casket with something nasty in it
which Sæmundr took up into the mountains. This started an eruption
on Hekla. Finally, as a parallel to the story about the harbour Tónavör
we may mention the various odd jobs which Sæmundr makes the Devildo, such as carrying water in a gridded container, cutting and transporting timber and shovelling muck out of a cowshed. I think some ofthese stories must be derived from early European legends of saints
and magicians, but this will not be pursued here. Contracts with theDevil are fairly prominent (sometimes by implication), but the tone isof unfailing optimism; there is never any doubt that Sæmundr will
escape the Devil’s clutches. He is sharp in argument, quick-witted andcunning, while the Devil is credulous, literal-minded and slow-thinking.3
3) There are countless witnesses to seventeenth-century belief inmagic and it is easy to set out its main characteristics. The Church hadfrom early on disseminated the doctrine that magicians had contracts
with the Devil and that they entered his service already in this life. In
the seventeenth century a mass of writings on magic that presented
this view became available to the general public, and though magicians themselves may have seen the matter in a different light, theperception that magic was a diabolical art and that magicians had somerelationship with the Devil must have become widespread.
1 According to Blefken, Icelanders used to make devils serve them as work-

men and so on (Ólafur Daví›sson, ‘Ísland og Íslendingar, eptir flví sem segirí gömlum bókum, útlendum’, Tímarit hins íslenzka bókmenntafélags VIII 140;
Lfrs. I 183). This is not significant.
2 See JÁ I 485–90; BE Munnmælasögur 39–48 and xcvi–cxix.
3 Sæmundur’s name comes first in the account of sorcerers in the interpolation in Björn of Skar›sá’s book on runes, but does not otherwise appear inseventeenth-century writings on magic. The explanation for this is probablythat they originated in the west and north of Iceland.

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THE FOLK-STORIES OF ICELAND

Jón lær›i lived in the first half of the century, before burnings for
witchcraft reached their height, and he was always accusing his enemies of attacking him by magic and of directing sendings at him. In
Fjölmó›ur, for instance, he tells of the troubles he suffered at the handsof the magician Bár›ur (if this was a man and not an evil spirit). Jón
appears to regard him as responsible for his father’s death, and formany of the sendings he himself received. Many strange things happened to Jón when he fled to the protection of the sheriff Steindór
Gíslason of Stapi, and while he was there many sendings afflicted him
when the wind blew towards Stapi from the Western Fjords. Shortly
afterwards he was assailed by the magic of Ormur the Evil (Ormur
Illugason), who killed Svartur of Hella by magic.1 After this the ‘socalled priest’ (the Rev. Jón Bö›varsson) took over; he had made acontract with the Devil and promised him his soul if he made Jón’shouse sink into the earth. ‘Flashes of light’ came three times above thecottage. Jón accuses ‘Night-Wolf’ (Ólafur Pétursson of Bessasta›ir)of ‘black magic’ (fordæ›a) and giving him poison to drink, and when
Jón was at Ytri-Hólmur (near Akranes) ‘fearful sendings and magic
flies’ assailed him. On his flight through northern Iceland a ‘magicalshot’ (kyngjaskeyti) entered his calf. On his journey to Iceland his
enemies played tricks on him, placing magic shackles on the ship sothat it could move neither backwards nor forwards.
The affair of Jón Rögnvaldsson is also from the first half of theseventeenth century (1625). Björn Jónsson records it as follows about
ten years after the event: ‘Jón Rögnvaldsson from Svarfa›ardalur
burned to death after trial in Eyjafjör›ur for the practice of witchcraft.
He had waked one from the dead, who then attacked a boy at Ur›ir,
killed some horses there and did other mischief’ (Annálar 1400–1800
I 221).
The writings of the fanatical persecutors of magic, the Rev. Jón
Magnússon (1610–96) and the Rev. Páll Björnsson (1620–1706), arefrom the middle and the latter part of the seventeenth century. The
disease which the Rev. Jón caught and attributed to the activities of afather and son is powerfully depicted in his Píslarsaga, ‘Story ofmartyrdom’ (JM Píslarsaga3, 2001), and the affair ended tragically
1 Cf. also Um ættir og slekti, Safn III 714; Alflingisbækur Íslands V 120(1625).

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with both father and son being burnt at the stake. The witchcraftburnings reached their height in this period, and they must have madea deep impression on the people’s minds. People began to take for
granted that magicians were in league with the Devil and unscrupulousness, spite and malice became the main characteristics of the stories.
The methods were now simpler to the extent that some particular magicprocedures become predominant; these are the sendings—themselves
very varied in character—and wakened dead. Moreover a single human
lifetime can no longer contain the hatred—it lives on and the sending
persecutes the family, generation after generation, and these ‘attendant spirits’ start walking in broad daylight.
That is how it is in eighteenth-century sources. The Rev. Jón Steingrímsson speaks of revenants and those awakened from the dead, and he is
our earliest authority for a skotta (Jón Steingrímsson, Æfisaga3 36,
67). Jón Ólafsson of Grunnavík also tells of injuries caused by spells
and sendings, and has spoken to people who were present when ghosts
were raised (Lfrs. II 27; JH 11, 280–81). Eiríkur Laxdal refers to afire-ball which was clearly a sending. One could go on multiplying
examples.
4) So we come to nineteenth-century folk-stories, and a comprehensive picture of them can be gained from Jón Árnason’s collection.1
As one would expect, the older stories of magicians were not quite
dead, though as the seventeenth century wore on they began to be
reworked, but they did not entirely lose their character in the flood ofeighteenth-century stories.
There are some stories of Ólafur tóni and Straumfjar›ar-Halla, andthe Rev. Gu›bjartur flóki has replaced his son fiorkell. Hálfdán of Felland Sæmundr the Wise continue to gather stories round them, while
the company is now joined by the Rev. Eiríkur Magnússon of Vogsósar(1638–1716). Stories about these have the gentler spirit of the older
legends. Some of the old stories reappear in unaltered or only slightly
altered form; we have Sæmundr’s sojourn at the Black School and his
departure thence, his journey on a seal’s back to Iceland, the work hemakes the Devil do (fetching water in a gridded container, fetching
timber, shovelling out a cowshed; JÁ I 490–94, 497–98; cf. 515). Ólafur
1 Legends about Hálfdán were circulating rather earlier, i.e. in the Adversaria

of Halldór Hjálmarsson (c.1800), see Jfiork. 356.

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tóni makes the Devil clear Tónavör of rocks (JÁ I 513–14). Sæmundr
and Eiríkur are said to ride strange grey horses (JÁ I 501, 567). Eiríkur
enters hillocks and amuses himself by making thieves stick to what
they have stolen and horse-thieves to the horses’ backs (JÁ I 559, 560,
562–63). Hálfdán now makes the Devil fetch him dried fish from
Grímsey (JÁ I 518–19). There is also a huge number of stories of magical illusions, exactly in the old style: the Rev. Eiríkur even gives thevisiting bishop coming to reprove him a reception similar to what theRev. fiorkell had given him.1 Then we have the motif of the magic
book which the apprentice sorcerer looks into, thus rousing demons
who demand to be set to work, though all goes well because of his
quickwittedness—he sets the demons to make a rope out of sand (JÁ I
556–57, cf. 495). All the parsons are kindly and good-natured, help
those who seek their assistance and punish ever so mildly those who
do anything against them. They are all rather alike in these stories,and sometimes the same story is told of one after another of them.2
They are all a little worried about their eventual salvation, and piously
coloured stories exist on this theme (JÁ I 502, 505, 520, 580), but
the Devil’s role varies. He turns up most frequently in stories aboutSæmundr; the great bulk of the stories about him relate how he tricks
Satan by splitting hairs in agreements made, by deceiving him or bymaking use of sacred objects. It is quite in character for Sæmundr andhis company to promise the Devil Kálfr (Árnason), and then give him
a calf (Árni being the name of the bull that sired the calf). Originallythese legends were formed in a spirit of religious optimism, and thenjust turned into merry stories. One might mention in passing that there
is a great mass of European stories about a boy who tricks a being
variously referred to as the Devil or a giant (e.g. AT 812 ‘The Devil’s
Riddle’).
Nineteenth-century stories, however, give greater importance to more
recent magicians, men who lived in the seventeenth century or later.
These stories grew out of the attitudes that developed in the context of
the witchcraft-burnings, but they undoubtedly came to full flower in
1 JÁ I 566; other magical illusions: 503–04, 512, 557–59, 571, 576 etc.

There is an account of the tricks played by fiorkell Gu›bjartsson on the bishopof Hólar in BE Munnmælasögur 3–10 and lxxvi–lxxxii.
2 E.g. JÁ I 494, 511, 519–20, cf. II 284–85; 497, 515, 516, 568.

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the eighteenth century (I shall sometimes refer to them in what follows
as the ‘eighteenth-century stories’). A quite different spirit is dominant in these, and the best way to reveal it is to take as an example JónÁrnason’s stories of fiormó›ur on Gvendareyjar.
fiormó›ur, who lived from c.1668 to c.1741, was a poet of power(kraftaskáld) as much as a magician, though at this time the difference
was minimal. He did not attack others, but he helped many people. A
girl from western Iceland is persecuted by an airy spirit sent against
her by two men called Jón, father and son; the son wanted to marryher. fiormó›ur was asked to help and went to the west, catching a pikeon the way and putting it in a bottle. It is made clear how poisonous
this creature is and what precautions (using gloves made of humanskin and so on) he had to take in handling it. He buried the pike under
the girl’s threshold, and it scared the airy spirit away from her. On his
way back fiormó›ur got a sending from the two men, he caught it, put
a new and stronger spell on it and sent it back. It was to kill the elder
Jón and attack the younger, which it proceeded to do well and truly
and did not give up until fiormó›ur was begged for mercy. But now akinsman of these men, a mighty magician, comes into the story; hedespatched a number of sendings to fiormó›ur, and eventually madehis daughter go mad, so that she destroyed herself and returned tohaunt. fiormó›ur was obliged to lay her ghost, and he took this very
hard. Next fiormó›ur quarrelled with Gvendur of Hafnareyjar and senta spirit against him, but Gvendur disposed of it and sent back one after
another, any of which would have instantly killed fiormó›ur or his
people if he had not got rid of it at once . . .
This may be said to be the usual type of ‘eighteenth-century story’.
Whenever there is a slight cooling of friendship between people theyrush out to raise a spirit and send it to kill sheep and cattle and drive
people mad or kill them. Nothing less will do, and if the recipient has
any magical knowledge himself and escapes with his life, he instantly
pays his attacker back in the same coin. Nor need there be anything
more than the slightest of offences to spark off some enormity. As
well as all the lesser sendings, the flies and the shots, there are all theawakened dead. The magician spends half his life among corpses, anduses the most disgusting procedures to wake them. He prefers to use
corpses still half-warm, they make the most powerful sendings; and it
seems it is not enough for the wakened corpse to persecute the culprit

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alone, it has to be his family and his descendants to the ninth generation
as well. He will haunt them, go out ahead of them to cause trouble,
creep after them in the dark of night to attack them when a good opportunity arises, drive them mad, rob them of their health or life.
Of course these are by no means the only motifs that occur in thelater stories of magic. There are many others, and in general thesestories are more varied and more loosely shaped than the older ones,
having been a shorter time in oral transmission. Yet though there ismuch variety, the motifs mentioned above are easily the most dominant, and the foundation of these legends is darkness, fear and spite.
These stories cannot be explained entirely by the ideology of thewitchcraft-burning period (1625–85) because if so, when this had
ended, different kinds of stories, sprung from new conditions in the
succeeding period, would gradually have evolved. Yet a good deal of
their ideology clearly is a survival from the witchcraft-burning period,
and the reason for this long survival in so vast a profusion of stories
must have been the grim economic and social condition of the Icelandic people in the eighteenth century. The commercial oppression andoverall economic underdevelopment, starvation, disease, epidemics,
exceptionally destructive volcanic eruptions and general wretchedness of the people—all this, together with poor harvests, is crystallised in these stories of witchcraft, transformed in accordance with an
ideology of witchcraft formed by the burnings and prosecutions forsorcery of the preceding generations which had become engraved on
people’s minds. The terrible misery and wretchedness of the people
was reflected in these ugly dreams.
VIII
The idea of the magician’s contract with the Devil, which was madeso much of by seventeenth-century clerics, may also be found in popularsources, and it is very prominent in stories about Sæmundr the Wiseand other legends of the older type.1 On the other hand there are rather
few of the eighteenth-century stories that refer to it.2 It is as if thecontract motif went into a decline around the year 1700. It may be that
1 Including JÁ II 13–17, Verz. 114–20, which ultimately derive from legends
of saints.
2 Note particularly JÁ II 18–19, 119; cf. I 429, 473.

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people believed the magicians’ own claim that it was only in the very
blackest magic that people pawned themselves to the Devil. Certainly
the vast majority of later stories of magic are entirely secular in outlook. They deal with the present life, and do not concern themselveswith the fate of magicians in the next world.
In 1799 Mensalder Jónsson the Rich died at his manor on Papey,
and the poverty of the people in the area must have given rise to theidea that he had amassed his wealth through possessing ‘Finn-breeches’,
Finnabuxur (which consequently also came to be known as Papeyjarbuxur ‘Papey-breeches’), and that when he could not get rid of them
he went out of his mind. One fine day when he was out walking asudden violent storm blew up, and Mensalder was never seen again(JÁ I 429). This story could easily be a much older one that became
attached to him; the Icelandic version of the Faust-story similarly cameto be attached to Galdra-Loftur. Its core is the attempt to gain possession of Rau›skinna, ‘Red vellum’, the book of magic which is the
symbol in Icelandic stories of secret knowledge and mysterious power.
Jón lær›i often speaks of ancient books of lore that he has seen, andmentions Ólafur tóni’s ‘principal book’; apart from this, books of magic
were not yet really suffused with supernatural light. But as theauthorities sought more energetically to get them on the fire, and they
began to get fewer and farther between in the real world, so a curious
magic glow began to emanate from them in the popular imagination.
Now there emerged the stories of wondrous manuals of magic thatprobably never existed, Red vellum, Grey vellum, Yellow vellum andSilver vellum.1 To judge from their names, these books must havebeen splendidly illuminated, and one might recall the stories of the
1 It seems to me quite likely that these names are based on those of realmanuscripts on other topics. Bishop Brynjólfur Sveinsson called two manuscripts of Njáls saga Gráskinna and Gullskinna, and fiormó›ur Torfason gavenames to many vellums (Jöfraskinna, Gullinskinna, Fagrskinna etc.) about
the same time as Jón Eggertsson wrote down for the first time the names ofbooks of magic in Björn of Skar›sá’s book on runes. Rau›skinna was thename of a law-book (see K. Kålund, Katalog over den Arnamagnæanskehåndskriftsamling, 1889–94, II 541). Jón fiorkelsson called Bishop Ólafur
Rögnvaldsson’s deed-book Rau›skinna (Jfi OmD 11, DI V 249), but I knowof no evidence that this name is earlier than JÁ. Cf. Ólafur Daví›sson, Galdurog galdramál á Íslandi, 1940–43, 61–63.

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fiery characters of the books in the Black School. On the other hand,the ‘Grey vellums’, said in nineteenth-century legend to have been at
the schools of Skálholt and Hólar (Jón Steingrímsson states that in his
schooldays at Hólar there was a treatise on magic going round theschool), were perhaps much less elaborately decorated, and anyway
far less advanced in character. The great books of magic belonged tothe past, and were preferably buried with various magicians of days
gone by, so students of magic were very eager to get hold of them.
Various stories survive of such attempts; there is one from about 1700
about Sæmundr the Wise’s friend Jón, and two from rather later on
about the Rev. Eiríkur of Vogsósar.
The story about Jón describes how he found out about a book ofmagic buried in the churchyard at Skálholt. He woke up the dead bychanting verses, and eventually the owner of the book appeared carrying it. Jón went on chanting and the book opened, but at that moment
his mistress, who had been hiding in the churchyard out of curiosity,
let out a scream; the ghosts attacked her and broke her hip, and Jón
was forced to ring the cathedral bell to put them down. So he lost his
chance of the book, but was otherwise unharmed (JÁ I 489).
The first story about the Rev. Eiríkur tells how he, Bogi and Magnús,
three students at Skálholt School, woke up a cottager who was buried
with his book in Skálholt churchyard. They had filled the cathedral twiceover with the dead before the old man came with the book and a heifer
which had been buried with him. They went for the old man and got
hold of part of the beginning of the book, but he wrestled with them until
dawn came, when he had to return to his grave. From the pages they
managed to save they compiled the manual Grey vellum, which was
kept at Skálholt. According to the second story, a blind old man showed
Eiríkur to a magician’s grave in Selvogur churchyard, and he got holdof one leaf out of the magician’s book (otherwise the details are similar to those of the first story). ‘The parson said later that he had learned
more magic from that one leaf than from everything he had studied
before, and if he had got hold of the whole book it would have been
too much for him’ (that is, it would have lost him his soul) (JÁ I 554–56).
Jón got none of his book, Eirikur only a small part of his—and such
was his restraint that he was well content—and so these two went on
all right. But the third person about whom a story of this kind is told
had none of this restraint; his thirst for knowledge was unquenchable.
This person was Galdra-Loftur.

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This person, now known to every Icelander, was born soon after
1700 (he matriculated from Hólar Cathedral School in 1722), but beyond this we know virtually nothing about him for certain except his
name, Loftur fiorsteinsson. All the available facts about him have beenassembled by Hannes fiorsteinsson, and his results are followed here.1
There are three sources for legends about Loftur: a short section in
Espólín’s Íslands Árbækur, Gísli Konrá›sson’s account of fiormó›urof Gvendareyjar and a folk-story written down by the Rev. Skúli
Gíslason. All three sources are from the nineteenth century; only thetwo latter have the story of the book of magic, but they all describe themischief Loftur caused with his magic.
Espólín tells of Loftur’s dealings with the Rev. fiorleifur Skaptason,at that time Dean of Hólar Cathedral. A man was supposed to haveenticed the Rev. fiorleifur’s fiancée to agree to marry him while
fiorleifur was abroad, and when he got back to Hólar she was sitting in
the bride’s seat. fiorleifur asked her if she didn’t remember her promise
to him, but she said that she had had no choice in the matter. fiorleifur
then moved in and married her, which angered the would-be bridegroom who sought Loftur’s help. Loftur used his magic to try to causesome harm to the Rev. fiorleifur, but he invariably managed to escapeit. This source has the stanza Fur›ar mig á fréttum fleim, ‘I’m surprised at what I hear’.2
Gísli’s account of fiormó›ur is thought to have been written on Flatey
between 1850 and 1860. As far as I know, it exists in two versions, theone in a manuscript that Jón Árnason got from Brynjólfur Benediktssonof Flatey in 1861 (now Lbs 535 4to), the other in Gísli’s Söguflættir
based on three manuscripts. The principal difference between the two
versions is that the second one adds Loftur’s dealings with the Rev.
fiorleifur, presumably based on Espólin’s account, though it does notfollow it in every detail. For instance, Gísli says that Loftur induced
the girl to agree to marry the man by witchcraft.3 He also says that
Loftur was son of a certain Gunnar, that his family came from the

1 His work was printed in Ísafold, January 1915 (later reprinted separately);also in Gísli Konrá›sson’s Söguflættir, 1915–20, and Huld 2 II.
2 Jón Espólín, Íslands Árbækur í sögu-formi, 1821–55, IX 40–41.
3 Other items that appear only in Söguflættir are here enclosed in brackets;otherwise the version in Jón Árnason’s manuscript is followed.

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islands of Brei›afjör›ur, and that he was fostered by fiormó›ur of
Gvendareyjar, who composed this verse about him:Á hugann strí›ir æri› oftóróleiki nægur,sí›an eg missti hann litla Lofter löng mér stytti dægur.

To and fro my mind is tossedby restlessness and grief;
my little Loftur I have lost
who made my long days brief.

From this Gísli assumed that Loftur was of small stature. All his otherinformation about him he had from the Rev. Pétur Pétursson of Ví›ivellir (1754–1842), Rural Dean in Skagafjör›ur.
Gísli tells first of the dealings between Loftur and Jón Gunnlaugsson.1 Loftur used to sit by some smaller boy in school and pinch him,
but Jón stood by one such boy, and Loftur revenged himself by plaguing him with magic tricks. Once Jón was out on a trip during the Christmas holidays and got caught in a snowstorm. He wanted to cut hissnowshoe off his foot, but it was as if the knife were snatched out of
his hand, and he fell into a snowdrift and no one found him. The result
was that Jón got frostbite in his foot. ‘He himself told Dean Pétur
Pétursson about this . . . and shed tears when he spoke of it.’ (That hehad dropped his knife with such disastrous results, and the storm too,
were attributed to Loftur’s magic.)
The centrepiece of Gísli’s narrative is Loftur’s attempt to get holdof the book of magic. ‘It was common knowledge’ he says ‘that acertain magician was buried in Hólar churchyard’ and that the manual
Grey vellum (‘named Red vellum by others’, JS 290 4to), which was
bigger than any other book of magic, was buried with him. ‘Loftur
thought night and day of getting hold of the book, and spent threenights waking up the dead from the churchyard; he raised a great crowd,
but the book did not appear.’ It was said that Loftur pursued his searchso far as to make a contract with the Devil. ‘He did this right inside thedormitory, and some of the schoolboys believed right up until the
closure of the school (1802) that his footprints as deep as the ankles
could constantly be seen in the dormitory floor, black as if burned intoit.’ Later he got three boys, one Einar and his brother Ari, and one
called Jóhann, to help him. ‘And the brothers proposed that they should
say the mass in the Cathedral, saying everything backwards, since
1 Gísli Konrá›sson, Söguflættir, 1915–20, 174–78.

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Grey vellum was buried with bishop Gottskálk Gottskálksson (sic!)
under the floor of the choir, and there was no hope of its coming up
outside the church. They said that they had heard that Gottskálk took
it from Jón of Hvanndalir, and that his intention in having it buried
with him was to ensure that it could no longer do anyone harm.’ The
three now took up their separate tasks; Einar stood before the altar,
Loftur in the pulpit, and Jóhann and some unnamed person ready toring the bells as soon as Loftur had got hold of the book. Loftur now
began to conjure, and when about a third of the night was still to go agreat surge of soil came up through the floor of the choir, then a hand
wearing a ring, which held a half-open book by the spine; Loftur ran
and seized the book, but Jóhann and his partner were too quick inpulling the bell-ropes, and the hand and book sank down, while Loftur
kept hold of only three scraps of leaves. At this he fell down and said:‘There you rang away my soul.’ People were awakened by the ringing
and the matter came before Bishop Steinn (Jónsson, bishop 1711–38);
he gave the boys a good talking to, but afterwards hushed it all up.
After this Loftur went crazy and often said he would be dead before ayear was out. ‘There is also a story that he came into the kitchen when
the fire was well stoked and said as if in jest that well did they stoke
now, but he would be sitting at a greater fire next winter.’ After thisLoftur was sent to the Rev. Halldór Brynjólfsson, Rural Dean at Sta›arsta›ur, who was thought to be a mighty man of prayer. He had a strong
man watch over Loftur and go with him wherever he went. One fineday when the Dean was not at home, Loftur got his keeper to let him
go rowing out to sea. He then flung himself overboard and never cameup again. This was a year after he had pawned his soul in the Cathedral.
Gísli’s account has a half-historical air about it. He names Loftur’scontemporaries correctly. Yet the story is not a little mingled with folkstory motifs. Loftur, like the Rev. Eiríkur, obtains some leaves of thebook, but they are of no use to him. He loses the book by accident, andthe ghost is got rid of by bell-ringing, as in the story of Jón. But themain difference between Loftur and the older magicians is that herisks his soul—and loses.
Gísli follows his source, the Rev. Pétur, for the most part, but adds
one incident. The Rev. Pétur’s account, however, was probably compiled from various separate legends, because it has various inconsistencies: it places the waking of the dead in the churchyard first, then

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the contract with the Devil (linked to a particular location), and finally
Loftur’s discovering about Grey vellum from his schoolfellows.1 Gísli
states that the Rev. Pétur heard the conjuration story at school, and theGaldra-Loftur story really is one of the best examples extant of a schoolboy story. It must have developed in Hólar School by motifs fromearlier stories of magicians becoming attached to this pupil on account of some actual incidents the nature of which cannot now beknown for sure.
Gísli says that the story spread through the Skagafjör›ur district; it
was ‘as if it gained in power the further it spread, and various things
were added to it’. This description fits precisely the version told by theRev. Skúli Gíslason, where the folk-story reaches its culmination.2
Skúli tells first, like Gísli, of Loftur’s magic tricks in school, how heshod one of the servant-girls with horseshoes and rode a witch-ride on
her to his home and back again over Christmas. Another time he got agirl there with child and made her walk in through a wall, carrying a
tray of dishes (Jón Ólafsson tells a similar story which is probably
older than the one about Loftur, see JH 113 (cf. p. 121 above); one
wonders whether any scraps of Protestant propaganda from theContinent about ‘wallings in’ of nuns by the Spanish Inquisition were
known at Hólar School!). Then come his dealings with Dean fiorleifur,
together with the verse; their enmity is here said to have been causedby fiorleifur’s criticism of Loftur, while the fiancée business is leftout. (The reference to Espólín is not in the Rev. Skúli’s original, but
was added by Jón Árnason.)1 What is said here about Gráskinna corresponds to the account of Gísli by

Jón sterki (ÓDav.3 II 114–18, ÓDav.5 II 156–59), but whether this originateswith Gísli or comes from oral tradition I do not know.
2 Skúli’s autograph is in Lbs 534 4to, printed in JÁ I 583–86 (the stories
collected by Skúli were edited separately in Sagnakver Skúla Gíslasonar, 1947,
repr. 1984). In Maurer IV 102–03 there is a story about an unnamed schoolboy at Hólar, and this presumably means Galdra-Loftur. The source is probably
some unspecific remarks of the Rev. Skúli. A few of the details are different,
for instance the grey hairy arm is lacking. It may be that this is due to Maurer’s imprecise copying, but it could also be that Skúli left it out of his story on
this occasion, and anyway it is a wandering motif which could belong everywhere and nowhere. It appears, for instance, in the story of Gu›bjartur flóki
and the bishop of Hólar, which comes earlier in the Rev. Skúli’s manuscript(JÁ I 508–09); cf. further II 463 and Feilberg, Ordbog I 765, IV 240.

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The main element in the Rev. Skúli’s story is Loftur’s attempt to get
the book of magic and its consequences, and I do not think that anyone would do any good by trying improve on this account, one of thegreatest masterpieces in Jón Árnason’s collection. But it is clearly
further away from the original than Gísli’s version. The contemporaries(except Dean fiorleifur) are forgotten, and Loftur’s footprints in thedormitory floor are not mentioned. Everything has become simpler
and more consistent, in the manner of a developed folk-legend. Thereis only one assistant, who is to ring the bells. There is no fruitless labour
for three nights and no contract with the Devil. The thread of the narrative
is simple; Loftur knows what he is searching for. He has learned thewhole of Grey vellum, and now wants to get hold of Bishop Gottskálk
Nikulásson’s Red vellum. It is a story-teller’s instinct thus to combine
similar narratives into a sequence. We may add that the prehistory of
both these volumes is told by the Rev. Skúli just before the story ofGaldra-Loftur in his manuscript (printed in JÁ I 514, 508 and 583).
The awakening from the dead scene is very different in the two
versions. Gísli tells of three surges of soil up through the floor, andthen a hand with a black-clad arm and a ring on one finger, and in thehand was the book. This is a fine and effective picture, but it is nothing compared with the Rev. Skúli’s account where all bishops rise outof the floor one after another, wearing white surplices and pectoral
crosses, the first, last and middle ones with crowns on their heads.
Gently and gravely they warn Loftur of the danger he is about to engulf himself in, and over the whole scene the moon spreads its strange
glitter. Bishop Gottskálk is not the good-natured man of God, whoaccording to Gísli took the book of magic into his grave so that it
could harm no one, but a monster of cruelty who grudges others thepower and might that he had enjoyed; he stands there, jeering andgrinning, and trying to provoke Loftur to go on with his blasphemy
until the cathedral sinks into the ground. But this does not happen, andboth versions end the same way: Loftur’s companion rings the bells
too soon.
The two accounts of Loftur’s end are a good example of how a goodstory becomes a great one. Little details are added, but each individual
incident is clarified and sharpened and made more interesting, and at
the same time made to seem more like real life and less like a story.
The contrasts are made sharper and the suspense lively.

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The depiction of the magician is also very different in the two stories.
With Gísli the only motive is the thirst for knowledge, powerful as anelemental force, and his Loftur is quite ruthless in his tricks, as isnormal in ‘eighteenth-century stories’. With Skúli, Loftur’s spells also
reveal recklessness and unscrupulousness, but in the conjuration episode his Loftur is more human than Gísli’s; he has studied witchcraftso much that he can only use it for evil purposes, and has to commit
suicide when he comes to die. Only by learning even more, likeSæmundr the Wise, could he gain power over the Devil, use the art ofmagic for good, and save his soul. But since the Black School nolonger exists, he decides to try and get hold of Bishop Gottskálk’s Red
vellum. He does not seem at first to have intended to say the Massbackwards, but he gets into such difficulties that he has to take his
conjurations further and further, until he has transferred God’s Word
to the Devil. Then in front of him stands Bishop Gottskálk, grinning.
Loftur goes crazy, rushes further still into a frenzy of blasphemy, does
not stop to think that at this point he needs a cool head and firm control, and in his frenzy tries to snatch the book from the dead man. But
his assistant misunderstands him, and it all goes wrong.
In the Rev. Skúli’s story of Galdra-Loftur it is as if a folk-legend ison the way to becoming something more sophisticated; one mightperhaps call it a myth. Elsewhere one can see signs that while the
Icelandic folk-stories were in oral transmission, they were handled bypeople who were participators in a remarkable literary and learned
activity. The concepts underlying folk-belief and legend were brought
together, and have acquired some kind of rational ordering. This is, ofcourse, particularly noticeable in the case of the story of GaldraLoftur—as one would expect, since many of its principal preservers
were schoolboys and parsons. Here Christian ideology was combinedwith fragmented ideas from folk-stories about magicians and booksof magic from days gone by, and from it emerges a coherent whole. In
the story Loftur has to guess his way in his search with the help oflegends about Sæmundr the Wise put side by side with legends of alater age. Doubtless the Rev. Skúli played the greatest part in raising
the story of Loftur above the level of Gísli’s narrative, which in any
case should not be underestimated. Most of the local personal and placenames have dropped out as a result of oral transmission over distantparts of the country, and the legend itself has become more coherent

FOLK-BELIEF AND FOLK-LEGENDS213

and powerful, but the Rev. Skúli has also given it a masterly form.
With him everything that happens becomes visible and alive. He enjoys
himself describing Loftur’s violence and frenzy, but also knows how
to use restraint when the narrative requires precision and care. But hedoes more for the story than this. The concepts that were inherent in it
from the start, and have grown sharper rather than more diffuse in thehands of the schoolboys, grow even more clearly defined and more deeply
etched with him, while the alteration in the hero’s character gives thestory at once a more human and sympathetic tone. It thus gains a more
universal validity than Gísli’s narrative, and the Rev. Skúli’s alterationof the character of Loftur, who becomes rather more like a humanbeing without losing anything of the wildness of his desires, contrasts
with Gísli’s Loftur, who is more like a blind force of nature than a humanbeing. It is as if some gleam from the Faust story is cast over the Rev.
Skúli’s pages. He knows well how important the story is—it and thestories that relate to it stand at the beginning of his book of folk-stories.
The dramatist Jóhann Sigurjónsson wrote his play Galdra-Loftur(in Danish he called it Ønsket, ‘the Wish’) on the basis of the Rev.
Skúli’s version. But that takes us beyond the scope of this book, so wewill not discuss that here. The play has, of course, made the Rev. Skúli’sstory even better known (it has been acted many times in Denmarkand Iceland, and also in other countries; for instance, there have been
several translations into English, including one by Jean Young andEleanor Arkwright (1939, performed in Reading in the 1950s), andanother by Benedikt Benedikz, which was performed in Durham andLondon in 1962). But though it is in many ways a fascinating work,
there is a more perfect and transparent ideological structure in the
parson’s unostentatious but powerful folk-story.
IX
It was pointed out above how people of the distant past grew in staturein legends of later times, becoming gigantic in size and strength, andacquiring gifts of second sight and magical knowledge. In a similar
way the golden light of legend sweeps over much else in the nation’s
history. Legends deal mostly with grand and memorable events, deadly
plagues or Turkish pirates. The Black Death is naturally the mostsignificant of the plagues, but it is doubtful whether folk-stories

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preserve any actual memories of incidents connected with it. All thatwas known was that it had raged over the land, and so people linked
various ideas to it, such as that a dark mist had hung in the air, or else
pestiferous spirits, male and female, had gone riding across the country, or alternatively legends developed about survivors, or else stories
were invented to explain place-names.1
On the other hand there are some historical legends such as thoseabout Ólufarbylur (the storm said to have raged when Ólöf the Rich,
widow of Governor Björn fiorleifsson, died in 1479),2 where the foundation of the story seems to have been a real event. The stories of theTurkish piracy appear to alternate between the two types: the actual
misfortunes of the Icelanders were later on notoriously compensatedfor by the creation of glorious stories of magicians or men of great
spiritual power driving the pirates away.3
There is a fair number of stories attached to churches, though I thinkthey are less prominent than in some other countries, especially ones
about the building of churches. It is often said that trolls flung rocks atthem, as they usually didn’t like them, especially the bell-ringing(which was thought a very powerful weapon against them), and there
exist many stories of bells and the sounding of bells.4 The beautiful
church treasure, such as chalices and vestments, quickened people’s
imaginations, for it seemed that it could hardly have been otherwise
but that they originated in some miraculous way, coming from burial
mounds or from the elves.5
Seen from the literary standpoint most of these church legends arevery feeble, but there is among them one splendidly impressive story:
1 Ann. farr. 3–4 (Icelandic translation 13–14), Huld V 38–39, Huld 2 II 186–

87; JÁ2 II 700 (svartidau›i); Jfiork. 270.
2 Jón lær›i, Tí›fordríf; Um ættir og slekti, Safn III 718–19; Biskupaannálar,Safn I 58–59.
3 Tyrkjaráni› á Íslandi 1627, ed. Jón fiorkelsson, 1906–09; Jón fiorkelsson,Æfisaga, 1910, I 324–25, Lfrs. II 313; Laxdal Ósfi 68–70; JÁ2 II 695(ræningjar); Huld II 48, Huld 2 I 119–20, BBj. II 111–12.
4 JÁ2 II 684–85 (kirkja, klukka); Bishop Gísli says all sorts of things aboutbells ringing on their own, see Ann. farr. under the years 1610–12 and 1631.
5 JH 264; Arngrímur Jónsson, Opera I, 1950 (BA IX), 462, see Jakob
Benediktsson’s notes in Arngrímur Jónsson, Opera IV, 1957 (BA XII), 260;
Einar Gu›mundsson (see fiT HHrkr, b5–b8; Icelandic translation in Einar Ól.
Sveinsson, ‘Álfarit séra Einars á Sta›’, Blanda VII 251–57); JÁ2 II 665 (álfar).

FOLK-BELIEF AND FOLK-LEGENDS215

the one about the dance at Hruni. The basis of this story is a dip in the
ground at Hruni, which has been imagined in the past to be like achurch floor. The story is by no means recent, as it is mentioned byJón Ólafsson of Grunnavík, complete with the verses that are essential to it. Jón states that it happened in pre-Reformation times, and it
may well be that the story is that old.1
When we come to legends about historical individuals, those arenaturally best remembered that were impressive or eccentric people,
those who had acquired great fame or infamy. Such people attracted
to themselves legends and motifs which made them even more memorable, which were often derived from stories about less well-known
people, who were then likely to be completely forgotten. Thus great
series of legends gathered round the same person, such as those aboutSæmundr the Wise, Hálfdán of Fell and the Rev. Eiríkur of Vogsósar,or the series of anecdotes that have become linked with the name ofHallgrímur Pétursson. There is a great mass of bits of information
about individual people, where the kernel may be historical, but everything has been twisted round as is the way of oral tradition, and muchthat is strange and supernatural has become mixed up with it. Gísli
Konrá›sson has put together an enormous number of such historicallegends, compiled from a whole range of sources, both oral and written.
He takes up individual legendary anecdotes or passages of writing
and links them up with fuller narratives to make of them accounts ascomplete and exhaustive as the material would allow. I do not knowwhether anyone has investigated Gísli’s sources or methods, though it
would be a worthwhile project.2 But one should be under no illusionthat Gísli was the only person to have welded together unrelated
1 JÁ II 6–8; Jón Ólafsson, Dictionary s.v. duna, kast, fljó› (see JH 114).
2 A lot could be written about Gísli Konrá›sson, but his literary work has
been little studied and much is unpublished. He wrote a great deal based on
the reports of others and sometimes compiled whole narratives in the style ofthe early sagas, though in many cases he based them on sources already available in print. There are often two or more autograph manuscripts of his compilations extant that vary in length, and then it is presumably generally best tochoose his fullest version. All his writings ought to be studied as to their sourcesand evidence for folk-belief. It is difficult to track down all his printed works,
but the main survey of his writings is in his Ævisaga (Autobiography), printed
1911–14. Some editions of his writings, for instance Syrpa I–II, 1979–80, arenot very carefully done.

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accounts and linked them together with passages from written records,
since those who recorded and edited folk-legends have also sometimes done the same. In cases where sources are mixed up like this,the value of the account is diminished to the extent that it no longer
mirrors oral tradition. It may happen that such blending results in astory that has greater artistic value than the fragments it was made outof had, as has probably often happened with Jón Árnason’s stories,
but this is not the case with all the stories that have been patched together since, and it is a pity if it turns out that one can neither trust thestory nor enjoy it.
Very often it is impossible to distinguish truth from fiction in thefolk-stories. Of course it can generally be assumed that when somepeculiar story-motif, especially one with a supernatural element and
one which also turns up all over the place, occurs in the story, it must
be a later addition, though it can also happen that a false perception ora sight of something mysterious could shape itself in accordance withan account the person had heard about something else (cf. p. 275
below). In other cases it is possible to work out how far legends havedeparted from the original events when one knows a reasonable amountabout the real life of the chief person in the story, but generally it is
only possible to trace changes in the story in relation to its outline. We
looked above at the legend of Galdra-Loftur in some detail, where infact the ‘elements’ of the story existed long before Loftur’s time, moreover already in narrative form. When they became attached to Loftur
they blended into a whole, and it is then possible after a fashion to
trace the development of the story. What is least clear is how theselegendary motifs came to be attached to Loftur, but it must have happened at some stage between his time at Hólar School (c.1720) andwhen the Rev. Pétur heard the story (c.1770). The incidents in Loftur’slife that gave rise to the story (that is, attracted the legendary motifs to
his history) are now quite unknown, but it may be regarded as probable that he died quite soon after finishing his course at Hólar, sinceotherwise more would be known about his life than is the case. We
may guess that he died suddenly, that he went mad, and, thirdly, that
he was involved in witchcraft at Hólar. This would be sufficient toaccount for the story. But we must bear in mind that these guesses are
not supported by any historical records, but are merely inferences derived from the folk-story itself. There are quite a number of cases

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217

where individual incidents can be analysed to throw light on the relationship between folk-legends and historical sources.1
X
A very large group of folk-stories deals with outlaws. In them historical events have given rise to a great deal of fiction in which there is
not all that much supernatural material.2
In all countries where men become outlaws and take to robbery ortheft, legends are formed about them. These often, as one might expect, deal with their cunning, shrewdness and daring. Such stories arewell adapted for travelling from one country to another, and there is aconsiderable number of such international stories. Some of them havereached Iceland, but these have generally retained such clear signs offoreign conditions that they have ended up in the wonder-tale class,and there is really only one of them that has become so Icelandicisedthat it has been localised in Iceland and so become an Icelandic folkstory. This is the story of the eighteen outlaws called Hellismenn (AT956B: ‘The Clever Maiden at Home kills the Robbers’).3
More like the outlaw stories are the stories about Norwegian brigands which occur in some Old Icelandic writings. The account in
1 See Jfiork.; Blanda, passim; Gráskinna II, 52–59, Gráskinna 2 I 134–40;
Margeir Jónsson, ‘Merkilegt örnefni’, Skírnir 1936, 133–50; Gu›ni Jónsson,‘Sannfræ›i íslenzkra fljó›sagna’, Skírnir 1940, 25–57.
2 On outlaw stories see EÓS If 195–96; H. Reykers, Die isländischeÄchtersage, 1936; Spoelstra 1938; A. H. Krappe, Études de mythologie et defolklore germaniques, 1928, 128–35 (cf. Skírnir 1932, 120 n.). Nearly all theearly sources are included in Spoelstra’s book, though the following can supplement his material: Áradalur first appears on the Ortelius map, then in De
mirab. ch. 14, Jón lær›i’s Um Íslands a›skiljanlegar náttúrur in Islandica
XV, 1, Hallur, Hornstrandakvæ›i (Lfrs. II 300); Ódá›ahraun in De mirab.
ch. 4, Jón Halldórsson BS I 190–93, cf. JÁ II 25; Árni Magnússon speaks ofthe outlawry of Torfi of Klofi (Árbók hins íslenzka Fornleifafélags 1940, 78);
the story of Völustakkur (cf. JÁ II 302) in JH 115, cf. JM Píslarsaga 145,
Píslarsaga3 166 (thieves’ lair in Hengill). For other references to outlaws of
the seventeenth and eighteenth centuries see De mirab. 73–74 , Icelandic translation 122 (ch. 32); Lfrs. II (101), 159, 228–29, 304; Sveinn Pálsson,
Beskrivielser af islandske Vulkaner og Bræer, 1883, II 40 (Den norske
Turistforeningens Årbog for 1882).
3 JÁ II 235–37; Verz. no. 956 B.

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Hallfre›ar saga of the Gautish brigand ¯nundr seems to be very close
to reality, but elsewhere evil-doers are more idealised, like Arnljótr
gellini in Ólafs saga helga or the brigand Jƒkull in Vatnsdœla saga; it
is as if they are suffused with the light of romance. The fornaldar
sögur also tell of hut-dwellers, almost troll-like in stature—as indeed
is the brigand ¯nundr, but now beginning to be even bigger in accordance with the demands of romantic fiction. Icelanders enjoyed tellingsuch stories, and clearly recognised the relationship of these men to Icelandic outlaws. There is no reason, however, to exaggerate the influenceof all this on Icelandic outlaw legends; it is just that the living conditions were somewhat similar and the tendencies of the stories very like.
During the period of Icelandic independence there was always anumber of condemned men living up in the mountains, or now andagain in hiding with farmers who sympathised with them. Sometimes
they joined together in bands, sometimes they stayed on their own.
Stories about them were quite popular, especially those of outlawed
heroes like Gísli Súrsson, Grettir the Strong or Hƒr›r Grímkelsson.
For a fairly long time they seem to have been realistic and not muchdifferent from other sagas, except that outlawry made conditions oflife rather special. It is really only Grettis saga that has conspicuous
elements of exaggeration and the supernatural in it.
These skógarmenn, ‘forest men’ (an expression derived from earlier
times in forested countries like Norway), from time to time wandered
about the same parts of the country as the outlaws of later on; bothwere banished from human habitations and their lives were always
insecure. There are therefore considerable similarities between the ancient stories and the more factual legends of later on, but this similarity is thanks to reality and not to art. The ancient sagas have few of thefictional motifs which characterise later outlaw stories, and those that
do occur are mostly in Grettis saga. I am not here talking about Grettir’s
size and cleverness and other commonplace characteristics, but theaccount of fiórisdalr in ch. 61 is clearly related to later outlaw stories.
Grettir went until he found a valley in the glacier [Geitlandsjƒkull], long andrather narrow, and enclosed by ice on all sides so that it overhung the valley.
He got down in a certain place. He saw then fair slopes grown with grass andbrushwood. There were hot springs there and he thought it must be because of
the subterranean heat that the ice did not close in over the valley. A small river
flowed along the valley with smooth gravel banks on both sides. There was
not much sun there, but it seemed to him beyond counting how many sheep

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219

there were there in the valley. These animals were much better and fatter thanhe had seen the like of before. Grettir now fixed himself up there and madehimself a hut with the wood he found there. He used the sheep for food. One
sheep provided more meat than two elsewhere. There was a fawn-coloured,
hornless ewe with a lamb, which he thought most exceptional because of its
size. He was very interested in catching the lamb, and he did this and thenslaughtered the lamb. There was half a hundredweight of suet in the lamb andit was better than anything. But when Mókolla found her lamb gone, she went
up onto Grettir’s hut every night and bleated so that he could not sleep at all atnight. Because of her distress he felt the greatest regret for having slaughtered
the lamb. Every evening when it was half dark he heard calls up in the valley
and then all the animals ran to the same place to sleep every evening. According to Grettir the valley belonged to a giant, half man, whose name was fiórir,and Grettir stayed there under his protection. Grettir named the valley after
him and called it fiórisdalr. He said fiórir had daughters, and they provided
Grettir with entertainment, and they were glad of this, for there was not muchcompany there. And during the fasts Grettir made this observance that suet
and liver should be eaten during Lent. Nothing noteworthy happened during
the winter. Then Grettir found it was so dull there that he could stay no longer.
He then went away from the valley and walked south straight across off theglacier and arrived on the north side of the middle of Skjaldbrei›r. He raised aslab of rock up and knocked a hole in it and said if you put your eye to the holein the slab, that then you could see the gully that comes down from fiórisdalr.1

Here we have the valley in the glacier with grassy slopes and a river
running down the middle; here are great numbers of sheep, all bigger
and fatter than those in inhabited parts. It may not be significant thatthe ewe is brownish like the sheep in the later outlaw verse (JÁ II 276):
Mórau›ur me› mikinn lag›.

Russet with a mighty fleece.

Here also is the valley-dweller with his daughters, with whom Grettir
got on well. All this is just like what we find in later legends (we may
note that it looks as if motifs have been included from more than one
source; on the one hand we have the valley with sheep which Grettir
finds boring, on the other fiórir and his daughters).
Nothing else in the ancient sagas has as close a resemblance to later
outlaw stories as this part of Grettis saga. In ch. 57 there is also
Hallmundr, and in Bár›ar saga Bár›r Snæfellsáss, both mountaindwellers with an air of the guardian spirit about them, though they are
not troll-like; many who read these sagas will find the concepts of
1 Grettis saga, tr. A. Faulkes, Three Icelandic Outlaw Sagas, 2001, 207–08.

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these beings in them rather loose and nebulous, sometimes resembling what is said of outlaws in later legends, while sometimes otherassociations of ideas may predominate. One motif appears unchangedin the later outlaw stories: Bár›r creates a fog so that Tungu-Oddr gets
lost in the lava-field at Drangar, and is separated from his men anddoes not know where he is until he meets the mountain-dweller.
It is thus not until after the loss of independence that fictitious motifs
begin to appear in outlaw legends and shortly before that the wordútileguma›r turns up. Útilega, ‘lying-out’, leggjast út, ‘to go into lyingout’, liggja úti, ‘to lie out’, are common Icelandic expressions used inconnection with all kinds of viking expeditions or living in the open
on land, but the word útileguma›r first appears in Laxdœla saga,
Vatnsdœla saga and Sturlunga saga (which also has útilegufljófr, ‘thief
who hangs out in uninhabited places’) and appears to have originatedin thirteenth-century Icelandic. With the introduction of the authorityof the Norwegian king all these terms changed their meaning somewhat. Previously skóggangr, ‘going to the forest’, referred to banishment as a penalty; now men took to the wastelands to avoid punishment. The execution of the law had before been arbitrary, condemned
men found various refuges or stayed secretly in distant parts of thecountry, but now this was less easy except in the very remotest places,
and then only for the briefest periods, for the whole land was underuniform control.
The early sagas have some examples of condemned men and others
joining together in outlaw bands, like the Hólmverjar, the Hellismenn
and the Kroppsmenn.1 As one might expect, such stories also exist
from later on, but though circumstances were bound to be similar (theyare robbers in the same land), the details are different, except that
there is a tendency to think of the robbers as eighteen in number. The
earliest of the later legends is the one that turns up in Gottskálksannáll
under the year 1454, obviously by guesswork (the date is a century
before the time of the annalist), and reads ‘Eighteen thieves seized at
1 In Vatnsdœla saga ch. 41 we hear of outlaws close to a farming area in
Vatnsdalr—or at least the story implies this. Until now it has been thoughtthat the reference was to the Hellismenn (since there is a cave, hellir, referredto); thus Spoelstra 1938, 45–61. I forgot to mention it in my edition (ÍF VIII),but it seems to me that the author of the saga must mean a quite different bandof robbers, though I do not wish to comment on the historicity of his account.

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221

Sta›aröxl and hanged on the gallows in the courtyard at Reynisnessta›r.
The farmers banded together and vowed to find them. They were foundin fijófagil. They had been stealing women and girls and other valuables including gear and weapons and taking them to their cave; but ashepherd from Sta›r got into the cave while they were asleep, took
away their weapons and told where they were. One of them was allowed to live; he was eighteen years old and the others had forced him
to steal. They were buried under a cairn nearby. All they had, they hadstolen.’ Björn of Skar›sá includes this story in his annals about a hundred years later with a few changes that may be a sign of oral tradition
in Skagafjör›ur.1
Here we have some particular motifs that recur in later legends.
With the outlaws is an innocent local inhabitant who had been frightened into joining them;2 they carry off women3 and are betrayed (heretheir weapons are taken away, in other versions their clothes are half
turned inside out).
The story next turns up in the mid-eighteenth century, in Jón Ólafssonof Grunnavík’s writings. He tells of a band of robbers in the mountain
Hengill (a century earlier the Rev. Jón Magnússon had called Hengill‘a den of thieves’). Jón Ólafsson’s version has the expression ‘Defend
yourself, Völustakkur’; this is well known from the more modern storyof the Hellismenn, referred to in an eighteenth-century geographicaltreatise and most fully recorded in the nineteenth century, when thestory of the outlaws in fijófahellir in M‡rdalur was also put into writing.4
From what has been said it may be inferred that in the late thirteenth
century various heterogeneous ideas were associated with the mountains and mountain-dwellers, but during the first centuries of royal
power in Iceland those concepts that were least linked with othercreatures of Icelandic folk-belief began to drop out, and the modern
outlaw stories gradually took shape. Their basis was historical fact. It
1 Islandske annaler indtil 1578, 371; Annálar 1400–1800 I 63.
2 Laxdal Ósfi 220–29, JÁ2 I 695 (sakleysi).
3 Laxdal Ósfi, 220–29, JÁ2 I 689 (mannahvörf).
4 JÁ II 104, 300. Hellismannasaga, which was printed in both Winnipeg

and Ísafjör›ur in 1889 (reprinted in GJ Íslendinga sögur II 399–466), wascompiled by Gísli Konrá›sson and based on Landnámabók and other sources,
with the folk-story also taken into account; see Jón Samsonarson, ‘Byltingasinna› skáld í fljó›fræ›aham’, Gripla X, 1998, 167–96.

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was widely known that men frequently took to the wastelands, at leastin the seventeenth and eighteenth centuries, and the links with real
events were bound to keep in check the tendency to exaggerate. Thus
for instance outlaws never turn into pure trolls, though they do tend tobe somewhat large of build (this same balance between realism andexaggeration can already be seen in the references to blendingar, ‘halfmen, half giants’ in Grettis saga). But, as normally happens in ‘historical folk-stories’, real events take on a rosy glow or halo in legend; by
the time they reach remote parts of the country, legends about real
events have become exaggerated, and ancient fictional motifs get
attached to them, such as those of the secret valley and all that goeswith it. There is a temptation to increase the size of the valley and turnit into a colony, since it was also known that outlaws sometimes formed
bands, and the hidden people were a whole nation.
Also, in some cases a distinction is made between two kinds of inhabitant in an outlaws’ valley, good ones and evil ones. Thus Jón lær›isays in Áradalsó›ur that one person was lucky enough to get into thevalley without encountering verri dalsins l‡›ir, ‘the worser inhabitants of the valley’.
We have touched above on most of the earlier sources for outlaws,and dealt in general with accounts of them. Now that Ólafur Briem’s
work has appeared,1 it seems unnecessary to go into them in any moredetail, so we will instead look rather more closely at the characteristics of the legends themselves.
First there is the historical situation, the fact that people did go into
outlawry, either of their own volition or because they were made outlaws. It may be presumed that under such circumstances they would
often have received secret help from someone in their home district,
especially where farms were few and far between or when they wereable to establish themselves in places that were hard to find and easy
to defend. Yet if they were on their own, even if they had some help frompeople down in the settled districts, their lives must have been sad ones.
Groups of outlaws who formed themselves into bands are alreadyheard of from the earliest times in Iceland. These were more difficult
to control, for they would always have got hold of weapons, and they
could take turns on guard and find quarters in inaccessible places, likethe Hólmverjar of Har›ar saga.
1 Ólafur Briem, Útilegumenn og au›ar tóttir, 2nd edn., 1983.

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We need not doubt that bodily vigour and physical courage were inhigh esteem with such men, and that few of them were very polishedin their behaviour.
Then there is the dream-quality which enters these legends. This
also clearly appears in stories of Norwegian outlaws, for example theaccounts of Arnljótr gellini in the Kings’ Sagas. Enough has alreadybeen said on this topic above. Among Icelanders the cult of bodily
vigour is very strong, as in the case of Grettir, but in Grettis saga we
also have the outlaw’s dream of the fertile valley rich in sheep up in
the mountains which inhabitants of settled districts seldom or nevervisited. Secondly there are stories of men who avoided ordinary peopleof their own choice, like Bár›r Snæfellsáss with his cave in the Snæfell
glacier. This hermit can be a helper of men he likes, can assist them indanger at sea and so on, and from time to time he may meet otherspirits. He can also cover his dwelling-place with a mist. In this way
offshoots from the ancient belief in guardian spirits could grow into
the outlaw legends. Even so, the outlaw legends of later times may bedescribed as realistic by nature, and I cannot see that one can denythat in most ways they are an entirely Icelandic phenomenon.
Magicians could create a fog in Old Norse stories, and it is therefore
quite natural that some outlaws have the same ability. Sometimes thelegends refer to a hulda (a state of invisibility) being laid on the outlaws’ valleys, and there is no reason to think that this is the result of
any non-Icelandic influence, such as is often found in other kinds ofIcelandic oral story.
There is a combination of belief in guardian spirits and outlaw stories
in Bár›ar saga. Jón lær›i looked for support for his outlaw stories in
the ancient literature; naturally he thought Bár›ar saga was an important source, as well as Grettis saga. One thing is curious: he takesÁvaldi in Áradalsó›ur up into the wastelands, even though neither
Hallfre›ar saga nor Vatnsdœla saga gives him any occasion to do so.
But the name Skegg-Ávaldi occurs in both (and also Skeggjavaldi; cf.
the name Skuggavaldi in Matthías Jochumsson’s play Skugga-Sveinn,
Act II, Scene 4). In Áradalsó›ur, Skegg-Ávaldi is addressed as a guardian spirit or a god, and thus Jón lær›i tries to link outlaw stories with
Old Icelandic texts.
Outlaw stories continue, however, to be firmly down-to-earth. Thus
the hulda or mist which appears in some outlaw legends may be connected with normal mountain mist, though I will not deny that some-224

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times the Irish magic mist (ceó druidechta) may be meant, but I can
see no special reason for so thinking. Of course one can discern a few
influences from various quarters, such as the division of the valley
between good and bad outlaws (this preferably by means of a brookrunning down the middle, a natural enough thing, as a brook runs
along the bottom of most valleys in Iceland). Further, the grazing-land
would perhaps change quality between different parts of the valley;
one can point to real valleys in Iceland which run from east to west, sothat the sun shines on the northern slopes and the southern slopes enjoy little sunshine and the growth of the grass is affected (though it ispossible that there is influence from hagiographical legends in which
one side of a land was green and fair and the other covered with ice or
fire, but it is not necessary to invoke such an explanation). And eventhough magic may stray into these stories, their roots are generally
firmly fixed in reality.
Different layers of material can be seen in stories of magicians, but,once the Old Icelandic literature has been taken into account, this canhardly be said of the outlaw legends. We should note, however, thatvery few really complete stories survive in writing from before JónÁrnason’s time (though it is not all that certain that the passage oftime has brought about any great changes in them anyway). The writings of Jón lær›i, including Um hulin pláss,1 will of course have influenced their own times. In the eighteenth century, however, the outlaw
pair Fjalla-Eyvindur and his doxy Halla were well-known historicalcharacters. It is not unlikely that men’s knowledge of their existencein the wastelands will have strengthened the belief in outlaws, for it
continued fairly unabated into the early part of the nineteenth century,
but, as the wastelands were steadily explored in an orderly way bygeographers, this belief eventually faded out entirely.
As we remarked earlier, supernatural matter is not very prominent
in outlaw stories, though they are not devoid of it. What then is theirprincipal subject-matter? Surely it is the actual outlawry of real people
and the effect outlawry had upon them. The causes could be quite
1 Printed in BE Munnmælasögur 24–36, see also xciii–xcvi. On the authorship see EGP Rit 42–52. Though it may have been Jón Eggertsson who compiled this work, rather than Jón lær›i, it is still a good source for beliefs about
outlaws in the seventeenth century, but since it existed only in a single copy in
Stockholm, it may not have had much influence in Iceland in the seventeenth
and eighteenth centuries.

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diverse. Sometimes men went into outlawry because they had stolen,
for Icelandic rural society of the times came down severely on thieves;sometimes people fled from human society for the sake of unlawful
love (for example sexual love between brother and sister). The Rev.
Jón Halldórsson of Hítardalur, Rural Dean of M‡rar (1665–1736), remarks in this connection that Bishop Oddur Einarsson (of Skálholt,
1589–1630) met a brother and sister in the wasteland Ódá›ahraun,
who had fled from the inhabited lands because of their love of one
another, and Jón Árnason comments on this: ‘Those who have notwished to believe in any stories of outlaws have nonetheless believed
this story in Jón Halldórsson’s Biskupa sögur, and it proves the oldsaying, I would believe so and so if Njáll said it.’1 He considers that
this account of a sober and truthful historian and men’s certainty over
the outlawry of Eyvindur and Halla were the factors which moststrengthened belief in outlaws.2
Besides theft and illicit love, love affairs of a non-incestuous kindappear quite frequently among the causes of outlawry in stories, andare indeed sometimes the kernel of such legends. Sometimes we are
told that outlaws kidnapped a girl from an inhabited area, and this
could lead to a complex series of events.
It is of course far from being the case that theft is the only cause ofoutlawry in stories. Other breaches of the law can also be involved. In
the life and works of Jón lær›i we can see how his misfortunes resulting from accusations of magical practices and heresy caused this muchharried man to create in his imagination a kind of beautiful wish-dreamof a refuge in the mountains, which cannot be better described than by
the refrain he made for Áradalsó›ur:Væri eg einn sau›urinn í hlí›um
skyldi eg renna í Áradal,for›a hrí›um,
for›a mér vi› hrí›um.3

Were I a sheep upon the hillto Áradal I’d swiftly go,
save me from the snowfall,save me from the snow.

1 Jón Halldórsson BS I 190–93; JÁ II 251–54.
2 As is well known, the playwright Jóhann Sigurjónsson wrote a play on the

couple (Bjerg-Eyvind og hans hustru, 1911) which has been widely performed.
3 There is not more poetry relating to Icelandic outlaws than one would
expect. There is a certain amount in Grettis saga; then there is Jón lær›i’sÁradalsó›ur. The poems in Útilegumannakvæ›i (Jfiork. 108–115), andFer›amannsó›ur. Fjallabúasaga, 1905 are probably younger. Other odd bitsof verse turn up now and then in various outlaw stories.

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PART IVICELANDIC WONDER-TALESI
The word ævint‡r(i) is derived from the Old French aventure (Latin
adventura), which means ‘event’, especially a strange or romantic one,or a story of such an event. It seems to have come to Iceland in the latethirteenth century via Norway, and when used of narratives in Old
Icelandic it is primarily of fairly short stories, more often fictional
than true, generally foreign rather than Icelandic. The subject-matter
may be either realistic or supernatural, but it tends more towards fantasy than everyday folk-belief.
This meaning lasted down to Jón Árnason’s time, when a word wasneeded to translate Maurer’s term Märchen. ‘Old wives’ tales’ or ‘oldmens’ and old womens’ tales’ were thought too cumbrous, and Jón
eventually decided to follow Jón Sigur›sson’s example,1 and chosethe word ævint‡ri as being close to the Danish and Norwegian term
Eventyr, though he felt obliged to write a footnote at the beginning of
the relevant section to defend his choice. He and Magnús Grímsson
had used ævint‡ri earlier as a general term for ‘folk-story’ or ‘folklegend’, though Jón Árnason usually called these alfl‡›usögur ‘storiesof the common people’. It is presumed that Jón Sigur›sson andGu›brandur Vigfússon were the actual coiners of the term fljó›saga
as a literal translation of the German word Volkssage.2
Since then the term has been used for the specific class of story
which we tried to define earlier in this book (pp. 21–22 above), without, however, losing its older meaning, which has of course a perfect
right to continue. The reader can hardly have failed to understand what
is meant by the English term wonder-tale, and will also notice thatwhen we have referred above to ‘archaic wonder-tales’ we mean ancient stories that resemble in character one of our modern wonder-

1 See N‡ félagsrit XX, 1860, 190–200, especially 193.
2 Jón Sigur›sson, in his review of Maurer IV (N‡ Félagsrit XX, 1860, 193–
94), usually uses the term alfl‡›usaga, but also sometimes fljó›saga.

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tales, but which have not yet lost their connection with ancient beliefs
and therefore are identical with what are normally called ‘myths’.
To begin with we shall consider only the pure wonder-tale, not literary
fantasies, saints’ legends or humorous stories, which we will examine later.
II
In the late twelfth century the monk Oddr Snorrason at the abbey atfiingeyrar wrote a life of King Óláfr Tryggvason, and spoke in its preface of ‘stepmother stories told by shepherd boys; no one knows whether
they are true, and they always make the king the least important person in their narrative’. It was about the same time that his abbot, Karl
Jónsson, compared King Sverrir’s flight through the wilds to ‘what
we are told in ancient stories happened when royal children had spells
put on them by stepmothers’. Even though this may be based on King
Sverrir’s own words, as we have remarked earlier (p. 79 above), theIcelandic abbot must have known such stories well.
Here we have reached a particular stage in the history of Icelandic
wonder-tales. From now on sources become quite copious, but before
this time they are not easily identifiable, especially since there is notmuch else to go on but verse, particularly heroic and mythologicalpoems, the narratives of Snorri Sturluson and other scholarly writersthat are based on now lost poems, and finally those of their stories thatare related to early poems whether preserved or not, but whose content can fairly certainly be assumed to be ancient. But in this as inother things, it is best to pay more regard to what was certainly old
than to what can only be assumed to have been so.
Many Old Norse heroic stories have also been preserved in variously altered forms among other Germanic peoples. The problem of
the interrelationships of these versions is a highly complex one, andthere is much disagreement about them. In general, however, the Eddic
poems seem to have preserved more primitive forms of the legends
than the continental sources, and we need therefore be less concernedwith whatever wonder-tales may have got mixed up with those versions.
The story of Sigur›r Fáfnisbani, who wakes the valkyrie Sigrdrífa
from her sleep, has long been compared to the story of the Sleeping
Beauty (AT 410), but is it easy to be so sure that the old idea was not
right, that motifs from the Sigrdrífa legend were the basis of this rather
late and not very widely diffused wonder-tale? Sigur›r kills the dragon

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Fáfnir, rather as the heroes of wonder-tales do, but so also do the gods
and heroes of antiquity. firymskvi›a is similar to an Estonian wondertale,1 fiórr’s journey to Útgar›aloki resembles a Celtic hero legend,
and though few will doubt the relationship between these stories, there
is considerable uncertainty over which are the earlier.2 There is an
obvious connection between Snorri’s account of the quern Grotti (andGrottasƒngr) and the wish-quern of the rhyme ‘Grind me neither malt
nor salt’,3 but all the evidence suggests that the Grotti myth is themain foundation of the wonder-tale; and the myth itself might easily
descend from some story told in ancient times by some worshipper ofNerthus (cf. Tacitus), where Grotti might have been a kind of hypostasis or symbolic realisation of a new invention, the grinding mill. Sucha hypothesis suits excellently the mythical brightness of this goldproducing quern. The viking M‡singr who steals the mill is probably
an extension of the story dating from the time after the close of theGolden Age of peace and prosperity. Later still we find versions of thestory influenced by Christian ideology (AT 565).
On the other hand, one of the sources used by the poet of Vƒlundarkvi›a appears to have been a wonder-tale, probably of oriental origin:
his story of the maidens who flew from the south in the form of swans
and married Vƒlundr and his brothers, but later flew off and left them.
A similar wonder-tale is found in many countries (AT 400 ‘The man
in search of his lost wife’). In India the ancient legends of Puru–-ravas
and Urvası – are clearly related to this, but these were divine or semidivine beings, linked to some cult. In the Middle Ages we find kindred stories from the Muslim world (Hassan of Basra, Asem and theQueen of the Djinns in The Thousand and One Nights) that are very
like the wonder-tales of later times. Maybe such a story, at some stageof its evolution, reached the ears of the poet of Vƒlundarkvi›a. In
Scandinavia such stories have been explained as originating in belief
in valkyries or in Celtic legends of swan-maidens.4 Yet this strange,
beautiful story would hardly have survived long in the North in Chris1 See Einar Ól. Sveinsson, Íslenzkar bókmenntir í fornöld, 1962, 283 andreferences.
2 See Helgi Gu›mundsson, Um haf innan, 1997, 136, 324–25.
3 See Einar Ól. Sveinsson, Íslenzkar bókmenntir í fornöld, 1962, 447–53.
4 Cf. H. Holmström, Studier över Svanjungfrumotivet i Volundarkvida ochannorstädes, 1919.

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tian times if it had not become separated from folk-belief and transformed into a pure wonder-tale.
Some isolated motifs appear both in Old Norse heroic stories and in
wonder-tales of later times. It is clear from Helgakvi›a Hjƒrvar›ssonarthat Helgi was odd and backward in his youth, and had some of thecharacteristics of the ‘coalbiter’ or Cinderella-type hero. There aretraces of this motif in other heroic stories, and it is also found in Sagas
of Icelanders from the beginning, but such parallels are of course capable of various interpretations.1
The ancient myths contain a large number of wonder-tale motifs.
Heimdallr can hear grass grow on the ground and wool grow on sheep,
Freyja weeps golden tears, I›unn guards apples of eternal youth, andthe ship Skí›bla›nir can be made as big or as small as one wants.
Some are international motifs, and some are commonplaces of mythor heroic legend in other languages, such as Greek, or else have similarities to what is found in those without the story-line itself being
very like.
There is one passage in Snorri which it is tempting to trace back toa wonder-tale.2 He says of Freyja that her husband Ó›r went far away
leaving her weeping behind, and her tears were of red gold. Freyja has
many names, and the reason is that she called herself by various ofthem as she travelled among strange peoples searching for Ó›r (Gylfaginning ch. 35). It is an attractive idea that here we may have a versionof the story Apuleius tells of Psyche searching for her lost husband
Eros (AT 425, ‘The search for the Lost Husband’), but I am inclined tobelieve that the story of Freyja belongs to a time before Psyche, and isa separate development of a myth of a goddess seeking her dead lover(as, for example, Isis).3
1 See Egils saga ch. 25; Dehmer 1927, 6–16.
2 Cf. F. von der Leyen, Das Märchen in der Göttersagen der Edda, 1899, 8–
11 (the main study of this topic).
3 Cf. G. Schütte, ‘En gammel kulturvej fra Lilleasien til Skandinavien’,
Danske Studier, 1922, 50; Freyja’s by-name S‡r has been connected with dea
Syria, her cats with Cybele’s lion (G. Neckel, Die Überlieferungen vom Gotte
Balder, 1920, 50–51). Isis was not completely unknown in the North, see CarlJ. S. Marstrander, ‘Om runene og runenavnenes oprindesle’, Norsk tidsskrift
for sprogvidenskap I, 1928, 161–63; Carl J. S. Marstrander, ‘Isis chez lesGermains du Nord’, Norsk tidsskrift for sprogvidenskap III, 1929, 236–38.

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The ground is much firmer when we come to Grógaldr and Fjƒlsvinnsmál, though even with them appearances are deceptive. These poems
can scarcely be later than from the time of Oddr Snorrason and Abbot
Karl, that is the late twelfth century. Their content is the same story.
Grógaldr tells how a son comes to the grave of his mother Gróa as she
had told him to do (presumably if he got into difficulties). He tells herthat his stepmother has laid a spell on him forcing him to go and findMenglƒ›, though this is not humanly possible, and he asks Gróa tochant spells to help him on his way. She does so and bids him farewell. Everything suggests that this is going to be a long and dangerous
journey. In Fjƒlsvinnsmál it is apparent that the young man has reached
Menglƒ›’s castle and is talking with the gate-keeper. First he will notreveal his name and says he is called Windcold, the son of Springcold.
Then he asks the gate-keeper endless questions, first, who rules overthe city? He also wants to know the details of the lattice that sticks towhoever wants to open it, the dogs that guard the gate, the one by day
and the other by night, whether there is any way to quieten them andget in . . . all this stretches into a long dialogue, but all ways appear
closed to Svipdagr. In the course of the conversation the tree Mímamei›r, the cockerel ‘with a doubtful name’ and several other things
are mentioned; there is also mention of a hall surrounded by a flickering flame that quivers on the point of a spike, the Healing Rock whichheals every woman who can climb it, and the nine maidens who sit at
Menglƒ›’s knees. Does Menglƒ› love any man? ‘No man but Svipdagr
for whom she was destined,’ answers the gate-keeper. ‘I am Svipdagr,’says the man at the gate. ‘Open the gate!’ Now the dogs are friendly,
and the house opens of its own accord. He enters and tells Menglƒ›his name and descent and she receives him with words of welcome.
The story is dressed up in the style of ancient Norse mythologicalpoems, from which lines or half-lines are borrowed. There are large
numbers of names of things and persons, and there appear here andthere details from early Scandinavian myth. These were the first things
scholars noticed; of course they were eager to find them. But as time
went on, it became clearer that these poems did not contain genuine
Norse mythology. The subject-matter was a magical spell, álƒg, utteredby a stepmother, reminding one of folk-stories. There was a difficult
journey to a faraway princess, and a happy ending. Was not the story

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then a simple creation of free fantasy? But that was also an unwarranted assumption. Comparison of the poems with various similarsources shows that there is considerable traditional material in them,not only motifs, but sometimes also expressions associated with the
motifs.
There were important studies of these poems made about the middleof the nineteenth century. Svend Grundtvig and Sophus Bugge demonstrated significant similarities between them and various medieval
texts such as Danish and Swedish ballads, the Icelandic Hjálmflérssaga and the Welsh story of Culhwch and Olwen. Later Hjalmar Falkdrew attention to some Icelandic folk-stories, most of them written
down about 1700 and later.1
Everything pointed to the fact that much of the traditional matter ofthe poems was of Celtic origin, but blended with Norse material. Morerecently the present writer wrote an essay about all this, where he
maintained that the ballads were derived from the two Eddic poems
but that these originated in Celtic stories, and tried to show that theirchief Celtic source was the Irish Adventures of Art and the Courtshipof Delbchaem (in a manuscript of the fifteenth century). All this isdiscussed in his book Löng er för, 1975 (Studia Islandica 34), which
also is provided with a bibliography.
The Icelandic source that has most similarity with the poems
Grógaldr and Fjƒlsvinnsmál is Hjálmflérs saga. This was probably
written about 1300, but is preserved in somewhat later versions, one
in prose, the other in verse (rímur). Between this source and thosementioned above there is undoubtedly a relationship, but in Hjálmflérssaga the material is blended with other motifs, especially as we getfurther into the saga. But most of the motifs are genuine wonder-talemotifs, and the style is also largely that of the wonder-tale too.
As for the Icelandic wonder-tales that are related to these stories
and poems, they are more variable and show influences from elsewhere, but their subject-matter is often interesting, and so is their general style.
1 S. Grundvig, Danmarks gamle Folkeviser, 1853–90, I 239, II 239, 648,

655, III 806, IV 742, 785; S. Bugge, Forbindelsen mellem Grógaldr og
Fjölsvinnsmál oplyst ved Sammenligning med den dansk-svenske Folkeviseom Sveidal, 1861; Hj. Falk, ‘Om Svipdagsmál’, AfnF IX (1893), 311–62 andX (1894), 26–82.

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Hjálmflérs saga resembles Culhwch and Olwen more closely than
the story of Svipdagr does; for example, the suitor is given tests to pass.1
The next time we meet this wonder-tale in written form is around 1700,
in Himinbjargar saga, where there are numerous changes in the storyline, and in the nineteenth century it is found in a whole host of wondertales (Verz. no. 556 I–VII). Some of its motifs are also found in Ála-Flekks
saga (written around 1400), and a board-game with a message on it is
one of the principal motifs of Vilhjálms saga sjó›s. Thus the Celtic stories
had obviously penetrated Iceland to some extent by the fifteenth century.
A different kind of spell appears in Hjálmflérs saga. A man is turned(by his stepmother or some other person) into a monster (a troll orsome animal), and this is of course much commoner than the otherkind; it turns up in almost every other Icelandic wonder-tale. The álƒg,a spell that compels someone to do something, seems a peculiarly
Celtic motif to me (Irish geis), but the transformation spell was known
everywhere and could have come to Iceland from anywhere. Transformation spells are not always, of course, linked with the stepmothermotif (any more than the álög type of spell), but the two often go
together and have been exceptionally popular in Iceland. I have already mentioned evidence that the stepmother motif was common
knowledge there by 1200, though Icelandic sources do not actuallytell the story in full until c.1300. Its essential feature is that the stepmother is a troll who has taken on human shape; for the rest the variants are two, which we may designate A and B.
The A-variant is by far the commoner and fuller. A king and queen
have one (or more) children. The queen falls ill and dies; she is placedin a mound, and the king sits constantly by it grieving. His counsellor
advises him to marry again, so as to gain release from his grief. The
king sends him away to find him a bride, and he sails off, only to run
into a fog and lose his way at sea. At last he reaches an island where heencounters a woman who appears to be very beautiful, and whom hecourts on his king’s behalf. She agrees to marry the king, and goeswith the counsellor; this time the journey is without incident, and the
king marries her straight away.

1 In Eyrbyggja saga ch. 28 Styr says that he was following the example ofmen of old in making the berserk Halli perform tasks to win the hand of his
daughter. This can hardly mean anything other than wonder-tales.

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233

The narrative is generally full of formulaic phrases, as we shall see
later (Section VIII below), though some things may be omitted in individual versions; the basic form of the story is usually as I have summarised it. The B-variant is much less coherent. There it is said thatwhile the king is grieving most deeply for his queen, a woman appears
who changes his mood at once, so that he marries her in gratitude.
This variant is, however, much less clearly formed and more variable,
the account in Himinbjargar saga being the strangest, with the stepmother coming down on a cloud (and in this case she does not turn out
to be a troll, though great mystery remains about her).
In both variants the story then continues with the stepchild refusing
to do anything, showing no respect to the stepmother and so on, until
the spell is laid on it.
The stepmother motif is known the world over: the stepmother iscruel to her stepchildren, she is sometimes a witch and casts spells onthem (changes them into animals and so on). Both in Icelandic stories
and in those from other countries she often has a daughter of her own.
It is a short step from being a witch to being an ogress; this is a veryfrequent variation in Icelandic stories, and may have been invented in
Iceland. But at this stage the Celtic stories come in with their peculiar
motifs and characteristic style of narrative, and when this permeates
the Norse stories they gain new life and popularity. Some story-teller
invented the A-variant, and it swept over the country very quickly andwas then included in half the wonder-tales that came to Iceland fromabroad. I do not know of this variation anywhere except in Iceland,
and all the signs are that it was invented here. The parallels that havebeen found in Norwegian ballads,1 which lack one major item, thecounsellor’s journey, are likely to be degenerate offspring of Icelandic
fornaldar sögur.2
Some curious stories have come to Iceland from Celtic sources besides that of Svipdagr, stories which never turned so obviously into
wonder-tales.3 Icelandic wonder-tales of the nineteenth century have
1 See Knut Liestøl, Norske trollvisor og norrøne sogor, 1915, 202–08.
2 Things are expressed a little more clearly here than in Verz. xxvii–xxxiii;
cf. H. Reykers, Die isländische Ächtersage, 1936, 1–3, where what was saidin Verz. has been misunderstood.
3 Cf. Einar Ól. Sveinsson, ‘Keltnesk áhrif á íslenzkar ‡kjusögur’, Skírnir
1932, 100–23; Einar Ól. Sveinsson, ‘Celtic elements in Icelandic Tradition’,Béaloideas 1957 (1959), 3–24.

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not been compared with those of neighbouring countries, so we cannot be sure where analogues are most likely to be found. The story of
Red Bull has a parallel in Irish, which is perhaps closer than any other.
The story of Wake-Well and his Brothers may with more certainty be
regarded as of Celtic origin; if so, it probably reached Iceland earlyon.1 Stories of people with special abilities are known all over theworld (such as those classified in AT 513 ‘Six go through whole world’),and must have been very popular among the British and Irish; thelatter have many stories of heroes who had various half-supernatural
skills (cless). The skills of Wake-Well and his brothers must haveseemed somewhat strange to Icelanders, for the story did not become
a story linked with folk-belief but a wonder-tale.
Even though the Icelanders in early times travelled widely (and thismust never be forgotten), their contacts with Norway were by far theclosest of their cultural ties, and we may assume that Norway was thesource of most of the international stories that reached them in theolder period. The wonder-tales that came from Norway and had existed there for a while had been adapted to some degree to Norwegiannarrative patterns, and when they reached Iceland, it was to be expected that they would be influenced by the popular stepmother-andspell stories, which did not help to bring them closer to folk-belief.
Those that had been only a short time in Norway, or came to Iceland
directly from more distant countries, would have been so strange thatthey would be ‘wonder-tales’ from the start, that is, imaginative andentertaining fictions. How the one may have influenced the other cannot now be demonstrated in any detail. There is a story in the fourteenthcentury Hálfs saga of a merman, which could have become a wondertale, but became instead a legend linked to folk-belief. Egils saga okÁsmundar, a story from the same period, tells of a giant whom Egill
blinds on the pretext of making him rich. This is the Polyphemus motifof the Odyssey (Book IX), but in a form very like what is current in
Norway (Lagerholm DL xxxi–xli). In the same saga there are princesses stolen, one by a griffin, the other by a vulture, which were,
however, really trolls. This has been thought to have most affinity
with Norwegian wonder-tales, especially versions of AT 301 ‘The Three
Stolen Princesses’.
1 Cf. Heinz Dehmer, ‘Die Grendelkämpfe Beowulfs im Lichte moderner
Märchenforschung’, Germanisch-Romanische Monatsschrift, 1928, 212–18.

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Vilmundar saga vi›utan seems to contain the first appearance ofCinderella in Iceland, and Gƒngu-Hrólfs saga that of the princess withthe golden hair; this story is told in a very poetic and romantic manner.1
Sigrgar›s saga frækna is a stepmother story in which a life-egg also
appears; it is clearly based on stories which had been around in Iceland for a long time. There is generally no doubt that there are numerous wonder-tales embedded in sagas like these, which were all composed in Iceland in the fourteenth or fifteenth centuries, and from thenon there was no danger of their being transformed and accepted intofolk-belief.2

IV
Anyone who looks at Icelandic wonder-tales in folk-story collectionsof the nineteenth and twentieth centuries may well want to know how
long these stories have been in Iceland. Just in case, therefore, I shallgive some account of my views on this question. Icelandic wondertales appear to vary very considerably in age, some seem to have arrived only in the recent past, while others are of the remotest antiquity. It is as well to make the following points clear so as to accountfor this variation.
The most reliable evidence of age is literature of earlier centuries;
this can determine whether this or that story existed at such and such atime. One must naturally exercise great care and precision in suchinvestigations, both in observing the precautions mentioned earlier inthis book and also in remembering that authors of written stories altered wonder-tale material to suit their own tastes and purposes.
We have assumed that written stories succeeded oral ones, but it
also happens that written stories translated from foreign sources, oreven Icelandic romances, later get into oral tradition. Examples are
Clári saga, Hermó›s saga ok Há›varar, some stories from The Thousand and One Nights (Peribanou, the Talking Bird) and Boccaccio’s
1 J. Dünninger, ‘Untersuchungen zur Gƒngu-Hrólfs Saga’, AfnF XLVII(1931), 309–46 and AfnF XLVIII (1932), 31–60.
2 Cf. Verz. xii–xvi, EÓS Folkeæventyr 285–88. The reader may notice thatsome things are taken differently here from in those writings, and that thenature of these stories is analysed in greater detail here.

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story of Patient Griselda.1 This provides good evidence about the ageof the oral versions, which will usually have been coloured by contemporary wonder-tales.2
When we know that an Icelandic version of a wonder-tale is closely
related to one in a specific country, this gives an indication, but nomore, of its date. It is most likely to have come to Iceland while contacts between the two countries were strongest. Thus Danish stories
are most likely to have come to Iceland after the Reformation andNorwegian ones before it. Those that have come from other countries
can be assigned to a particular period with less certainty, because contacts with them were intermittent (those with England were at theirheight in the late Middle Ages, those with Germany during the same
period and a little longer, until the eventual expulsion of German merchants by Danish ones around 1600, and those with the Netherlands
rather later than that). As for Celtic stories, one is most inclined tothink of them as having been brought over during the Settlement period,for it is probable that in all quite a large number of Irish came to Iceland then. Their folk-stories would then have lived on in their new
home, though overshadowed by the remarkable flowering of medieval Scandinavian literature in Iceland.
Something can be gleaned from the language of wonder-tales. Nearly
all the variants of one story (Verz. 126–28) retain the names Tístramand Ísól and these names (and hence this wonder-tale in its present
Icelandic form) must be from the time when they were known andmade popular by Tristans saga. Names, however, seldom witness soclearly to the age of a story. The style of a wonder-tale is also well
worth noting. The extent to which it has been formalised, the frequency
of fixed formulaic expressions in the majority of a story’s variants
and the recurrence of the same story-material as in other stories can
all suggest that a story is older than one whose style is less formalised
and where the variants show that tellers have been less bound by
tradition. The story of the cow Búkolla is one that has highly formalised
1 On Griselda, see Halldór Hermannsson, ‘The story of Griselda in Iceland’,Islandica VII, 1914.
2 In the Griselda story, for instance, the detail about the candle has been
added: ‘The fingers burn painfully, but the heart burns more painfully.’ Thereis also a parallel in Saxo Grammaticus, cf. A. Olrik, ‘Märchen in Saxo Grammaticus’, ZdVfV 1892, 252–58.

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variants (see pp. 242, 251–53, 307 below), and I do not think they arevery recent. Some stories have become rhyme-like, their key-phrases
turned into verse. One such, the story of Tístram and Ísól, is full ofverses, and others are more or less full of set phrases and have the odd
verse as well. Some of them may have quite a history, like the verse
about Mja›veig’s paradise quoted at the beginning of this book, whose
first two lines occur, for instance, in a Norwegian traditional rhyme:
Tirr tirr i tara,i morgo skal me fara
langt burt i djupe dalar,til elvekongens salar;
der er saa godt aa gjæta,der fell ingi vætader veks lauken
der gjel gauken
der bygger svola
högt upp i fura . . .

Tirr, tirr, tirry-o!
Tomorrow I shall goto the deep dells far away,
to the elvenking’s high halls;
there it is so sweet to stay,there no rain ever falls,
there leeks do spring,
there cuckoos sing,
there the swallow builds her nestin the fir-tree high to rest . . .

A medieval Danish poem first recorded in the sixteenth century has aman or spirit tempt a woman in these words:
Jeg skal före dig til den Ösom du skal leve og aldrig dö,
der synger ikke andre Fugle end Gög,
der gror ikke andet Græs end Lög.

I will take you to an isle
where you will live and never die,where no bird but the cuckoo sings
where no grass but the leek-grass springs.

These rhymes establish the age of the verses in the story of Mja›veig,
which must at least be medieval in origin.1 Some unrhymed lines inwonder-tales could be medieval or even earlier (those whose metre
resembles fornyr›islag), but they could of course also be of more recent
origin. On the other hand, I think that those stanzas which are in metres
1 For the Norwegian rhyme see B. Stöylen, Norske börnerim og leikar, 1899,
37 (nos 255–56), 54 (nos 358–61); M. B. Landstad, ed., Norske Folkeviser,
1853, 797, 800; S. H. Grundtvig, ed., Danmarks gamle Folkeviser, 1853–90,
II 338–47, IV 1–32, 494–98; Feilberg Ordbog, lög (II and IV); cf. also J.
Fritzner, Ordbog over det gamle norske Sprog, 1886–96, s.v. laukr. I would
point out that in Mja›veig’s verse the ram is clearly a valuable animal. In
Laxdal Ós it is said that the ram shed its fleece four times a year, and every
season it changed colour; it was dark blue in spring, green in summer, red inautumn and yellow in winter. Cf. also the ram in Samsons saga fagra (ed. J.
Wilson, 1953, 34) and the dog in Tristrams saga og Ísƒndar, ch. 61 (The Sagaof Tristram and Ísönd, tr. Paul Schach, 1973).

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derived from rímur, or have in other ways the feel of rímur, will generally be of more recent origin, as the widespread popularity of thisform of entertainment in Iceland is of post-Reformation growth.
Finally, I think that some conclusions can be drawn from the content of wonder-tales, and I will give some examples. The story of Helga
Karlsdóttir in Ólafur Daví›sson’s fijó›sögur (ÓDav.5 IV 47–50) is
clearly the Cinderella story with little alteration, and therefore of recent growth in Iceland. But the story of Mja›veig Mánadóttir is another version of the same story, and it is greatly changed from what isfound most other European languages and is very Icelandic in character. It must have been about in Iceland for a long time, and the fifteenthcentury Vilmundar saga vi›utan appears to be based on something
like it.
Among the wonder-tales that seem to have acquired a particularly
Icelandic character is a group with peculiarly stereotyped phraseology, in which verses sometimes occur. These are the ‘cottage-stories’,
stories that generally describe a very primitive existence with very
little romantic glow cast over it. Everything is clearly defined andrealistic, much is coarse and earthy. Here the trolls do not change shape
as in the stepmother-stories, and do not deceive with calculated cunning. They are ugly and grotesque, stupid and credulous, and often
tricked by their would-be victims. They live barely a stone’s throwfrom the cottage, just as in ordinary folk-stories about trolls, and generally resemble the trolls of folk-belief much more than is normal inwonder-tales. Many of these stories are rather short, and it is sometimes hard to see where one story ends and the next begins. The following stories belong to this group: Kolrassa krókrí›andi (Coalarse
Crookrider) (JÁ II 455–60), Fóa feykiróa (Tailsweeper) (JÁ3 V 168–70), fiúfukerling (The Tump-hag) (Verz. 327), Lupus (JÁ3 V 51–61),Ki›uvaldi (Kid-owner, referring to goats’ kids; JÁ II 454–55), andalso the Búkolla stories (JÁ II 467–71).1 The lowliness of the settings
is naturally no guide as to their age, nor is the common motif of ‘theneglected child usually turns out the best’, but to me much of the primary material of these stories appears to be ancient in character, and I
believe that the earliest Icelandic wonder-tales are to be found in thisgroup.
1 See Verz. no. 311, 327 C and D, 328, 480; 323, cf. 425, 4.

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V
It is claimed that wonder-tales are international, that the same stories
are found all over the world. They originate in one place, and thentravel from country to country.
Most Icelandic wonder-tales have parallels in other countries, though
there are often extensive differences. When one can reckon to be dealing with the same story, it is natural to assume that it reached Icelandfrom abroad and then circulated there. One can of course, find exceptions to this. There is a Faroese wonder-tale about the dog Snati, whichis undoubtedly derived from the Icelandic story of Prince Hringr, andthe story of Kolrassa krókrí›andi has influenced a Faroese version of
the same legend and the name Kola króka in the Faroese story is moreover unquestionably an abbreviation of the Icelandic name. We should
also mention that the story of Álfa-Árni exists in the Faroes, and thatpart of Bár›ar saga was first of all made into a poem (Sey›aríma)
there, and then into a wonder-tale.1
It is not out of the question that some stories of the wonder-tale typemay have travelled from Iceland to Norway, but it is safest not to be
too dogmatic about it. The story of Hildr the Good Stepmother, which
is known only in Iceland and Norway, is much fuller and more widespread in the Icelandic version, and, like some other Icelandic stories,
it can be explained as having been made up as a counter to the numerous and repetitive stories of evil stepmothers. It is quite possible that
this is an Icelandic story that travelled to Norway.2
Such cases, however, are exceptions, and most Icelandic wondertales must have come from other countries—but from where? This
has never been investigated, but it may seem likely that most of themcame from those countries that the Icelanders had most intercourse
with, Norway and Denmark. We must not close our eyes, however, tothe fact that Icelanders have travelled far and wide, and could havebrought home stories from much more distant lands. But guesses cannot solve the problem, which can only be settled by careful research.
Iceland can be said to have occupied an outpost of the civilised world,
far from the great nations, many days’ journey away by sea over which
1 For Snati, Kolrassa, Álfa-Árni, giant wedding, see J. Jakobsen, Færøske
Folkesagn og Æventyr, 1898–1901, nos 2, 42, 153, 253 and pp. xxi, 629–30;
JÁ II 360, 455–60.
2 Cf. EÓS Folkeæventyr 290 and references.

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comparatively few ships sailed. This situation cannot have failed tohave had a great effect on the way legends came to Iceland, and on
their development once they reached it.
Firstly we must consider the phenomena that become apparent whena story reaches the limit of its range of dissemination; we may perhaps
call them ‘periphery phenomena’. The story will very likely be an
importation, its content and tone foreign to the natives of its new home,
and it may be in danger of failing to attract the support of related
legends or of native folk-belief. The chances will be that its spread
will be more limited than nearer the centre of its area of dissemination, where it may be a common story so that one variant corrects
another. Both these factors may lead to distortion. I consider that Icelandic stories suffer quite a lot from these destructive periphery phenomena. But the country’s isolation can also have a beneficial effect onthem. In isolated places, whether on the periphery or not, there is agreater chance that an ancient form of a story will be kept intact if it isfortunate enough not to get distorted, even though new forms of it
may have developed closer to the centre of its area in countries with adense population. I am convinced that this has often been the case in
Iceland, though it can only be proved by extensive research.
Two kinds of dissemination of stories are sometimes distinguished,according to whether they spread gradually out in all directions fromtheir places of origin or go in a leap with an individual traveller to a
far-off place. For geographical reasons all movement of folk-stories
to Iceland must have been by the second method apart from what was
brought by the first settlers. It is easy to imagine how this might haveturned out in practice. One man brings a story to Iceland. If he remembers it and tells it to many people, all will be well. But things can gowrong if he misremembers it or tells it wrongly, and even if he reproduces it accurately, if he tells it to only a few people, one or more ofthem may then leave out part of it, and then there is no telling when
the same story will come again across the sea to correct the defective
version, nor indeed whether the newly-imported version will be any
improvement.
There can be both positive and negative effects when stories arealtered, as I tried to demonstrate earlier (pp. 65–66 above). It is notalways right to suppress deliberate corrections by a story-teller, and in
this connection there is particular reason to bear in mind the possible

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benefits of changes that bring stories closer to the shape of native
stories.
Let us look at some examples to help us see more clearly how manythings could happen to a story brought into Iceland. Gƒngu-Hrólfs
saga follows a wonder-tale about a princess with golden hair, obviously quite a good variant. This no longer exists in Iceland, as far as is
known. The widespread Polyphemus legend is well known in medieval Icelandic writings, but has not survived as an independent folkstory as far as I know, though it has become a part of the story ofSurtla in Blálandseyjar (JÁ II 355–58).
One has to remember such misadventures when comparing Icelandic and non-Icelandic wonder-tales. It is interesting how many of thestories most widespread in Europe are not found in Iceland. The sea
may have hindered many of them from reaching the country, or odd
variants may well have got here and then disappeared. I admit, however, that these considerations have not entirely dispersed my doubts
about whether some of the wonder-tales that are now so widespread
elsewhere in Europe were quite as popular earlier on, and whether thiswould not explain why they are not known from oral tradition in Iceland.
Distortion and omissions are very common in Icelandic wondertales, as can easily be seen by taking a recent story and comparing its
variants. It is, however, much more interesting to look at more archaicstories, where the differences from foreign wonder-tales are more complex; they can result from omission and distortion or the influence of an
earlier version, or from Icelandicisation of the story, or from a story-teller’s
improvements. It is quite interesting to look at this a little more closely.
Many wonder-tales tell of flight from a troll or other supernatural
being, and the flight can be miraculous since the human either escapesby flinging some object down behind him which turns into a lake, amountain, a forest or a fire, for example, or else he changes shape so
as not to be recognised by his pursuer. This flight motif first appears in
a Japanese heroic story from about AD 700 (Isaghi and Isanami), in astory of magic in Book V of Saxo’s Historia (about 1200) and a little
earlier in an Indian adventure story (Somadeva’s Katha– Sarit Sa–gara(The Ocean of Story), c.1100)1 that tells how a man fled from a monster with the aid of the monster’s daughter, a well-known and widely1 Tr. C. H. Tawney, 10 vols, 1924–28.

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diffused kind of story (Stith Thompson *G 530.2; it appears in JÁ II(379–83) in the story of Geirlaug and Græ›ari, etc.); then there is also
the story of a boy with golden hair who flees on the monster’s horse.1
And in Iceland there is the story of Búkolla and the boy, which isarchaic in content and style, and is a well-constructed, logical unity. Is
it based on the wonder-tales (and, more particularly, on the one about
the boy with golden hair)? Or is it independent of them, an ancient
comic story (like Kolrassa krókrí›andi) based on a serious ancient
myth about this kind of miraculous escape?
We have another example, quite unlike the first, but also quite interesting. Jón Árnason has a second Búkolla-story, told by fiorvar›urÓlafsson, about Helga Old Man’s Daughter, who performs hard tasks
for an ogress with the aid of the hideously ugly Dordingull (JÁ II 467–
70). The story is not well-formed, because Búkolla drops out of it
once Helga reaches the ogress’s home, and the account of the tasks
replaces the end of the Búkolla legend. Doubtless the explanation isthat the story is a composite of two stories, neither of them complete;
the Búkolla motif is from the Búkolla story, the tasks are from anotherwonder-tale, and it is interesting to look carefully at all this, asfiorvar›ur’s narrative has a very archaic feel. I do not think that there
can be any doubt that the second wonder-tale is a variant of the storyof Cupid and Psyche.2 This story is found all over the world, at all
periods and in numerous versions. It is known all over Iceland andthere are many variants of it there (see Verz. nos 425 and 425 I). The
mythological elements have naturally disappeared and an ogress (oran ogress’s daughter) who wants to have the husband of the young
woman for her husband has taken the place of Venus, the young man
is under a spell of some kind or other, which his wife has to releasehim from, while he is bound to the ogress by a promise if this fails.
The wife cannot complete her tasks unaided, and is helped by her(disguised) husband. Thus the story gains a new cohesion, but, because
this second Búkolla-story is a composite story, there is no connection
between the ogress and Dordingull, nor between him and Helga, andhe appears simply as some unnamed prince under a spell, but is otherwise very strange and mysterious. The tasks are imposed on Helga for
1 See Antti Aarne, Die magische Flucht, 1930 (FFC 92).
2 Jan-Öjvind Swahn, The Tale of Cupid and Psyche (Aarne-Thompson 425& 428), 1955.

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no other reason than troll-like ill nature, and they are apt to vary according to the story-teller’s taste. In some Icelandic stories that include
such tasks, one of them is to dry corn in the open (the earliest of theseis from the seventeenth century), but the usual demand is that she put
bedclothes and eiderdown out to air or, as in the Búkolla-story, that
she make the bed.1 The task of fetching water from a spring is rare in
Icelandic stories,2 and as one might expect, the spring is, when it isfound, but a pale shadow in comparison with the source of the River
Styx in the Classical version. Helga’s most difficult task is to go to the
Queen of the Dales (the name gives a slight indication of the origin of
this task, though who would dare to guess from that alone that thesedales were the dark Underworld, and the ogress none other than
Proserpine, the queen of the realm of the dead?). Wolves do not usually appear in troll-stories (they are extremely rare there), but here
they replace the great hound Cerberus. Psyche must not eat Proserpine’s
food, or else she would never be able to escape from Hades, but thishas been forgotten in the wonder-tale, where the food is merely poisoned,and Helga throws it to the wolves, who are killed by it, and the narrative
so gains in logical coherence. The Queen of the Dales retains some(though only the most memorable) of the attributes of the queen ofHades, because these add some tension to the story. They are therefore
kept, though their meaning is forgotten. Her sister, however, loses all
the attributes of Venus and retains only her role as a hostile force, which
she performs as an ogress, complete with a cave and all the appropriate primitive and troll-like characteristics. The enchanted prince keeps
his curious skin (the mantle), which was already there at the time of
the fornaldar sögur. All this gives a good impression of how variously
ancient scraps of treasure can be hidden in wonder-tales, how often
they are recast, and how thoroughly they are Icelandicised.
VI
Between Grógaldr and Hjálmflérs saga there is very likely one further source about the ancient stepmother stories, and that is Bjarka
fláttr, reckoned to be from about 1300, but now preserved in two some1 Corn: see JGl Ármannsrímur, Verz. 556* II; down and bedclothes:Ármannsfláttur in Laxdal Ós (ch. 47); Verz. 71, 77, 78.
2 See Verz. 16; 84 (from The Thousand and One Nights).

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what later sources, Bjarkarímur and Hrólfs saga kraka.1 There areconsiderable differences between these two, but this does not matterall that much for the moment, and we shall mainly follow the saga.
The fláttr begins as a stepmother story of the Icelandic type, with an
envoy sent to find a bride, losing his bearings at sea, and coming acrossa woman north in Finnmark—a modern wonder-tale would probably
not have named a particular country, but would have made the story
take place in a far-off, nameless land, and I think it most likely that
this detail in the fláttr is a more ancient feature of the narrative, andthat the lack of place-names came in later with foreign wonder-tales.
Next comes the main substance of the story. The queen tries to entice
her stepson, Bjƒrn, into adultery with her, but he gives her a slap on
the face, and she loses her temper and strikes him with a wolf-skinglove and lays a spell on him, turning him into a bear.2
Next it tells about Bera (Hildr), the old man’s daughter who meetsthe bear and stays with him in his cave. He then turns back into his
proper form (apparently only at night). He tells her before they partthat he will be killed the next day, and bids her beware of eating any ofhis meat, but she is to keep what she finds under his shoulder. He also
tells her that she is with child, and will bear three sons. He tells her tosend them to his cave as soon as they are old enough, and then they
will each get the weapon meant for them. The next day the bear is
killed, and Bera (Hildr) gets what is under his shoulder, which is aring. The Queen forces her to eat some of the bear’s meat, and hersons suffer the consequences of this. The eldest, Fró›i, becomes an
elk (elgr) from the waist down, fiórir, the next one, has dog’s feet, andonly the youngest, Bƒ›varr, is unaffected. One by one the sons leave
their mother, and each takes his proper weapon from the cave. Elgfró›ithen becomes a bandit, fiórir becomes king in Gautland, while Bƒ›varr
finds out from his mother about the fate of his father and avenges him
by killing the Queen. He now sets off to find his brothers and has
many adventures; he drinks from the blood of his brother Elgfró›i’s
1 See Hrólfs saga kraka og Bjarkarímur, ed. Finnur Jónsson, 1904; Hrólfs
saga kraka, ed. D. Slay, 1960 (EA B 1).
2 The reasons for their falling out are different in the various treatments ofthe story (cf. pp. 232–33 above), but this version is also found in Hjálmflérssaga etc. and can be traced back to Homer’s account of Bellerophon (Iliad,
Book VI). It is no longer used in Icelandic wonder-tales.

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calf, thus gaining great physical strength. Then Elgfró›i steps with his
foot on a rock in his cave and says that his footprint will fill withblood if Bƒ›varr is killed by weapons, with earth if he dies of sickness, and with water if he is drowned. After this there is a long story
about Bƒ›varr himself, how he comes to the court of King Hrólfr kraki
at Lejre and kills a monster there.1
This is the core of Bjarka fláttr, to which various motifs have been
added, apparently at random, and we will not go into these here. The
main theme of the story is related to ancient stories from northern
Europe which tell of a woman who became the wife of a forest-bear.
In Saxo Grammaticus (Gesta Danorum X.xv.2–4) the story goes like
this: a farmer’s daughter and her maids went out to play and got lost.
A bear wandered by and the maids fled, but the bear took the farmer’s
daughter to his den and kept her there until he was hunted down andkilled. The girl bore a son and called him Bjƒrn. When he was justgrown up his mother told him about his father’s death, and he avenged
him. Bjƒrn’s son was fiorgils sprakaleggr.2 This bear’s son motif has
also got into a widespread wonder-tale, chiefly in north-west Europe,and I know of no reason to think that this did not happen fairly late.3
The main features of Bjarka fláttr are in Saxo’s narrative, which isin other ways less elaborate. I have no doubt that, for instance, thetaboo on eating the bear’s flesh is ancient. I believe that we have herean early story from a time when animals were very important in religious belief, but I leave it to more learned men to decide whether it
has to do with totemism or something else.4
1 On Bjarka fláttr, for comparison with what follows, I shall just refer to A.
Olrik, Danmarks gamle Heltedigtning, 1903–10, I 134–43, 215–17; C. W.
von Sydow, Beowulf och Bjarke, 1923 (Studier i nordisk filologi XIV:3). A
great deal has been written about all this.
2 Cf. Axel Olrik, ‘Sivard den digre, en vikingesaga fra de danske i Nordengland’, AfnF XIX (1903), 199–223; C. E. Wright, The Cultivation of Sagain Anglo-Saxon England, 1939, 129–43; cf. also Albert Wesselski, Märchen
des Mittelalters, 1925, no. 57 (a man married to a she-bear).
3 It may be mentioned that the Faroese poem Hindin (S. H. Grundtvig, ed.,Danmarks gamle Folkeviser, 1853–90, IV 894) is probably derived from Bjarka
fláttr.
4 In passing I will draw attention to the strong superstitions about bears thathave existed in Iceland; see Jón lær›i’s Um Íslands a›skiljanlegar náttúrur in
Islandica XV, 14–15; Jfiork. 304; Ólafur Halldórsson, Grænland í mi›aldaritum, 1978, 45, 288.

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Motifs from other ancient stories based on beliefs about animals
have been attracted into this old bear-legend. Belief in the magic powerof elks is reflected in the figure of Elgfró›i, and in that of dogs in the
figure of fiórir hundsfótr. But the magical aspect is weakened by making the animal descent (and nature) come out in Elgfró›i being only
half an elk, and fiórir just having dog’s feet. The author of the fláttr
has further modified the figure of Elgfró›i by making the dark forcesof his animal nature contend with the human side of his nature.
The actual main theme of the bear-story has, however, been changedin the fláttr by making the bear into a man under a spell, who loses his
bear’s shape at night. As a result the story has become more meaningful and acceptable to the standards of later ages, though at the sametime it has moved further away from religious belief and become moreof a fantasy. It has caused it to become closely associated with werewolf legends, which had become detached from folk-belief in Iceland
about this time, and changed through the influence of written (or maybeoral) western European stories into stories of enchantment.1 By thesame process, reinterpretation as stories of enchantment, many of themarvels of foreign stories were made more acceptable to Icelandic
audiences. Birds and beasts often appear in wonder-tales, and talk or
do things which need human intelligence to perform. Icelanders explain these things to themselves by saying that they are people underspells. When human beings and trolls (or other monsters) are describedas falling in love, these latter are also said to be people under spells.
This motif thus solved many difficulties, relating both to native stories
based on early religious belief and to foreign stories of marvels, and I
guess that spells are much commoner in Icelandic wonder-tales thanin those of other countries.
Spells require an account of what led to their being cast. Bjarka
fláttr provides for this in exactly the same way as so many Icelandic
story-tellers did later, by using the stepmother motif, one of the mostpopular motifs of romance of the time, which was available everywhere when such a need arose.
The extensive use of this story-motif as a solution for various difficulties, together with its great effectiveness, made it extraordinarily
1 Among other motifs deriving from European stories about spells areprobably the wolf-skin glove and the ring under the bear’s shoulder in Bjarka
fláttr.

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common in Iceland in earlier times, as early written stories clearly
demonstrate. It is evident that this went so far that people began tofeel that enough was enough, and someone set to work and made up a
story about a good stepmother—and perhaps also one about a badnatural mother. We find this variation in some of the later wondertales that are related to the story of Svipdagr. The stepmother is thecause of all the evil in Grógaldr and Hjálmflérs saga, but in Himinbjargar saga (c.1700) it is the mother who puts the spell on her son
while the stepmother makes things easier for him, though the story issomewhat ambivalent, as it says at the end that she had caused all thetrouble in order to save her kinsmen. In nineteenth-century stories ofthis type it alternates; stepmother and stepson are usually on goodterms, but sometimes she is the unwitting cause of the troubles thatafflict him; sometimes he resorts to her in the difficulties he gets into
because of his mother. Another wonder-tale that illustrates the samedevelopment is the story of Hildur the Good Stepmother.1 In someversions of Vilfrí›ar saga the mother persecutes her daughter, and thesame variation appears in versions of the foreign wonder-tale related
to it (Snow-White).
Many other things besides the stepmother and the enchantment motifs
have been widespread and popular in wonder-tales told in Iceland, but
none has had as great an influence. The stepmother motif is more obvious at first sight and there is more about it in the stories, but actually
it is the changes that result from spells that are more fundamental.
VII
I have touched earlier on proper names in wonder-tales. Names ofcountries have become rather rare, though they were more common
earlier on. Then names of far-off places were normally used, sometimes derived from written sources, like Blálandseyjar, ‘Blue Land
Islands’ (cf. Lagerholm DL 141).
Personal names are very varied. Some are as stereotyped as those ofcharacters in Holberg’s comedies, where the maid is called Pernilleand the master Jeronimus. These are associated with type or class.
The prince is often called Sigur›ur, the princess Ingibjörg, the old
1 Verz. no. 728; English translation in European Folk Tales, ed. Laurits Bødker,

Christina Hole, G. D’Aronco, 1963, 56–63. Cf. pp. 239 above and 302 below.

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THE FOLK-STORIES OF ICELAND

cottager’s son fiorsteinn, his daughters Ása, Sign‡ and Helga; thewicked counsellor is Rau›ur. Some names are attached to particularstories, like Brag›astakkur, Vilfrí›ur, Tístram and Ísól. Trolls’ names
are on the whole more varied, but usually of the same type as those inancient sources, such as Blávör and Járnhaus. Human women underspells or other mysterious beings are called Blákápa, Grænkápa or
Rau›kápa and so on.
Not that the story-tellers were content with this. They adorn theirstories with all kinds of curious or strange names, as do the authors of
the courtly romances and the rímur of later times. A prince is calledGræ›ari, Jónídes or Agnedíus, and it can be very difficult to work out
the origins of these names. Vísijómfrú is adapted from the foreign
names Miseria, Miserimø and Mestermø. But what of Ki›hús thehillock-dweller and Ki›uvaldi the mountain-dweller? And what is
Prince Hlini or Hlinur? Hardly the tree-name hlynur, ‘maple’. Líneik
is a ‘kenning’ for a woman, which occurs among other places in Loftur
Guttormsson’s Háttalykill (c.1410–20). Mærflöll is undoubtedly acorruption of Mardöll, one of Freyja’s names. Mja›veig is known only
from the folk-story, and I would not be surprised to find that it was
corruption of some other (possibly Celtic) name (cf. pp. 174–75 above).
The names Ísól bjarta and Ísól svarta remind us of the true and false
Guinever in Arthurian Poems, as well as, of course, the two Iseults in
the romance of Tristan. Overall the personal names in wonder-tales
are not lacking in oddness and variety.
It is sometimes possible to trace names some way back in time.
Many of the names that are firmly attached to specific nineteenthcentury stories are found in Ólands saga in the 1780s. Vi›finna or
Vilfrí›ur Völufegri was known in the time of Jón lær›i. There is a
King Máni in Brynger›arljó› (a sixteenth- or seventeenth-century composition), and the counsellor Rau›ur is an ancient international villain. Cinderella (Öskubuska) appears for the first time in Icelandic
sources in Vilmundar saga vi›utan in the fourteenth century. Finally
there is a stepdaughter called Króka in one folk-story, while in Faroeseand Norwegian wonder-tales she is called Krákudóttir and the stepmother Kráka. The stepmother of Eiríkr málspaki also bore this nameaccording to Saxo Grammaticus, which means it was probably wellknown around 1200. It was also the name used by Áslaug in Ragnars
saga Lo›brókar while she was concealing her identity.

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VIII
As has been said earlier, it is likely that Icelandic written versions ofwonder-tales (and other folk-stories) that are verbatim transcripts oforal renderings are very few. This is a great pity, and as a result muchremains obscure about the style of Icelandic folk-stories. Some things,
however, we can be fairly certain of. The style of folk-stories in oral
tradition is stereotyped to a varied degree. As has been said, there isless of a fixed rhythm and fewer set phrases in later stories than inearlier ones. There is least of such features in ghost stories, and not a
great deal more in stories of trolls. The wonder-tales are the most formulaic, though there is a lot of variation.
I do not think it was common for people to learn wonder-tales word
for word from others, though examples can be cited of it happening.
Written versions testify against it, and in any case the bulk of wondertales are such long stories that this in itself makes it improbable. Evenso, there is much in the presentation of wonder-tales that has beenpreserved through many generations of story-tellers and remained when
they were written down by a reasonably good recorder. I am referring
to numerous minor details that often do not affect the main plot, but
are the result of the acuteness of good story-tellers. They include
narrative-motifs, turns of phrase, formulas, and sometimes verses, andvery often a particular turn of phrase and a particular kind of incident
go together. This can sometimes be linked to specific stories, but it
more often happens that they accompany the central story-elementsof wonder-tales, such as the stepmother motif, spells, tasks and so on.
Many of them are wandering motifs, passing from one story to another,present in one version, absent in another. As will be shown later on,much of this material goes back to very ancient wonder-tale narrative.
Narrative formulas are most frequent in stories where the same situations recur, and that is very common in wonder-tales (cf. p. 28 above).
Repetitions (or parallelisms) are therefore one of the most conspicuous features of the style of wonder-tales. When it is a question of amore or less fixed phraseology, it is generally powerful and compressed,
but at the same time smooth and polished by passing through many
generations of story-tellers, and comes to have a quite regular rhythm.
Stories usually begin with the same words. Sometimes, though rather
rarely, the opening words are a rhyme, such as this:250

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Hvorki bar til títla né tí›inda,
frétta né frásagna,
nema logi› værie›a stoli› væri . . .

There was neither headline nor tidings,
news nor story,
but it was a lie
or it was stolen . . .

Here lines 1 and 2 have similar rhythms, as do lines 3 and 4. It isparticularly worth noticing that logi› and stoli› have to be pronouncedwith short root syllables, though with stronger accent than væri, andthis seems to me to imply a date when the ancient system of vowel
length still applied.1 The same system of accentuation and syllable
length obtains in the last words of the usual opening sentence of stories
about the old man and old woman in their cottage, fia› var einu sinni
karl og kerling í koti sínu, and this is reminiscent of the ‘cursus’, therule governing the rhythm of the final words of sentences in medieval
Latin clerical writings.2
1 The formula is the same in Brjámssaga (1707) which was written from theaccount of Hildr Arngrímsdóttir: ‘There was neither headline nor tidings, news
nor story at that time, but it was a lie’ (JÁ II 505). Cf. BE Munnmælasögur 61.
2 Before we leave the topic of opening formulas in wonder-tales, it shouldbe mentioned that folk-stories in most countries also have concluding formulas of varying lengths (cf. BP IV 24–36). In Iceland the concluding formula isvery variable, the same verse lines in all kinds of combinations. Sometimes it
describes the wedding feast (JÁ II 319):
There on the tables
fiar var á bor›um
were peppered peafowl,
pipra›ir páfuglar
salted sea-fishsalta›ir sjófiskar
mimjam and timjam
mimjam og timjam
and multum salve.
og multum salve.
There they drankfiar var drukki›
primet and claret,
primet og klaret
and Garganus wine,og víni› Garganus,
gold chests were dragged across the floor
gullkistur um gólf dregnar
and gifts given to men.
og gjafir mönnum gefnar.
They left there much enrichedfieir fóru fla›an fullríkir
who arrived there poor.
sem flanga› komu fátækir.
The food sounds rather medieval, and there is wine as in courtly romances(‘piment og klare og hi› bezta vín’, ‘piment and claret and the best wine’,
Karlamagnús saga 1860, 60; Flóventssaga, FSS 124, 171; Jökuls fláttr, ÍF
XIV, 58); the gifts are strange and splendid (‘engi kom flar svo fátækur a› eigifæri fullsæll í brott’, ‘no one came there so poor that he did not leave in great
wealth’, Partalópa saga (ed. L. Præstgaard Andersen, 1983, EA B 28) 126, Karlamagnús saga 1860, 167; ‘fiar voru gullkistur / á gólf dregnar, / og gefnar háfur /ICELANDIC WONDER-TALES251

The story now continues. An old man and old woman ‘had threedaughters, who were called Sigrí›ur, Sign‡ and Helga. The old couple
were fond of Sigrí›ur and Sign‡, but had no affection for Helga, who
spent her time in the ashes.’ It was said that the old couple had only
one domestic animal, a cow named Búkolla. She was such a noble
animal that even if she was milked three times a day she gave no lessthan five gallons at each milking. The old man rowed out to sea to fish
every day, always rowing in a tub, and every day his daughter Sigrí›ur
brought him food to the fishing grounds, also using a tub. It happened
one day at the cottage (gar›shorn) that the cow Búkolla disappeared,
and no one knew what had become of her. The old couple now discussed what to do, and in the end Sigrí›ur was sent off to look for her,and given nesti og n‡ja skó, ‘food and new shoes’. She walked a longway (in other stories the phrase is nearly always at this point lengi
lengi ‘a long long way’, or possibly yfir fjöll og firnindi ‘over mountains and wilderness’) until she came to a hillock. There she ate andsaid: ‘Low now, cow Búkolla, if I am to find you.’ But the cow did not
low. Now she walked to another hillock, ate there and said: ‘Low now,
cow Búkolla, if I am to find you.’ But the cow still did not low. She
walked to a third hillock, ate there and then said: ‘Low now, cow
Búkolla, if I am to find you.’ Then the cow lowed far up the mountain.
Sigrí›ur now went up into the mountain until she came to the mouthof a cave. She went into the cave. There she saw that a fire burned on
sticks, a pot of meat was over the fire, and cakes were in the embers.
There also was Búkolla, standing at a manger, and she was fastenedwith iron chains. Sigrí›ur took a cake from the embers and a piece ofmeat from the pot and ate them. She was going to unfasten the cow
but could not, so she sat down under her throat and scratched her.
After a little while the cave began to tremble (in other stories she
hverjum einum, / en kötturinn hljóp ofan í m‡ri, / upp setti hann st‡ri, / úti erævint‡ri’, ‘there were gold chests dragged onto the floor and fine gifts given
to each person, and the tom-cat ran down into the mire, he set up his rudder, theadventure is done’, Kringilnefjukvæ›i 36 (ÓDav. fiulur, 44); in JÁ II 319 we findthe variant lines ‘sméri› rann / ro›i› brann’, ‘the butter ran, the fish-skin burned’,and in Norway there is a long concluding formula which includes ‘aa bròue
brann, / aa smøre rann’ (R. Berge, ‘Norsk eventyrstil’, Norsk folkekultur 1918, IV
75). In most conclusions, however, it says that the young couple ‘átti börn og
buru, / grófu rætur og murur’, ‘they had children and sons, dug up roots and goosegrass’, and that is pure Icelandic in tone and springs from Icelandic peasant life.

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THE FOLK-STORIES OF ICELAND

heard rumbling and thumping) and a huge ogress came into the cave.
She said: ‘So you are here, Sigrí›ur Old Man’s Daughter. You shallnot live long, you have stolen from me.’ The ogress seizes her, wrings
her neck, and flings the body into a hole in the cave.
Now begins a new section, about Sign‡, which repeats what happens to Sigrí›ur, though it is often told in fewer words. Then comesthe account of Helga. ‘Now Helga asked the old couple to let her searchfor Búkolla, but they did not think that there was much point, since
their good golden daughters were not able to find her and were now
most likely dead.’ But it turns out in the end that Helga is allowed togo. She gets sharkskin shoes for her feet, and for her food dripping,fish-skin, fins and pot-scrapings. She walks for a long [long] time,
until she comes to a certain hillock. Then she says: ‘Here my sisters
have eaten, and here shall I eat also.’ Then it goes on, the same aswith the others, mostly without any shortening. But she adjusts the
cakes, stirs up the fire under the pot, but takes nothing. When theogress comes she says: ‘So you are here, Helga Old Man’s Daughter:
you shall now live, for you have stolen nothing from me.’
The main theme of the story so far is Helga’s arrival at the ogress’s
cave, after which a completely new episode begins. The Búkolla motif
is introduced to account for Helga’s going there: the ogress has stolen
the old man’s cow. In other variants it may be that the fire in the cottage goes out. Another important theme is based on the Cinderellamotif. The youngest daughter receives no affection from her parents,
but does not steal from the ogress (though the others do) and this honesty saves her life, while the ogress kills off the others, who would
have been superfluous in the rest of the story. Belonging with theCinderella motif are the names of the old couple’s daughters, the wordsöskustó ‘ash-pit under the fire’ and gulldætur ‘golden daughters’, andthe description of the equipment given for the journey, nesti og n‡jaskó, ‘food and new shoes’, for the first two daughters and ro› og skófir,‘fish-skins and pot-scrapings’, for the third. Thus each theme is accompanied by words and phrases that are peculiar to it. The old man’s
fishing in his tub is put in for entertainment (a description of primitive
habits) but otherwise belongs to stories where a grey hand holds onto
the vessel. The narrative of Sigrí›ur’s journey is composed of a seriesof similar incidents that are narrated in similar phrases, Sign‡’s journey has identical incidents and phraseology to her sister’s, and Helga’s

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journey is parallel, but also has several variations of detail. This section of the story is the one most rigidly fixed in form and most ordered
like a rhyme; the rhythm of it is regular, and everything is smooth andstraightforward. Everything is depicted simply in a few clear strokes
and there is no context or background. The girl walks a long, longway; this arouses the audience’s imagination, and the distance is emphasised by the repetition of the description of the journey, and theimpression that it takes place though an unpeopled waste is mirroredby the silences that are introduced: still the cow doesn’t low, there is ahush before and after. At long last the girl on her lonely journey hears
the cow’s lowing and joy floods the narrative. The loneliness vanishes.
The description of the cave gives a picture that listeners can fill inaccording to their own preferences, but it is also necessary for thedevelopment of the story. Búkolla has to be seen, because her disappearance is the cause of the journey. The ogress’s food will be life ordeath for the girl. The thunderous sound of the ogress’s approach, andher insight, realising who her unknown visitor is, make it clear who
we are dealing with, and here too the simple incidents of the story
kindle the imagination of the audience.
I will now give some examples illustrating that many small narrative details can be traced far back in time, or parallels to them found inlegends of other countries. (For the Icelandic examples I shall normally take one from nineteenth-century wonder-tales, and another fromthe oldest Icelandic source that shows the element clearly. The foreign
examples are culled pretty well at random, and it would be most interesting for someone to trace them more systematically and with morelearning and critical ability than is done here.)
The A-version of the stepmother story appears in the following
sources before 1700: Bjarka fláttr, Hjálmflérs saga, Hyndluljó› (ÓDav.
fiulur 65–76), Hermó›s rímur and Hermó›s saga. All of them are very
like the nineteenth-century stories in that the overall pattern is the samein them all, though minor incidents vary from one variant to another.
l) After the queen’s death the king sits on her grave-mound.
Hjálmflérs saga (Fas. III 456): ‘The king had a seat placed on thequeen’s grave-mound and sat there day and night, in grief and distressfor the loss of his queen.’1
1 Cf. Hjálmflérs rímur I 63 (and X 35): ‘Men raised a mound on the earth’.

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2) The king’s counsellor begs him to marry again. Bjarkarímur (I 24):‘Bjƒrn was Bjór’s steward named / Begged he the jarl to wed.’1
3) The king says that he does not want a wife from the remote headlands, the outer islands, or the forest. Bjarkarímur (I 29): ‘Island wives
or out-cape women / I will not have.’24) The messengers get lost at sea. Bjarkarímur (I 30–31): ‘Fog fellon the god of clasps (man) / Thereupon he lost his way / A hundreddays he wandered round / Scatterer of the snake’s sand (gold, i.e. generous man) / Never saw he a clear sky / Never reached he land.’3
5) The land they reach is an island. Hjálmflérs rímur (I 63): ‘The
man steered the bear of flags (ship) / To a fair isle.’4
6) They meet the women in a farmhouse. Hjálmflérs rímur (I 38):
‘There the men saw a fair house / And a wearer of caps (woman).’5
7) The woman (one of them) says that her husband had been a great
king whose land had been invaded and he slain, but she had fled.
Hjálmflérs saga (Fas. III 457): ‘Lucartus, my own king, who ruled thecity of Bóósia, was slain in his own kingdom by the king of the Saracens. . . The next night I escaped secretly from my bower.’68) The woman feigns reluctance to marry the king: Bjarkarímur I
47: ‘No willing answer would she give / To what the others asked.’7
9) The prince refuses to meet his stepmother or show her any courtesy. Hjálmflérs rímur: ‘Still sit Hjálmflér and Ölver / In the earl’s hall /Neither goes he out to meet his father / Nor the tree of coifs (lady).’8
10) The prince says that his stepmother is an ogress. Hjálmflérs rímur(I 79): ‘Hjálmflér showed his enmity / To the ground of rings (woman) /He told men that the king’s wife / Was an ogress of the rocks.’911) One courtier vanishes every night. Hjálmflérs saga (Fas. III 458):
1 In other sources it is the council or the people.
2 Hjálmflérs rímur I 66: ‘I want neither headland woman nor island lady’;cf. Hyndluljó› 7, ÓDav. fiulur 65.
3 Cf. Hrólfs saga.
4 Bjarkarímur I 32: Vargey.
5 Cf. Bjarka fláttr.
6 Cf. Bjarka fláttr.
7 Cf. Hrólfs saga.
8 Cf. Bjarkarímur, Valdimars saga, Vambarljó›, Hyndluljó›. According to
Hjálmflérs saga it is the queen who has not met Hjálmflér, and she asks one
morning whether the king has no heir; cf. Culhwch and Olwen.
9 Similarly Vambarljó›, Hyndluljó›; cf. Sigrgar›s saga.

ICELANDIC WONDER-TALES255‘It was not long before a man vanished every night, and many foundthis strange.’ Illuga saga Grí›arfóstra (Fas. III 656): ‘It happened in the
kingdom after Grímhildr had come, that a man vanished every night.’
Spells are sometimes referred to as sköp ‘fated things’, ósköp ‘illfated things’ or ánau›ir, ‘enforced things’; but the commonest word
for this concept is álög ‘thing laid on (another)’, and it was graduallytransferred from legends based on folk-belief (where it originated) towonder-tales. The spells are very varied in content, but the phraseology tends to be constant, and is pretty well formulaic. In early written sources the words are usually fia› mæli ég um, ‘This is my pronouncement’, or fia› legg ég á, ‘This I lay upon (you)’. Later, the two
are often combined. When the details of the spells are given, the conditions of release from them are usually also declared, often followedby the words og mun fla› seint ver›a, ‘but it will be a long time before
that happens’. In Ála-Flekks saga (Lagerholm DL 99) the ogressGló›arauga puts a spell on Áli, and tells him how he can escape fromit, but adds en flat mun aldri ver›a, ‘but that will never be’.
When a spell takes effect, the person put under it becomes able tolay one on his enchanter in turn, which often leads to curious conversations. Thus a hillock-dweller dressed in red puts a spell on the
farmer’s son fiorsteinn: ‘This is my pronouncement and this I lay upon
you that you shall leave your father’s house and go into a forest where
you will meet birds who will try to kill you.’ Then further dangers to
be encountered on the journey are described, and then it goes on: ‘You
will come into a cave where my twelve sisters dwell, and they willtake care of you.’ fiorsteinn replies: ‘This is my pronouncement andthis I lay upon you that you shall stand with one foot on your hillock
and the other on a chain of mountain’ (to which he points), ‘and executioners will come and light a fire under you so that you burn below
and freeze above; but if I die or escape from your spells, then you
shall fall into the fire and be burned up.’ She: ‘Let us take off ourspells.’ He: ‘Let them stand as they are.’1
In Hjálmflérs saga the conversation goes as follows. Stepmother:‘This I lay upon you that you shall not be able to rest anywhere, neither
by day nor by night, until you see Hervƒr Hundingr’s daughter, except
at sea or in your tent.’ Hjálmflér: ‘You shall lay upon me no more, for
1 Lbs 536 4to, from the narration of Gu›rí›r Eyjólfsdóttir of Árkvörn, 1865.

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your mouth shall be fixed wide open . . . High cliffs stand down eitherside of the harbour; you shall stand on them with a foot on each, andmy father’s four slaves shall light a fire beneath you; you shall havenothing to live on but what the ravens bring you until I return.’ In the
rímur Hjálmflér’s words are rather different, and the exchange is longer:‘On a great shed and the king’s hall / Stand with one foot on each /A fire beneath the tree of the rocks / Shall burn in the middle of thestreet / From below by the flames be you burned / Evil and nasty
woman / On top, you hag, you freeze / And let no one save you.’
Stepmother: ‘You know mighty spells, / and I will not betray the hero, /Let neither spell take now / Folly it is to speak thus.’ Hjálmflér: ‘There,
accursed hag of the rocks / Swollen must you stand / But if I am released from the long suffering / Then life will desert you.’1
Scottish folk-stories have the dialogue in this form. Stepmother: ‘I
am setting it as crosses, and as spells, and as the decay of the year onthee, that thou be not without a pool in thy shoe, and that thou be wet,
cold, and soiled, until thou gettest for me the bird from which thatfeather came.’ Stepson: ‘I am setting it as crosses and as spells and as
the decay of the year on thee, that thou be standing with the one footon the great house, and the other foot on the castle, and that thy face
be to the tempest whatever wind blows, until I return back.’ In anotherstory the formula is rather longer, but the dialogue otherwise very
similar, except that it adds the following. Enchanter: ‘Raise thy spells
from off me, and I will raise them from him.’ Answer: ‘Neither will I
lift nor lay down, but so; howsoever we may be, thou comest not.’2
In Irish we find the following. Queen: ‘I put you and your brothers
under sentence not to sleep two nights in the same house nor eat twice
off the same table, till you bring me the three steeds of King Conal.’. . . ‘I might as well give you sentence now,’ said the eldest brother. ‘I
put you under bonds of enchantment to stand on the top of the castle
and stay there without coming down and watch for us till we comeback with the horses.’ She: ‘Remove from me your sentence; I willremove mine.’ (The brother refuses.)3
1 Fas. III 479, Hjálmflérs rímur II 47–50. For other examples of mutual

spell-binding see Lagerholm DL lx–lxii, 89, 99; Hyndluljó›, Hermó›ssaga(and Laxdal Ós, ch. 69).
2 Campbell 1860–62, II 328–29, 420.
3 J. Curtin, Hero-Tales of Ireland, 1894, 96.

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257

It needs a specialist to trace the Celtic formulas back in time, but tome the Icelandic ones seem little more than translations of them.
Finally I shall mention some small incidents from various sources.
l) A king has lost his daughters. ‘Whoever would earn my daughters’
hands by searching for them, he who finds them shall wed them andreceive a third part of my kingdom.’ So Egils saga ok Ásmundar (fourteenth century), but the wording is commonplace in a variety of stories.
2) A man or a woman meets an animal, or some unimpressive being
who asks: ‘Would you rather have me with you or against you?’ The
answers divide the fey from the fortunate. As the saying goes, ‘Nothingis so humble that it is not better to have it for one than against one.’ Soin Valdimars saga (c.1400). Kollur: ‘I will not tell my name, but I ask
this; will you have my counsel and my service?’ Valdimar: ‘I shall goby the counsel I was taught, and accept your help.’1 Whether the
dialogue follows this pattern, or the human gives the humble being
food (or shows him some other kindness), it often says: ‘Name me if
you are in any small trouble.’ Then when the hero is in difficulty, hesays: ‘Trítill, my friend, come now,’ or ‘When will I need my ravens
more . . . than now?’ In Hjálmflérs saga Skinnhúfa bids the fosterbrothers name her ‘if they need any small service’. Later, when they
are in difficulty, Hjálmflér says: ‘When shall I again have greater needof Skinnhúfa and Vargeisa to come and help us than now?’ (Fas. III
473, 507). There is no need to give further examples; this is very
common in Icelandic stories right from the Middle Ages down to thepresent.
3) A troll sits in his cave and mumbles that these pestilential bratshis sister Go›rún has promised him are a long time coming. The giantin Hjálmflérs saga says: ‘They seem a long time coming, those fellows my sister promised me for this evening’ (Fas. III 472).
4) When a troll comes into a cave where a man is present, it says:‘There is a smell of men in my cave.’ Similar words are spoken bytrolls almost the world over; cf. the English ‘Fee fi fo fum, I smell the
blood of an Englishman.’5) Trolls and their likes know the identity of human beings, even if
they have never seen them before, and address them by name: ‘So you
1 Fjórar riddarasögur, ed. H. Erlendsson and E. fiór›arson, 1852, 102. Com-pare the words of Vargeisa in Hjálmflérs saga (Fas. III 474): ‘Do you wish
that I myself should accompany you?’

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are here, Helga Old Man’s Daughter.’ In Bár›ar saga: ‘and when theymet, this fiend greeted fiór›r by name. fiór›r saluted him back andasked what his name was’ (ÍF XIII 148). The Mabinogion has it thus:‘How knowest thou, hag, that I am Peredur?’ ‘It was fated and foreseen that I should suffer affliction from thee.’1
6) The ogress sets Helga Old Man’s Daughter a task: ‘You shall dosome work today’ or ‘I have a job for you today.’ In Hjálmflérs saga:‘. . . and you have to perform a small feat for it, fetch me two horns
from my calf, from which I shall drink on the eighth day of Christmas,
or else you shall lose your life’ (Fas. III 495). This may be comparedwith one of the tasks set Culhwch by Ysbaddaden: ‘Though thou getthat, there is that thou wilt not get. There is no comb and shears in theworld wherewith my hair will be dressed, so exceeding stiff it is, savethe comb and shears that are between the two ears of Twrch Trwyth [awild boar] son of Taredd Wledig. He will not give them of his own
free will, nor canst thou compel him.’ And an Irish task is introducedby the formula ‘There is a great work for you today.’27) Helga asks where the Queen of the Dales is. ‘You must work thatout for yourself,’ said the ogress, ‘and if you do not bring the chess set
back, I shall kill you.’ Hjálmflérs saga has a similar exchange: ‘That
will take some doing,’ said Hjálmflér. ‘Where am I to look for thiscalf?’ ‘You must work that out for yourself,’ said the king. A Danish
story has the phrase: ‘You must find the way yourself.’3 And an Irish
one: ‘There are four quarters of the world, I am sure it is in one ofthem he lives.’48) One of the tasks in wonder-tales is to clean out a cave or a cowshed, or to find a needle on the floor of the cave. Dordingull charges
the tools to set to work themselves: ‘Dig, spade; clear, shovel.’ In a
Scottish story a boy has to clean out the giant’s cowsheds. The giant’s
daughter helps him and says: ‘Gather, oh shovel, and put out, oh grape.’59) When the job is done the ogress says: ‘Well done, but you will
hardly have done this by yourself.’ In Ármanns rímur (seventeenth
1 The Mabinogion, tr. G. Jones and T. Jones, 1974, 199.
2 The Mabinogion, tr. G. Jones and T. Jones, 1974, 117; J. Curtin, Myths

and Folklore of Ireland, 1890, 40, 42.
3 Gamle danske Minder i Folkemunde, 1854, 103.
4 J. Curtin, Myths and Folklore of Ireland, 1890, 96.
5 Campbell 1860–62, I 47.

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century) she says, ‘Fire-place fool, not you have now / Done so fine ajob. / Still, you’re let off for now,’ and a Norwegian giant remarks,‘You must have talked to my mastermaid, for this you never thought
up in your own head,’1 and an Irish story has, ‘Oh then,’ said thegiant, ‘either the Devil or my daughter has helped you to do that work,for I know that you never did it alone.’2
That this kind of reply is very ancient can be seen from Venus’s
replies to Psyche when she has completed her tasks in Apuleius, The
Golden Ass (VI 11): ‘This is not your work, vile creature, nor the accomplishment of those hands of yours, but rather his, the boy who fell inlove with you, to your misfortune, and his too,’ and again (VI 13), ‘I
am well aware of the illicit prompter of this accomplishment too.’In these little incidents one can see fragments of very ancient wondertale narrative; in some cases they originated in Iceland, in others beyond
the seas. I have no doubt that much of it is older than some of the mostwidespread and common wonder-tales in Europe; some may well befrom romances and heroic stories that flourished in Celtic lands, andwe may assume that that is where the spell-formulas came from. Manythings point to ancient European wonder-tales and it is worth noticing
how many of these odd little narrative details there are that appear inconnection with tasks, which are an important feature in the story of
Eros and Psyche, and were popular in Greek heroic stories (Bellerophon, Jason, Hercules), and from them there must have been an
unbroken series of supernatural stories about difficult tasks right down
to the present day.
IX
Wonder-tales take place in distant lands, which puts the story-teller
into a certain difficulty when he has to describe them. The landscape
was the easiest part. The sea can be seen in most stories; there areislands within sight of the shore, others far beyond the horizon. The
country itself is extensive, with scattered habitations and uninhabited
waste between them, and with hills and mountains and high cliffs being
very frequent indeed as obstacles to a character’s travels. In otherwords, the landscape is rather like that of Iceland. There is one
1 P. C. Asbjörnsen and J. Moe, Norske folkeeventyr 2, 1852, 283.
2 J. Curtin, Myths and Folklore of Ireland, 1890, 42, 43.

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difference, however: there are trees, groves and forests everywhere in
the stories. The king’s messengers meet a woman playing a harp in aclearing; the ogresses sit beneath oaks and throw their life-egg from
one to the other; trolls spend the day out hunting in the forest; fellingof trees is mentioned; the prince amuses himself riding out into theforest to hunt birds and animals, loses his way while chasing a hind,and so is separated from his companions. One story tells of two trees,
one green, the other red, which are hollow inside so that there is room
for Líneik and Sigur›ur each to get inside one of them (JÁ II 328).
The old story-women learnt from oral and written stories that foreignparts were covered with woodlands and so the wonder-tales are full of
dreams about forests.
Herbs are far less prominent in Icelandic wonder-tales, I suspect,than in those of many other countries, and this cannot entirely be
explained by romantic influences on the recorders of non-Icelandic
stories. The story-teller, wanting to describe Mja›veig’s haven of peace,
has recourse to the verse ‘There cuckoos sing / and leeks do spring’,
and the word laukur has numerous associations in early Icelandic
language, especially in poetry (JÁ II 306–12). Other stories speak ofpleasure-gardens and orchards, but do not describe them further, andthe boy Tístram has an apple in his mouth. The story-tellers here speakof things they have never seen, and when they refer to them the toneof the story becomes exotic.
Bears and wolves, which were known in northern Europe, are thecommonest non-Icelandic animals in wonder-tales. Harts and hinds
are romantic creatures, as is also the lion, the king of the animals.
Written stories have also introduced dragons, vultures and other monsters into Icelandic folklore. The most notable Icelandic creatures areperhaps the ogresses’ swans who rouse Prince Hlini and make him
fall asleep with their song.
The wonder-tales are on much more familiar ground in the old man’s
cottage, as one might expect. It is sometimes solitary, a long way fromother human habitations, so there is a long way to go to fetch a flame
if the fire goes out. Sometimes the old man lives in a gar›shorn ‘corner cottage of the manor’; the idea is obviously derived from the small
tenant farms that frequently stood on the far side of the home meadowof a manor farm. Gar›shorn with this meaning is found in Illuga saga
Grí›arfóstra (fourteenth century) and later in Ála-Flekks saga and isICELANDIC WONDER-TALES

261

common in younger stories.1 It is also a common farm-name in Iceland; a Karl of Gar›shorn on Höf›aströnd is recorded around 1300.2
What we are told of the cottage is highly realistic; after all this is aneasy one for the narrator. The Cinderella lies in the ashes by the fireplace and slaves away, while the other daughters sit up there in theirfinery like dolls; Cinderella gets fish-skins and pot-scrapings to eat on
her journey, while her sisters get the best that the pantry can provide.
Sometimes the narrator enjoys describing the primitive poverty of thecottage; the old man goes out fishing in a tub, and other things are in
the same style. He is hardly ever said to own any other livestock thancattle, and of that he usually has only one cow, though indeed this isalways an exceptionally fine animal.
In the ogresses’ cave it is rather like the cottage, except that everything there is larger and coarser. A pot is on the fire and cakes are in
the embers, the ogresses’ beds have bedding and feather mattresses.
One of the jobs that the old man’s son sometimes has to do for the troll
is to shovel the dirt from the floor of the cave. Though trolls are mentioned as owning oxen and horses, they do not on the whole go in forfarming, but catch birds and animals and eat the flesh of men andhorses. Sometimes the story-teller makes fun of the dirtiness of the
giants. Surtla of Blálandseyjar ‘sat with her legs stretched out on eitherside of the fire, and had the pot-strap round her neck and a full pot on
the ground between her legs and was cooking meat in it’; and one
giant wears a leather over-garment that reaches to the ground in front,
but barely covers the shoulders at the back, though this costume isusually reserved for human beings under a spell, such as Dordingull.
Even though the cottage and cave are generally rather simply furnished, nevertheless the greatest treasures can sometimes be found1 Fas. III 648; Lagerholm DL 101, cf. 85; Otto L. Jiriczek, ‘Zur mittel-

isländischen Volkskunde’, Zeitschrift für deutsche Philologie XXVII 17;
Brjámssaga (c.1700), JÁ II 506; BE Munnmælasögur 61–63.
2 I know of these places called Gar›shorn in Iceland: on Höf›aströnd (BS I
388–89, DI III 411, 1388); near Borg in Ví›idalur (Finnboga saga ch. 29, ÍF
XIV 299–300); under Eyjafjöll (DI II no. 33, c.1270; no. 423 (also called
Ormskot)); in Fúlukinn (Kaldakinn) (DI III no. 582, 1405); in Svarfa›ardalur(Tjarnargar›shorn, Grundar-Gar›shorn or Ytra-Gar›shorn and the southerlyGar›shorn); on Kræklingahlí›; in Hörgárdalur; in Eyrarsveit; in Súgandafjör›ur; on Tjörnes.

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there. The old couple are certain to have a gold comb, a gold spindlewhorl or some such thing tucked away, and the ogresses usually havequite a lot of precious things, such as a fine golden chess-set, somegold that shines in the dark or a fine golden cloak. This direct confrontation between bleak, primitive poverty and these splendid treasuresof gold and magic lends a very curious air to these stories. One story
tells of a stone which can be commanded to open and close and go
wherever one wants. In another story we hear of a precious, goldwoven carpet, with runic writing on it; it was only necessary to recite
the verse so inscribed to make it take one wherever one wanted. Bothobjects serve the same purpose, but one is a black stone, the other asplendid work of art.
When female trolls change into human form to deceive someone,
they are provided with all sorts of finery; they sit on a golden chair,play a harp, perhaps a golden harp, and comb their hair with a golden
comb; their tent is made of silk, like those in courtly romances. They
go to a lot of trouble, for they are on their way to the king’s palace.
Things become more difficult when they get there, as the story-tellers
have not much frequented royal residences, and so cannot speak fromexperience, and the descriptions become diverse and contradictory.
Sometimes the term used is kóngsgar›ur, ‘King’s Manor House’,and this term is clearly related to gar›shorn: the gar›shorn is the lodge,
the kóngsgar›ur the manor house, merely enlarged and made more
beautiful as the story-teller is best able to improve it. Another term forthe royal residence is borg, ‘city’, which can also mean ‘castle’, and it
will entirely depend upon the extent of the narrator’s or writer’s knowledge and mental horizon how clearly this building is envisaged, andwhich meaning he is inclined to attach to the word. The stories written
down by Jón Sigur›sson of Gautlönd (1828–89) use borg in the usual
modern meaning ‘city’, but most of the old story-tellers have most
likely inclined towards the other, if they did not think of it in terms ofkóngsgar›ur, a country manor house of the largest kind. The queen’s
burial mound is a little way from the residence, and the king sits there
for long periods. The princesses (sometimes also the princes) havetheir private skemma (‘bower’ or ‘chamber’, which is often called‘castle’), just as in fornaldar sögur. It is often some distance awayfrom the king’s house, sometimes out in the forest. A house of healing
is sometimes mentioned; this term appears in Saga af Tístram og Ísól

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263

björtu (JA II 320) and may be derived from the Tristram story. The
buildings are usually not described in any detail. Sometimes it is statedthat the princess’s bower is gilded; it does not seem to have occurredto anyone to decorate it in any other way. The king’s activities are
generally of a fornaldar saga kind: he goes out to make war, or torepel an invasion or, quite often, to collect his taxes. He has a ministerwith him, who takes part in the governing of the country with him; inlater stories a royal secretary and a royal tailor are mentioned. Otherwise an old woman in a cottage may stitch his clothes. A bride-to-be isoften made to make clothes for her future husband. A girl from a cottage
is got in to wait at banquets. The queen and princesses carry laundry
to the wash. The king entertains himself by hunting, and the queen or
the princesses go out for walks in the woods or stroll along the seafront for fun; one wonder-tale states specifically that things were dull
and lonely in the castle/city. Fertram rides for amusement into theforest on the eve of his wedding. When the king leaves his residence
to go on board ship (it never seems very far, the residence is near thesea) he rides in a carriage, sometimes a golden carriage. Gold is generally the mark of royalty; everything belonging to them that is mentioned is of gold. Ísól says of her exit from the pit, ‘I came up on mymother’s golden scissors.’ The prince’s clothes were of course goldembroidered, and the fine golden chess-set and the gold that shines inthe dark that we came across in the giant’s cave really belonged to theking and had been stolen by the trolls. All this gold is, of course, intended
to elevate the descriptions of the royal residence. Everything suggesting modernity is generally avoided, though some things slip in andsoap is mentioned in one place, and a gun and gunpowder in another.
It is easy to recognise the principal models for life in the royal household as described in the wonder-tales. First there is the great manor
house with the activities customary there that were thought to be appropriate; care was taken to avoid involving the royal family in too
mundane tasks. When something has to be clearly shown to be royal,gold is brought in. Another source of inspiration available to the storytellers was the early sagas, particularly fornaldar sögur, which gaveabundant information about the activities of royalty, and it is fromthese that story-tellers got by far the most help in endowing thesepeople with the dignity that differentiates them from the cottage people.
Finally there are traces of foreign ways preserved in Icelandic stories,

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especially later ones, and also odd pieces of information that had been
picked up about foreign lands by the story-tellers. Descriptions of life
derived from such sources were bound to be rather incoherent, and it
was only too easy to parody them, as Jónas Hallgrímsson did in his
comic letter describing a visit by Queen Victoria to Louis Philippe,
and Benedikt Gröndal even more spectacularly in the account ofimperial domesticity in Sagan af Heljarsló›arorustu (1861), by sharpening the contrasts and increasing the number of minor details. Wondertales had an advantage over more ‘realistic’ ones, in that everything inthem is nicely vague and undefined.
X
Along with wonder-tales that described things supernatural and wondrous, comic stories, saints’ legends and Novellen came to Icelandand entered oral tradition. Some of these were long and like wondertales consisted of a number of episodes; others were quite short. To alarge extent, they had to survive under the same conditions as wondertales when they reached Iceland, but there were certain differences. In
pre-Reformation times legends of saints were believed in and held inhigh regard. After the Reformation those that were thought to be particularly papistical, because they were associated with the worship ofsaints or the like, were in greatest danger of suppression, but otherwise they were very likely to be held in considerable respect and evenfull belief. The other kinds of story were generally free from supernatural elements, and so alterations or difficulties were not likely forthat reason, and people believed them or not according to their disposition and how improbable they seemed to them, and doubtless did
not bother themselves unduly about their truthfulness—and I suspectthat in this respect the situations in Iceland and elsewhere were very
similar. The main thing about these stories was how exciting or amusing they were; besides which, some of them were also deeply satirical,
which people would of course always enjoy, provided that the satire
was against things they disliked.
Other things could, however, be a greater threat to the survival ofthese stories. Many of them had originated in an urban culture which
was sharply stratified and had clear occupational distinctions, and thisaffected their content and spirit, and so they could seem quite unfa-

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miliar in an Icelandic rural environment where the population was
scattered and there was little variation of occupation. What was a cobbler or a tailor to an old story-woman in Öræfi in south-east Iceland?
Undoubtedly people were eager to hear or read such stories, but forthem to survive well in oral tradition they had to be somewhat adapted
to what was familiar to the local people. This could be quite difficult
in some cases, and a great many of these stories contained much thatmust have seemed foreign. Those stories that came by word of mouth
from oral tradition in neighbouring countries were the most easily
adapted, but some of them came to Iceland in written form, and manyof these are rather odd.
There is no doubt that saints’ legends were current all over the country, as one might expect. But the comic stories were also very popular;
indeed they already bulk surprisingly large in early literature. Ljósvetninga saga tells of how someone tries to kill a fly on an old man’sbald head with an axe, and of course the blow does more harm to theold man than to the fly (cf. AT 1586A ‘Fatal killing of the Insect’).
Víga-Glúms saga tells how a man tests his friend by telling him that
he has killed a barn-calf (hlƒ›ukálfr), and the friend thinks he means a
man called Hlƒ›u-Kálfr and refuses his help (cf. AT 893, ‘The Unreliable Friends’, ‘The Half-friend’). Flóamanna saga tells how a man
takes the cockerel’s rough treatment of the hen as an example andsucceeds in controlling his wife (cf. AT 670, ‘The Animal Languages’).
An account of the court poets of King Haraldr hárfagri tells how they
were fooled by a pretty woman (cf. AT 502 and 709); Ragnars sagaLo›brókar tells of the task that Ragnarr imposed upon Áslaug, to cometo him neither dressed nor undressed, neither fed nor unfed, not alone,
yet not accompanied by any person (cf. AT 875, ‘The Clever PeasantGirl’). Hákonar fláttr Hárekssonar (Fms. XI) and Hei›reks saga bothtell of the giving of good counsels. Hákon follows those given him
and escapes difficulty and deadly danger; Hei›rekr goes contrary to
those given to him, and gets into no little trouble as a result (cf. AT
910A, ‘Wise through Experience’). Hrói the Stupid is a traveller whocomes to Sweden and falls into the hands of villains who trick him
and treat him roughly, though it all comes out all right in the end(Flateyjarbók 1945, II 149–58).
We could quote many more stories of this kind. The models areusually foreign, as can sometimes be seen from the contents, though

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they have often been given an Icelandic feel. There are also other stories
of a similar kind in manuscripts which are direct translations, withlittle or no alteration, from foreign sources. In the seventeenth andeighteenth centuries the number of these stories rises steeply, and poets
then composed rímur and other kinds of poetry out of them. Some ofthis material then gets into oral tradition. But many of these kinds ofstory as told by the old women story-tellers in the nineteenth century
cannot be traced directly to any of these translations or their literary
derivatives, and we must suppose that many such were brought into
the country in oral form. In these cases we often find that the same
stories exist in the oral tradition of neighbouring countries, sometimes
in very similar forms, and it is probable that that is where much of thismaterial comes from. It was so entertaining that everyone wanted tohear it.
Some stories tell of the incredible stupidity of old men and women,
and among these the stories of the brothers of Bakki form a separate
group. Most countries have such characters (in Denmark the peopleof Mols, in Germany the Schildbürgers, in England the Wise Men of
Gotham and so on), and the stories about them travel from one country to another. Icelanders must have picked up some knowledge ofthem, and some foreign material appears in stories about the threeidiot brothers Gísli, Eiríkur and Helgi, but most of what is told ofthem is totally Icelandic, grown in Icelandic soil and based on the
Icelandic way of life. It is anyway pretty well impossible to distinguish such comic stories from other anecdotes about old people.

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PART VTHE WORLD OF MEN AND THE HIDDEN WORLDI
Eiríkur Ólafsson of Brúnir (1826–1900) tells the following stories about
hidden folk whom he himself had seen or heard about in the district
near Eyjafjöll where he spent his childhood (Jfiork. 98–100).
When I was in my twelfth year, I was walking on a fine day near the farm Hlí›by Eyjafjöll, I think in February, late in the day. I then saw a boy with a little
broom in his hand driving three cows and a dirty heifer down to the brook justabove the home-meadow. The cows and the heifer stood in a row by the stream,
drinking, and the boy stood over them with the broom in his hand, some two
hundred yards or so away from me. It immediately struck my mind that thesecows must belong to elves. They were the same size as our cows, one piedred, one with a grey neck and one with black flanks. At length the cows stopped
drinking and the boy drove them back a little way to a stone wall with a gate
in it, and two of the cows had gone through the gate. Then one of the farmpeople called to me and said: ‘What are you staring at?’ I looked round at him,
but when I looked back to see what had become of the cows I could see nothing, and I much regretted having taken my eyes off the cows, because I wanted
to see what became of them. Just beyond the gate or wall there was a greatstone, covered with grass, with a big hollow in under it. We children werestrictly forbidden to go in under the stone, or to make any noise near it; we weretold that it would be the worse for us if we did, because there were elves there.
Another time I saw a woman driving four ewes over the rocks known as
Húshamrar, above the farm at Hlí›; then she drove them across to anotherrock and vanished there. I did not know her, she did not belong to Hlí› or toany of the farms round about, and so she must have been an elf-woman.
I remember well from my youth that I and all the congregation, and theparson, the Rev. Ólafur (I think it was the Rev. Ólafur Pálsson),1 used to arrive at [Steinar] church on the morning of the festivals before dawn. He would
begin to ring the bell and hold the service at dawn, starting with the hymn
‘The day that we should keep holy’ and so on. At that time there were noclocks or watches. We used to get up about midnight, feed all the animals,
read the Christmas-Eve lection from Vídalín’s Homilies, eat and get ready, allbefore dawn, and in those days we had no coffee to wake ourselves up with.
One New-Year’s morning before dawn I remember that I was dressed forchurch and standing in the doorway of the farm-house. There was a clear sky
1 Ólafur Pálsson, parson in Austur Eyjafjöll 1797–1835, d. 1839; see Jfiork. 98.

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and the Northern Lights were shining, but there was no moon. I then saw agreat crowd of people walking westwards across the meadow below the farm.
I went into the farm-house and told everyone that there were a lot of people
walking westwards across the meadow. Some came out, but no one saw anything except the farmer’s wife, who saw the same as me and said they were allhidden folk making for their church. No one was at all surprised at this, as it
was generally said that there were great numbers of them about. There were in
all some twenty to thirty of them, men, women and children of all ages.
There is a great pillar of rock in the meadow at Drangshlí› by Eyjafjöll,
nearly a hundred feet high [Drangurinn]. On one side of it there are caves andgreat hollows in underneath it, and the farmers there use them to keep all their
hay and their cows in. No lamp would ever stay alight there where the cows
were kept, however hard one tried to keep it burning. It was never necessary
to stay awake over a cow in labour there; if a cow gave birth there at night, as
often happened, the calf would be in the stall with her in the morning, and thecows never miscarried. But if a new farmer came to Drangshlí› and had a cow
watched over as usual, something would go wrong with it, and the watchers
could never stay through the night in the dark there because of various things
they saw and heard. One man in my youth had been working at Skar›shlí›
and gone missing for days at a time. He had been with elves in the Drangur
and said an elf-girl had been trying to get him to marry her. He said that there
were many people in the Drangur, and that it was good to be with them. They
were well-behaved and orderly, and just as nice people as we were. He said
their parish church was at Skóganúpur. There was a large church there, andthere was another church in the valley, because there were a lot of people here
and there. He said they had sheep, cows, horses and fishing-boats, and themen often went fishing; they were as good at fishing as we were, and brought
their catches home on horses. Altogether their whole way of life was very likeours. They had lamps and candles. Then when the year was up and his job cameto an end (he had been a farm-worker) it was rumoured that he had vanishedand he was never seen again. There was no search for him, because everyone knew
where he had gone, even though he had not told anyone where he was going.
There was a farmer at Skógar called Ísleifur, grandfather of Ólafur, the goldsmith in Reykjavík. He was going down to the sea-shore one time as he often
did by moonlight and in good weather, and when he came to the ridge of pebbles
he saw that a boat was coming ashore and that men were unloading it onto thebeach, first the oars, and then cod and flounder, up the sand. He said he got off
his horse and watched for a while and thought to himself, ‘These are elves andtheir boats are elf-boats,’ and he thought he would go and talk to the men, and sostarted to walk down the beach. And when he got down to the pile of fish thehorse pulled the reins out of his hands, so that he had to turn and grab them again;
when he turned back he saw nothing, neither fish nor boat nor people. This
had been on the shore below Skóganúpur, where the man had said that the hidden
folk’s great church was. This Ísleifur was a steady man, not given to idle talk.

THE WORLD OF MEN AND THE HIDDEN WORLD269

It was also generally said that some people had on various occasions seen
many boats on the sea out from Eyvindarhólar, though there were no humans out
then. And it is certain that everyone could always see a great break in the surf,
as if there was a kind of harbour there. But if humans took their boats out to fishfrom that shore, something always happened; the boats filled with water, sometimes they broke up, and the men’s lives were in danger. People were seen tolead horses laden with fish from this harbour up to Hrútafellsfjall and vanish there.
There is a hillock by Eyjafjöll called Hafurshóll, and there are great crags
on it. A light shining in one of them was seen from N‡ibær every winter. This
light appeared at dusk and burned until 11–12 every evening, and could only
have been an elf-light.

These stories of Eiríkur’s give a good idea of what experiences people
can have, and what they used to say when belief in elves was strong.
The most striking feature of this legend is its straightforwardness, in it
the ‘supernatural’ is a matter of course and natural, experience andexplanation fit together, there is no doubt involved. These stories
breathe a rural calm, their world is coherent and whole. After all, sincepeople have these neighbours all around them, why should they not
become aware of them from time to time?
Most of Eiríkur’s stories are about what he himself saw, or are derived with few intermediate links from eye-witnesses, and they give agood picture of the normal contacts between elves and men. Only theworkman at Skar›shlí› has more extensive dealings with them andthis source is of course less trustworthy; it is only a child’s understanding of a rumour. It so happens that Eiríkur’s account deals almost exclusively with sightings, but it would be easy to point to otherreliable elf-stories in which people become aware of hidden folk inother ways, in a dream, through hearing or through touch. Sometimes
people get their knowledge of them in a trance or through the gift ofsecond sight, which is otherwise by no means limited to seeing elves.
It is children who have most often become aware of them, and many aman might have said as did the author of this verse:
fiessar klappir flekkti’ eg fyr
flegar eg var ungur;
átti’ eg ví›a á fleim dyr,eru flar skápar fallegir.1

These rocks were known of old to me
when I was a little boy;to all their doors I held the key,
their cupboards hid many a marvellous toy.

1 On human and elvish children playing together see Æfisaga Sigur›ar
Ingjaldssonar frá Balaskar›i, 1911, I 11. For further examples see Einar G.
Pétursson, ‘fijó›trú á Íslandi’, Frændafundur, 1997, 63.

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Leaving aside legends about elves appearing to people in dreams, thecore of those elf-stories which have been obtained from eyewitnesses,
and have not been altered in oral transmission, is what may be defined
as extra-sensory perception, that is perception which is of a different
kind from the normal waking perception of a person who is not in any
way psychic. This same vision into hidden worlds is doubtless in one way
or another the root of most elf-stories which are preserved from earlier
times. It is therefore worth while examining the matter a little further.
II
In his book Íslendingar (‘Icelanders’), Gu›mundur Finnbogason has
discussed the ‘vision’ which certain people have into hidden worlds.
He concludes that this is the same phenomenon both in ancient andmore recent legends, and that folk-legends in general are largely sprungfrom such phenomena, ‘for there can be no doubt that dreams, visions
and uncanny sounds are the basis of stories about the dead appearing
to people in dreams and when they are awake, of stories of elves,
ghosts, attendant spirits and various premonitions of things to come.
The same thing has usually been behind it when people have a reputation for prophetic powers, and there have been a good many such people
in this country.’1
The interpretation of dreams has been much practised in Iceland,and belief in the supernatural has been greatly stimulated by dreams,
for in them people saw all sorts of beings whom they understood (often
only afterwards) to be the creatures of folk-belief; people associatedwith the dead, and sometimes dreamt of things to come or events whichhappened in distant places. Most of these visions are remarkably simple; people see lights, for instance, or some beings in human shape
who they thought (perhaps later) were apparitions, ghosts or spirits;
unnatural-looking animals are attendant spirits, and sometimes people
see sendings. Visions of events at a distance, visions of the future or
seeing through solid matter (such as into hillocks) are stranger. Many
uncanny sounds are very straightforward; people hear unexpected
noises, the sound of church bells or footsteps, the sound of walking
about or the slamming of a door, and are quick to find explanations forthem. It is a different matter when people hear complete sentences
1 Gu›mundur Finnbogason, Íslendingar, 1933, 117.

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with definite meaning, such as prophecy or information about distantevents, or about the dead; it is even quite a common thing for people
to hear whole stanzas of poetry. It is much less common for sight andhearing to go together, except when people are in some kind ofabnormal state or in a trance. There are accounts given by truthfulmen who thought they had wrestled with ghosts.
The basis of these kinds of story is doubtless often something experienced by people when they are neither asleep nor awake, but in akind of a trance. Witches and seeresses of old used to go into a kind of
cataleptic state when they performed their rites, and those who ‘satout’ undoubtedly also fell into some kind of trance. Jón lær›i is very
knowledgeable about the drowsiness or trance-like state into whichthose fall who have visions or visitations. He also says that ‘one mayhear and understand noteworthy things from the replies of people whoare lying in a trance’.1 He also remarks that he heard in his youth ‘thatsome knew the art of making a sleeping man give them information,
by holding the little finger of the person in question’. This suggeststhat a form of hypnosis was being practised.
Laxdal’s Óláfs saga fiórhallasonar three times describes the particular moment when men go over into the elf-world. It is said to be likewalking in the dark, being in a daze or between two worlds or floating
through the air. Other sources also mention darkness, floating throughthe air, or going through smoke or water.2 I am inclined to believe thatbehind all this are the experiences of people who went into hypnotic
states or trances.3
1 AM 727 II 4to, fol. 3v. This manuscript of Tí›fordríf was long thought tobe Jón lær›i’s autograph, but probably is not.
2 Laxdal Ósfi I, chs 13, 20, 58; JÁ I 107–15; ÓDav. fiulur 32; fiorsteinsfláttr bœjarmagns, Fms. III, 176.
3 Jón lær›i has considerable knowledge of all kinds of trance and trancelike states; cf. EGP Eddurit, 53–54 : ‘We hear and read in very many old histories
about the arts known to the Gautish and Lappish people, in Gandvík, Malanger
and Varanger, no less than of the blackest kind of magic practised in Finnmark,and the miraculous effects of their spells and their escaping from theirbodily shapes and returning to them, so that [the magician] is in two places atonce, also being in the shape of beasts or birds; though they do not do thisaccording to the Neapolitan Greek learning or by anointing but rather according
to the arts of Ó›inn and the people of Asia, which he also left here to his menof the North.’ Cf. p. 98 above.

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Much witchcraft is based on strange kinds of lore and the religious
systems of past ages, and one suspects that the men who thought they
could affect the elements by sorcery or spells, or put into effectsendings, influence wild animals to attack livestock or make goblins
go and take the milk of cows, often had rather little contact with hidden
worlds, except for those men who went mad by doing such things.
When the ancient law-codes speak of the waking up of trolls there
may have been some kind of spiritualism involved, but the art of ghostraising described in Jón Árnason’s stories looks more like the ravingsof madmen. To the extent that spells, pronouncements and poems withmagical power were directed at a person’s mind and will, rather than attheir body or at inanimate things, the stories may be near to the truth;
it may all be done by suggestion. The basis of belief in the evil eye may
also be derived from experience of the same phenomenon. Witch-rides
and shape-shifting may to some extent be connected with accounts ofshamanism. When they want to do something special the sorcerer or
the person who wants to gain some particular knowledge often has tofollow definite rules which are basically aimed at putting them into astate of auto-hypnosis, or can at least achieve something like it.
III
We will now consider certain things which have been thought to help
people gain insight into hidden worlds.
For people to dream significant dreams they had to work at their
dreaming, go through them in their minds, interpret them and examine how they were fulfilled. For this, it was thought to be a good thing
not to be among crowds, to live a quiet, solitary life, where there waslittle to distract or disturb the mind.1
When ‘sitting out’ the sorcerer should have an axe in his hands,
stare at the edge and look neither to the right nor to the left, whatever
appeared before him, and give no answer if anything was said to him.
The departed or elves would then come to him and tell him what hewanted to know (JÁ I 436–37).
People could see distant places by staring into a piece of glass. Theysat by waterfalls when they wanted to see into the future. Both are
1 See Gu›mundur Finnbogason, Íslendingar, 1933, 111–14; cf. Hermann
Jónasson, Draumar, 1912, 130–31.

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well-known techniques for inducing a trance-like state of mind. Lapps
sit in a circle when performing magic, and song was used in sorcery inancient times; both these practices have parallels in our own times in
the methods of spiritualists.
A person who wanted to get hold of a prophetic spirit had to go on
his own apart from other people where he could be sure that no one
would come, as his life would be in danger if anyone spoke to him
while he was conjuring the spirit to him (JÁ I 435). A prohibition
about addressing or touching anyone conducting a magical ritual isvery widespread.
In Tí›fordríf in Stockholm Papp. fol. nr 64, a long passage, formerly
attributed to Jón lær›i but actually by Jón Eggertsson, describes theart of opening the earth and walking down into it, talking with the
inhabitants and so learning of hidden things. The author of this passage
describes the method of contacting elves, taking the description fromsome earlier author now unknown:
First, one must recognise and know the ground or the hillocks where elves arelikely to be living; there are many things to take into account, but the following is the most noticeable, being visible to the eye. There will be a low, green
ten-leaved herb growing on top of the hillock, five leaves on each side [of thestem] and at its centre will be a small spike of grain. The same writer considers it infallible that where this herb grows, the hidden folk will live under it.
He also says how one is to take [it] and shape it like this figure,1 then engrave
certain words on it and smear it with mouse’s blood, and lay it in a particularhidden place for some nights. Item prepare a rod made of whalebone withcertain characters on it; while these preparations are in progress the operator
must keep right away from other people and read daily a prescribed chapter in
the Proverbs of Solomon. When these preparations are complete he shall lay
it [the figure] beneath his head (a bronze rod having previously been stuck in
the ground next to the aforementioned herb), and then, he thinks, the guidanceof the hidden folk dwelling beneath [in the hillock] will be revealed to him in
his sleep, as will the hidden things which he desires to learn. Nonetheless only
pious and well-conducted men, who constantly seek for the increase of wisdom in prayerful invocation, will succeed in this. The writer maintains in thesame passage that a man can become as invisible as if he had a helmet ofinvisibility in the place where the bronze rod stands by the above-mentioned
herb. He also mentions that one can make contact for the same purpose above
the ground with the hidden folk beneath by the following means. You cut acircle in the ground around you with a knife, and a door [into it?] in a specified
1 Here there is a drawing in the manuscript, perhaps a fiórr’s hammer.

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direction, with a man’s and a woman’s shape drawn within the circle, andhelm-bands (as he calls them) cut there which shall be cut in the manner inwhich they are graven on women’s brooches, item with these words inside thering: masculinum femininum. He says that the same shall also stand with [therune] hagall [H] together with prepared prayer-readings asking for wisdom
and its increase, without any misuse of God’s word. On the contrary, he thinksthat piety, prayerfulness, fasting, pure and chaste living and deportment willserve to help one. He wants it to be understood that the hiddenness of theindwellers of the earth will then be lifted. No more of this here.

Thus emphasis is usually laid on concentrating the mind on something, or sometimes one has to stare at something. Solitude, silence
and tranquillity are necessary, and finally fasting and pure living arealso included in this place—these being, as is well known, one of themost infallible ways of inducing a trance-like or a hypnotic state of mind.
When people perceive mysterious sights or sounds or the like without any conscious effort on their own part, there are likely to be special factors involved. People usually became aware of trolls when on
their own up in the mountains or near precipices; ghosts were mostoften perceived after sunset or in the dark. People who were muchalone, preferably outside inhabited areas, were the ones most likely to
see elves or have other contact with them. Thus people out tending
sheep, or staying alone in shielings, often became aware of elves, forthere one day would be much like the next, they would hear the murmur of the stream, but otherwise silence would reign, occasionallybroken by the barking of a dog, which might give them a start. Unconsciously the mind would turn inwards. Everything around was unchanging, the world of nature still and silent; one would feel in its
power, become as if a plant, rooted in the valley. The sight became
sharp and the ear keen, noticing anything that might suggest the activity of living beings breaking the monotony of this mindless immensityof silence.
This monotony was often broken. People saw sights and heard voicesthat did not come from ordinary people or animals. Where did theycome from? There were two possibilities. The mysterious phenomena
were either caused by something outside the normal consciousness ofthe one seeing and hearing, as is the case with telepathy and prophecy,and maybe many other things that are beyond my understanding; orelse they derived from the person’s own sense perceptions, but throughsome misapprehension or false perception or hallucination emanating

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from the depths of his soul, and this may very often have been what
happened. It is very natural for a person in solitude and silence to hear
his own thoughts and see his imaginings; and sometimes a person’s
nerves may have been upset or his mind disturbed and then all kindsof misperceptions could occur. The story of Álfa-Árni has all the hallmarks of being the story of a deranged person, and much else could be
explained in the same way (cf. JÁ I 77).
The present author has little experience of supernatural phenomena; he has true dreams like most other people in Iceland, but otherwise has no psychic faculties and knows very little about them. He has
therefore chosen to leave this topic at this point and hand it over tothose who are more versed in such things.
IV
If a person can see into hidden worlds, or hear voices from them, it is
as if he is looking through coloured glass. Many forces control what
he sees and what it looks like. To start with there is his own psychological condition, his desires and his concerns. If what he sees originates outside his consciousness, that is where its content will comefrom, but if it has been shaped entirely in the hidden recesses of his
mind, then that will have provided its actual original content. Secondly, it is bound to be influenced by his nationality and culture, thesociety in which he lives and his occupation. Thirdly, there are theinfluences from folk-belief; if a person sees cows being driven where
he did not expect any humans to be he will assume it is an elf if belief
in elves is current where he lives, and both what he sees and what hesays about it will inevitably be affected by that interpretation. If heknows stories about elves, it is likely that his account of what he has
seen will mould itself on their pattern.
All these processes occur simultaneously, and these influences continue their work when other men and women begin talking about thesestrange events. The experiential core of the story shrinks or is obscured, and before long it becomes impossible to tell what really happened.
Eiríkur Ólafsson’s stories give some idea about the first stage of thechange. Eiríkur himself sees the boy driving the cows towards thestone, a woman driving sheep, people walking westwards over themeadow. They are just like ordinary people, but rational thought reveals

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that they cannot be local. And according to folk-belief there were elvesliving in the stone and in fact everywhere round about. Next we have
simple reports by eye-witnesses. Ísleifur sees people coming ashore
to the south. They cannot be local men, cannot be human, because
they disappear, and people connect them with legends of elves, theirdwellings and activities. Then we have common talk in the district,without the name of the informant being given: the lights in Hafurshóll.
The elves’ fishing in the sea off Eyvindarhólar is more doubtful inthat the date is not given, and here we seem to have a mixture of oldand new reports. All these accounts are very simple. The story of theworkman at Skar›shlí› has more to it, and it all seems more mysterious. The main point, the man’s disappearance, is no more definite
than ‘it was rumoured’. But all through this story shines the belief inelves strong and clear: the farmers at Drangshlí› must not have theircows watched when they calve, and all goes well—the elves see tothat.
One would not need to make many changes in the story of the workman of Skar›shlí› or alter the content in any fundamental way, tomake it into a common type of elf-story, telling of the love of a man
and an elf-woman which ends with the man disappearing into the worldof elves.
V
As was mentioned earlier on in this book (pp. 15 and 63–65 above),by no means all folk-stories are based on mysterious occurrences,hallucinations or imaginings, and one only has to think of such obviously fictional stories as that of Grámann the Master-thief, humorous
anecdotes or stories of outstanding people. It also happens quite oftenthat an event in real life which has nothing supernatural about it attracts superstitious elements to itself so that stories result which are
indistinguishable from those that arise from mystical experiences. The
process can then become so totally reversed, that first there is a folkstory, and the event that it describes happens afterwards. The story ofGaldra-Loftur (pp. 207–13 above) is an excellent example of this. Whilepeople had little understanding of the causes of diseases, many of themwere blamed on elves or ghosts (see JÁ2 II 703, veikindi), as they had
been in earlier stories (in this Icelanders were following an old tradition of diagnosis: in ancient Babylon it was considered to be one of

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the highest branches of knowledge to know what demons caused which
diseases). Mental disease and apoplexy in particular were often attributed to a Móri or a Skotta, and when they ran in families it gave support
to the belief in attendant spirits.1 In the seventeenth century, when
belief in sorcery was at its height, people were inclined to blame magicians and their activities for every kind of unknown sickness of men
and animals, and for any unexpected accidents.
Thus the ways in which folk-legends came into existence were veryvaried, and it is pointless to expect to explain everything in the sameway. Sometimes a story originates from a mysterious experience, sometimes the superstitious explanation is added afterwards, and manystories have come into being through deliberate invention.
VI
The poet who composed Snjáskvæ›i found he had a problem when heneeded to describe the world of elves, though he managed it wellenough: ‘He saw green fields and numberless sheep, and all the woodsin flower, splendid farms and strong fences, the sun shining on a hallroofed with silver’ (ÓDav. fiulur, 32–33). In reality the poet had neverseen halls roofed with silver, either in the human world or in any hidden world. That sort of thing is fiction. But generally the hidden worlds
are a kind of reflection of the world of men. Eiríkur Ólafsson did notsee elves riding in rich clothes with golden crowns on their heads, no,he saw a boy with a broom in his hand driving three cows, one piedred, one with a grey neck and one with black flanks, and a dirty heifer
with them, and they all lined up by a stream to drink. Ísleifur of Skógar
saw elves come ashore and unload from their boat oars, cod and flounder, and he had got right up to the pile of fish when his horse snatched
the reins. The workman at Skar›shlí› said the elves lived just likemen, had cows and horses, rowed out to sea to fish and used lamps
and candles.
The folk-stories are packed full of such vignettes of peasant life,
and this is one of their greatest glories. People indoors, weaving or
carding wool, sewing or carpentering, people outside mowing or gathering the hay, tending the sheep, rounding them up, a shepherd at a
sheepfold; all kinds of animals, wild or domestic, birds and fish and
1 Cf. Árni Árnason, Apoplexie und ihre Vererbung, 1935, 130, 146.

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the contacts of men with them for good and evil; men catching birds
on cliffs or on the moors, fishing in the sea or on lakes. One gets
glimpses of everything, boats and oilskins, fishermen in their huts andat meals, or travelling over the wastes in snowstorms. Long trains ofpackhorses carry stockfish along narrow, winding bridle-paths, andmake their way at a steady trot all the long spring day, under the Icelandic rain and sun, which does not differentiate between the rich andthe poor, the just and the unjust. Sometimes, too, we see people put all
their work aside and try their mounts to the utmost, riding to church,
racing along to a wedding or a party, and there will be the scrape of theknee-fiddle, the sound of singing and the beat of the dancers’ feet.
The picture of Icelandic peasant life given by folk-stories is enormously varied and entertaining, and there is no other source richer insuch material. Much of what is described there is now changed. Villages and towns have grown up since, and their culture is very different. Even rural life has changed. Herb-gathering trips are no longer
fashionable, people have stopped making charcoal, the shielings are
just ruins, and stock-fish trains are seen no more.
All these human activities are alive, for the human heart beats inthem. They are imbued with the joys and sorrows, hope and despair of
human beings. Men everywhere labour at their tasks, fight for their
existence, and try to snatch a few sunny days before their work is done.
Folk-stories are full of pictures of peasant life, of people’s activities
and customs, but not because that is what they are about. They arealways about something ‘story-worthy’, memorable, rare or exciting
events. But they must be clothed, so to speak, in people’s daily lives.
Some artists are in love with the tiny details and petty events of real
life, as if they find a revelation in them. This may be because theylong to escape from the world of their own thoughts, as the city-dweller
longs for the natural beauty of the countryside. But the details of peasant life in folk-stories do not spring from that source. Their story
material, the rural setting and the thought-processes of the story-teller
are an indivisible whole. This unity and coherence works a strange
magic on the listeners. Though these pictures of folk-life are inseparablefrom the stories that contain them, they take hold of their minds. People
are like the grass on the ground that grows and withers, enjoys sunand dew, endures storm and cold, and though each blade of grass isdifferent from every other, they share growth and decay, and in theTHE WORLD OF MEN AND THE HIDDEN WORLD

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last resort it is as if ‘all is one’ and the wonder-tale names Sigrí›ur andfiorsteinn contain the highest wisdom.
VII
Once upon a time a man died at Skálholt, and a neighbouring farmer,
a master carpenter, was got to make his coffin. The time came to put
the body in the coffin, and it turned out to be too narrow, as everyone
thought. The bishop was present with other dignitaries; he sent for the
carpenter and told him that he had made a bad blunder. The carpenter
was not convinced and took a hammer in one hand and a sledge-hammer in the other. The dignitaries shook their heads at this procedure.
Now the carpenter struck both ends of the coffin at the same time withthe hammer and sledge-hammer, quite a light blow, and as the boards
settled after the blow the body sank neatly into place. Then said thecarpenter: ‘What do you know about a craftsman’s blows, you devils?’
The theme of this story is a craftsman’s pride. He is aware of his
skill and is confident of it, and this confidence gives him the strength
to stand up against the mighty men who rank high above him in worldly
dignity. He has his superiority no less than they have theirs, and soeach class has its own resources.
If one were to search thoroughly, I suspect that more stories of craftsmen’s skill would be found among Icelandic folk-stories. Yet I suspect
too that they would be fewer than one might expect, and the reason is
simple. There has never been very much division of labour in Iceland;
everyone worked on the land, and the men went out fishing or worked
on fishing-stations as circumstances permitted. Urban artisans cometoo late into Icelandic history to become part of folk-lore, so that apartfrom clerics, it is mainly carpenters that could have cause to regard
themselves as superior to others because of their skill.
But then there is the division of the people into clerics and laymen,
and this has had a far greater impact. There are a few stories that relate
to pre-Reformation times, often rather anti-clerical in tone, and especially hostile to monks and nuns, who are accused of immorality, often
in a very silly way, as in the stories of their having children at Helgafell
Abbey, where the story-tellers overlooked the fact that there never
was a nunnery anywhere near Helgafell. Some of the pre-Reformation
bishops are accused of excessive greed, like Gottskálk the Second of

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Hólar. Most of this comes from or is coloured by the hatred of the
Lutherans for the Roman Church, though the story of the abbess who
put the abbot’s drawers on her head instead of her wimple (JÁ II 73) isan anti-clerical satire from much earlier times (it occurs for instancein the Decameron).
But many of the Catholic and most of the Lutheran bishops had agood reputation, and are the spiritual fathers of the people in stories.1
The ordinary clergy stand closer to the common people, and have had
a greater effect on their imaginations. The peasants looked up to themodel farmer at the parsonage, the people of the parish respected their
pastor, the unlearned had a kind of fearful veneration for the manlearned in Latin and Theology. People came to think of them as having greater power than others in matters pertaining to the spiritual
world, that they had spiritual, often magical, power. Most of the timethey were the most reliable pillars of strength in men’s dealings withdark powers, and it is rare for them to use their powers for doubtful
purposes. Thus the name of priest provides a greater security than thatof poet. Both had spiritual power and mighty skills, but poets wereless to be relied on.
There are many more ideas associated with priests than these. They
received their income from obligatory tithes which many must haveresented having to pay, and so they often got a reputation for avarice.
The Devil could not find an unavaricious priest to provide the lastrites for Kálfr Árnason; there was only one in the world, he was awayin Germany and protected by a blazing fire all round him, and theDevil could not get hold of him (JÁ I 504–05). In a more popular tone
is the story of the parson at Múli who took the cow from the poor
widow at Ingunnarssta›ir for his tithe, and on the way a great rock fell
on him from the mountain (JÁ I 480). But though there are thus sometraces of satire, emanating clearly from the payers of tithes, the trust
placed in the parson because of his spiritual powers is a much more
important and common element in folk-stories relating to clergy.
1 Of the Catholic bishops ‘Gvendur gó›i’ (Gu›mundr the Good) was of course
best known among the people and he appears in some stories. In one story
Luther saves a woman who had sold her soul to the Devil; Luther gives her apurse, which the Devil tries in vain to fill, and he gives it up with the words, ‘No
wonder I was not able to fill it: it is Luther’s purse’ (ÍB l60 8vo, p. 35). Cf. Ólafur
Lárusson, ‘Gu›mundur gó›i í fljó›trú Íslendinga’, Bygg› og saga, 1944, 244–79.

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Some stories show signs of having originated in schools or among
clerics, such as the anecdote of Sæmundr the Wise’s rhyming contests
in Latin with the Devil (‘Nunc tibi deest gramen’; JÁ I 496) or theconversation between the devil and the ignorant priest (‘Abi, malespirite’; JÁ II 23). The same applies to the story of Galdra-Loftur andmany other stories of sorcerers. Others show the boys of the Latin
schools through the eyes of the common folk, and they contain sometimes respect, sometimes antipathy.
Though secular officials appear a good deal in folk-stories, popular
ideas about them are much less consistent. Merchants, who were mostly
foreigners in Iceland, were the most clearly distinguished class, hated
for their rapacity, insolence and vulgarity. Stories about them show atendency to try to cut them down to size, and this is usually how theIcelandic peasant, often a proud and easily offended type, compensated himself for the humiliations he often had to endure from them.
So we find popular heroes emerging among their opponents, such as
the power-poets fiór›ur of Strjúgur and fiormó›ur of Gvendareyjar,
who turned the tables on them and brought the Jacks-in-office down apeg or two. It may be that occasionally a peasant tried to frighten a
trader by threats of magic, but for the most part these stories musthave come about as verbal vengeance for insults which the unprotected Icelander had to suffer without being able to get his revenge on
the spot. Thus the story of Jón the Strong1 is fictitious, born of a burning hatred for traders and the need for a vicarious revenge; it tells how
Jón repeatedly overcame a merchant’s trickery and his attempts tobully through his sheer strength, defeating increasingly mighty opponents and eventually getting rid of the merchant himself. The stories
of Halla of Straumfjör›ur’s tricks, when she causes the merchant tosee mice and stones as sheep and butter, or the one about Eiríkur of
Vogsósar, who makes the figures of the trader’s ledgers appear in thewrong column, are much more innocent. Thus would many a man
have liked to pay out his trader for dear and defective goods. The storyof the theft of trading-goods in Stykkishólmur is interesting. In
Grímssta›aannáll (under the year 1711) it is stated that many goods,
especially cloth, were stolen from the warehouse during the winter,
while the traders were in Denmark. ‘This theft was rumoured to be the1 JÁ I 323, 574; ÓDav.3 II 114–18, ÓDav.5 II 156–59.

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work of fiormó›ur Eiríksson, and he was acquitted at the Assembly,
and so the crime was never solved’ (Annálar 1400–1800 II 546–47).
According to folk-stories poor people of the neighbourhood became
destitute and begged fiormó›ur to help them, saying that they weredying of hunger though there was plenty of food in the shop. fiormó›ur
could not resist their pleas, opened the doors with a magic ‘lock-herb’
for these poor souls, but did not enter himself. Here it is not cloth thatis stolen, but food, and the theft is interpreted in the best possible
light. The story clearly originated among people who had no great
concern for the merchant’s property, but were in straitened circumstances themselves. The legends of fiormó›ur’s ambiguous oath, andthe innuendo in his verse addressed to the sheriff, ‘Hafi› flér sé› hannGlugga-Gvönd, göfugi s‡sluma›ur?’ (Have you seen Gvendur-on-thewindow, honourable Sheriff?), with its heavy imputation of judicial
complicity in the crime, also take his side.
There is less differentiation than one might expect of Icelanders
according to the part of the country they lived in, and little sign of
hostility or unfavourable comparisons between districts. The peopleof Flói and Hornafjör›ur are generally made out to be not over-bright,
the people of the Western Fjords and those from Snæfellsnes are mostoften linked with magic. Those of the north of Iceland are regarded as
proud and stuck up (not unlike the popular northern English view ofthe southerners) and the story of Hólamannahögg, ‘The men of Hólar’sblows’, is based on this attitude.1
Apart from the traders, there is no great hostility to Danes on account of their nationality. The Danish governors-general are naturally
seen in an ambiguous light, but folk-stories probably do not exaggerate about them unduly. People had a great dislike of Lapps because of
their reputation for sorcery, and Muslims were hated and feared after
the Algerian raid on Iceland of 1627, as a sort of revenge or compensation for which there sprang up a lot of stories about Icelandic magicians raising storms and so on against them. Fitjaannáll (under theyear 1467; Annálar 1400–1800 II 21–23) has older legends aboutÓlafur tóni leading English merchants astray, but their general tone israther different. There is no bitter feeling of impotence underlying
1 See JÁ II 127–28; Gestur [Gu›mundur Björnsson], Undir ljúfum lögum,1918, 26–31.

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them. Relations with foreign fishermen varied; some were suspiciousof the Dutch, but the worst of all were the foreigners drowned at sea.
They had a tendency to return to haunt, especially if they were illtreated in any way.
When a rich person behaves heartlessly towards the poor, or when aperson with power treats the humble harshly, folk-stories are normallyon the side of the poor and humble. They are well-disposed to thepauper who is cruelly treated. Sometimes they mention servants being
kept hungry and driven hard at their work, though perhaps less often
than one might expect when one considers how bad their conditions
had been in earlier times (or perhaps this did not get out of hand much
until the late eighteenth century, when Iceland’s economic conditions
were most wretched?).
Harshness to the poor is condemned in many stories, for instancewhen the destitute are turned from the door, vagrants and orphans illtreated and people shown cruelty in hard times. Avarice and miserliness are vices which are both hated and despised. When a usurer’s
house burns a voice is heard from inside crying ‘Never enough’, andwhen avarice goes so far as to make someone swear an ambiguous
oath or force his people to work on holy days, an angel strikes themountain above his house with his rod and a landslide buries theungodly (JÁ II 41–44).
But aside from avarice, miserliness and cruelty towards the destitute, there is not a great deal of direct satire in Icelandic folk-stories.
Yet often the unremitting and hopeless misery appears to darken thespirit and waken suspicion, fear and general hatred of mankind, andthere is nothing easier to find than examples of this in later stories ofmagicians (‘eighteenth-century stories’, see p. 203 above). With more
introspective and inoffensive people the attitude is different, and theirstories are about the fulfilment of poor men’s wishes. Some of men’s
dealings with elves are to their advantage. fiór›ur of firastarsta›ir gets
lost on his way to the market town of Hofsós and finds himself in theelves’ market, where he is given better food and wine than he has evertasted, and in the morning when he and the elf-merchant trade witheach other, fiór›ur gets twice as high a price for his goods as he hadcome to expect, while the imported goods he buys in return are bothcheaper and better quality than at Hofsós. There are probably bitter
experiences behind this story. And all the fat sheep that people find up

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in the wastelands in the outlaw stories are their way of making up to themselves for the few scraggy sheep which were all they actually owned.
The epitome of all helpless people is the Cinderella-figure, the despisedchild of the wonder-tales. Usually this is the son or daughter of someold cottager, and this designation of social class is a very generalised
one. The class-identity comes to be indefinite and unclear, and thefigure comes to have a universal significance. Helplessness, inferiority,
humiliation, poverty—all these things are combined in it. That is theexterior. Within we may behold a good heart, endurance, fortitude andsometimes resourcefulness—qualities which make Cinderella deservea better fate, and which lead her in the wish-world of the wonder-taleto precisely the fate which ought always to accompany these qualities.
VIII
Much emphasis has been laid in this book on showing how folk-belief
is one of the main sources of folk-stories. But this matter can also be
looked at from another angle. We can look on folk-story motifs regardless of their origins as revealing the mental attitudes of the people
who dealt in the stories. It may also be that some supernatural motifs
which are outwardly not so very different from the motifs of folkbelief or ancient mythology are, in origin, just free fantasy. Some stories
tell of a horse-machine that flies through the air, or of a man who
makes wings from feathers and is able to fly. The core of these stories
seems to have been the same wish as underlies the development ofmodern aeroplanes. Ships that always have favourable winds, the quernthat grinds gold, and the ring Draupnir from which eight other goldrings drip, are very likely to have been created from people’s wishes
and the same may well be true of many other magical objects, thoughsuperstition may well have played a part (with jewels, amulets and soon). It is generally worth bearing in mind that a single motif may wellhave a composite origin and significance.
Most people will recognise the dream that they are flying throughthe air, or able to do other things that the mind desires or, on the other
hand, that they are as if paralysed, so that they are fixed in their tracks
and cannot move. Both these things are well-known in stories. Magical objects also can have their parallels in dreams, and it would befoolish to deny the relationship between these things. Some scholars

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have therefore tried to trace the motifs in folk-stories (especially thosein wonder-tales) to dreams. I do not wish to deny that this may sometimes be true, but I think that it is more likely that the ‘dream-motifs’of supernatural stories have their origin in the same primitive stage of
consciousness as dreams. Supernatural stories are thus a kind of waking
dream and, to the extent that they belong to everyone, they are thecommon dreams of mankind. Of course folk-stories are not the only
ones out of all the stories in the world that are closely related to themother of dreams, the subconscious, for this is true of all kinds ofcreative writing and art, but folk-stories, along with mythology andother similarly imaginative narratives, show the clearest signs ofkinship with it.
As well as supernatural motifs, folk-stories contain many realistic
elements whose core is still desire or fear, no less than it is of theothers. I would list as examples the story of Grámann the Master Thief,stories of luck and cunning, and many coarser stories, and need not
dwell on what is fairly obvious to all in them.
Mythologists say that the effect of the sacred on human beings is of
two kinds. On the one hand it is pleasant and attractive and inviting,but on the other it arouses fear and dread. If one wanted to identify themain forces in the psychology of folk-stories I think that they would
be found to be similar: on the one hand desire and longing, on theother apprehension and fear.
The stories about Sæmundr the Wise are excellent examples of this.
Sæmundr makes the Devil take him across the sea to Iceland in theform of a seal, hew wood and carry it in, take water to the cowshed, anddo all kinds of work which one would like to have done without having
the trouble and labour oneself. The stories describe what ought to be
and what nowadays is done by machinery. In the mouths of some storytellers the fulfilment of what is desired in the story is no more than apoetic extension of reality. The sailor adds a little to the speed of his
ship, or the horseman makes his steed run as swiftly as it ought to. For an
impatient person nothing that was available to the technology of former
times was fast enough, and in such a case invention is an appropriate
improvement on reality. People find the fundamental idea in reality
but imperfectly realised, and in fiction they give it its complete form.
But much more often folk-stories depict compensation for reality
by means of its opposite. The principal character in the story gains

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blessings which the story-teller never got in real life. The story often
begins with a stylised description of everyday life (in a cottage) andmoves to its opposite, the wish-world (the king’s palace). There is no
doubt that here we find what is often called escapism, flight from thegrey and harsh reality of everyday life, from poverty and toil.
If we compare these two kinds of wish-stories the first can be seen
to be more positive, nearer to the fulfilment of desire; such are thedaydreams of the man of action. The second kind has little connection
with the urge to do. The imagination is at play here, seeking fulfilmentof wishes in the play itself. This is the world of fantasy. Even so it isworth making the point that the same story can have different meanings for different people according to their temperaments.
Let us now give a few examples of the wish-pictures created bypeople in folk-stories. First of all it is right to note some motifs thatbear witness to a passive attitude to the difficulties of life, to a longing
for refuge from storm and stress, a world of beauty and peace where
there is nothing to fear. Mja›veig’s paradise is one of the clearest examples of this (pp. 9 and 237 above), and I will give other examples ofthis motif later. But generally the human mind cannot conceive of aperfect sanctuary; usually wickedness creeps in somehow or other, as
when Vala, bringing her evil valuables with her, gets to Vilfrí›ur where
she is living in a rock with dwarves. The meaning of the outlaws’
valley is ambiguous. It is certainly a beautiful place with rich grass
and fine animals, and Jón lær›i thinks of it as a sanctuary where it isgood to be and the people are more skilful and interesting than ordinary farmers. But he refers in passing to ‘the worser inhabitants of thevalley’, that is, there are evidently bad people there too, and later stories
demonstrate that one can never be certain what sort of reception one
will get in the valley. If one were to look one would easily find otherexamples of there being somewhere close to the fulfilment of desire ahidden fear that can easily turn into blind terror.
A host of motifs bear witness to a more active attitude to reality.
Stories of outstanding people, physically strong and agile, or cleverand crafty, are easily understood. These people have desirable abilities, and the listener rejoices in their victories as if he had some part inthem. The same applies to the gift of second sight, inasmuch as it is anadvantage to people that have it. Most precious objects are tools created by the imagination to fulfil desires, such as the special posses-

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sions of the wonder-tales, the bed or the carpet that flies through theair, the wish-stone, the stone granting invisibility (which has moreaffinity with amulets), the girdle that stops one from feeling hungry,
the cloth that is always full of food, and numerous other magical objects.
In Icelandic stories about magic the objects and their purposes are of amore everyday kind, such as a device to eke out the milk-supply bystealing milk from other people’s animals and the like. There are plentyof expedients to obtain money which, considering the general poverty
in pre-Second World War Iceland, is no surprise. On the other hand,
not many Icelandic stories about robbery are sympathetic to the thief,though European stories of this kind were brought over, such as thatof Grámann, in which the story-teller attempts to vindicate the thief orelse turn the whole thing into a joke. Of supernatural motifs whichhave greed as their core, I shall mention only three. At the end of awonder-tale, when someone has killed a troll in a cave, they usuallytake away a great deal of gold and silver. Much odder, however, is thestory of the criminal who fled from justice into a cave, and walked fora long time through it, treading for a while (as he thought) in sea-sand,though when he emerged at the other end into a different area, hefound he had gold-dust on his shoes, and with it he was able to purchase his freedom. I cannot find any folk-belief underlying this idea,
which appears to me pure invention. It tells of redemption and being
freed from guilt; could it be based on ancient ideas about rebirth?
Then there is the miserly ghost motif. A man hoards money andburies it in the ground to prevent it being dispersed after his death, andso that others cannot enjoy it. After death he returns and finds his
nocturnal amusement in getting his hoard out and playing with it, pouring the coins over his head. I have earlier (pp. 185–86) indicated thevarious beliefs which have at one time or another been connected withburied treasure. In recent stories there is little left except people’s objection and revulsion to the idea of the idiotic pleasure of the hoarderand miser in taking money out of the world of the living and entertaining himself by running his hands through it and playing with it. So thestory then tells how someone frees it from the dead and the ghost andhas a living use of it, and others after him.
Some of the clearest of all wish-stories are those of magicians andpoets of power. We have already seen how the poets balanced accounts
with the Turks and Danish merchants. They could often be a great

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help to people, but were not easy to cope with if they were crossed.
One central theme runs through all the stories of magicians, however
diverse they may otherwise be: the yearning for the power to do things
not possible to mortal men. Magic is not usually called in to do anything very exciting; the magicians do not demand from their assistants
splendid halls, they do not live in sybaritic luxury, nor do they want tolord it over other people. They perhaps fish up a hot black pudding on
the end of a line for chilly fishermen or, at most, draw beer, wine or
spirits out of a staff (this motif occurs mostly in older stories). Lovespells exist, but to judge by the stories they never seem to have done
anyone much good. Magic was much more use when the practitioner
wanted to take vengeance for being rejected. Then he was sure todestroy the woman’s health. In general the magician rarely failed toappease his hatred and thirst for vengeance, even if only later on. Thisillustrates negative psychological transference; when a person is unable
to fulfil his desire in a natural and positive way at the proper time,
there may spring up a blind hatred of the former object of his love andhe dreams of taking his revenge—later. When it is not a case of thesevehement passions, it is usually rather petty tasks that the magician
gets his spirit servants to perform, which well illustrates the lowly
background of these stories.
Stories of magicians show that it is by no means always safe to have
one’s wish fulfilled with the aid of magic. It is true that many stories
seem to gloss over this side of the matter, but in others the danger adds
interest. It increases the pleasure of the audience to find out howSæmundr the Wise got his wish with the help of Devil and then cheated
him of his reward. Many troll-stories, especially wonder-tales, deal
with how a person plays with fire. Many comic stories are similarly
about the mocking and tricking of the simple-minded by the crafty,
though this is not always free from danger. And terror comes out withall its force in the story of Galdra-Loftur and in many other stories
of magicians. It is also the principal motive force in stories of ghosts
and monsters, in which there is often no wish or desire expressed.
Such stories seem to have arisen from the fears of men who were at
the mercy of wild forces of nature, storms, blizzards and rough seas,
often living in loneliness and poverty and darkness, in poor housing
in a remote northern land, perhaps living on bad and insufficient
food. It is not to be wondered at that darkness and terror appear in theTHE WORLD OF MEN AND THE HIDDEN WORLD

289

stories of such people. They get a taste for the terrifying and huge, anddemand that stories, even when quite restrained, should still be highlycoloured.
It is interesting to examine the many stories where desire and fear
go together. In some of the optimistic stories, such as outlaw stories
and wonder-tales which deal with love, there is something dangerous
and fearful attached as a condition of the fulfilment of the wish, without the latter having anything evil about it, and everything turns out
right in the end. In stories of magicians the procedure itself is unlawful and consequently dangerous, and so the story can end either happily or unhappily. The wish or its fulfilment is in some mysterious
way linked to taboos, and they in turn are closely allied to fear. One of
the most curious taboo-motifs is the one where a man wields a weapon
to strike, and his arm goes rigid or becomes powerless, or where aman cannot move his feet or gets stuck to something and cannot get
free. Things like this are common in dreams, and it is likely that thepsychological explanation in both cases is the same. When rogues whostole horses got stuck to their backs it was known as har›fjötur, ‘hard
fetter’, according to Skrif Ólafs gamla (i.e. probably Jón Eggertsson);the word is reminiscent of herfjƒturr, a word which occurs in Old
Icelandic and means a kind of paralysis in battle or in flight, and in its
feminine form is also a name for a valkyrie (presumably a personification of this condition).
These phenomena depart very little from cold reality, but whenhumans fall into the hands of elves or evil spirits, and are seen returning to the world of men with a chain or bond running from their backto the hidden world, that symbolises spiritual bonds. But the bonds
can also be so spiritual that they do not touch the person’s body, only
his will. This is the case with all spells where a person has to go somewhere willy-nilly at the bidding of the enchanter. ‘You shall not beable to bear being still until you have found so-and-so,’ ‘You shall go
to my brother in Giantland,’ ‘You shall turn into a monster and killeveryone who comes to you,’ and so on. The person who is under aspell can only obey, however much it may be against his will, and hehas to make it as difficult as possible for whoever releases him fromthe spell. In all this there is evident some remarkable psychologicalobservation. The spells themselves reveal an understanding of hypnotic suggestion and hypnotic power, and the action of the person

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under the spell gives a masterly picture of split personality and theunnatural behaviour that can accompany it.1
Imprecations and curses are more straightforward, but they can also
involve auto-suggestion, so that when something adverse happens, aperson feels that the curse is beginning to work, and this perception
weakens his resistance and attracts more trouble and misfortune, until
ill-luck has entirely paralysed him, and he knows that he is done for.
Finally, the bonds can be transformed into a philosophy, a belief infate. Generally their power is then broken, since few can see into the
future, and a person who believes in fate will then go on as if he werecompletely free of responsibility for his actions, though afterwards hewill realise that his longings have not had much effect on his bonds.
Let us now turn to examples which show more balance (and sometimes also more conflict) between positive and negative forces. In very
many stories of the hidden folk it is as if loneliness and longing for thesociety of men cried out to nature until hillocks and rocks and hillsides opened and were filled with hidden folk, as if monotony andpoverty increased the thirst for the wealth and finery and splendour of
the world of elves, and a frustrated desire for love had attracted beautiful elf-lads and elf-women to the human being. It is therefore not at
all difficult to spot the wishes that lie at the core of these stories, while
the fear comes out in accounts of the dangers, misfortunes, sickness
and death that could result from association with hidden folk, in legendsof changelings and other unpleasantnesses that appear in stories ofelves (cf. pp. 176–77 above). In this way the mind wavers and everything about the elves is uncertain—splendid and desirable, and at thesame time frightening.
Dark and repulsive elements are much more prominent in stories oftrolls. Trolls are huge and frightful, they kill and eat people. And huntthem. They drive them crazy, so that they want to rush into theirclutches, like the successive parsons of Mjóifjör›ur who shouted when
the troll’s spell summoned them (JÁ I 152–53):
Taki› úr mér svangann og langann, You can pluck out my guts and my groins,
nú vil eg a› gilinu ganga;to the gorge I long to go;
1 Sometimes the absence of mind that is mentioned in stories derives from
hypnosis, but sometimes there may be other causes (sickness, shock and thelike). On the other hand the stories often attribute it to drink or other physicalcauses.

THE WORLD OF MEN AND THE HIDDEN WORLDtaki› úr mér svilin og vilin,
fram ætla eg í Mjóafjar›argili›.

291

you can pluck out my spleen and my loins,but to Mjóifjör›ur gully I go.

In other cases troll-wives use witchcraft to draw men to them, so as tomake them mad and keep them to have intercourse with. The idea isabhorrent to humans, but troll-wives go after it like mad. In the symbolic language of the story, this means that the author is describing
desires within himself that he loathes and struggles against. Thus thesestories are manifestations of various psychological conditions, and theirmotifs symbolise many things, both elevated and beastly.
IX
Let us now look a little more closely at some individual motifs, and theirroles and meanings in folk-stories, in other words at their symbolism.
How can we interpret this secret language? Doubtless the first stepis to examine the role of the motif in the story itself and the intellectual and emotional content it has there, and then compare it with similar or related motifs elsewhere. Next we must bear in mind the symbolism which we know was familiar to ordinary people and appears in
folk-belief, proverbs and popular verse; nor may we forget literary
and Christian symbolism. Finally there is the symbolism of dreams,
which are related to fantasy-stories and so of particular importance. In
Iceland there has been among the people a whole symbolic system of
dream interpretation from early times down to the present (in whichnames of persons and certain words play an important part, as also docertain particular natural phenomena; see JJ Ífl 414–16), which contains many elements derived from foreign dream-lore.1 I need hardly
say that I have also tried to take into account the ideas of modern
psychologists, with their insights into the dark regions of the subconscious, but sometimes I accept the theories of Freud and Jung on theinterpretation of individual symbols only with some reservations; generally I have not found it helpful to follow them more than to a limited
extent. Many people will probably feel that I have not been very
1 G. Turville-Petre, ‘An Icelandic Version of the Somniale Danielis,’ Nordica

et Anglica: Studies in Honor of Stefán Einarsson, 1968, 19–36 (Turville-Petre
has shown that even the old Egyptian dream-book was known in Iceland); on
dreams in Old Icelandic literature see also Kelchner 1935 and R. Perkins,‘The dreams of Flóamanna saga,’ Saga-Book XIX (1974–77), 191–238.

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adventurous; in that case the way is clear for them to advance further
where I have held back.
Light and brightness have all kinds of associations with good fortune, joy, health and beauty. Sickness wanes at dawn, ghosts and evil
spirits flee at the approach of light, there is an aura of light that accompanies good men, and it has, of course, also its Christian symbolism: it denotes the power of Christianity and the souls of the saved.
Stars can also symbolise attendant spirits or souls. Icelanders havealways loved sun and sunshine intensely, and its associations are always with beautiful and blessed things. Criminals cannot see the sunin the clear sky and evil beings cannot endure it. The moon is the sunof the ghosts in the story of the Deacon of Myrká, and similarly theflame that flickers above buried treasure and the will o’ the wisp are
strange and fearful things. Volcanic fire is associated with magic andevil creatures. A sending appears as a ball of fire, and a ghost isaccompanied by flashes of fire. All these kinds of light contain something of the nature of darkness and night; these phenomena symbolise
what is evil and of ill omen, or at least doubtful and ambivalent. Thissymbolism of light and darkness is of course known the world over,and is perfectly comprehensible. It is interesting that fire and light canbe ambiguous, and that some flame partakes of the nature of darkness.
The colour white corresponds to brightness, is good and indicatesgood fortune, while black is of the same nature as darkness, though it
can sometimes symbolise seriousness. Dark blue and grey are thecolours of the hidden world; water-horses, sea-cows and hidden folk
can be grey, and grey is closely associated with magic, and sometimes
with ghosts. Elves are normally dressed in dark blue, the flame thatflickers above buried treasure is blue, a man’s soul appears as a blue
vapour, and the vapour of pestilence is blue. Wanness is associatedwith the approach of death. Dark brown as the colour of a horse canhave sinister associations; reddish brown is to some extent connectedwith magic, but is otherwise often the colour of outlaws and ghosts.
Green has various associations but both it and red are linked withsplendour and associated with joy and beauty; but red, as the colour offire and blood, can also have a different meaning: red is associatedwith the blackest magic. The lettering of the books in the Black School
was fiery red, the Devil is red-haired and has a red beard, the mostterrible Icelandic book of magic was ‘Red vellum’ and red is also a

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ghostly colour—one ghost appeared in the form of a red bull. Gold isthe colour of brightness, splendour, wealth and joy.
Folk-stories reveal a great fondness for certain numbers, as is wellknown. The most highly regarded are the ancient magic numbers 3, 7,
9 and 12 or their multiples, as one might expect. Even so, there does
not seem to be a great deal of symbolism attached to numbers. The
ordinal ‘first’ generally involves, however, great power and vitality,
and what happens first is always the most important. ‘Three’ (and‘third’) is an important and powerful number, and now and then is agood omen (in popular belief; ‘third time lucky’). As it says in Jórei›rof Mi›jumdalr’s dream in Sturlunga saga, ‘Everything happens threetimes in antiquity (cf. also ‘that’s all, if there are three of them’); it isalso true that the Holy Trinity is good.’ A company of men is 18 (if not12). 20 is used for the end of a series (for instance a period of time,such as years of outlawry; Höf›abrekku-Jóka lost her power over a
man after 20 years and so on). ‘Thirteen’ appears to have no unlucky
significance in Icelandic folk-belief or folk-stories.
As one might expect, time, the great mystery, has various beliefs
associated with it. One time is more propitious than another and at thewish-hour all light is concentrated in one bright spot. The days of theweek have their meanings in folk-belief, though I think in folk-stories
only the holiness of the Sabbath is relevant. Feast-days, on the other
hand, are quite important in them, especially Christmas, New-Year,
Twelfth Night, the first day of summer and St John the Baptist’s Day(Midsummer Day, 24 June). Christmas or Yule is the most significantof them, for then the shortness of the day and darkness have reachedtheir culmination, and yet there is expectation of brightness and great
gladness, and it has in addition the significance and holiness that thetime acquired through Christianity. So it is nothing to be surprised atthat Christmas has very varied associations. All sorts of beings areabout then, ghosts, trolls, and elves, and in the past the twelve Christmas goblins (jólasveinar), and then it is not good to be the only person
awake on the farm. On the other hand there is great rejoicing, and thechurch bells never do their work better than at Christmas. The rejoicing is entirely consistent with the Christian significance of the feast,
though in some stories the rejoicing is purely secular and unchristian
in sentiment, so that there is a conflict of ideologies; this lies behindthe story of the dance at Hruni and legends about ‘Two Kings of294

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Diamonds’ (if cards are played at Christmas there will be two kings of
diamonds, one of whom is the Devil), for instance. Other feasts aremuch less dangerous, though mysteries and mystic knowledge areassociated with them, especially New-Year’s Eve, Twelfth Night andSt John’s Eve (midsummer eve). Midsummer eve, bright and beautiful, brings healing of all ills, seals come out of their enchanted shapes,
cows talk and stones dance. All life on this northern island becomes afairy story.
Everything that goes clockwise or with the sun is natural, and much
power goes with walking clockwise in a circle or round something,especially if you do it three times. Ogresses turn round three times
when they change shape, ghosts try to go three times round someone
so as to get power over them and so on. Turning round or walking in acircle is of the same nature as the course of the sun or the turning of awheel, a quern, a fire-drill or an auger, and all these things have amighty power. It is ill-omened and perilous to go widdershins or anticlockwise, and there is great magic power in that too. There is notnecessarily anything evil attached to it, but it is always something to
beware of. The same applies to anything that is done backwards. Allsuch actions are in themselves contrary to the law of nature, procedures that do not attract her powers, but like technology, force theminto obedience to the extent that they are used as techniques.
You can defend yourself from evil spirits by cutting a circle in the
ground round oneself. To conjure up evil beings, you cut out a plot in
the turf which they stand on. This is the symbol of the delimited space,
the lines of taboo that all must obey.
The ancient belief in man’s life-force lives on in folk-stories, and is
the kernel of numerous motifs of very diverse kinds. The life-force
comes out in the words of men of spiritual power and power-poets,and in spells in wonder-tales; it can also be in men’s eyes and glances,and no small power resides in spittle, excrement and piss, all of which
are feared by evil beings, the more so as these things are repulsive tomen. The main vital liquid is blood, and the main seat of life is theheart; it is said of a magician’s heart that it would not burn in fire.
Great precautions must be taken with hair and nails, and human skinhas supernatural power in it. As one might expect, human sexual organs
have great power in them; they have been objects of worship among
many nations. In Iceland there are indications that ghosts are afraid of

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seeing a man or a woman naked. There are various beliefs about thepower of virginity; for instance, the Devil cannot approach an innocent virgin. People have had great faith in cauls and afterbirths and soon. Then some of a person’s life-force resides in his name, as has been
discussed earlier (pp. 58–59 above), and we have also referred to the‘life-egg’ (pp. 59–61); in passing, it may be mentioned that if you findsome birds’ eggs, the number can tell you how many children you willhave.
As death draws near the life-force diminishes, but then it can betransformed and turn into the demonic power with which revenants
are endowed. In time, however, their strength abates and it will disappear entirely with burning or rotting.
The ideas attached by Icelanders to animals are very varied. Gu›mundur Finnbogason has discussed them,1 and so has Jónas Jónasson
to some extent (JJ Ífl 146–203). The same ideas are found in folkstories, and there is very little that is peculiar to them, though much isvery nicely expressed. Thus the close links between human beingsand dogs and horses can be seen in the fact that all three may havesecond-sight and can appear as revenants. When this occurs the man
usually takes the lead and the other two follow him. It is even stranger,
though, how cattle, especially bulls, are associated with haunting, andthis should not be understood as them returning for the companionship of men; what happens most often is that they are raised up by
magicians and given supernatural power, or else they are ghosts ofhuman beings in the shape of cattle. People have obviously seen someaffinity between the demonic power and supernatural strength of ghosts
and the frenzy of mad bulls, so that the bull becomes a symbol of theevil, mad, perverted life-force. The bull is then usually half-flayed,
dragging the ribbons of its hide behind it, while its red, bloody flesh
glistens. Whatever else may be involved in all this (and many things
could be), this ghastly, bloody image is clearly the creation of a sickmind.
I will just mention mice and foxes among land-animals, as both ofthese occur as sendings; the same is true of flies. A psychologist would
probably see some sexual significance in people’s horror of these small
creatures, especially mice, and he might well be right. He would of
1 Gu›mundur Finnbogason, Íslendingar, 1933, 252–70 (ch. 12).

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course also understand the trout that the lady swallows in one wondertale1 in the same way. The cunning of the fox is well known everywhere; in Iceland the attendant spirits of men with a reputation forbeing crafty (‘foxy’) are in the shape of foxes.
Seals and bears are men under spells, and escape from their enchantment on midsummer eve. There are many other superstitions
about these animals, and the basis for them is undoubtedly ancient,though some motifs may have originated later.2 Whales could be either
good or evil, and there is extensive folklore on this subject. Manyother evil creatures also dwelt in the depths; sea-monsters in the ocean,water-horses and serpents in lakes and rivers. I expect that people’s
dread of these things can easily be explained by the fear of drowning,
though fear of darkness and loneliness may also have played a part,
and, as usual, other lesser influences will have come from here andthere.
Among birds, the raven is the most interesting and is somewhat
ambiguous. As in many other countries it can have rather sinister associations, and its black colouring and its connection with Ó›inn will
not have done anything to improve its reputation. We hear of monstrous and evil spirits in the shape of ravens and they prophesy people’s
deaths. In this its wisdom appears and it is a very prophetic bird, andvarious kinds of knowledge are associated with it. It repays kindnesses
well, and is generally a good friend to men, to whom much is forgiven. The falcon and the ptarmigan are brother and sister, and arerespectively the symbols of fierceness and gentleness. There is something feminine about the ptarmigan, and her eggs, if one finds them,will denote the number of children one will have, while the hawk is
associated with prowess and manliness, like the eagle. Strange is thebelief that it is very lucky to help an eagle, especially if it is battlingwith a salmon. Here the human sides with the bold, nimble in flight,
warm-blooded denizen of the air against the cold, scaly water-dweller(their battle may be a kind of Icelandic version of the battle between
St Michael and the Dragon (Rev. 12: 7–9). Another curious motif linked
1 The story of Mærflöll, JÁ II 424–27; BE Munnmælasögur 68–72. Cf. p.

61 above.
2 Lú›vík Kristjánsson, ‘Selur í fljó›trú og leikjum’, Íslenzkir sjávarhættir,
1980–86, I 433–40.

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with the eagle is the attempt of the wren to get underneath it and hurtit (cf. Aesop). The water rail was thought to creep into the ground, andso is believed to be an evil spirit, while the wheatear causes inflammation in the udders of cows and sheep. The swan is a sacred bird. One
side of its sanctity appears in the belief that its breath is dangerous. On
the other hand it is regarded as a beautiful and poetic bird, and it appears in wonder-tales. The ogresses in the story of Prince Hlini haveswans which wake him and put him to sleep with their song. This
magical quality of their song is worth noting.
There are many beliefs of various kinds attached to plants. For example there are love-herbs (orchids), healing herbs, thieves’ root
(Mountain Avens) and the lock-opening herb (Paris quadrifolia, fourleafed grass), though there are few legends of any of them. The rowan
has the most legends about it; it is a sacred tree, that is it has great
powers, and it can be very dangerous for instance for people to cut it
down or use it in boats, while on the other hand it will grow on thegraves of an innocent brother and sister who have been wrongly accused of incest and killed. A fire on a rowan-bush signified the coming of Christianity and lights burned on a rowan tree’s branches on
New-Year’s Eve. Trees are often mentioned in wonder-tales, such as
the red and green trees in which Sigur›ur and Líneik hid from persecution (JA II 328). Forests are also very important in them, and afrequent activity was going riding in the forest to hunt animals andbirds. It often happens that the prince or king loses his way until hecomes into contact with some supernatural beings such as trolls orhumans under spells. Thus the forest, dark and easy to get lost in,forms the border between the world of men and the other-world, as
water or mist sometimes lies between the world of men and the worldof elves (the underworld), or a fog lies between the world of men andthe hidden valley of the outlaws. The main point of the forest and thefog, however, is making people go astray; the person does not know
where he is going, and the beings on the other side of the forest or thefog usually draw or bewitch him to them (the fog that makes people
lose their way also appears in stories of elves and wonder-tales). Sometimes this is done in a particular way. The prince will see a hind or ahart and chases it. This is a very ancient motif, which has undergone
many changes. It first appears in the pagan mythology of southern
Europe, where it is presumably related to animal worship. Next it was298

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Christianised and adapted to legends of saints. The hart becomes asymbol of Christ, and the stories relate to conversion, building ofchurches and so on. In the Middle Ages it gets into chivalric or courtly
romances and is then used to symbolise love-longing, lovers’ deceptions, pursuits of lovers—everything implied in the Icelandic balladformula ‘The knight hunts a hind in the wood.’1 This symbolism waswell known in Iceland in the past, as the ‘hind-game’ in the vikivakar,‘mumming dances’, suggests. The love element fades in the wondertales, but the drawing and the bewitching remain—only the other motifs
in the story can reveal the meaning and the purpose of what happens.
In stories of people getting lost these can be varied. Sometimes thehuman is required to help to release the dweller in the hidden worldfrom a spell or to help outlaws out of a predicament, sometimes loveis at the core of the story. The strangest accounts of people getting lostand bewitched are in stepmother stories. There the king’s counsellorgoes to seek a wife for him. They sail away and run into fog and contrary winds and are driven off course so that they do not know where
they are going. At length the fog lifts and they come ashore. In somestories it says that when they get ashore they go through a forest, do
not actually get lost, but make towards the sound of music and findthemselves in a clearing where a woman is sitting outside a silken tent
playing a harp. Here the harp-music is a symbol of the power to enchantof the woman who has drawn them there and intends to trick them andthe king. And the gold and splendour are nothing but deceptive gilding. The whole account is a symbol of the love that beguiles and allures,but is based on deceit and betrayal.
The king had specifically given his counsellor a warning that hewas not to bring a wife from headland, island or forest. Whatever theoriginal reason may have been for this warning, the word skógarkona‘forest-woman’ corresponds admirably to the symbolism of the forest
in these stories. The word eyjafljó› ‘island-woman’ causes one to reflect on the role of islands in wonder-tales, and then one realises thatthey are nearly always associated with supernatural beings. Trolls andmagicians live on islands, people under spells go out to islands, andfinally islands are places of sanctuary, for Vilfrí›ur stays on an islandwith dwarves and Queen Ingibjörg stays on an island with Einfætla
1 Íslenzk fornkvæ›i VIII, 209 and IV, 6.

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299(Gorvömb). The symbol thus has two contrasting associations. Whateverelse may be implied by it, it is natural to compare the water that separates the island from the mainland with the water between elf-landand the world of men. It also has in it some of the attributes of thehidden world.
There was an enormous amount of faith in stones and jewels both inIceland and elsewhere, and it is therefore not surprising that magicstones and other precious things appear quite often in folk-stories.
Whatever they mean, they are first of all symbols of power. The same
applies to books of magic, which are a perfect symbol of the wellknown proverb ‘Knowledge is power’.
Iron, the point of a knife, needles, weapons and even sticks are agood defence against evil creatures and ghosts, even against thevaporous bodies of wraiths. There are many different concepts underlying this idea. Firstly, in this as in other things it is quite likely thatpeople thought of ghosts as structured somewhat like people, andpeople did not want weapons stuck through their faces or iron spikes
through their bodies or needles in the soles of their feet. Secondly,
there was a great deal of superstition connected with iron or steel.
Lastly, a psychologist would doubtless see some sexual significancein most of these objects.
Finally, some isolated points from here and there. A clew of thread
is an ancient symbol of the ability to find one’s way (cf. Theseus andAriadne) and an apple signifies health and life (cf. I›unn’s apples, theapples of the Hesperides). Mja›veig’s shoe is a love-token, and so is aring; the glove in Hálfdanar saga Eysteinssonar has a similar meaning, but gloves are also objects of great power in folk-stories (cf. fiórr’s
gloves), as one might expect, since they are the covers of the humanhand. The elf-queen Úlfhildur rubs her gloves and a bridge appears,
so they are there clearly a symbol of power. Glass shines like precious
stones and thus has a connection with the supernatural; its transparency makes it a symbol of mysterious wisdom, especially second sight.
Treasure (= sunshine) is in or under waterfalls; so too are evil creatures, serpents and trolls (= fear of drowning?). The soul is like a vapour
in appearance, and so are many ghosts, wraiths and sendings. But
vapour is also a symbol of disease. Gold, or possessions made of gold,
are symbols of wealth and bliss; gold is a royal metal. One of the staple
treasures of wonder-tales is the fine gold chess-set; it is a symbol of

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fashionable pleasure and has something of the aura of the chivalricromances. I do not propose to go on adding individual motifs here, but
it is easy enough for anyone who cares to do so to carry on and find many
more examples and to trace their associations in much greater detail.
In the previous section it was maintained that one of the principal
motive powers of folk-stories was wish-fulfilment. But what was the
direction and object of the wish? It seems to me on reflection to havebeen of three kinds. Schiller once said that the two main forces inhuman life were love and hunger. It is very easy to see the large partthat love plays in folk-stories. One might say that love is the core ofmost wonder-tales and of a large number of outlaw-stories; it is very
important in stories of hidden folk and comes in elsewhere too. Some
not insignificant examples can easily be found in the previous section.
One can see at a glance that many things in the stories are related tolove, or arise from a psychological condition that has its basis in love,
though ostensibly it may be called something else.
As is usual in love stories, forbidden fruit has a considerable part toplay, as in stories of love between humans and elves or trolls, or evenbetween living people and ghosts. Wonder-tales are full of accounts(sometimes rather indirectly expressed) about love between humanbeings and beings who are really human but are under spells, and appear in various forms, as monsters, wild animals or trolls. They are
freed from their spells by love, symbolic or actual. Whatever may
originally have been the root of this motif, it has become the symbolof liberating love, which releases people from many troubles, just as
treacherous love appears in the story of the counsellor’s journey instepmother stories.
It may be that hunger, poverty and desire for wealth and prosperity
are more rarely the actual foundation of stories than love, and thatfewer motifs derive from them, but if we look carefully we can seethat they are very important as well. I gave some examples of thisearlier on (pp. 280–84), and others can be found elsewhere, so I will
not elaborate further on this here.
The third important ingredient in stories is desire for power and dominion. Numerous motifs are generated by this, such as talismans,and stories of people gaining power over the Devil and other potent
beings. The desire to fly, which must have been aroused in men’s minds

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301

by seeing birds in flight at the dawn of time, appears in stories ofriding on broomsticks, flying in changed shape, magic carpets andbeds that will travel wherever you want. I could list many more things,
and some of them have already been mentioned above. One might
regard all three desires as being fulfilled at the end of wonder-tales
when the peasant’s son finally gains princess and kingdom.
As we leave this topic I ought to mention that some psychologists
would doubtless want to make much more of sexual motivation in
folk-stories than I have done. They would, for instance, perhaps see
the finding of treasure as a symbol of forbidden love, as Freud does. I
do not doubt that Freud knew of actual cases where this motif had
such a meaning in the dreams of his subjects. This is no more remote
an image than the comparison of the Kingdom of Heaven to a pearl in
the parable. In the same way one could explain the cloth that is always
full of food as an image of compensatory wish-fulfilment resulting
from sexual deprivation. And perhaps the precious objects that I haveinterpreted as symbols of power could be read in that way too. I am
not denying the possibility of such interpretations when appropriate.
But generally speaking I do not think that they are very likely in thecase of Icelandic folk-stories. The people who created these stories
were fighting hunger, and they had plenty to suffer as a result of theirpoverty and helplessness, and it would be a miracle if these basic needsof human life had not become topics of their stories and shaped them.
It is another matter that it may seem likely that some motifs containelements of two, or even all three, of the principal desires, and thatperhaps the same motif will not have had the same meaning for different people, and this will depend on their temperaments and circumstances of life.
Before I finally leave this subject I want to add a few words aboutcertain aspects of life that play an interesting part in folk-stories. These
are all connected with family, origin and childhood, and the great problems these give rise to. Psychologists of recent times have paid muchattention to them and consider that various motifs which are later
worked out in dreams and fantasies, in literature and art, may be traced
to them. Great pains have been taken to show how they become thebases of narratives and of motifs in stories.
The stepmother motif is exceptionally popular in wonder-tales in
Iceland. Story-tellers and their audiences in recent times must, I think,

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have understood it literally; the mother died, the father took another
wife, she disliked his children and they disliked her. This was a commonplace in real life, which was exaggerated and raised to the level offantasy. The stepmother became an ogress in human shape and all
kinds of malice and wickedness were attributed to her. This is understandable; the basis is the jealousy between stepmother and stepchildren, always seen from the children’s viewpoint. It is interesting
how sharp the criticism of the king (father) is; he sits on the queen’s
grave in such deep grief that he is almost insensible, but no sooner has
he seen his new bride than he forgets all that is past and cannot rest
until he has married her. The whole business is described in a way thatmakes one shudder.
All this is comprehensible, but it is strange how enormously widespread this motif has become. Stepmothers have of course always beencommon, but the frequency of the motif is still extraordinary. One
may well begin to wonder whether its spread was not assisted to someextent by association with feelings connected with other rather similar aspects of life. Some child psychologists speak of a ‘stepmothercomplex’ that is born of the ambivalent feelings, if not antipathy andhostility, that can arise between a daughter and an over-strict mother.
Such feelings can give rise to the idea that this severe person is not the
girl’s real mother, but a kind of false mother. Some psychologists would
doubtless explain the popularity of the motif in such a way, but takeit even further and attribute it to the daughter’s jealousy (Electracomplex) or to inverted feelings caused by a son’s Oedipus-complex.
The gap between mother and stepmother is, on the other hand, narrower in the story of Vilfrí›ur Völufegri, since in the variants of thestory Vala can be either; and the two exchange roles in the story of
Hildur the Good Stepmother. The idea behind these stories is therefore clearly hostility on the daughter’s part, and the emotions associated with such relationships are transformed into wonder-tale events.
A psychologist would probably want to see a variant or extensionof the Electra-complex in the story of Björn brag›astakkur and his
attempts to seduce his daughter (JA II 407–08).
Vilfrí›ur Völufegri flees from her mother or stepmother and finds a
refuge on an island in a rock with two dwarves, and they free her fromher distresses for quite a while, but when they eventually fail, the Princeof Saxony comes into the story, saves her and marries her. Other

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wonder-tales in which a sanctuary features provide interesting parallels to this. Queen Ingibjörg escapes from Björn brag›astakkur’s
persecutions and finds sanctuary on an island with the she-monsterEinfætla, until the king comes and takes her back. A third instance isthe story of Mja›veig. She flees from her stepmother into a wood, andgets guidance and help from her mother in a dream. The mother gives
her a magic cloth of food and directs her to a sanctuary on a headland(or else she finds an invisible bower in a wood). Next comes the lovestory of the golden shoe and the prince. The elements of this story are
therefore three: first the persecution, then the sanctuary, and finallylove. The sanctuary in the Mja›veig story is the gift of the mother anda symbol of the peace and protection of the mother’s arms. Einfætla,whatever else one may say of her, takes the place of mother for thequeen, and it is perhaps not pure chance in this connection that she
lives on an island. The Queen (or Princess) is there as if in a trance orhibernation, safe and free from anxiety; and yet it is as if she iswaiting—for love. In the fourth wonder-tale that features a sanctuary,
the story of Líneik and Laufey, it is in two trees that the prince andprincess’s father has told them about, and the motif is there transferred to the father-figure.
Brothers and sisters grow up like plants in the ground; they shelter
one another and support each other, though sometimes they can comeinto conflict, or one overshadows another. Very often there is harmony
in wonder-tales. In the story of Wake-Well and his brothers each has
his own skill, and each supports the others as an arm does a leg. The
contrary also often figures in stories, and usually in such cases twoelder brothers (or sisters) overshadow the youngest. This is so common a motif that it almost equals the stepmother motif and spells infrequency. The parents support the elder children, barely regard the
youngest as human, make it do all the hardest work, and feed it on
scraps and scrapings. No commentary is required on this, nor on thefact that the Cinderella proves the best of the three and has the utmost
success in the end. Wonder-tales do not normally mention any distinction between the attitudes of the two parents towards the Cinderella,but in the story of Hans karlsson (Hans the Peasant’s Son; JÁ II 494–98)
it looks as though the mother is particularly sympathetic to him. Thisis very clear in most of the older ‘coal-biter’ stories, and it may be thatthese are based on observation or experience, which corresponds to304

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what Freud says in one place, that he has observed that those who
were specially favoured by their mothers were often endowed with aself-confidence that led them on to become outstanding people.1
There is one other significant thing that happens with brothers andsisters, and that is sexual love between them. This is one of the main
motifs in many outlaw stories. In the wonder-tale of Finna the Wise aspell is laid on a brother and a sister that they must have children
together. On the other hand, other stories tell of brothers and sisters
who are accused of incest and killed, but are innocent, and rowans
grow up from their graves as a sign of their innocence. This topic
became particularly prominent in Lutheran times after the promulgation of the so-called Stóridómur, ‘Great Ordinance’, which introduced
savage penalties for various sexual offences, and people got to hearfrom time to time of brutal punishments imposed under this law, andpopular imagination started to work on this.
X
Anyone who compares Icelandic and Danish folk-stories will soon
notice a great difference, though it may not be all that easy to decide
exactly where it lies. Alongside their Icelandic counterparts the Danish stories may well seem slight and unpretentious, psychologically
precise and humane, while the Icelandic ones are wild and on a grandscale, rugged and highly coloured, and of greater imaginative power.
The same would emerge from a comparison with central European
stories, since looked at from the remoteness of Iceland these seem at aquick glance to be much like the Danish ones. I will just give a coupleof examples to illustrate this.
One of these is the handling of the stepmother-motif. In the bulk of
non-Icelandic stories the father marries a second time without any
particular feature being made of it. The stepmother is cruel, and isviolently harsh to the children. In other stories (are these not fewer?)
the stepmother or her mother is a witch, and is it not unique when the
Grimms’ story of the six swans says that the king loses his way hunting
in the forest and meets an old woman who will not show him the way
out of the forest unless he marries her daughter (both mother and1 S. Freud, Die Traumdeutung, 1911, 209 n.; tr. James Strachey, The Interpretation of Dreams, The Pelican Freud Library 4, 1976, 522–23, n. 1.

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daughter being witches)? This variant comes closest to the Icelandic
version of the stepmother motif, but the latter is far more of a fantasy
and also has much more detail. It is full of images from stories oftrolls and shapeshifting, and is altogether on a much larger scale andmore terrible.
The second example is from the story of Hansel and Gretel. The
brother and sister get lost out in the wood, until they come to the oldwitch’s house. It is made of bread, and the roof is tiled with pancakes
and the window-panes are made of sugar. The children of course begin to eat, Hansel mainly from the roof and Gretel from the windowpanes, and she gets so excited that the old woman notices them andcomes out. This is one of the most straightforward children’s stories
imaginable. There is a parallel to the narrative elements—and thus
descended from the same original—though the individual details arenearly all different, in the story of Surtla, the ogress of Blálandseyjar.
There the king’s children drift in their step-mother’s chest over thesea until it reaches land on the ogress’s island. The prince goes ashore
to find food for them, so that they will not die of starvation, comes tothe ogress’s cave and is able to hook meat out of her pot because she isblind (other versions say that she keeps her eyes on a thread or hanging on the wall, which is an ancient motif, for something similar issaid of the Graiae and Lamia in Greek legends). The ogress catches
the children because of Ingibjörg’s curiosity, as she insists on seeing
the old woman, and then bursts into laughter when she sees how grotesque she is. There is no need to say anything about the differences
between the two stories, for they are self-explanatory. Nor does it matterthat everything that is peculiar to the Surtla story may not be of Icelandic origin.
‘Strong colours’ are very prominent in Icelandic folk-stories, whether
describing good or evil. This is, of course, by no means uncommon inother countries. The story of the Eighteen (or Nineteen) Outlaws (AT956B) is continental European in origin, and is one of the most horrific of folk-stories. The French wonder-tale of the wife-murderer
Bluebeard and other continental murder-stories show that Icelandic
versions are by no means exceptional in this respect. Savage punishments in Icelandic wonder-tales are only pale reflections of everyday
events in earlier times in other countries. But when we come to thesupernatural elements, then I feel that Icelandic stories are drawn in306

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much stronger colours than European ones usually are. Often when I
read non-Icelandic stories I feel that it is as if the darker sorcery is
toned down, while in Icelandic ones it does not seem that there is any
attempt to do that, least of all in eighteenth-century stories, where thestory-teller does not tire of laying black thick on black until one canhardly tell whether hatred of man or hatred of God is stronger. The
eating of human flesh and other atrocities committed by trolls mustalso be more prominent in Icelandic stories of ogres and wonder-tales,
and when we come to ghost-stories it is enough to mention the attendant spirits and sendings called up from the dead. The religious stories(about divine punishment, innocence and guilt and so on) presumably
have close parallels in other countries, and one should remember thatthey can often be traced back to medieval saints’ legends, in which wefind a similar or even greater relish for strong colours than in Icelandic stories—the reader need only be referred to Chaucer’s Prioress’sTale to see the point. Of course, saints’ legends go to greater extremes
in depicting the trials of men’s sanctity, which is more firmly basedand clearly conceived, but in the midst of all the darkness in Icelandic
stories there are also many shining lights, people who have both thewill and the power to help the distressed; whether they are magicians,
poets of power, or holy men full of spiritual power, there is no dearthof resources. Light, brightness and beauty are thus everywhere aroundthe darkness and horror. One man of old wanted to be buried where
there was a wide view and the sun could be seen earliest in the morning and latest at night, while another wanted be in the shade where thesun could be seen least.
Opposites are thus set up against each other. This is admittedly commonplace in non-Icelandic folk-stories too, but I feel that it is done in
Icelandic stories with exceptional clarity, shrewdness and subtlety. I
will give a few examples that illustrate various aspects of this. In stepmother stories the tellers never tire of sharpening the contrast between
the outer and the inner, the appearance and the reality. It is as if thewoman can never be too splendid, she is surrounded by gold and silk,and she takes a lot of persuading to marry the king, but it is all afaçade. There is nothing she wants more than to marry him, and all the
splendour is only a thin veneer over the revolting ogress beneath. The
whole account has an artistry and skill which is quite unusual in folkstories. Many stories about spells put on people show a tremendous

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ingenuity in making everything as difficult for them as possible. It is
specified that the human being must turn into a giant, an animal or arolling belly, and not be freed until a human person kisses it or promises to marry it or the like. A great deal is made of the giant’s or animal’s ugliness so as to make the man or woman find it as difficult as
possible to have anything to do with it. In one version of the story of
Búkolla Helga cannot perform the task set her by the ogress and knows
her death is imminent, but then a man comes into the story and offers
to help her if she will kiss him, though this is not a very attractive idea,
for he is horribly ugly and dressed to match. ‘He wore a shrunken
jerkin of skin, which went down to his feet in front, but barely covered
his shoulders behind, and the snot hung down from his nostrils to his
toes’ (JA II 468). The last item is included because it is particularly
repulsive. From stories about folk-belief I will mention the Rev. Skúli
Gíslason’s account of Galdra-Loftur, where holy writ is turned into
blasphemy, and we note how at the same time the pace is carefully
controlled so that the darkness and frenzy steadily increase together.
The opposites are no less forcibly contrasted in the last section of thestory of Loftur, but side by side with the tendency to use stronger andstronger colours there is also great precision shown in their use, andthe opposites are made to interact in a most skilful way. Here, in thismaster story-teller, we can see a tendency that is widely found in Icelandic stories, though it does not always reach such artistic perfection:
this is the taste for highly-flavoured story-matter, fondness for strong
colours and enjoyment of stark oppositions, while at the same time
one is continually aware from time to time of a certain precision andsubtlety and ingenuity, not least in the way the story-teller makes his
points, or clarifies the problem when there is one, and sometimes also
in the skill with which he manages the interplay of the opposites.
XI
In a couple of Icelandic stories of outlaws we are told that an accountof what happened written by one of the characters was found after his
death, or that it was written in a letter. I suspect that we would have tosearch far and wide to find the equivalent of this device in the folkstories of other countries. It is in other connections not all that uncommon to find mention of books and writing in Icelandic legends. They

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tell of runes, elf-runes, magic signs to induce visionary dreams andmagic characters. Letters are frequently mentioned in stories, books
both sacred and secular are everywhere, and there are many accountsof books of magic (see pp. 205–06 above). It is therefore no surprisethat both hymns and rímur are mentioned in stories. It is altogether
quite apparent, as pointed out above (p. 16) that Icelandic folk-stories
were created and handed down by people who were used to having
books, pamphlets and letters everywhere round them, knew all about
them and did not think of reading and writing as alien accomplishments, and there is no doubt that literacy was far more widespreadamong ordinary people in Iceland than was normal in other countries.
From early times the nation had possessed a great literature which
was accessible to everyone, and stories were read and rímur recited in
the evening work-hour in every farm-house in the land. And if folkstories were told in the dusk before the lamps were lit and work begun,
how could the one kind of narrative fail to be influenced by the other?
So indeed it happened. The early sagas were from the beginning
closely linked to oral narrative, and when romances succeeded themin the late thirteenth century, many motifs and narratives from oral
tradition were taken up into them, as we have tried to show earlier inthis book. People of all classes had a hand in the writing of thesestories, or in turning them into rímur, so that the same person could
quite easily have been the author of a chivalric romance as well as thetransmitter of a folk-story.
It does not come as any surprise, therefore, that various things havebeen transferred from written sagas to folk-stories. I mentioned earlier that some wonder-tales, saints’ legends and comic stories had first
become known to Icelanders in written form, and then entered oral
tradition, and that they had thus become fully-fledged folk-stories,
and this gives an idea of how complete stories can be transferred fromthe one to the other.1 Various legends, especially place-name stories,
come into being from people’s knowledge of Sagas of Icelanders; it isnatural for people to elaborate on these where they find them wanting.
It may well be that annals and other historical writings of later times
played some role in the origins of nineteenth-century accounts of people
1 On this see Verz. lxxxviii–xcii, where further details are given of this, but

only insofar as it relates to wonder-tales.

THE WORLD OF MEN AND THE HIDDEN WORLD309

prominent in the country’s history, though I am unable to give any
examples. And of course poems composed about creatures of folkbelief and Jón lær›i’s writings on elves and outlaws certainly gave aboost to belief in these creatures, though the stories about them were
mostly pure folk-stories (that is, they were transmitted orally).
Motifs from written sagas and other literature slip now and again
into folk-stories, especially the more supernatural and romantic ones.
For example, wrestling with negroes, encounters with brigands andvikings, grateful and helpful dwarves, flying dragons, magic swords
that are big or small as one likes, a stone that produces fire, snow orrain if it is chipped at—all these can easily be found in written sagas
as well as in folk-stories.1 I mentioned earlier that life in the king’s
palace was seen largely in terms of the fornaldar sögur, and the slaves
who often accompany stepmothers are also derived from them.
The story-teller learned from the authors of written sagas how tohandle his material fairly freely, especially when telling a romantic
story. He would elaborate where he felt something was incomplete,
for instance where the reasons for a spell being cast were not sufficiently explained; overall, since the spell motif is so handy, it comesto be used both in and out of season and, excellent as it is in itself, it
often becomes rather hackneyed in these elaborations. Nor is the storyteller afraid to join together parts of different stories or even complete
narratives, not to mention how he enjoys embellishing them all withnames in the style of courtly romance, and linking the sections of hisstory together by inventing relationships by blood or marriage between
the characters.
Anecdotes based on folk-belief were in less danger from these influences from written sagas, but whenever the material began to develop into a fully-fledged legend, the early sagas provided ready models
to story-tellers, and the same applies to those who wrote legends down
or linked together a number of short folk-stories to make them intolarger entities.
Finally, there is the style. Like everything else in folk-stories it isfirst and foremost the product of oral story-telling, but here too we
may assume the constant influence of written sagas on their narrative
1 See JÁ II 320, 356 and note, 437 and note, 496 and note; also Adeline

Rittershaus, Die neuisländischen Volksmärchen, 1902, xxix–xlvi.

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THE FOLK-STORIES OF ICELAND

art while the folk-stories were still in oral transmission. There is also
the further point, which is widely acknowledged, that those who wrote
folk-stories down obviously also knew all about the ancient saga-style,and as a result their narratives acquired a more cultured tone.
It would nevertheless be quite wrong to magnify the influence of
written literature to such a degree as to deny the independence of folkstories in the selection and shaping of material, and in mentality andstyle too, for that matter. Still, careful examination reveals that tellers
of folk-stories never lost sight of their great and remarkable written
literature, and consequently their stories could not fail to show somesigns of this awareness. As is obvious, these signs could be either tothe improvement or to the detriment of their stories, according to circumstances. The beauty and excellence of folk-stories, as of othercultural products, inheres precisely to some extent in what is peculiar
to them and characteristic of them. The influence of written sagas on
the content of wonder-tales has, I think, seldom been to their improvement, and sometimes folk-stories have become more sophisticated andlost the spring-like freshness of untouched oral stories. But on theother hand they have gained more thoughtfulness and a wider horizon.
XII
Hekla, a massive and impressive mountain, stands at the north-east
corner of the southern plain of Iceland. People recognised that it must
be female and named it after its snowy cape that dazzles the observer’s eyes on a bright, sunny day. Sometimes the feet of this giant widow
are covered in foggy veils so that she looks as if she is floating in air.
But all will have found that she is a proud person, who often covers
herself from top to toe with clouds, and then remains invisible tohumans for weeks on end. Whoever comes closer and sees the distorted lava that lies around her feet will feel apprehensive, because
this fair lady can easily turn into the most terrible ogress, and then she
will try to destroy the habitations of men with fire and embers, molten
lava and ash.
It has become a truism that a nation is marked by the land it lives in,though it is quite difficult to demonstrate this with solid evidence or totrace the influence in detail. Icelandic folk-stories are the product ofthe people and their characteristics unambiguously reveal their origin,THE WORLD OF MEN AND THE HIDDEN WORLD

311

and I consider that they bear clear marks of the land from which they
are sprung. Not only is the land obviously the stage on which the stories
are set, but also the ideas in the stories correspond to the nature of thecountry; they reveal both the splendour of the eternal summer night
and the darkness of the cruel winter day, both the mildness and theharshness of the land. The people themselves knew well how closelybound together were folk-belief, legends and land. Openings in theice on lakes and patches of smooth sea were called ‘elf-gaps’, andevery conceivable kind of natural feature was named after trolls, especially those that were large and spectacular. Sometimes the land did noteven make demands on people’s imagination, for the significance ofthe phenomenon was immediately obvious; one pillar of rock is clearly
shaped like a man, another like a woman, and who has not seen faces
in rock?
Icelandic folk-stories are like the country in their magnificence andruggedness. Perhaps the contrast between the house in Hansel andGretel with its pancake roof and Surtla’s cave produces a rather exaggerated picture of how wonder-tales take a troll-like form in Iceland,
but there is some substance in this. The most varied kinds of supernatural stories turn into stories of trolls in Icelandic versions. It may
be there is too much sub-Arctic darkness in Icelandic stories, but one
cannot truly say that there is any lack in them either of images ofspring dew on the grass, or of wisps of valley-mist or of the haze of
hot summer days. The contrasts of Hekla are also never far off. The
gap between glorious beauty and fearful ugly desolation is very narrow.
There are homes of men by the roots of Hekla, scattered over theflat land between mountain and shore. They are not all very imposing,but they fit well into the landscape. There men have fought their hardbattle for life and for the means of life, for much of the time deprivedof freedom and fleeced by foreign merchants. These conditions are
not calculated to promote vigour and beauty, humanity or poetic sensibility, but they increase the earthiness of folk-stories, and give thema wonderful, primitive magic. But there have also been many forcesthat tend in other directions. This poverty-stricken nation possessed asurprisingly high culture, a culture that all classes had access to.
National life itself was homogeneous and very little stratified; at any
rate in some places one can tell that Icelandic stories are not as obviously the products of a common people who stare up with wide,

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THE FOLK-STORIES OF ICELAND

ignorant eyes at the nobler classes as the folk-stories of some othernations are. Moreover, everyone in Iceland knew about the people’s
ancient culture and responded to it, and people kept up the composition of poetry and stories and various other arts. They took on newforms, in accordance with the spirit of the times, the conditions of life
and all kinds of other influences, internal and external. And though
the light of culture burned with varying brightness, all intellectual life
in Iceland, including folk-stories, was different because of it. Adeline
Rittershaus complains that Icelandic wonder-tales lack the child-liketone of German ones, where animals and inanimate objects have humanspeech, and a child-like sympathy with animals appears everywhere.1
The bits of Icelandic animal verse, however, such as the fragment about
the raven, Hrafninn fl‡gur um aftaninn, show that the Icelanders had
no lack of feeling for wild creatures, though it is significant that animals
with human intelligence and speech in Icelandic stories are usuallypeople under a spell. This seems to me to arise from a kind of commonsense rationalism of which signs can be seen in many other places in
Icelandic folk-stories and which can be traced back to very early times
in Icelandic and Scandinavian intellectual life.
The poetic temperament turned to folk-stories to satisfy its longing
to let the mind fly over land and sea, out beyond the narrow limits ofreality, of which people had their fill in everyday life. The poet took
his sorrows to the world of elf-stories and wonder-tales, and createdpoetry of tender beauty, and the influence of the first person to do so
effectively flowed out all through the folk-stories it touched and lifted
them to a higher plane. Thus folk-stories could acquire the spirit ofromantic poetry. It was as when high, distant mountains late in theevening sometimes take on the colour of the blue heavens, so that landcannot be distinguished from sky. Lines from elf-poems and fragmentsof medieval ballads embrace each other, as in the stanza Úti ert flú vi›
eyjar blár (cf. p. 182 above).
But in Iceland, people do not compose verse just to comfort themselves; they worship poetry and believe in it. In poetry is a power
which rules men’s lives and health, governs wind and sea. Icelanders
have faith in hymns and sacred poems too, because of their content,
but this happens all over the world. They also have faith in secular
1 Die neuisländischen Volksmärchen, 1902, xlviii–l.

THE WORLD OF MEN AND THE HIDDEN WORLD313

poetry composed by themselves, believing it to be no less able to move
mountains than religious faith is. By this belief in their own culture
they transfer it into the realm of mythology, and the glow of the superhuman is shed over it.
The inclination of this nation towards common-sense rationalism
was an antidote to the chaos of imagination. The elf-women lost theirtails, and a host of heterogeneous species was sorted out into two classesof beings, trolls and elves. The habit of wrestling with arts of poetry,genealogies and other similar classificatory systems gave a boost to
the mythologising and sorting tendencies of story-tellers, and inculcated in them the habit of clarifying items of folk-belief, distinguishing and linking them, filling gaps and harmonising as the occasion
demanded. There was no danger that the stories would petrify becauseof this activity, because the creative fire that burned beneath was fierce
and strong, and the power of imagination vigorous and rich.
Icelandic folk-stories show ample signs of the land and people theyspring from, and in this distinguish themselves from folk-stories ofother countries, so that they may be said to have individuality. They
are the most truly Icelandic of all Icelandic things. This leads, however, to an odd paradox. Much of the content of Icelandic folk-stories
is also found in foreign ones, and is unquestionably derived fromabroad. This applies particularly to the wonder-tales, and to a lesser
extent also to legends based on folk-belief. Even the oldest Icelandic
stories have only been in the country for just over a thousand years,
and they were derived from stories then current in other lands. All the
non-Icelandic story-material and motifs in Icelandic stories bear witness to the eagerness of Icelanders to learn from other nations andtheir curiosity about them, while at the same time demonstrating an
obstinate demand and successful endeavour to make all the foreignmaterial conform to Icelandic cultural and social life, to Icelandicise
it ruthlessly and transform it by Icelandic inventiveness until it can nolonger be distinguished from what is Icelandic from its roots, until
Icelandic people can recognise in it their own lives and dreams, theirproblems and sufferings, achievements and defeats. Thus folk-stories
reflect the cultural commerce of Iceland with the outside world ingeneral, insofar as it is a receiver, containing elements both common
and individual. As a result of rigorous Icelandicisation, foreign influences have become the most beneficial and fruitful in Icelandic culture.

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THE FOLK-STORIES OF ICELAND

ABBREVIATED REFERENCES
Aarb. = Aarbøger for nordisk Oldkyndighed og Historie.
AfnF = Arkiv för nordisk filologi.

Alflingisbækur Íslands 1912–90.
Annálar 1400–1800, 1922–2002.
Ann. farr. = Gísli Oddson, Annalium in Islandia farrago. In Islandica
X. Icelandic translation by Jónas Rafnar in Íslensk annálabrot og
undur Íslands 1942 (also printed in Icelandic and Latin in Annálar
1400–1800 V).
ASB = Altnordische Saga-Bibliotek.
AT = Antti Aarne and Stith Thompson, The Types of the Folk-tale,
1961 (FFC 184).
BA = Bibliotheca Arnamagnæana.
Banks = Mary Macleod Banks, British Calendar Customs.—Scotland
I–III, 1937–41.
BBj. = Sagnakver, ed. Björn Bjarnason, 1900–03.
BE Munnmælasögur = Bjarni Einarsson, Munnmælasögur 17. aldar,
1955 (ÍRSA 6).
BKfi Rímur = Björn K. fiórólfsson, Rímur fyrir 1600, 1934 (SafnFræ›afjelagsins IX).
Blanda. Fró›leikur gamall og n‡r I–IX, 1918–53.
BP = Johannes Bolte and Georg Polívka, Anmerkungen zu den Kinderu. Hausmärchen der Brüder Grimm I–V, 1913–32.
BS = Biskupa sögur I–II, ed. Jón Sigur›sson and Gu›brandr Vigfússon,
1858–78.
Campbell, J. F., Popular Tales of the West Highlands I–IV, 1860–62.
Dehmer 1927 = Heinz Dehmer, Primitives Erzählungsgut in denÍslendinga-Sögur, 1927.
De mirab. = Gísli Oddson, De mirabilibus Islandiæ. In Islandica X.
Icelandic translation by Jónas Rafnar in Íslensk annálabrot og undurÍslands 1942.
DI = Diplomatarium Islandicum I–XVI, 1857–1972.
EA = Editiones Arnamagnæanæ.
Eggert Ólafsson, Reise = Eggert Ólafsson, Reise igiennem Island, 1772;
Icelandic translation 1943, 1974; English translation: Travels in Iceland, 1805 and 1975.

ABBREVIATIONS315

EGP Eddurit = Einar G. Pétursson, Eddurit Jóns Gu›mundssonar lær›a
I–II, 1998.
EGP Rit = Einar G. Pétursson, ‘Rit eignu› Jóni lær›a í munnmælasögum 17. aldar’, Afmælisrit til Steingríms J. fiorsteinssonar, 1971,
42–53.
EÓS If = Einar Ól. Sveinsson, ‘Islandske folkesagn’, NK IX B (1931),
185–98.
EÓS Folkeæventyr = Einar Ól. Sveinsson, ‘Islandske folkeæventyr’,NK IX B (1931), 285–95.
Fas. = Fornaldar sögur Nordrlanda I–III, ed. C. C. Rafn, 1829–30.
FFC = Folklore Fellows Communications.
Feilberg, Ordbog = Henning Frederik Feilberg, Bidrag til en ordbog
over jyske almuesmål, 1886–1914.
Fms. = Fornmanna sögur I–XII, 1825–37.
FSS = Fornsögur Su›rlanda, ed. Gustaf Cederschiöld, 1884.
Gering ÍÆ = Hugo Gering, Íslendzk ævent‡ri, 1882–83.
GJ Íslendinga sögur = Íslendinga sögur I–XII, ed. Gu›ni Jónsson,
1946–47.
Gráskinna = Sigur›ur Nordal and fiorbergur fiór›arson, eds, Gráskinna
I–IV, 1928–36. Second edition, Gráskinna hin meiri I–II, 1962.
Gylfaginning = Snorri Sturluson, Prologue and Gylfaginning, ed.
Anthony Faulkes, 1982. Reprinted 1988, 2000.
Hauksbók, ed. Finnur Jónsson and Eiríkur Jónsson, 1892–96.
Henzen 1890 = Wilhelm Henzen, Über die Träume in der altnordische
Sagalitteratur, 1890.
Himinbjargar saga: in Gráskinna I 29–41, Gráskinna 2 I 26–37, BE
Munnmælasögur 72–81.
Hjálmflérs rímur: in Rímnasafn, ed. Finnur Jónsson, 1905–22, I.
Hkr = Snorri Sturluson, Heimskringla I–III, ed. Bjarni A›albjarnarson,
1941–51 (ÍF XXVI–XXVIII).
Huld = Huld. Safn alfl‡›legra fræ›a íslenzkra I–VI, 1890–98.
Huld 2 = Huld. Safn alfl‡›legra fræ›a íslenzkra I–II, 1935–36.
ÍF = Íslenzk fornrit I– , 1933– .
ÍGSVfi = Íslenzkar gátur, skemmtanir, vikivakar og flulur I–IV, ed. JónÁrnason and Ólafur Daví›sson, 1887–1903.
ÍRSA = Íslensk rit sí›ari alda, 1948– .
Islandske Annaler indtil 1578, ed. Gustav Storm, 1888. Reprinted 1977.
Íslenzk fornkvæ›i I–VIII, ed. Jón Helgason, 1962–81 (EA B 10–17).

316

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JÁ = Íslenzkar fljó›sögur og æfint‡ri I–II. Safna› hefir Jón Árnason,
1862–64.
JÁ2 = Íslenzkar fljó›sögur og æfint‡ri I–II. Safna› hefir Jón Árnason,
1925–39.
JÁ3 = Íslenzkar fljó›sögur og æfint‡ri I–VI. Safna› hefir Jón Árnason,N‡ útgáfa. Ed. Árni Bö›varsson and Bjarni Vilhjálmsson, 1954–61.
JGl Ármanns rímur = Ármanns rímur Jóns lær›a, ed. Jón Helgason,
1948 (ÍRSA 1).
JGl Um Íslands a›skiljanlegar náttúrur = Halldór Hermannsson, Jón
Gu›mundsson and his Natural History of Iceland, 1924 (Islandica
XV).
JH = Jón Helgason, Jón Ólafsson frá Grunnavík, 1926 (Safn Fræ›afjelagsins V).
JJ Ífl = Jónas Jónasson, Íslenzkir fljó›hættir, 1934.
JM Píslarsaga = Píslarsaga Jóns Magnússonar, ed. Sigfús Blöndal, 1914.
Third edition 2001.
Jón Halldórsson BS = Jón Halldórsson, Biskupa sögur I–II, ed. Jón
fiorkelsson, 1903–15.
Jón Steingrímsson Æfisaga = Æfisaga Jóns prófasts Steingrímssonar
eptir sjálfan hann, 1913–16. Æfisaga3 = Third edition, Æfisaga ogönnur rit, 1973.
Jfi OmD = Jón fiorkelsson, Om digtningen på Island i det 15. og 16.
århundrede, 1888.
Jfiork. = Jón fiorkelsson, fijó›sögur og munnmæli. N‡tt safn, 1899.
Karlamagnús saga ok kappa hans, ed. C. R. Unger, 1860.
Kelchner 1935 = Georgia Dunham Kelchner, Dreams in Old Norse
literature, 1935.
KS = Konungs skuggsjá, ed. Ludvig Holm-Olsen, 1945.
Lagerholm DL = Åke Lagerholm, ed., Drei Lygisƒgur, 1927 (ASB 17).
Landnámabók: in ÍF I.
Landnám Ingólfs. Safn til sögu fless I–III. 1935–40.
Laxdal Ósfi = Eiríkur Laxdal, Saga Ólafs fiórhallasonar. Álfasaga
mikla, ed. fiorsteinn Antonsson and María Anna fiorsteinsdóttir, 1987.
Laxdal Ós = Eiríkur Laxdal, Ólands saga, in Lbs 554 4to.
Lfrs. = fiorvaldur Thoroddsen, Landfræ›issaga Íslands I–IV, 1892–
1904.
LMIR = Late Mediaeval Icelandic Romances I–V, 1962–65 (EA B 20–24).
Mágus saga in FSS 1–42.

ABBREVIATIONS

317

Maurer IV = Konrad Maurer, Isländische Volkssagen der Gegenwart,
1860.
MS = Maríu saga, ed. C. R. Unger, 1871.
NGL = Norges Gamle Love indtil 1387 I–V, ed. R. Keyser and P. A.
Munch, 1848–95.
NK = Nordisk kultur, 32 vols, 1931–56.
Noctes Setbergenses, by fiorsteinn Björnsson, in Lbs 1652 4to.
Nordal SMG = Sigur›ur Nordal, Síra Magnús Grímsson og fljó›sögurnar, 1972.
Nordal Íl = Sigur›ur Nordal, Íslenzk lestrarbók, 1924.
OBj. = fijó›trú og fljó›sagnir. Safna› hefir Oddur Björnsson, 1908.
ÓDav. = Íslenzkar fljó›sögur. Safna› hefir Ólafur Daví›sson, 1895,
repr. 1899.
ÓDav.3 = Íslenzkar fljó›sögur I–II. Safna› hefur Ólafur Daví›sson,
1935–39.
ÓDav.5 = Íslenzkar fljó›sögur I–IV. Safna› hefur Ólafur Daví›sson,
1978–80.
ÓDav. fiulur = Ólafur Daví›sson, ed., Íslenzkar flulur og fljó›kvæ›i,
1898.
Oddr Snorrason, Saga Óláfs Tryggvasonar, ed. Finnur Jónsson, 1932.
ÓTM = Óláfs saga Tryggvasonar en mesta I–III, ed. Ólafur Halldórsson, 1958–2000 (EA A 1–3).
PE = Edda. Die Lieder des Codex Regius nebst verwandten Denkmälern, ed. G. Neckel, rev. H. Kuhn, I: Text, 1962.
PEÓ Menn og menntir = Páll Eggert Ólason, Menn og menntirsi›skiptaaldarinnar á Íslandi I–IV, 1919–26.
Postola sögur, ed. C. R. Unger, 1874.
QDI = Qualiscunque Descriptio Islandiae, ed. Fr. Burg, 1928; Oddur
Einarsson, Íslandsl‡sing. Qualiscunque descriptio Islandiae, tr.
Sveinn Pálsson. Introduction by Jakob Benediktsson: ‘Nokkur or›um Íslandsl‡singu eftir Sigur› fiórarinsson’. 1971.
Safn = Safn til sögu Íslands og íslenzkra bókmenta a› fornu og n‡ju
I–VI, 1856–1939.
Saga Árna ljúflings: autograph in Lbs 3501 8vo.
Setbergsannáll in Annálar 1400–1800 IV, 1940–48.
Skáldskaparmál = Snorri Sturluson, Edda. Skáldskaparmál, ed.
Anthony Faulkes, 1998.
Skar GS = Johannes Skar, Gamalt or Sætesdal I–VIII, 1903–16.

318

THE FOLK-STORIES OF ICELAND

Skj = Finnur Jónsson, ed., Den norsk-islandske Skjaldedigtning A I–
II, B I–II, 1912–15.
Skrif Ólafs gamla in BE Munnmælasögur, 11–22.
Sluijter 1936 = Paula Catharina Maria Sluijter, IJslands volksgeloof,
1936.
Spoelstra 1938 = Jan Spoelstra, De vogelvrijen in de IJslandse letterkunde, 1938.
SS Ífl = Íslenzkar fljó›sögur og -sagnir I–XVI, ed. Sigfús Sigfússon,
1922–58; the (second) edition of 1982–93 in 11 volumes is basedon a different and earlier version made by the same writer which
includes more stories.
Thompson, Stith, Motif-Index of Folk-Literature, 1932–36 (FFC 106–09, 116–17).
Verz. = Einar Ól. Sveinsson, Verzeichnis isländischer Märchenvarianten, 1929 (FFC 83).
ZdVfV = Zeitschrift des Vereins für Volkskunde.
fiJ Örnefni = fiorkell Jóhannesson, Örnefni í Vestmannaeyjum, 1938.
fiT HHrkr = fiormó›ur Torfason, Historia Hrolfi Krakii, 1705.

ABBREVIATIONS

319

ICELANDIC FOLK-STORIES IN ENGLISH
TRANSLATION
Ólafur Pálsson, tr., Icelandic Stories and Fairy Tales, 1862.
Ólafur Pálsson, tr., Icelandic Stories and Fairy Tales, rev. and ed. David
McKinlay and Andrew James Symington, n.d.
George E. J. Powell and Eiríkur Magnússon, tr., Icelandic Legends,
1864; 2nd series, 1866.
William A. Craigie, tr., Scandinavian Folk-Lore: Illustrations of theTraditionals Beliefs of the Northern Peoples, 1896.
A. W. Hall, tr., Icelandic Fairy Tales, 1897, 1924.
Jones, Gwyn, Scandinavian Legends and Folk-tales, 1956.
European Folk Tales, ed. Laurits Bødker, Christina Hole, G. D’Aronco,
1963 (The Story of Prince Hlini, Wake-Well and his Brothers, The
Story of Hild the Good Stepmother, tr. Anthony Faulkes, pp. 50–
63).
Alan Boucher, tr., Mead Moondaughter and Other Icelandic Folk Tales,
1967.
Holmes Boynyon, tr., Icelandic Folk Tales and Fairy Stories, [1976].
Alan Boucher, tr., Adventures, Outlaws and Past Events, 1977.
Alan Boucher, tr., Elves, Trolls and Elemental Beings, 1977.
Alan Boucher, tr., Ghosts, Witchcraft and the Other World, 1977.
Jacqueline Simpson, tr., Icelandic Folk Tales and Legends, 1972, pbk.
repr. 1979.
Jacqueline Simpson, tr., Legends of Icelandic Magicians, 1975. [Eachstory (in translation) is fully annotated as to source, parallels andmotifs]A. E. Boucher, tr., Icelandic Folktales, 3 vols, 1977.
Jacqueline Simpson, tr., Scandinavian Folktales, 1988. [Contains 42
legends from Iceland]
Reimund Kvideland and Henning K. Sehmsdorf, tr., Scandinavian Folk
Belief and Legend, 1991. [Includes 23 Icelandic tales]
Reimund Kvideland and Henning K. Sehmsdorf, eds, All the World’s
Reward: Folktales told by Five Scandinavian Storytellers, 1999. [Onechapter contains 13 Icelandic tales]