What manner of man is this? Representations of monstrosity, identity and world view in early medieval narrative
Authors: Cardew Philip 
Published: March 2017

AbstractThis article considers the representation of monstrous characters in three Icelandic sagas, examining the influence that period, setting and genre have upon the nature of that presentation. In two cases, the characters presented are essentially human (though present inhuman, or non-human characteristics that place them outside the spectrum of normal human behaviour); in the third case, the character presented is semi-human, having a family background that includes non-human ancestry (trolls). In all cases, the focus of interest is upon the acceptability of that character within the social context of the saga, and the extent to which their monstrosity is seen as out-of-place, socially awkward, or severely threatening to those around them. The central consideration of the article is that presentation has less to do with genre and setting, and is more a part of an overall theme within much saga narrative, which considers the individual in relation to their society, and the tensions that emerge from strong characteristics which may not always have a place within their social context. Essentially, as Icelandic society develops, and the sense of Icelandic national identity becomes more stabilised, there is a distinct tension between those who are skilled in combat (but who, because of this, can present a threat to others) and those who are skilled with words (often exemplified through success in legal exchanges). The former might be deemed more useful in an emergent “frontier” society, the latter, when that society becomes more “polite”. In presenting this analysis, the paper explores the traditional consideration of sagas and their society through the lens of social acceptability. Do these (often quite comical, as well as perceptibly threatening) characters represent a type and, if so, does the extent of their monstrosity really matter? Is a troll, in one setting, any different to a thuggish human, in another? The article pursues this discussion through the analysis of three scenes from separate sagas, set against a brief discussion of the historical and literary backgrounds of saga narrative, more generally. The first, from Njáls Saga, presents a straightforward “historical” presentation; the second, from Ketils Saga Hængs, a straightforward “mythical” setting. The final presentation, from Grettis Saga Ásmundarsonar, presents a hybrid model, which blurs the relationship between the historical and the fantastic through the character of Grettir, who inhabits both the human and non-human environments of the saga with equal discomfort. He is a character somewhat out of place, and out of time, and his liminality is representative of the uncertainty of the saga in presenting what might be deemed to be “acceptable” within contemporary society. The article concludes that such considerations are important in gaining an understanding of the relationships between individual saga characters and their social environment, and can provide a context for analysis which overcomes considerations of genre, history, or fantasy. This article is published as part of a collection on gothic and horror.