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Every country has its treasure trove of beloved tales, | 0:00:13 | 0:00:17 | |
but one nation has an unrivalled passion for storytelling. | 0:00:17 | 0:00:21 | |
For ten centuries Icelanders have been enthralled by a series of homespun stories. | 0:00:23 | 0:00:30 | |
They're some of the most wonderful tales ever told. | 0:00:33 | 0:00:37 | |
How they came to be written is one of the great mysteries of the Dark Ages. | 0:00:37 | 0:00:42 | |
1,000 ago, at the edge of the Arctic Circle, there was an explosion of | 0:00:46 | 0:00:51 | |
creativity, which remains pretty much unparalleled in history. | 0:00:51 | 0:00:55 | |
When the Vikings came here to Iceland one of the first things they did, | 0:00:57 | 0:01:02 | |
strangely, was to settle down and begin telling each other tales. | 0:01:02 | 0:01:06 | |
These Sagas, as they're now known, are some of the greatest stories ever told. | 0:01:12 | 0:01:16 | |
They're haunted by ghosts and plagued by witches. | 0:01:16 | 0:01:20 | |
Mighty heroes ride to the rescue wielding magical swords. | 0:01:20 | 0:01:25 | |
The Sagas captivated audiences ten centuries ago | 0:01:25 | 0:01:29 | |
and they're still entertaining millions of people today. | 0:01:29 | 0:01:33 | |
They're about money and sex and, you know, and death. | 0:01:37 | 0:01:41 | |
And this is just, you know, the essence of a good story - sex and death. | 0:01:41 | 0:01:45 | |
It is probably the greatest book ever written, | 0:01:49 | 0:01:52 | |
you know, this is a magnificent storybook, it has everything good novels is supposed to have | 0:01:52 | 0:01:56 | |
because it has love and battle and great poet and everything, it has everything in them. | 0:01:56 | 0:02:02 | |
The Sagas are not only great works of fiction, | 0:02:06 | 0:02:09 | |
they're based on the lives of real people and they challenge many of the stereotypes of the Viking Age. | 0:02:09 | 0:02:15 | |
They reveal the power Scandinavian women wielded. | 0:02:17 | 0:02:21 | |
They were explorers and colonisers. | 0:02:21 | 0:02:24 | |
They may even have written some of the Sagas. | 0:02:24 | 0:02:27 | |
Iceland's ancient tales also had a profound effect on us. | 0:02:29 | 0:02:34 | |
The Sagas influenced many of Britain's | 0:02:34 | 0:02:37 | |
greatest writers and inspired some of our most treasured stories. | 0:02:37 | 0:02:42 | |
HE SPEAKS IN NORSE | 0:03:05 | 0:03:07 | |
This is how great stories begin. | 0:03:44 | 0:03:47 | |
With a journey, a quest, a search for a promised land. | 0:03:52 | 0:03:56 | |
And so it is with the Sagas. | 0:03:59 | 0:04:02 | |
They recount the moment when Norwegian exiles set sail in their longships. | 0:04:05 | 0:04:10 | |
They defied the wild oceans to found a brave, new world. | 0:04:15 | 0:04:20 | |
They named it Iceland. | 0:04:26 | 0:04:28 | |
I wonder what the first settlers here in Iceland thought when they arrived. | 0:04:36 | 0:04:40 | |
It's the least likely of promised lands. | 0:04:40 | 0:04:44 | |
Certainly the strangest place I've ever been to. | 0:04:44 | 0:04:46 | |
It feels primeval, like a woolly mammoth should come lumbering along the horizon. | 0:04:46 | 0:04:52 | |
There's nothing growing here, there's no trees or crops | 0:04:52 | 0:04:56 | |
and under the ground there's no iron ore or gold | 0:04:56 | 0:05:00 | |
and yet these hardy pioneers didn't just turn tail and sail off in their longboats, | 0:05:00 | 0:05:07 | |
they stayed and tried to create something out of this extraordinary landscape. | 0:05:07 | 0:05:12 | |
And what they created was truly magical - words. | 0:05:12 | 0:05:17 | |
VOICES SPEAK IN NORSE | 0:05:20 | 0:05:24 | |
Iceland is where Europe ends and the Arctic begins. | 0:05:51 | 0:05:54 | |
It's more than 700 miles north-west of Scotland - remote, | 0:05:58 | 0:06:03 | |
far-flung, isolated. | 0:06:03 | 0:06:06 | |
But when it comes to the world of words, | 0:06:08 | 0:06:10 | |
this country has always been one of the centres of literary activity. | 0:06:10 | 0:06:16 | |
One in ten Icelanders is a published author | 0:06:16 | 0:06:18 | |
and this love of letters began long ago with the writing of the Sagas. | 0:06:18 | 0:06:24 | |
I think all modern Icelandic writers, they have their background in this, one way or the other. | 0:06:25 | 0:06:32 | |
During the centuries we didn't have any universities, no academies | 0:06:32 | 0:06:37 | |
and we didn't have many...types of arts, | 0:06:37 | 0:06:41 | |
no architectures, no theatres, no music, no opera, | 0:06:41 | 0:06:46 | |
no sculptures, no ballet, of course. | 0:06:46 | 0:06:50 | |
Maybe if you look at our history, | 0:06:50 | 0:06:53 | |
this is the only thing that we have ever been good at. | 0:06:53 | 0:06:56 | |
It's writing stories and telling stories. | 0:06:56 | 0:06:59 | |
The greatest of these stories are known as the Family Sagas. | 0:07:00 | 0:07:04 | |
They're set in the first 150 years of Iceland's history, | 0:07:04 | 0:07:08 | |
from the original settlement in 870 AD. | 0:07:08 | 0:07:12 | |
The Sagas were written down in the 13th and 14th centuries. | 0:07:12 | 0:07:16 | |
In just over 100 years, dozens and dozens of stories were composed. | 0:07:16 | 0:07:21 | |
It's a creative outpouring that has few parallels in history. | 0:07:21 | 0:07:26 | |
Well, it was very, very remarkable that such a lot of, such a large | 0:07:26 | 0:07:32 | |
volume of literature should come out of this relatively tiny island, | 0:07:32 | 0:07:36 | |
with, you know, really a very small population. | 0:07:36 | 0:07:40 | |
But remarkable too is the genres, the forms of this literature. | 0:07:40 | 0:07:45 | |
While the rest of medieval Europe was writing courtly romances about knights and princesses, | 0:07:45 | 0:07:51 | |
the Icelanders were creating dramas about real families in real locations, doing real things. | 0:07:51 | 0:07:59 | |
The thing that they're most like actually is much, much later 19th century novels. | 0:07:59 | 0:08:05 | |
They're in prose, they're naturalistic, | 0:08:05 | 0:08:08 | |
they deal with social issues, | 0:08:08 | 0:08:11 | |
so they're big, expansive narratives. | 0:08:11 | 0:08:15 | |
You see something that is so much in common | 0:08:19 | 0:08:21 | |
with our time and this time. | 0:08:21 | 0:08:24 | |
So you feel, wow, this is really human, that's how human being is, you know. | 0:08:24 | 0:08:29 | |
You get something and you're, like, ah, we have not changed, in a way. | 0:08:29 | 0:08:33 | |
I know this. | 0:08:33 | 0:08:35 | |
It's like peep into a hole, into a class and say "They're doing the same thing." | 0:08:35 | 0:08:40 | |
They are, of course, about, in essence, | 0:08:40 | 0:08:43 | |
always about the very primitive thing, | 0:08:43 | 0:08:45 | |
they're about the inner-circle in human action, about, you know, | 0:08:45 | 0:08:51 | |
lust and power and fight and they're about the glue | 0:08:51 | 0:08:58 | |
that binds us. | 0:08:58 | 0:08:59 | |
Out of the many Sagas that were written, four or five are classics, | 0:09:00 | 0:09:05 | |
but there's one in particular that's always intrigued me. | 0:09:05 | 0:09:09 | |
We all love a good story, but who'd have thought when you're flicking through a book at bedtime | 0:09:09 | 0:09:14 | |
or lying, reading on the beach, that this is where it all began, one of the first great works of fiction. | 0:09:14 | 0:09:21 | |
The pages may be blackened by the passage of time, | 0:09:21 | 0:09:24 | |
but despite being over 700 years old, | 0:09:24 | 0:09:27 | |
the story still leaps out at you. | 0:09:27 | 0:09:30 | |
It's got everything a good book needs - love and lust, violence, betrayal and revenge. | 0:09:30 | 0:09:36 | |
It's called Laxdaela Saga and, in my opinion, | 0:09:36 | 0:09:39 | |
it's the greatest of the Icelandic Sagas. | 0:09:39 | 0:09:42 | |
Laxdaela means salmon river valley, | 0:09:46 | 0:09:49 | |
and it's in the rich farming and fishing country of north-west Iceland that the story takes place. | 0:09:49 | 0:09:55 | |
The Laxdaela Saga charts the fortunes of the families who settle in the area. | 0:09:58 | 0:10:03 | |
It follows their triumphs and tragedies over several generations. | 0:10:04 | 0:10:09 | |
The love affairs. | 0:10:09 | 0:10:10 | |
The blood feuds. | 0:10:10 | 0:10:12 | |
The marriages. The murders. | 0:10:12 | 0:10:15 | |
The story is rooted in a timeless landscape. | 0:10:20 | 0:10:23 | |
It's still possible to pinpoint the fells and fjords where key events occurred. | 0:10:23 | 0:10:28 | |
This sense of place underpins the relationship between Icelanders and their ancient stories. | 0:10:30 | 0:10:35 | |
This happens in my area. | 0:10:39 | 0:10:41 | |
These characters are my forefathers and they are still | 0:10:41 | 0:10:45 | |
in my mind as they... You know, I know the farmers | 0:10:45 | 0:10:49 | |
who lives on their farm and I found the similarity to them. | 0:10:49 | 0:10:52 | |
I don't think we have so much changed since this time. | 0:11:01 | 0:11:04 | |
We are still the same farmers as we were in these days. | 0:11:04 | 0:11:06 | |
I almost imagine myself when I was, for example, taking sheep | 0:11:06 | 0:11:10 | |
down from the mountains, I was sometimes thinking about these things that they have done. | 0:11:10 | 0:11:14 | |
I am in the same steps as they were, and they were there and there and there. | 0:11:14 | 0:11:18 | |
You start Laxdaela Saga with a portrait of the great | 0:11:27 | 0:11:29 | |
matriarch Unn and her nickname is the "Deep-minded". | 0:11:29 | 0:11:34 | |
What does the "Deep-minded" mean? | 0:11:34 | 0:11:37 | |
Clever, wise, with a huge memory, philosophical. | 0:11:37 | 0:11:41 | |
What a wonderful epithet, what a surprising, maybe, epithet for a woman in a Saga - the deep-minded. | 0:11:41 | 0:11:48 | |
SHE SPEAKS IN NORSE | 0:11:55 | 0:11:58 | |
Many of the characters in the Sagas are real people. | 0:12:28 | 0:12:32 | |
The moments of high drama can be traced to genuine historical events | 0:12:32 | 0:12:37 | |
and few moments are more dramatic than the discovery of a new land. | 0:12:37 | 0:12:41 | |
So who were the first settlers in this area then? | 0:12:43 | 0:12:46 | |
That was Unn the Deep-minded. | 0:12:46 | 0:12:49 | |
Unn Djupuoga we call it on Iceland. | 0:12:49 | 0:12:51 | |
She came sailing up this bay and had settlement over there, by the other end of the bay. | 0:12:51 | 0:12:56 | |
She settled there on a farm. | 0:12:56 | 0:12:58 | |
So it was a woman. | 0:12:58 | 0:13:00 | |
-It was a woman, yes. -Ahh. | 0:13:00 | 0:13:01 | |
Tell me a bit about her, then. | 0:13:01 | 0:13:03 | |
She probably came here around the year of 892. | 0:13:03 | 0:13:07 | |
She came from Scotland. | 0:13:07 | 0:13:10 | |
What happened is that her husband went into battle there and he died | 0:13:10 | 0:13:14 | |
and she had to go away with her crew and she established a crew | 0:13:14 | 0:13:17 | |
on her boat, made the boat ready, so nobody was supposed to know it and then she sailed away from Scotland. | 0:13:17 | 0:13:25 | |
She was, what do you say, running away from there. | 0:13:25 | 0:13:27 | |
But that was magnificent, that a woman could do that in those days. | 0:13:27 | 0:13:32 | |
So the first settler in this area is a woman. | 0:13:32 | 0:13:34 | |
-Yeah. -And she's Scottish. | 0:13:34 | 0:13:36 | |
-Yes. -And she's able to control a boatload of men. -Yes. | 0:13:36 | 0:13:39 | |
Command.... And then what happened when she got here, then? | 0:13:39 | 0:13:42 | |
She settled down in this farm | 0:13:42 | 0:13:43 | |
and what she did is that she gave her crew, all the men got | 0:13:43 | 0:13:48 | |
independency, they lived here in this area. | 0:13:48 | 0:13:52 | |
You can imagine that she must have been at least a very big woman, very big-minded. | 0:13:52 | 0:13:57 | |
You can imagine that she must have been very clever and she must have been very fair, | 0:13:57 | 0:14:02 | |
she was fair to people, she gave everybody with her. | 0:14:02 | 0:14:04 | |
So she must have been, as I say, a very big woman in mind, she must have been a great woman. | 0:14:04 | 0:14:09 | |
Wonderful. Gosh. And she earns the title Unn the Deep-minded. | 0:14:09 | 0:14:14 | |
-Yes, yes. -It's a good - it's a very apt one, isn't it? | 0:14:14 | 0:14:16 | |
-It tells a lot. -Yeah. -About her. | 0:14:16 | 0:14:18 | |
Is it really possible that a thousand years ago, a British woman colonised part of Iceland? | 0:14:29 | 0:14:36 | |
It sounds like the stuff of adventure fiction, not historical fact. | 0:14:36 | 0:14:41 | |
But recent archaeological evidence actually supports the story told in the Laxdaela Saga. | 0:14:44 | 0:14:49 | |
This is a skeleton of one of the first settlers in Iceland. | 0:14:53 | 0:14:56 | |
She's a woman, only 25 years old when she died. | 0:14:56 | 0:15:00 | |
She was probably someone's wife, mother, daughter. | 0:15:00 | 0:15:04 | |
She's here in the position of rest, | 0:15:04 | 0:15:07 | |
just as she was laid in the ground a thousand years ago. | 0:15:07 | 0:15:11 | |
And it was at precisely this time that the Laxdaela Saga was being composed. | 0:15:11 | 0:15:15 | |
But is there any truth to these tales that Iceland was settled by foreign women? | 0:15:15 | 0:15:21 | |
Well, DNA studies on bones just like this have shown that while the majority of the male | 0:15:21 | 0:15:27 | |
population were coming over from the Nordic homelands and Scandinavia, | 0:15:27 | 0:15:31 | |
over 60% of the women were British. | 0:15:31 | 0:15:34 | |
So this evidence shows us that right from the word go, | 0:15:34 | 0:15:38 | |
Iceland was a multi-cultural melting-pot. | 0:15:38 | 0:15:42 | |
The story of Unn the Deep-minded shows us how close the links were | 0:15:58 | 0:16:02 | |
between Iceland and the British Isles. | 0:16:02 | 0:16:05 | |
Both countries were staging-posts in a maritime empire, | 0:16:08 | 0:16:12 | |
which stretched from Norway right across the North Atlantic | 0:16:12 | 0:16:16 | |
and beyond. | 0:16:16 | 0:16:17 | |
Here we have a collection of silver coins | 0:16:22 | 0:16:25 | |
discovered in Iceland and dated to the turn of the 1st Millennium. | 0:16:25 | 0:16:29 | |
But what's really remarkable about this collection is the majority of coins are English. | 0:16:29 | 0:16:35 | |
At this point, around the year 1000, over two-thirds of the British Isles was ruled directly by Vikings. | 0:16:36 | 0:16:43 | |
And here we have a payment known as the Dangeld, which was made by the | 0:16:43 | 0:16:47 | |
English kingdoms to the Vikings in order to keep them off their land. | 0:16:47 | 0:16:51 | |
But we've also got coins here from Germany | 0:16:51 | 0:16:54 | |
and Arabia and the Middle East, | 0:16:54 | 0:16:57 | |
which shows that the Vikings were also raiding, trading and settling right across the known world. | 0:16:57 | 0:17:04 | |
The Viking Age began in the 8th century. | 0:17:09 | 0:17:13 | |
Over the next 300 years they raided, traded and settled, | 0:17:13 | 0:17:18 | |
leaving a profound mark on Europe and especially the British Isles. | 0:17:18 | 0:17:23 | |
Well, I suppose the most obvious effects are on place names, | 0:17:23 | 0:17:26 | |
I mean so many place names in northern and eastern England. | 0:17:26 | 0:17:30 | |
Just thinking about where I grew up, there's Thornaby, Ormsby, Normanby. | 0:17:30 | 0:17:35 | |
The language, of course, that's even more obvious, if you like, | 0:17:35 | 0:17:39 | |
the Scandinavian long words are very basic words, | 0:17:39 | 0:17:42 | |
so they're words like husband, window, law, egg. | 0:17:42 | 0:17:46 | |
And even the pronoun system in English is derived from Scandinavian pronouns. | 0:17:46 | 0:17:51 | |
So they, then, there - they're derived from | 0:17:51 | 0:17:53 | |
the Scandinavian pronouns, not from the corresponding Old English ones. | 0:17:53 | 0:17:57 | |
The Scandinavian settlements resulted in a thorough enrichment of English society. | 0:18:00 | 0:18:06 | |
The Vikings who settled Britain had to fit in alongside other people, | 0:18:18 | 0:18:23 | |
but the Scandinavians who sailed to Iceland found an uninhabited land. | 0:18:23 | 0:18:28 | |
Here, the Vikings had to build a new nation from scratch | 0:18:29 | 0:18:33 | |
and what they created was unique for the Dark Ages. | 0:18:33 | 0:18:37 | |
We're in this very significant place, aren't we? | 0:18:54 | 0:18:58 | |
It's got geographical and political and spiritual significance. | 0:18:58 | 0:19:03 | |
Can you tell me a little bit more about it? | 0:19:03 | 0:19:05 | |
This is the site of the Althingi, the early meeting place | 0:19:05 | 0:19:10 | |
of the Icelandic Commonwealth, | 0:19:10 | 0:19:11 | |
where people came from all over the country | 0:19:11 | 0:19:14 | |
to discuss legal matters, formulate the new law and settle disputes. | 0:19:14 | 0:19:20 | |
So history, more or less, happened in this location. | 0:19:20 | 0:19:23 | |
This is the parliament that the settlers came up with here | 0:19:27 | 0:19:30 | |
after a few decades of living in the country as free men. | 0:19:30 | 0:19:34 | |
And they sit here in a very sort of structured... | 0:19:34 | 0:19:39 | |
assembly that has a democratic function, in a way, | 0:19:39 | 0:19:43 | |
for free farmers and males. | 0:19:43 | 0:19:46 | |
Gosh. | 0:19:46 | 0:19:47 | |
And, er... And decide by voting. | 0:19:47 | 0:19:50 | |
Is it unusual in terms of what's going on elsewhere in Europe at this time? | 0:19:55 | 0:19:59 | |
In terms of European history, this is quite unique, | 0:19:59 | 0:20:03 | |
because they don't have a king, they don't have a centralised power | 0:20:03 | 0:20:07 | |
and that is the beauty of the system. | 0:20:07 | 0:20:09 | |
You have independent chieftains coming together | 0:20:09 | 0:20:12 | |
and they decide on some things and execute whatever is decided. | 0:20:12 | 0:20:17 | |
Icelanders set up a nation from about... From 870 onwards | 0:20:23 | 0:20:28 | |
and they set up a parliament and they set up a legal system. | 0:20:28 | 0:20:31 | |
In a way, I think, perhaps, that the outpouring of literature | 0:20:31 | 0:20:37 | |
that you get in Iceland, this huge flowering of not just Sagas | 0:20:37 | 0:20:42 | |
but also unique kinds of poetry, | 0:20:42 | 0:20:45 | |
I think maybe that was part of being a new nation, | 0:20:45 | 0:20:48 | |
that you had a terra nova and you didn't only settle that | 0:20:48 | 0:20:53 | |
and build it up as a nation socially, | 0:20:53 | 0:20:56 | |
you also...inscribed a kind of literary culture. | 0:20:56 | 0:21:00 | |
The first things that were written were family trees, | 0:21:12 | 0:21:16 | |
tracing the Icelanders back to very noble people in Scandinavia. | 0:21:16 | 0:21:22 | |
And I think one of the reasons they did this may have been | 0:21:22 | 0:21:25 | |
that there were rumours in our neighbouring countries | 0:21:25 | 0:21:30 | |
about the people that moved to Iceland... | 0:21:30 | 0:21:33 | |
-Right. -..in the years of 900 to 1000. | 0:21:33 | 0:21:37 | |
They're mostly anti-social elements - | 0:21:37 | 0:21:41 | |
thieves, fugitives, murderers, | 0:21:41 | 0:21:44 | |
people that didn't survive around civilised people. | 0:21:44 | 0:21:48 | |
So maybe the first reaction was when they had this alphabet | 0:21:48 | 0:21:51 | |
and could write down, they were building these family trees, | 0:21:51 | 0:21:55 | |
saying that these were the most noble people, | 0:21:55 | 0:21:58 | |
because all Icelanders, they can trace their roots back to kings and queens | 0:21:58 | 0:22:03 | |
and even Odin and Thor and so on. | 0:22:03 | 0:22:07 | |
For some, storytelling may have served an even more profound function, | 0:22:16 | 0:22:21 | |
reminding them of the homes and loved ones | 0:22:21 | 0:22:23 | |
which they would never see again. | 0:22:23 | 0:22:26 | |
While a few British women, like Unn the Deep-Minded, | 0:22:28 | 0:22:31 | |
chose to settle in Iceland, others were brought by force. | 0:22:31 | 0:22:35 | |
One of the next characters we meet in the Laxdaela Saga is a concubine. | 0:22:39 | 0:22:44 | |
Today, we'd call her a sex slave. | 0:22:46 | 0:22:48 | |
She's been abducted from Ireland. Her name is Melkorka. | 0:22:51 | 0:22:55 | |
Most of the women, they were bought either in slave markets in Scandinavia, | 0:22:59 | 0:23:05 | |
or brought directly from the British Isles, mostly from Ireland. | 0:23:05 | 0:23:10 | |
Of course, when they came here, they became a part of the population | 0:23:10 | 0:23:15 | |
and the male...culture, the Scandinavian male culture | 0:23:15 | 0:23:19 | |
became dominant, the language and so on. | 0:23:19 | 0:23:21 | |
But they had an experience... | 0:23:21 | 0:23:25 | |
for generations, | 0:23:25 | 0:23:28 | |
of telling stories in their own language and even writing books in their own language - the Celts. | 0:23:28 | 0:23:34 | |
-Of course. -The Book of Kells and so on. | 0:23:34 | 0:23:35 | |
There's something really interesting taking place in Icelandic literature, then. | 0:23:35 | 0:23:40 | |
You've got this male population with the oral tradition of storytelling, | 0:23:40 | 0:23:45 | |
combined with this influx, this exodus of women coming from Britain. | 0:23:45 | 0:23:49 | |
So the Celtic influence could be this idea that | 0:23:49 | 0:23:53 | |
-you take that literature and then write it down. Preserve it. -Absolutely. | 0:23:53 | 0:23:57 | |
Foreign women like Melkorka weren't just characters in the Sagas. | 0:24:01 | 0:24:06 | |
These lonely, literate exiles may have helped create the Sagas | 0:24:06 | 0:24:11 | |
by writing down their stories. | 0:24:11 | 0:24:13 | |
THUNDER ROLLS | 0:24:13 | 0:24:16 | |
In the Laxdaela Saga, we find out that Melkorka, the Irish slave girl, | 0:24:16 | 0:24:21 | |
is pregnant by her master, a Viking called Hoskuld. | 0:24:21 | 0:24:25 | |
SPEAKS IN NORSE | 0:24:27 | 0:24:31 | |
Olaf is a major character in the early part of the Saga. | 0:25:04 | 0:25:09 | |
He's kind and wise. | 0:25:09 | 0:25:10 | |
He marries and raises a family. | 0:25:10 | 0:25:13 | |
Olaf has one child that he dotes upon - a boy called Kjartan. | 0:25:13 | 0:25:18 | |
SPEAKS IN NORSE | 0:25:21 | 0:25:24 | |
Olaf also has another lad, a foster son by the name of Bolli. | 0:25:50 | 0:25:56 | |
Bolli is a gifted child, but he grows up in Kjartan's long shadow. | 0:25:56 | 0:26:00 | |
Olaf's family and farm are flourishing. All is going well. | 0:26:11 | 0:26:15 | |
Rather too well, of course. | 0:26:15 | 0:26:17 | |
It's at this point that a new and sinister character enters the story. | 0:26:17 | 0:26:23 | |
Sorcery is ever-present in the Sagas, | 0:26:47 | 0:26:49 | |
reflecting the Viking belief that magic really could transform the lives of ordinary folk. | 0:26:49 | 0:26:55 | |
SPEAKS IN NORSE | 0:27:13 | 0:27:17 | |
Today, we modern people, we often look at magic as some kind of superstition. | 0:27:29 | 0:27:35 | |
It's difficult for us to understand it, | 0:27:37 | 0:27:39 | |
because we live in another time and, perhaps, in another world, in a way. | 0:27:39 | 0:27:44 | |
But for them, that was a real thing. | 0:27:44 | 0:27:47 | |
They knew that they could achieve something | 0:27:47 | 0:27:52 | |
by doing some rituals | 0:27:52 | 0:27:54 | |
and with that, they could affect the world around them | 0:27:54 | 0:27:57 | |
both in good and bad ways, of course. | 0:27:57 | 0:28:00 | |
In a way, it was very much practical. | 0:28:03 | 0:28:08 | |
Magic to let the cow milk more, magic to let the grass grow faster. | 0:28:08 | 0:28:14 | |
And therefore, people had some kinds of magic | 0:28:17 | 0:28:22 | |
that could help them to look more positive in the coming days | 0:28:22 | 0:28:29 | |
and have extra power to... | 0:28:29 | 0:28:33 | |
survive. | 0:28:33 | 0:28:34 | |
But sorcery could also be used to maim and kill. | 0:28:41 | 0:28:46 | |
For Vikings, curses were weapons of malign magical power. | 0:28:46 | 0:28:51 | |
The word, in Iceland, | 0:28:56 | 0:28:59 | |
has always been the most important thing in the whole culture. | 0:28:59 | 0:29:04 | |
People believed that if you had the power to control... | 0:29:07 | 0:29:13 | |
the language and put the words in... | 0:29:13 | 0:29:17 | |
Out of your mouth in the right order, then it could give you, actually... | 0:29:17 | 0:29:24 | |
more power. | 0:29:24 | 0:29:25 | |
SPEAKS IN NORSE | 0:29:33 | 0:29:37 | |
Bolli inherits the cursed sword | 0:29:52 | 0:29:56 | |
and with the handing over of the weapon, the story takes a new turn. | 0:29:56 | 0:30:01 | |
The focus shifts to Kjartan and Bolli | 0:30:01 | 0:30:03 | |
and a beautiful young woman with whom their fate will be intertwined. | 0:30:03 | 0:30:07 | |
SPEAKS IN NORSE | 0:30:25 | 0:30:28 | |
There are many leading ladies, but towering above them all is Gudrun - | 0:30:51 | 0:30:56 | |
a complex and tempestuous beauty. | 0:30:56 | 0:30:59 | |
The number of strong women characters is a striking feature of the Laxdaela Saga. | 0:31:04 | 0:31:10 | |
So, too, is the delight the writer takes in clothes and jewellery, love and romance. | 0:31:10 | 0:31:17 | |
And this has led some historians to question the authorship of the Saga. | 0:31:17 | 0:31:21 | |
So we think that, probably, the traditional view of the Sagas | 0:31:21 | 0:31:25 | |
is that they're very heroic tales, they're written by men for men and starring men. | 0:31:25 | 0:31:31 | |
Is that the case with Laxdaela Saga? | 0:31:31 | 0:31:34 | |
No, I think it's the other way around. | 0:31:34 | 0:31:36 | |
An Icelandic scholar, Professor Helga Kress, | 0:31:36 | 0:31:39 | |
has suggested that the writer, the one who wrote down Laxdaela Saga, was a woman. | 0:31:39 | 0:31:45 | |
There are so many scenes in that book that tell you about women's lives, | 0:31:45 | 0:31:49 | |
it must have been told by women and listened to by women. | 0:31:49 | 0:31:53 | |
And you see up to the time of television, probably, | 0:31:53 | 0:31:56 | |
you would have storytelling evenings in Iceland, in the farmhouse. | 0:31:56 | 0:32:00 | |
You have these long winter months, | 0:32:00 | 0:32:02 | |
eight or nine months and you have to pass the time. | 0:32:02 | 0:32:05 | |
There is no telly, so you tell stories. | 0:32:05 | 0:32:09 | |
You would have people sitting on these benches on both sides of the long house | 0:32:12 | 0:32:17 | |
and you would have one person in the middle reading or telling stories. | 0:32:17 | 0:32:21 | |
The women's domain is within the house, the man's domain is without the house. | 0:32:24 | 0:32:28 | |
-So storytelling must have been a great part of life with women, just as men. -Absolutely. | 0:32:28 | 0:32:34 | |
So we have this Saga centred on women, | 0:32:34 | 0:32:37 | |
possibly told by women about women, women's roles within society. | 0:32:37 | 0:32:42 | |
Definitely. I would say so. Yes. | 0:32:42 | 0:32:45 | |
This is the site of one of the greatest romances in all of Icelandic literature. | 0:32:50 | 0:32:55 | |
It's the hot spring at the tiny hamlet of Laugar. | 0:32:57 | 0:33:01 | |
Laugar is Gudrun's home and it's at this spa that Kjartan and Gudrun begin their courtship. | 0:33:02 | 0:33:08 | |
Gudrun falls passionately in love, but Kjartan is a true Viking. | 0:33:10 | 0:33:15 | |
He's consumed not by love, but by lust. | 0:33:15 | 0:33:19 | |
Wanderlust. | 0:33:19 | 0:33:20 | |
With marriage beckoning, he ups sticks and leaves Iceland. | 0:33:22 | 0:33:26 | |
Kjartan and Bolli sail away to Norway. | 0:33:39 | 0:33:42 | |
They arrive in Scandinavia at a pivotal moment in European history. | 0:33:42 | 0:33:48 | |
Take a look at this amazing little object. | 0:33:52 | 0:33:55 | |
This man just oozes character. | 0:33:55 | 0:33:58 | |
He's got a flamboyant moustache, deep, penetrating eyes | 0:33:58 | 0:34:02 | |
and really strong features. | 0:34:02 | 0:34:04 | |
He's wearing this conical hat | 0:34:04 | 0:34:07 | |
and he's sitting on a chair, holding a very weird-looking object. | 0:34:07 | 0:34:12 | |
But when we take a closer look, | 0:34:12 | 0:34:14 | |
you can see that the hat is, in fact, a crown. | 0:34:14 | 0:34:18 | |
He's seated on a throne. | 0:34:18 | 0:34:19 | |
And the object could be either an upside-down crucifix, | 0:34:19 | 0:34:22 | |
or the hammer wielded by the pagan god, Thor, as he creates thunder. | 0:34:22 | 0:34:29 | |
This wonderful little man encapsulates the moment | 0:34:29 | 0:34:34 | |
when the Viking world has one foot in the pagan past | 0:34:34 | 0:34:37 | |
and one in the Christian future. | 0:34:37 | 0:34:39 | |
SINGING IN NORSE | 0:34:41 | 0:34:45 | |
This is a ceremony to mark the end of summer and the beginning of winter. | 0:34:58 | 0:35:03 | |
It's the last remnant of a once-mighty faith, | 0:35:03 | 0:35:07 | |
the religion of Odin and Thor - Norse paganism. | 0:35:07 | 0:35:10 | |
The word "paganism" comes with many negative connotations. | 0:35:21 | 0:35:25 | |
It might seem odd, peculiar, perhaps even a little sinister, | 0:35:25 | 0:35:29 | |
but that's because, for 2,000 years, | 0:35:29 | 0:35:31 | |
Christians have been writing tracts and treaties that damn these so-called pagans to hell. | 0:35:31 | 0:35:37 | |
In fact, for thousands of years, this Norse paganism was the religion of the Scandinavian people. | 0:35:37 | 0:35:43 | |
It helped them make sense of the universe, | 0:35:43 | 0:35:46 | |
it acted as a comforter to them in times of need | 0:35:46 | 0:35:49 | |
and it even helped them chart the passage of time. | 0:35:49 | 0:35:52 | |
It's a mark of its influence that it's still doing this today. | 0:35:52 | 0:35:56 | |
1,000 years ago, this ancient religion was under attack from a new, crusading faith. | 0:36:14 | 0:36:20 | |
Christianity. | 0:36:22 | 0:36:23 | |
The man who was driving the conversion of the Vikings | 0:36:26 | 0:36:29 | |
was Olaf, the King of Norway. | 0:36:29 | 0:36:31 | |
Were there reasons then, for converting to Christianity? | 0:36:35 | 0:36:38 | |
-What were the benefits? -It was basically joining the European Union! | 0:36:38 | 0:36:43 | |
-It's basically the same thing. -Yeah. Right. So it was trade and...? | 0:36:43 | 0:36:47 | |
Yeah, it was trade, because the markets were closing down. | 0:36:47 | 0:36:49 | |
We could no longer do trade with England, | 0:36:49 | 0:36:52 | |
because they would not accept pagans. | 0:36:52 | 0:36:55 | |
And for a period of years, | 0:36:55 | 0:36:58 | |
people could do what they called prime signing, | 0:36:58 | 0:37:00 | |
which was basically crossing yourself before you did commerce, | 0:37:00 | 0:37:05 | |
but that was no longer accepted. | 0:37:05 | 0:37:08 | |
Denmark was basically very strongly Christian. | 0:37:08 | 0:37:12 | |
Norway had become Christian after a long, bloody battle. | 0:37:12 | 0:37:16 | |
Sweden was about to become Christian. | 0:37:16 | 0:37:18 | |
So it was, basically, everything was closing down. | 0:37:18 | 0:37:22 | |
So it was a very practical business decision. | 0:37:22 | 0:37:25 | |
But many people didn't want to give up the faith of their ancestors. | 0:37:30 | 0:37:35 | |
The Icelanders resisted Christianity. | 0:37:35 | 0:37:38 | |
To make them convert, the Norwegian monarch, King Olaf, | 0:37:39 | 0:37:43 | |
decides to keep Kjartan as a sort of VIP hostage. | 0:37:43 | 0:37:47 | |
The King's sister, Ingibjorg, keeps Kjartan...entertained. | 0:37:47 | 0:37:52 | |
In medieval courtly romance, the hero would have escaped from Norway | 0:37:56 | 0:38:00 | |
and returned to his true love. | 0:38:00 | 0:38:03 | |
But what sets the Family Sagas apart is their realism. | 0:38:03 | 0:38:06 | |
What's so surprising is that the characters are archetypal kind of humans. | 0:38:09 | 0:38:15 | |
It's so easy to identify with the characters. | 0:38:15 | 0:38:17 | |
Sometimes deceptively easy - | 0:38:17 | 0:38:19 | |
we forget how very different their circumstances and beliefs | 0:38:19 | 0:38:22 | |
and cultural traditions were. | 0:38:22 | 0:38:24 | |
But the characters in Family Sagas | 0:38:24 | 0:38:27 | |
are their feelings and their failings, | 0:38:27 | 0:38:30 | |
their hopes and their fears, their passions and their weaknesses. | 0:38:30 | 0:38:35 | |
They're very easy to identify. | 0:38:35 | 0:38:36 | |
Kjartan is not only beautiful and good, you know, he's also... | 0:38:40 | 0:38:44 | |
come on, he is doing the princess in Norway | 0:38:44 | 0:38:48 | |
and he's not a holific or a holy guy. | 0:38:48 | 0:38:52 | |
All the literature in Europe is very Christian | 0:38:52 | 0:38:54 | |
in that sense that there are matches, | 0:38:54 | 0:38:56 | |
there are good guys and there are bad guys | 0:38:56 | 0:38:59 | |
and good things happen to good guys and bad things happen to bad guys. | 0:38:59 | 0:39:03 | |
In the Sagas, this is not so. | 0:39:03 | 0:39:06 | |
The Sagas can be about a bad guy, | 0:39:06 | 0:39:08 | |
an arsehole that does something very bad to everybody | 0:39:08 | 0:39:12 | |
and has success with it. | 0:39:12 | 0:39:13 | |
Kjartan is happy to stay in Norway, but Bolli wants to go home. | 0:39:19 | 0:39:24 | |
Before he leaves, he criticises Kjartan for the way he's treating Gudrun. | 0:39:24 | 0:39:30 | |
SPEAKS IN NORSE | 0:39:33 | 0:39:35 | |
Bolli arrives home. | 0:40:16 | 0:40:19 | |
He tells Gudrun about Kjartan's affair with the King's sister. | 0:40:19 | 0:40:24 | |
The reason for his anger with Kjartan now becomes clear. | 0:40:24 | 0:40:28 | |
Bolli is in love with Gudrun. | 0:40:28 | 0:40:30 | |
A few months later, he takes a fateful step and proposes. | 0:40:32 | 0:40:36 | |
In the year 1000, Iceland finally converts to Christianity. | 0:40:47 | 0:40:51 | |
Kjartan is free to return home. | 0:40:52 | 0:40:56 | |
He brings with him a wedding gift - | 0:40:56 | 0:40:58 | |
a priceless head-dress for his fiancee, Gudrun. | 0:40:58 | 0:41:03 | |
Kjartan has the bridal gift, but not the bride. | 0:41:03 | 0:41:08 | |
He marries another woman, but he's consumed by what he sees as a double betrayal. | 0:41:08 | 0:41:15 | |
There were regular feasts in the area, so the two couples - | 0:41:15 | 0:41:19 | |
Bolli and Gudrun and Kjartan and his new wife - couldn't avoid each other. | 0:41:19 | 0:41:23 | |
Whenever they met, Kjartan publicly humiliated Gudrun | 0:41:23 | 0:41:28 | |
and he spurned Bolli's attempts at reconciliation. | 0:41:28 | 0:41:31 | |
With each sleight, the hatred grew. | 0:41:31 | 0:41:34 | |
The precious head-dress that was supposed to have been Gudrun's | 0:41:34 | 0:41:38 | |
was now the property of Kjartan's new wife | 0:41:38 | 0:41:41 | |
and this head-dress became the focus of the feud. | 0:41:41 | 0:41:44 | |
One particular feast, the head-dress goes missing. | 0:41:44 | 0:41:49 | |
Everyone suspects it's Gudrun's doing - | 0:41:49 | 0:41:51 | |
if she can't have it, then no-one can. | 0:41:51 | 0:41:54 | |
With the destruction of the head-dress, Kjartan's pent-up fury explodes. | 0:41:56 | 0:42:01 | |
He barricades Bolli and Gudrun in their home, | 0:42:01 | 0:42:05 | |
cutting them off from the toilets which are outside. | 0:42:05 | 0:42:08 | |
He's deliberately inflicting maximum humiliation. | 0:42:08 | 0:42:11 | |
Revenge is the kind of engine of quite a lot of Saga narrative, | 0:42:16 | 0:42:20 | |
because obviously if you get a feud, for instance, | 0:42:20 | 0:42:25 | |
that's going to kind of keep on through generations. | 0:42:25 | 0:42:30 | |
Resentments build up. | 0:42:30 | 0:42:31 | |
In a number of Family Sagas, | 0:42:31 | 0:42:33 | |
it's these proud, independent women who are pushing the vengeance | 0:42:33 | 0:42:38 | |
and it's quite often the men who are trying to kind of damp it down | 0:42:38 | 0:42:42 | |
by due legal process and make settlements. | 0:42:42 | 0:42:45 | |
And the women are inciting the violence. As in Laxdaela Saga, | 0:42:45 | 0:42:48 | |
Gudrun provoking Bolli to kill Kjartan, | 0:42:48 | 0:42:51 | |
because she can't bear not to be married to him. | 0:42:51 | 0:42:53 | |
Goaded on by his wife, Bolli and his men ride out to confront Kjartan. | 0:42:58 | 0:43:04 | |
So the tension is really mounting in the Saga now, isn't it? | 0:43:24 | 0:43:28 | |
Gudrun has goaded her brothers and Bolli to ambush Kjartan. | 0:43:28 | 0:43:34 | |
And then what happens? | 0:43:34 | 0:43:36 | |
This is the place where everything happened. | 0:43:36 | 0:43:39 | |
Kjartan was coming from this direction with his friend. | 0:43:39 | 0:43:42 | |
And Bolli and the brother of Gudrun, they came from this direction | 0:43:42 | 0:43:46 | |
and probably they picked up this place because the valley is slimmest here. | 0:43:46 | 0:43:50 | |
Probably they were staying, | 0:43:50 | 0:43:52 | |
or we think that they were staying up there on the hill, | 0:43:52 | 0:43:55 | |
on the ridge there, there is a hole down there, a very deep hole | 0:43:55 | 0:43:59 | |
and they could hide themselves with the horses | 0:43:59 | 0:44:02 | |
and having looked to both directions easily. | 0:44:02 | 0:44:05 | |
So when Kjartan is in this direction, | 0:44:05 | 0:44:07 | |
they saw that they could fight him. | 0:44:07 | 0:44:10 | |
And then they went down here and attack him, of course. | 0:44:10 | 0:44:13 | |
They were attacking him, three or four attacking one person, | 0:44:28 | 0:44:31 | |
so there must have been a lot of noise with weapons, | 0:44:31 | 0:44:33 | |
there were three, four attacking one person. | 0:44:33 | 0:44:36 | |
A lot of sweat, probably some blood, | 0:44:36 | 0:44:38 | |
because Kjartan was punishing them a little bit with his swords. | 0:44:38 | 0:44:41 | |
And it was a bad sword, so you can imagine that he got tired, | 0:44:41 | 0:44:45 | |
for example, you can imagine that it was a lot of high breathing, | 0:44:45 | 0:44:49 | |
and they were tired. | 0:44:49 | 0:44:51 | |
Kjartan fights bravely but, finally, he weakens. | 0:44:54 | 0:44:57 | |
With his strength failing, he turns and addresses Bolli. | 0:44:57 | 0:45:01 | |
VOICE SPEAKS IN NORSE | 0:45:28 | 0:45:32 | |
HE SPEAKS IN NORSE | 0:46:25 | 0:46:28 | |
Blood has been shed. | 0:46:57 | 0:46:59 | |
The curse of Leg-Biter has been fulfilled. | 0:46:59 | 0:47:03 | |
All this sorcery and violence and vengeance has led to this - | 0:47:03 | 0:47:08 | |
a bloodied corpse lying on the ground. | 0:47:08 | 0:47:11 | |
Bolli has killed his brother and his best friend. | 0:47:11 | 0:47:16 | |
He's broken two of the great Viking taboos, | 0:47:16 | 0:47:19 | |
by severing the sacred bonds of friendship and family. | 0:47:19 | 0:47:24 | |
What must he be feeling right now? | 0:47:24 | 0:47:26 | |
Intense guilt? | 0:47:26 | 0:47:28 | |
Profound shame? | 0:47:28 | 0:47:29 | |
Or, perhaps, a sense of deep foreboding, | 0:47:29 | 0:47:32 | |
because the wheels of revenge have now been set in motion. | 0:47:32 | 0:47:38 | |
A posse tracks down Bolli and slaughters him. | 0:47:41 | 0:47:44 | |
Gudrun sends her son to avenge his murder. | 0:47:46 | 0:47:49 | |
Both families are trapped in a bloody spiral of revenge. | 0:47:51 | 0:47:57 | |
It seems that the feud might go on forever, | 0:47:57 | 0:48:00 | |
but then the Saga takes an unexpected twist. | 0:48:00 | 0:48:03 | |
Gudrun, the woman who has helped send Kjartan and Bolli to early graves, | 0:48:08 | 0:48:13 | |
converts to Christianity and becomes Iceland's first nun. | 0:48:13 | 0:48:17 | |
It's an unlikely act of repentance. | 0:48:19 | 0:48:22 | |
Was it genuine or not? I'm not sure, I don't know. | 0:48:25 | 0:48:28 | |
But I do think that, you know, | 0:48:28 | 0:48:30 | |
perhaps those who told the story, the audience liked the flair of that. | 0:48:30 | 0:48:34 | |
Perhaps it's a way for the author, or the authors if you can say that, | 0:48:34 | 0:48:40 | |
that this perhaps this woman was just, | 0:48:40 | 0:48:43 | |
there was no-one worthy of her but the king of kings. | 0:48:43 | 0:48:46 | |
Gudrun's repentance sent out an important social message. | 0:48:55 | 0:49:00 | |
In the 13th Century, when the Laxdaela Saga | 0:49:00 | 0:49:03 | |
was being written down, the republic had disintegrated. | 0:49:03 | 0:49:07 | |
Iceland was wracked by civil war and this may have persuaded the writers | 0:49:08 | 0:49:13 | |
to pen an overtly Christian ending. | 0:49:13 | 0:49:16 | |
There are some chieftains that are getting more powerful than they should be | 0:49:18 | 0:49:21 | |
according to the quota system for power and influence | 0:49:21 | 0:49:24 | |
that was set up in the beginning. | 0:49:24 | 0:49:27 | |
And they seemed to long for peace in the texts that we have, | 0:49:27 | 0:49:31 | |
so the Saga texts, they are written with the idea | 0:49:31 | 0:49:34 | |
in mind to show how Christianity brought peace to the country. | 0:49:34 | 0:49:38 | |
What gets them into problems is the pagan ethics. | 0:49:38 | 0:49:42 | |
-Right. -And the code of ethics that tells you | 0:49:42 | 0:49:44 | |
that you have to take revenge | 0:49:44 | 0:49:46 | |
and one revenge after another and leads to more death. | 0:49:46 | 0:49:49 | |
And in the texts you see that Christianity | 0:49:49 | 0:49:53 | |
is believed to bring peace and forgiveness into society, | 0:49:53 | 0:49:57 | |
finally calming down the feuds, | 0:49:57 | 0:49:59 | |
the family feuds that have been going on for generations. | 0:49:59 | 0:50:03 | |
And you can just stop and go to Rome | 0:50:03 | 0:50:06 | |
and be blessed and live happily ever after. | 0:50:06 | 0:50:09 | |
Peace came in 1262, but at a heavy price. | 0:50:17 | 0:50:22 | |
The Icelanders were forced to accept the rule of the Norwegian king. | 0:50:24 | 0:50:29 | |
It was the prelude to centuries of suffering. | 0:50:29 | 0:50:32 | |
Things went downhill for the Icelanders. | 0:50:35 | 0:50:39 | |
We were almost extinct, | 0:50:39 | 0:50:43 | |
because of diseases, starvation, isolation and so on. | 0:50:43 | 0:50:50 | |
At that time maybe one of the reasons that we survived - | 0:50:54 | 0:50:58 | |
the few who did - | 0:50:58 | 0:51:00 | |
was because they had this mythology based in the literature. | 0:51:00 | 0:51:06 | |
We were taking all our courage and all our identity from the Sagas. | 0:51:06 | 0:51:13 | |
This was what we based our hope and ambitions on. | 0:51:13 | 0:51:18 | |
Ironically, just when Iceland's pain was most acute, | 0:51:21 | 0:51:25 | |
Britain was discovering the great stories Iceland had produced. | 0:51:25 | 0:51:29 | |
In the 18th century, the Sagas reached our shores. | 0:51:31 | 0:51:35 | |
They had a profound influence on one of our greatest poets. | 0:51:37 | 0:51:41 | |
I think it's a very, very big influence actually on Blake's work. | 0:51:42 | 0:51:45 | |
I mean, perhaps one of the most characteristic things about | 0:51:45 | 0:51:50 | |
Blake's poetry and one of the most notoriously difficult things, really, | 0:51:50 | 0:51:55 | |
is that he has created this huge and hectic mythological world, | 0:51:55 | 0:52:01 | |
he's created a kind of alternative, Blakean mythology. | 0:52:01 | 0:52:05 | |
So many of Blake's poems contain elements derived from Old Norse myth. | 0:52:05 | 0:52:10 | |
That's very significant, I think. | 0:52:10 | 0:52:13 | |
By the 19th century, | 0:52:16 | 0:52:18 | |
more and more writers were borrowing from Norse literature. | 0:52:18 | 0:52:22 | |
Britain was hooked on the romance and heroism of the Viking age. | 0:52:25 | 0:52:31 | |
Victorian entrepreneurs, industrialists and explorers | 0:52:31 | 0:52:35 | |
had a kind of fellow feeling with what they saw as the Viking achievement. | 0:52:35 | 0:52:40 | |
That is the exploring, the white heat of technology, the new ships, | 0:52:40 | 0:52:44 | |
the seafaring, the great ships of the Vikings. | 0:52:44 | 0:52:48 | |
And that sense of independence | 0:52:48 | 0:52:50 | |
and taking your fate in own hands and getting ahead and so on. | 0:52:50 | 0:52:54 | |
The influence of Icelandic literature reached its high water mark | 0:53:01 | 0:53:05 | |
in the 20th century in the work of one famous Oxford academic. | 0:53:05 | 0:53:09 | |
Tolkien taught Old Norse, Tolkien published on Old Norse | 0:53:12 | 0:53:16 | |
and Tolkien's imaginative world | 0:53:16 | 0:53:18 | |
was surely shaped by his reading of Old Norse. | 0:53:18 | 0:53:21 | |
And The Lord Of The Rings, | 0:53:21 | 0:53:22 | |
he definitely uses names that he's culled from his Old Norse reading. | 0:53:22 | 0:53:26 | |
Actually, The Silmarillion, which people don't read so much, | 0:53:26 | 0:53:29 | |
echoes more some of the themes of the Sagas, | 0:53:29 | 0:53:33 | |
this betrayal and darkness in The Silmarillion. | 0:53:33 | 0:53:37 | |
So I think Tolkien was really steeped in Old Norse literary culture. | 0:53:37 | 0:53:41 | |
Through Tolkien, the world had woken up | 0:53:47 | 0:53:50 | |
to the power of the ancient stories. | 0:53:50 | 0:53:52 | |
But in Iceland, the Sagas had never gone away. | 0:53:53 | 0:53:56 | |
Generation after generation had fallen in love with these strange, otherworldly tales. | 0:53:57 | 0:54:04 | |
It's very unusual in Britain for people to read such old literature | 0:54:08 | 0:54:12 | |
and find it exciting still. | 0:54:12 | 0:54:14 | |
Why is it the Sagas are so exciting? | 0:54:14 | 0:54:17 | |
Just the drama and the action. | 0:54:17 | 0:54:18 | |
You know, a girl can choose who she marries, | 0:54:18 | 0:54:21 | |
if she wants someone and the brothers don't like him | 0:54:21 | 0:54:24 | |
and they say no, and if he doesn't understand, they kill him, so... | 0:54:24 | 0:54:29 | |
I think it's the events in what they believe in, | 0:54:29 | 0:54:33 | |
because they believe in very strange things. | 0:54:33 | 0:54:36 | |
-Very strange things? -Yeah. -What sort of things? | 0:54:36 | 0:54:39 | |
Like when someone cheats on their wife, | 0:54:39 | 0:54:42 | |
they like have to kill him and burn him and something like that. | 0:54:42 | 0:54:46 | |
-So that's enjoyable to read now, as well? -Well, sometimes, yeah. | 0:54:46 | 0:54:50 | |
I think it's just very interesting that we live the way they lived, | 0:54:50 | 0:54:54 | |
or around the places that they did. | 0:54:54 | 0:54:56 | |
-So like, learning about your ancestors and what they did in the past. -Yeah. | 0:54:56 | 0:55:00 | |
Somebody cheats on your wife and they kill him, it's just creepy. | 0:55:00 | 0:55:05 | |
It's fun to read, actually! | 0:55:05 | 0:55:09 | |
The Sagas were written to help the Vikings make sense of a bewildering new world. | 0:55:22 | 0:55:27 | |
1,000 years later, they still serve the same purpose. | 0:55:29 | 0:55:33 | |
As Icelanders come to terms with a country transformed | 0:55:33 | 0:55:37 | |
by financial crisis, they're turning once more to their stories. | 0:55:37 | 0:55:41 | |
Some years ago, we decided that we were the most brilliant international bankers of the world. | 0:55:43 | 0:55:49 | |
It turned out to be not so good. | 0:55:49 | 0:55:52 | |
-A myth! -Yeah, it turned out to be a myth. | 0:55:52 | 0:55:55 | |
But we have 800 or 1,000 years of tradition | 0:55:55 | 0:56:00 | |
of making literature, so... And... | 0:56:00 | 0:56:07 | |
And me, like other writers, we go back to the Sagas to find our ideas | 0:56:07 | 0:56:12 | |
for how to tell stories and even what to tell stories about. | 0:56:12 | 0:56:17 | |
We are, of course, a small island in the north, | 0:56:25 | 0:56:28 | |
that's what we are famous for, | 0:56:28 | 0:56:29 | |
are the writers and the books, the old books. | 0:56:29 | 0:56:32 | |
I think that's right in the heritage of the Icelanders, to read these books. | 0:56:34 | 0:56:39 | |
The language and the words and the poetry, that's what our country is, | 0:56:44 | 0:56:47 | |
it's about having control over the word and the language. | 0:56:47 | 0:56:52 | |
So, therefore, the language for Icelanders, for example, | 0:56:52 | 0:56:57 | |
is the most important thing in the whole world. | 0:56:57 | 0:57:01 | |
You feel that you are discovering something, | 0:57:06 | 0:57:09 | |
you are seeing something, it's like mind-openers. | 0:57:09 | 0:57:12 | |
And you, like, you get a window into another world. | 0:57:12 | 0:57:15 | |
And for me, it's a great thrill because this is a true window. | 0:57:15 | 0:57:19 | |
There's something about the backgrounds of the stories | 0:57:24 | 0:57:27 | |
and just the magic of good story, how a good story works. | 0:57:27 | 0:57:31 | |
A good story becomes a classic because it works. | 0:57:31 | 0:57:34 | |
I feel really inspired being here in Iceland. | 0:57:40 | 0:57:44 | |
I've been trying to work out what it is | 0:57:44 | 0:57:46 | |
and I think the thing is that it's such | 0:57:46 | 0:57:48 | |
a sparsely-populated country - just a third of a million people. | 0:57:48 | 0:57:53 | |
And it does feel very distant from the heart of Europe | 0:57:53 | 0:57:56 | |
up here on the edge of the Arctic. | 0:57:56 | 0:57:59 | |
But despite that, the people haven't developed an island mentality | 0:58:02 | 0:58:06 | |
or turned in on themselves. | 0:58:06 | 0:58:08 | |
In fact, they've done the opposite, they've gone out into the world. | 0:58:08 | 0:58:11 | |
They've embraced the world and they've given something back. | 0:58:11 | 0:58:15 | |
For ten centuries, they've been welcoming us into their homes | 0:58:15 | 0:58:19 | |
and settling us down around their hearths | 0:58:19 | 0:58:22 | |
and entertaining us with their stories. | 0:58:22 | 0:58:25 | |
Subtitles by Red Bee Media Ltd | 0:58:45 | 0:58:48 | |
E-mail [email protected] | 0:58:48 | 0:58:51 |