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SAGA-BOOK - Viking Society Web Publications

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1°4<br />

Saga-Book of the <strong>Viking</strong> <strong>Society</strong><br />

summarize fairly the methods of the four different disciplines he<br />

considers. He condemns the saga material out of hand without<br />

commenting on the meticulous scholarship which has gone<br />

towards the reconstruction of a historical framework for the<br />

<strong>Viking</strong> period in Iceland and elsewhere. Such an overstatement<br />

as, "The sagas are not, however, entirely worthless, for the saga<br />

writers used and sometimes quoted poetry of the <strong>Viking</strong> Age", is<br />

significant of his attitude. His evaluation of the runic inscriptions<br />

of Scandinavia is similarly inadequate.<br />

Mr Sawyer's criticism of the methods used by archaeologists<br />

suggests that he does not entirely understand the archaeologist's<br />

role. To quote an Irish philologist (O'Rahilly) for an evaluation<br />

of this role (p. 46) seems an insult to the great archaeological<br />

thinkers. Could any archaeologist, or indeed any thinking<br />

person, agree with the statement, "Archaeological facts are often<br />

dull"? When seen in a context, they are neither more, nor less,<br />

dull than a document, a coin, a place-name, or any other piece of<br />

evidence about the past.<br />

Similar lack of sympathy for the archaeological discipline may<br />

be found in some of Mr Sawyer's generalisations concerning<br />

art-history. He says, "It is ... unlikely that artistic developments<br />

had much to do with political and economic changes" in the<br />

<strong>Viking</strong> period. This is daft. It is becoming more and more<br />

evident that political and economic changes have a considerable<br />

bearing on art styles. Western Europe in the <strong>Viking</strong> Age abounds<br />

in examples - Carolingian art, English art of the tenth century,<br />

<strong>Viking</strong> art after the coming of Christianity, all demonstrate in<br />

one way or another the effect of political and economic forces.<br />

1t is noteworthy too, and from the point of view of method<br />

deplorable, that Mr Sawyer accepts Dr Almgren's highly<br />

controversial art-historical theories, to the virtual exclusion of all<br />

others.'<br />

Perhaps the best part of the book is that which deals with the<br />

numismatic evidence. Mr Sawyer has thoroughly assimilated<br />

the doctrines of the English school of numismatists and he<br />

manages to outline some of their methods in language understandable<br />

to the layman. He is a little one-sided in his arguments<br />

- rather too fond, perhaps, of the earlier and more exiguous<br />

numismatic material - but many of the conclusions he reaches<br />

are fair. It is a pity, however, that he has used results taken<br />

from unpublished work by Sture Bolin but without summarizing<br />

Professor Bolin's evidence.<br />

I am not a philologist and must leave criticism of Mr Sawyer's<br />

1 B. Almgren, Bronsnycklar och Djurornamentik (1955).

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