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SAGA-BOOK - Viking Society Web Publications

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

the playing of the harp - as he does to the taking<br />

of Hialli's heart - as if the story were well known,<br />

without elaboration or explanation. Gunnarr does<br />

not play to still the snakes or to summon help, nor<br />

are we told that he uses his toes because his hands are<br />

fettered.P Such elaborations, found in other versions of<br />

the story, are avoided by the poet of Atlakuioa, partly<br />

because they destroy the line of his narrative, partly<br />

because they lead the mind to probe the probabilities of<br />

the situation in such a way that the scene loses its magic.t'<br />

The harp-playing is a motif as fantastic as the excision<br />

of hearts, and both fantasies are subordinated to the<br />

realities and the dramatic pace of the story. There is<br />

a likeness of art, also, in the treatment of the excision of<br />

hearts and Gul'5nin's slaughter of her children. In each<br />

case the horror is followed by words of loving pride or<br />

tenderness. There is a comparison made explicitly<br />

between what was and what is. The heart firm in death<br />

recalls the fearless living brother; after the boys' flesh has<br />

been served at the banquet, Gul'5nin remembers their<br />

flushed faces - olrei]« tva - at other feasts in their<br />

father's hall; the murder that soaks the bedding evokes<br />

the image of husband and wife embracing with affection.<br />

How different is the vision in Atlamal (stanza 56) of long<br />

matrimonial wrangling between Gul'5nin and Atli ­<br />

"I have no joy in our marriage, disastrous woman ­<br />

seldom have we had peace since you came into our midst."<br />

Are all these moments of tender backward-glancing in<br />

AtlakviiJa the result of patchwork by different poets, or do<br />

they spring from one poetic imagination? They have no<br />

parallels in other versions of the story. This quality in<br />

AtlakviiJa, this sense of pain and cost, is observed by the<br />

poet of H amoismdl, who makes Hamoir chide his mother<br />

that her revenges hurt herself even more than those she<br />

punishes (stanza 8):<br />

13 See the Drdp Nifiunga; Oddrunargrdtr 29; Atlamdl 66; V'olsunga saga<br />

ch·37·<br />

.. Even the simple phrase in Atlamdl 66: Horpo toe Gunnarr ... spoils the<br />

fantasy by its practicality.

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