For our purpose it will not be necessary to characterize the translation. Laing commanded an excellent style, and he was enthusiastic over his work. Indeed, the commonest criticism passed on the "Preliminary Dissertation" was that the author's zeal had run away with his good sense. Be that as it may, Laing called the attention of his readers to the neglect of a literature and a history which should be England's pride, as Anglo-Saxon literature and history even then were. The reviews of the time made it appear as if another Battle of the Books were impending—Anglo-Saxon versus Icelandic; a writer in the English Review (Vol. 82, p. 316), pro-Saxon in his zeal, admitting at last that "of none of the children of the Norse, whether Goth or Frank, Saxon or Scandinavian, have the others any reason to be ashamed. All have earned the gratitude and admiration of the world, and their combined or successive efforts have made England and Europe what they are."
It is refreshing to come upon new views of Old Norse character, that recognize "amidst anarchy and bloodshed, redeeming features of kindliness and better feeling which tell of the mingled principles that war within our nature for the mastery." Laing's translation accomplished this for English readers, and with the years came a deeper knowledge that showed those touches of tenderness and traits of beauty which, even in 1844, were not perceptible to those readers.
HENRY WADSWORTH LONGFELLOW (1807-1882).
JAMES RUSSELL LOWELL (1819-1891).
The Story of the Norse Kings, thus translated by an Englishman, suggested to our American poet, Longfellow, a series of lyrics on King Olaf. The young college professor that wrote about Frithjof's Saga in the North American Review for 1837, was bound, sooner or later, to come back to the field when he found that the American reading public would listen to whatever songs he sang to them. Before 1850, Longfellow had written "The Challenge of Thor," a poem which imitated the form of Icelandic verse and catches much of its spirit. In 1859, the thought came to him "that a very good poem might be written on the Saga of King Olaf, who converted the North to Christianity." Two years later he completed the lyrics that compose "The Musician's Tale" in The Tales of a Wayside Inn, published in 1863, and in this work "The Challenge of Thor" serves as a prelude. The pieces after this prelude are not imitations of the Icelandic verse, but are like Tegner's Frithjof's Saga, in that each new portion has a meter of its own. There is not, either, a consistent effort to put the flavor of the North into the poetry, so that, properly speaking, we have here only the retelling of an old tale. The ballad fervor and movement are often perceptible, though nowhere does the poet strike the ringing note of "The Skeleton in Armor," published in the volume of 1841.
Truth to tell, Longfellow's "Saga of King Olaf" is not a remarkable work. One who reads the few chapters in Carlyle's Early Kings of Norway that deal with Olaf Tryggvason gets more of the fire and spirit of the old saga at every turning. The poet chooses scenes and incidents very skilfully, but for their proper presentation a terseness is necessary that is not reconcilable with frequent rhymes. Compare the saga account with the poem's: "What is this that has broken?" asked King Olaf. "Norway from thy hand, King," answered Tamberskelver.
"What was that?" said Olaf, standing
On the quarter deck.
"Something heard I like the stranding
Of a shattered wreck."
Einar then, the arrow taking
From the loosened string,
Answered, "That was Norway breaking
From thy hand, O King!"
Nevertheless, Longfellow is to be thanked for acquainting a wide circle of readers with the sterling saga literature.