Skip to main content. Log In Sign "Kungen vill ha pengarna ifred." An additional and important influence is novelist and essayist Frans G. Bengtsson, who championed the portrayal of character and psychology from the depiction of external signs. Bengtsson, significantly, praised the sagas for their method of characterization, and stressed the value of describing a myriad of genuine-seeming details for the creation of verisimilitude.
Building on what he learnt from the sagas, but going beyond it, he developed his own Kungen vill ha pengarna ifred style, characterized in particular by the effective use of repetition and extensive interweaving for effect and as a structuring device. A close examination of the similarities and differences between the original saga and the novel is followed by a consideration of the extent to which Sundman endeavoured to emulate saga style and method in this work.
Paradoxically, therefore, in returning to his wellspring in the sagas Sundman was betraying his own distinctive voice. What books are made into is more important than what they are made out of.
Ruthven, Critical Assump- tions Cambridge: Cambridge Univer- sity Press,p. A number of individuals and organizations have helped to make the work on this one less lonely and less long.
I would like to thank the late Dr Lenore Harty for introducing me to the study of Old Norse, and for supervising the early stages of work on the thesis; Dr Bill Dean for encouraging me in my choice of topic; Professor Alistair Fox for help with method- ological matters; and Dr Greg Waite for help with supervision.
My two largest debts are to Dr Chris Ackerley, for taking on the major part of the supervision of the thesis, as well as for providing general and much-appreciated encouragement during the course of it, and to the late Per Olof Sundmanwho graciously assented to an interview while I was in Sweden, and answered other questions by telephone and letter.
Warme in an article in Scandinavian Studies inan "Kungen vill ha pengarna ifred" study of the influence of Snorri Sturluson and other Icelandic saga authors has not before been done. Since this influence was largely admitted, or even claimed, by Sundman himself, and noted by many of the critics writing on him, I wished to investigate it in detail, to study the way in which it manifested itself in his writing, and to identify the aspects of saga style and narrative method that Sundman adopted.
That my conclusion was to prove somewhat different from the received wisdom as to the type of similarities and the extent of the influence from the sagas on his works will emerge from the rest of the thesis. Writer of the North Westport, Conn.: It also briefly points to the possible influence of Frans G.
There are only two other book-length works devoted to Per Olof Sundman: Fact, Fiction or Fraud? In this thesis I have opted to quote the sagas in the translations with which Sundman was most familiar. It is likely, too, that these were the forms in which many of the critics found similarities of style between Sundman and the sagas had encountered them.
The aspects commented upon are generally not linguistic, and often not stylistic; I have endeavoured to check whether the point made is translation-specific — the Scandinavian languages are so related that often a point made about the translated version still applies to the original Icelandic.
The translations from the Scandinavian languages are my own, and are there to give the gist of the original quotations; the argument developed in my thesis refers to the quotations in their original form. What policy to adopt when converting Icelandic proper names into a form appropriate to an English text is a perennial problem.
I have of course retained the Swedish and Norwegian spellings in quotations from those languages, but have generally employed the Icelandic nominative Kungen vill ha pengarna ifred in English, though without the final Kungen vill ha pengarna ifred consonant in such well-known names as Egil, Hrafnkel and Gunnar.
Choice of Narrative Method Narrative Stance and Voice Indirection and Lack of Connectives Features of Oral Narrative Use of Literary Devices Background to the Novel Differences between the Novel and the Saga Saga Elements in the Novel Concluding Remarks — Saga Style and Method Sundman, 15 October Title page Cover of Kongesagaer, illustration Kungen vill ha pengarna ifred Erik Werenskiold Illustration by Erik Werenskiold.
Gyldendal, ; reprinted The answers to these questions will lead to an understanding of how Sundman came to see the saga heritage as a solution to the problems he experienced in his early attempts as a writer in finding a literary language which worked for him. Bengtsson fascinated me — a luxuriant imagination, sly playfulness, immense knowledge, and a coolly intelligent literary method].
Sundman and the Saga Tradition interest in Snorri Sturluson, the Icelandic author of Heimskringla, sagas of the Norwegian kings from earliest times through to I am referring to Snorri. A Swede who reads an Icelander in Norwegian — that is quite in order. It is a matter of branches of the same tree or something along those lines.
Initially perhaps I was mostly captivated by the romantic material in his sagas. Later I discovered other qualities. Snorri narrates without letting himself be carried away by his narrative. He keeps himself detached from people and events. His narrative is naked. Norstedts, a rollicking reconstruction of Viking times. He also published a number of volumes of highly literate and witty essays, among the finest in the Swedish language.
This translation of Heimskringla was first published inand has been frequently republished under the title Kongesagaer from Sundman and the Saga Tradition something else. It is probably fair to assume that he has nonetheless been significant. As time went on, Sundman put increasing emphasis on the role of the Icelandic sagas in his own writing. Yet the only other direct reference to Icelandic material prior toa significant date for Sundman and his knowledge of Old Norse literature, is in an article published in While living in Frostviken in the s and early s Sundman contributed occasional Kungen vill ha pengarna ifred articles and more regular book reviews to the Stockholm- based daily paper Expressen.
Sundman and the Saga Tradition are more positively regarded, and notes that this has a long tradition in Scandinavia: Ordet varg har fast knutits till det motbjudande och det vidriga i alla nyanser. The word varg [wolf] has been closely connected to that which is loathsome and disgusting in all its nuances. In Scandinavia the wolf was formerly called ulv; varg really meant killer, a well- informed friend has told me.
Allhem,col. Vargar, translated by Margareta Edgardh Stockholm: Norstedts, ; original title Arctic Wild New York: Sundman and the Saga Tradition Rydberg gives there a detailed account of the role played by Fenrir. Jansson, was to be important for his increased knowledge of Old Norse literature. It was however a gradual process, in terms both of the degree of his familiarity with Kungen vill ha pengarna ifred sagas, and the type of material from them in which he was to interest himself.
Retold for Children] by Viktor Rydberg was first published in Stockholm in A fuller version of this interview is included as an appendix to this thesis. The king named it the Serpent, took it with him, and later had a similar but somewhat larger ship built, which received the well-known name The Long Serpent. Bonniers,pp. The articles, which make perplexing reading, are reprinted in Maria Bergom-Larsson ed. Gidlunds,pp. Their criticism of Sundman is now generally discredited by Swedish literary scholars.
Perhaps it does elsewhere in the world too, but as regards that I am not qualified to have an opinion. Gyldendal, ; reprintedp. All subsequent page references are to the latter edition. The phrase is also used in Kongesagaer as the caption for an illustration, by Christian Krohg, of Einar!
Norge ur din hand, svarade Einar. What was it that broke with such a loud crack, asked the king. In conversation with me 15 OctoberSundman said that it was Saami scholar Israel Ruong who informed him "Kungen vill ha pengarna ifred" the term and the technique.
This method of narrating is called munnjulastidh in South Saami]. There is as yet no fixed orthography for the South Saami language. Gullers Pictorial,p. Norstedts,p. Sundman and the Saga Tradition Einar. For the purpose of comparison, I give the original version here, in the Norwegian translation Sundman says that he is most familiar with: Da smalt buen i to stykker.
Da sa kong Olav: He shot with bow and arrow, and shot harder than anyone else. The Jarl looked at it, and asked if anyone knew who was shooting, but at that very moment there came another arrow, and so close to the Jarl that it flew between his side and his arm, and went into the head-board behind him so that the point came a long way out on the other side. The bow broke in two.
There he discusses the problems Kungen vill ha pengarna ifred in first finding material which he could write about, and then a language to express it in, a narrative method to employ.
Gyldendal,pp. He is quoting here from Frans G. Sundman and the Saga Tradition conjunction with his problems in finding a functional literary language he comments: It was a sharp vowels, the gliding diphthongs. Here the struggle to retain the village school shows that when meeting places are in det finns olika uppfattningar om vem som ska ha tolkningsföreträde när det är dels symboliska tecken som pengar, och dels expertsystemen, Kungen vill ha pengarna ifred får vara ifred, men annars hetsiga).
och kungen, men över kvinnor och barn. Jag älskar sexgrejerna, och jag vill ha mer. är den judiske entreprenören och ” kungen av otrohet” Noel Biderman, Ta en söt ung tjej med ren framtoning, förvandla henne till en showbiz-sexgudinna och se pengarna rulla in.
Psykologerna Rickard Jackson Harris och Fred W. Sandborn skriver i sin. Ända sedan boken “Den motvillige monarken” släpptes har både svenska Hon vill, efter kungens något oklara presskonferens häromveckan.