government weakened that link as much as it could, and sought to shut in and monopolise everything Icelandic; under the deadening effect of such rule it is no marvel that everything found a lower level, and many things went out of existence for lack of use. In the sixteenth century there is little to record but the Reformation, which did little good, if any, and the ravages of English, Gascon, and Algerine pirates who made havoc on the coast;[10] they appear toward the close of the century and disappear early in the seventeenth. In the eighteenth century small-pox, sheep disease, famine, and the terrible eruptions of 1765 and 1783, follow one another swiftly and with terrible effect. At the beginning of the present century Iceland, however, began to shake off the stupor her ill-hap had brought upon her, and as European attention had been drawn to her, she was listened to. Newspapers, periodicals, and a Useful Knowledge Society were started; then came free trade, and the "home-rule" struggle, which met with partial success in 1874, and is still being carried on. A colony, Gimli, in far-off Canada, has been formed of Icelandic emigrants, and large numbers have left their mother- land; but there are many co-operative societies organised now, which it is hoped will be able to so revive the old resources of the island as to make provision for the old population and ways of life. There is now again a representative central council, but very many of the old rights and powers have not been yet restored. The condition of society is peculiar absence of towns, social equality, no abject poverty or great wealth, rarity of crime, making it easy for the whole country to be administered as a co-operative commonwealth without the great and striking changes rendered necessary by more complicated systems.
Iceland. has always borne a high name for learning and literature; on both sides of their descent people inherited special poetic power. Some of older Eddaic fragments attest the great reach and deep overpowering strength of imagination possessed by their Norse ancestors; and they themselves had been quickened by a new leaven. During the first generations of the "land-taking" a great school of poetry which had arisen among the Norsemen of the Western Isles was brought by them to Iceland.[11] The poems then produced are quite beyond parallel with those of any Teutonic language for centuries after their date, which lay between the beginning of the ninth and the end of the tenth centuries. Through the Greenland colony also came two, or perhaps more, great poems of this western school. This school grew out of the stress and storm of the viking life, with its wild adventure and varied commerce, and the close contact with an artistic and inventive folk, possessed of high culture and great learning. The infusion of Celtic blood, however slight it may have been, had also something to do with the swift intense feeling and rapidity of passion of the earlier Icelandic poets. They are hot-headed and hot-hearted, warm, impulsive, quick to quarrel or to love, faithful, brave; ready with sword or song to battle with all comers, or to seek adventure wheresoever it might be found. They leave Iceland young, and wander at their will to different courts of northern Europe, where they are always held in high honour. Gunnlaug Worm-tongue[12] in 1004 carne to England, after being in Norway, as the saga says: -- "Now sail Gunnlaug and his fellows into the English main, and come at autumntide south to London Bridge, where they hauled ashore their ship. Now, at that time King Ethelred, the son of Edgar, ruled over England, and was a good lord; the winter he sat in London. But in those days there was the same tongue in England as in Norway and Denmark; but the tongues changed when William the Bastard won England, for thenceforward French went current there, for he was of French kin. Gunnlaug went presently to the king, and greeted him well and worthily. The king asked him from what land he came, and Gunnlaug told him all as it was. `But,' said he, `I have come to meet thee, lord, for that I have made a song on thee, and I would that it might please thee to hearken to that song.' The king said it should be so, and Gunnlaug gave forth the song well and proudly, and this is the burden thereof --
"'As God are all folk fearing The fire lord King of England, Kin of all kings and all folk, To Ethelred the head bow.'
The king thanked him for the song, and gave him as song-reward a scarlet cloak lined with the costliest of furs, and golden- broidered down to the hem; and made him his man; and Gunnlaug was with him all the winter, and was well accounted of." The poems in this volume are part of the wonderful fragments which are all that remain of ancient Scandinavian poetry. Every piece which survives has been garnered by Vigfusson and Powell in the volumes of their "Corpus", where those who seek may find. A long and illustrious line of poets kept the old traditions, down even to within a couple centuries, but the earlier great harvest of song was never again equalled. After christianity had entered Iceland, and that, with other causes, had quieted men's lives, although the poetry which stood to the folk in lieu of music did not die away, it lost the exclusive hold it had upon men's minds. In a time not so stirring, when emotion was not so fervent or so swift, when there was less to quicken the blood, the story that had before found no fit expression but in verse, could stretch its limbs, as it were, and be told in prose. Something of Irish influence is again felt in this new departure and that marvellous new growth, the saga, that came from it, but is little more than an influence. Every people find some one means of expression which more than all else suits their mood or their powers, and this the Icelanders found in the saga. This was the life of a hero told in prose, but in set form, after a regular fashion that unconsciously complied with all epical requirements but that of verse -- simple plot, events in order of time, set phrases for even the shifting emotion or changeful fortune of a fight or storm, and careful avoidance of digression, comment, or putting forward by the narrator of ought but the theme he has in hand; he himself is never seen. Something in the perfection of the saga is to be traced to the long winter's evenings, when the whole household, gathered together at their spinning, weaving, and so on, would listen to one of their number who told anew some old story of adventure or achievement. In very truth the saga is a prose epic, and marked by every quality an epic should possess. Growing up while the deeds of dead heroes were fresh in memory, most often recited before the sharers in such deeds, the saga, in its pure form, never goes from what is truth to its teller. Where the saga, as this one of the Volsungs is founded upon the debris of songs and poems, even then very old, tales of mythological heroes, of men quite removed from the personal knowledge of the narrator, yet the story is so inwound with the tradition of his race, is so much a part of his thought-life, that every actor in it has for him a real existence. At the feast or gathering, or by the fireside, as men made nets and women spun, these tales were told over; in their frequent repetition by men who believed them, though incident or sequence underwent no change, they would become closer knit, more coherent, and each an organic whole. Gradually they would take a regular and accepted form, which would ease the strain upon the reciter's memory and leave his mind free to adorn the story with fair devices, that again gave help in the making it easier to remember, and thus aided in its preservation. After a couple of generations had rounded and polished the sagas by their telling and retelling, they were written down for the most part between 1141 and 1220, and so much was their form impressed upon the mind of the folk, that when learned and literary works appeared, they were written in the same style; hence we have histories alike of kingdoms, or families, or miracles, lives of saints, kings, or bishops in saga-form, as well as subjects that seem at first sight even less hopeful. All sagas that have yet appeared in English may be found in the book-list at end of this volume, but they are not a tithe of those that remain.
Of all the stories kept in being by the saga-tellers and left for our delight, there is none that so epitomises human experience; has within the same space so much of nature and of life; so fully the temper and genius of the Northern folk, as that of the Volsungs and Niblungs, which has in varied shapes entered into the literature of many lands. In the beginning there is no doubt that the story belonged to the common ancestral folk of all the Teutonic of Scando-Gothic peoples in the earliest days of their wanderings. Whether they came from the Hindu Kush, or originated in Northern Europe, brought it with them from Asia, or evolved it among the mountains and rivers it has taken for scenery, none know nor can; but each branch of their descendants has it in one form or another, and as the Icelanders were the very crown and flower of the northern folk, so also the story which is the peculiar heritage of that folk received in their hands its highest expression and most noble form. The oldest shape in which we have it is in the Eddaic poems, some of which date from unnumbered generations before the time to which most of them are usually ascribed, the time of the viking-kingdoms in the Western Isles. In these poems the only historical name is that of Attila, the great Hun leader, who filled so large a part of the imagination of the people whose power