In The Saga of the Volsungs, a paradoxical notion of the value of life emerges from almost every action that the characters perform. One’s corporeal death is almost of no concern in the sometimes harsh and cruel society of the saga. The importance of honor over almost anything else can explain many of the seemingly contradictory and nonsensical actions of characters in the saga. This obsession with honor constitutes the basis for an honor society—a culture where pain, death, and other earthly concerns fall short in significance to one’s good name and honor. Many of the actions inspired by this fixation with honor seem foolish, but considered within the context of how the culture in the saga views reputations and honor make perfect sense.
The saga begins with a callous and wholly unnecessary killing. Sigi, the son of Odin himself kills the thrall Bredi simply because Bredi’s kill from hunting “was larger and better than Sigi’s, which greatly displeased Sigi” (Byock, 35). Sigi is displeased because he thinks himself of higher rank and stock than a thrall. In this
…show more content…
way, the saga begins with a perfect example and demonstration of the machinations of an honor society. In these societies, life is worth little but an individual’s honor is of paramount importance. Sigi is declared a murderer and outlaw for his actions but regains his honor by “raiding with the troops his father had given him before they parted, and he was victorious in the raids” (p. 35). Life is further devalued here. Even though Sigi is a proven murderer and criminal, he regains honor and even becomes a king, who “ruled over Hunland” (p. 36). Sigi is killed by envious in-laws, a motif seen again in the story of Sigurd and Atli, but his son Rerir avenges him. Even kinship is devalued by this culture obsessed with honor and revenge, and Rerir “became and even more influential man than his father had been” (p. 36). In the first few pages of the saga, death is rampant and life is devalued in favor of reputation and honor. This only continues throughout the saga, and soon one of the more paradoxical episodes in the saga occurs. Volsung, the son of Rerir, marries his daughter Signy off to Siggeir, a king “who ruled over Gautland” (p. 38). Odin comes into Volsung’s palace and plants a sword in Barnstock, the tree in the middle of the hall, and Sigmund draws it out. Sigmund is Volsung’s son, and “it was as if the sword lay loose for him” (p. 38). Siggeir wants the sword, but Sigmund refuses him, saying: You could have taken this sword from where it stood, no less than I did, if it were meant for you to carry it; but now that it has come first into my hands, you will never obtain it, even should you offer all the gold you own. (p. 39) Siggeir is severely offended by this refusal from Sigmund, and “wanted nothing other than to leave the feast,” which was uncustomary for a guest to leave so quickly (p. 39). Siggeir then invites Volsung and his sons to make up for this breach in conduct but secretly plots revenge for his slighted honor. Signy warns Volsung that Siggeir “plans to betray you,” but Volsung holds to his honor (p. 40). King Volsung made a vow that he would not “flee neither fire nor iron from fear” so he refuses to run from the obvious trap awaiting him in Gautland (p. 40). In the ensuing battle, Volsung falls and his ten sons are captured, but Signy saves her brothers from death at the hands of Siggeir. Instead, they are imprisoned in the woods and “for nine nights in a row that same she-wolf came at midnight and each time killed and ate one of the brothers until all but Sigmund were dead” (p. 41). Finally, Signy saves Sigmund and gives him a place to live in the woods. Signy and Sigmund plot revenge for their father and to restore their family’s honor, and eventually hatch a plot that results in Siggeir’s hall in flames. Rather than revel in the victory, Signy chooses to “die with King Siggeir, although I married him reluctantly” because she feels honor-bound to die with her husband (p. 47). She gives up the moment of her absolute triumph to die with her hated husband who she just murdered. This, to the modern eye, bizarre and contradictory behavior is simply a result of the import that the characters place on honor and duty. One of the most confusing sections of the text comes when Gunnar and Hogni receive a letter from King Atli, carried by the messenger Vingi. The letter from Atli is accompanied by a gift of a gold but with a wolf’s hair tied around it, which represents that Atli “has the thoughts of a wolf towards” Gunnar and Hogni (p. 97). The two even express their concern with the honesty of the letter from Atli: Gunnar turned aside and asked Hogni: “What shall we make of this offer? He is asking us to accept vast power, yet I know of no kings with as much gold as we have, because we have all the gold that lay on Gnitaheath. We have large chambers filled with gold and with the best of edged weapons and all kinds of armor. I know my horse to be the finest and my sword the sharpest, the gold the most precious.” Hogni answered: “I wonder at his offer, for it is not like him to behave in this way. It seems inadvisable to go visit him.” (p. 97) Hogni and Gunnar seem to reach a consensus not to comply with Atli’s wishes. Then Gunnar drunkenly agrees to go to Atli, and Hogni is obliged by honor to follow him since Hogni says “Your word must stand” (p. 97). Both of their wives go on to warn them repeatedly and both seem in denial of the truth they previously had acknowledged. Hogni’s wife tells him of her dream: “In my dream it seemed as if a turbulent river had rushed in here and broken up the beams in the hall.” Hogni replied: “You often have premonitions of evil, but it is not my nature to show hostility toward men unless it is deserved. Atli will receive us well.” She said: “You may put it to the test, yet friendship is not behind this invitation. (p. 98) A similarly ill-portending dream is likewise interpreted as nothing by Gunnar. Both insist on Atli’s goodwill for a while, but eventually, a note of hopelessness creeps into their speech as Hogni tells his people “Be of good cheer, whatever happens to us” (p. 99). The brothers reach Atli’s castle and immediately are greeted with “a host of men and the many preparations they were making” (p. 100). Clearly the Huns are preparing to give battle, and the brothers recognize this, with Hogni stating: “We will not give way to you, and I doubt we will shrink back if this comes to a battle. It is of no use for you to try to frighten us—it will prove ill for you.” Then they threw Vingi down and beat him to death with the blunt ends of their axes. (p. 100) The brothers, for all their heroic bravado, are hopelessly outnumbered. They fight bravely, and more attention is paid to their heroic yet futile efforts than Atli’s host or deeds. Eventually “the battle ended with the brothers’ whole army fallen” (p. 101). Hogni is captured, and Atli commands his heart to be cut out. It is said “he laughed while he suffered this torture”, cementing forever his courage and heroism. Gunnar is cast into “a snake pit with many serpents, and his hands were bound fast” (p. 103). For some reason, Gudrun sends him a harp, And he showed his skill by artfully plucking the strings with his toes. He played so exceedingly well that few thought they had heard such strumming even with the hands. And he continued playing skillfully until all the serpents had fallen asleep, except for one large and hideous adder which crawled up to him and burrowed with its head until it struck his heart. And there, with much valor, Gunnar lost his life. (p. 103) A snake pit seems an odd method of execution.
In Aðalheiður Guðmundsdóttir’s article “Gunnar and the Snake Pit in Medieval Art and Legend” he argues that the snake pit may not be a completely fantastical and ridiculous invention. Apparently “snake pits as places of punishment were not completely unknown in the Norse world” (Guðmundsdóttir, 1019). So while it is possible that Gunnar was placed into this snake pit because that was a somewhat standard form of punishment or execution, it seems far more likely that the episode with the snake pit was included only to further our notion of Gunnar as a hero. By playing the harp so excellently with his feet, he sticks in the mind more than any of Atli’s victories or deeds. In this context, as well as considering that their society that is obsessed with honor and reputation, Gunnar and Hogni’s contradictory actions are not as illogical as they first
seem. Almost all of the characters are obsessed with the notion of eternal life. Their fearlessness in the face of death is what makes them memorable and heroic. Indeed, the stories are passed down to us over a thousand years and so each character has in a certain sense achieved immortality. Due to this, while it seems contradictory for characters who prize life and fame to be foolhardy and seek death so consistently, it all follows from their strong sense of duty and desire to be famous and renowned.
A twenty-first century reading of the Iliad and the Odyssey will highlight a seeming lack of justice: hundreds of men die because of an adulteress, the most honorable characters are killed, the cowards survive, and everyone eventually goes to hell. Due to the difference in the time period, culture, prominent religions and values, the modern idea of justice is much different than that of Greece around 750 B.C. The idea of justice in Virgil’s the Aeneid is easier for us to recognize. As in our own culture, “justice” in the epic is based on a system of punishment for wrongs and rewards for honorable acts. Time and time again, Virgil provides his readers with examples of justice in the lives of his characters. Interestingly, the meaning of justice in the Aeneid transforms when applied to Fate and the actions of the gods. Unlike our modern (American) idea of blind, immutable Justice, the meanings and effects of justice shift, depending on whether its subject is mortal or immortal.
Honor, dignity, and integrity are traits that are becoming more and more rare in our society. The Crucible, a play written in 1952 by Arthur Miller, is based on the Salem witch hunts of 1692 and parallels the Red Scare and McCarthyism in the 1950s. In the play, Miller attempts to focus his themes around traits such as honor, dignity, and integrity, and as a result, the theme "is it better to die honorably or live dishonorably" becomes vital to the story and well conveyed throughout it. The characters that exemplify this idea are John Proctor and Giles Corey, both of whom die by the end of the play, and Reverend John Hale and Abigail Williams, who live through the trials.
The most important aspect of the chivalric code is honor. Without honor a man is
With so many words making up the content of plays, it is difficult for one, single word to make much of an impact. However, the word ‘honor’ does just that in the play Titus Andronicus. Honor means different things to different people, and this is quite evident in the tragedy that is Titus Andronicus. The definition of honor has changed throughout the history of man. The character for which the play is named, Titus, puts his honor and the honor of Rome before anything else. In the play, honor is used as justification for wrongful actions. There are murders that happen in the name of honor. Honor is also lost by some and taken from others. Although small in size, the word honor plays a large role in Titus Andronicus.
Honor or having an honor culture is a hallmark trait of many cultures both ancient and modern. While many would go to Homer’s The Iliad for clear indications of honor culture within Ancient Greek culture, The Odyssey also provides clear indications of an honor culture. Before honor culture within The Odyssey can be explored, honor and honor culture must first be defined. The most common and relatable explanation for honor culture in our modern day world is a prevailing culture in the southern United States of America especially within the Appalachian communities. This culture and the Ancient Greek culture share simple hallmarks. Honor culture is about neither committing transgressions against another, nor tolerating them when they are done to you. It is about the value of your “good name” and reputation for being honorable. This means that slights not only against you but against your name are taken very seriously. These things are generally held throughout all cultures of honor. Some of the specifics of honor are defined by each individual culture; these specifics along with the general state of an honor culture are shown in three events within The Odyssey. The culture of honor is shown in through Odysseus in his encounter with the Cyclops, the exchange with the Phaeacian man at the games, and in the slaughter of the suitors.
The Greeks placed great importance on personal honor. Why is this? Is it because to them man I nothing without honor. Or is it that the honor is more important than the man? "Honor to the Greeks is something that is won by a man's prowess, his ability to fight and be victorious on the battle field"(Schein 62). This is just one example of how honor is obtained. A second method of gaining honor is to be a great orator, one must posses the ability to speak in the assembly and express his ideas eloquently, and persuasively to the gathered body. A third way of achieving personal honor is to demonstrate athletic ability.
vanity, pride, and self - knowledge intervenes in the development of the virtue of the characters,
guilt, greed, betrayal, and murder are no strangers. In this story an honorable warrior and
Throughout the play, Brutus speaks about honor and his loyalty to his country. These two concepts become major conflicts for him when it comes to his friendship and loyalty to Caesar. Brutus life is conducted by the concept of honor. He constantly throughout the play speaks of how honorable he is and how honorable men should live. He 's very proud of how Romans view him as a noble and honorable man, who fights for what is right and is always following the moral and ethical code. Brutus ends up using the concept of honor and loyalty to his country as a reason why Caesar must die. He 's convinced that his countrymen will thank him for saving them from a tyrant and that Rome would be much better off without Caesar, but it ends up being a big miscalculation
The belief and concept of dishonor in the Greek and Colombian culture of ‘Antigone,’ by Sophocles, and ‘Chronicle of a Death Foretold,’ by Gabriel Garcia Marquez, is a deciding aspect that blinds characters moral values. It is evident that in both societies Greek and Colombian, a family or an individual without honor is an outcast to the community. As honor plays a drastic role in outlining the culture of the society. Therefore the belief that a perpetrator has brought dishonor upon the family, or community foreshadows punishment for the individual, often conveyed through death.
Culture of Honor: The Psychology of Violence in the South, written by Richard Nisbett and Dov Cohen discuss and explain violence found in the South. For decades, the American South has been viewed as more violent than the North. According to Nisbett and Cohen (1996):
Perhaps the cliché phrase “behind every great man is a powerful woman” can shed light on why Germans consider honor and power feminine. Many people often idealize men with power and women with gentleness. However, the Germanic tales, The Nibelungenlied and Njal’s Saga, both demonstrate a very different reality. The heroes of both tales, Siegfried and Gunnar, are very well respected and powerful men who only married women they viewed of considerable prestige and status. Yet, Siegfried’s and Gunnar’s wives, Kriemhild and Hallgerd, usurps power from their husbands through manipulation, which ironically results in their husbands’ deaths. Arm with their manipulative power, both Kriemhild and Hallgerd are arguably much more powerful than their heroic husbands; yet, they differ in the way they reveal this power leading Kriemhild’s successful revenge and Hall...
Greek Mythology ingeniously enforces many important life lessons in its stories. For example, a great moral is presented in the story of Baucis and Philemon: “Good people… ask whatever you want and you shall have your wish” (Hamilton 153). At that point in the story, Jupiter is rewarding Baucis and Philemon for being excellent hosts and punishing all the other single-minded citizens in the country. This story portrays two distinguished morals: love lasts forever and karma. People might not believe in karma, or even in love, but believing in karma leads people to assist others more than causing inconvenience, which is beneficial to the society. In a more informal method, myths present stories “about relationships… [And] especially stories that explore and evaluate the behavior of their principal characters” (Kromholz and McCarter 4). Not only does Greek Mythology present magnificent ideals, but also exploits the true nature of humans. From these kinds of stories, people will become aware of malicious behavior in humans and advise caution toward that behavior. Directly or indirectl...
The Epic of Gilgamesh, the Iliad, and Oedipus Rex all center on morality in terms of each character’s social behavior from the beginning to the end of the story. Gilgamesh, Achilles, and Oedipus are three central characters that embody strong qualities of strength, however carry different experiences of morality. Furthermore, all three characters hold different moral codes that are dependent on their ability to resolve the unique situations that they are in. Nevertheless, morality has ultimately impacted the character’s perception of their role in society in terms of whether or not their actions benefit someone or something. This paper will be examining the morality of the three main characters as they undergo major character transformations
The nobles may choose to be oblivious to the conspicuous truth, but time and death will always be irrepressible forces. Regardless of one’s power, wealth, and influence they cannot escape mortality; hence, death is the only prominent equalizer against the blindness of the nobility.