(G. Turville-Petre, pg. 250). This is very interesting because he suggests that there were earlier writings and writing styles. There also might have been different government or feud systems that the author had to learn about.“The presentation of a new character may be lengthened through extensive genealogies, characterizing adjectives, etc.” (Lars Lonnroth, pg. 50). There is a definite style evident in the saga that is much like a newspaper report. The reader feels as if the story is just a compilation of events without a common theme between them. The use of genealogy type writing can be very confusing, but implies that outside information was consulted so that the narrative is not entirely fictional. The author of Njal’s Saga also uses characterization to enhance the plot of this literary work:Nowell, 7It is mostly through valour and heroic exploits that the typical hero’s personality is realized. He is, however, often a composite character, for some of his features are borrowed from a later and more refined ethos than that of early Scandinavia. He is in fact the synthesis of Viking ideals on the one hand and of codes of courtly chivalry on the other. (Hermann Palsson, pg. 3). So, Gunnar is immediately portrayed as a grand hero. He seems almost super-human as “he could strike of throw with either hand, and his sword-strokes were so fast that he seemed to be brandishing three swords at once” (Njal’s Saga, pg. 73). Clearly he is strong and handsome, typical for his role as the gallant hero. The author also focuses on Gunnar’s outward appearance, which suggests that while he is fantastically strong and courageous, he may lack mental sharpness. E.O.G. Turville-Petre remarks “Gunnar is brave, loyal, and open-handed, but being guileless he also lacks wit. This weakness makes him dependent on his friend Njal, a man of very different stamp” (E.O.G. Turville-Petre, pg...
