Olaf] He and his come into the Laxdæla-Saga. These marriages appear to have been soon after Egil's return: certainly before 960. Asgerdr, if married in 953-5, was probably born before 933; see note on ch. lxix.
Ch. LXXXI.—Reykjar-hamar] A 'hamar' is a rock, beetling crag.
nones] Three in the afternoon. As an ecclesiastical word, this of course came in after Egil's lifetime. The earlier method of marking time was by sunrise, day-meal, sunset, night-meal.
Thorgerdr] The daughter humours her father, makes at first as though she would die with him, then gets him to chew and drink, then suggests a poem, and so wins him back to life. Baring-Gould in his interesting book on Iceland has a translation of this scene, as also of Sona-torrek very freely rendered into English verse.
Hardly can Thorstein] Thorstein was younger than Bodvar, and Gunnar came between them. Thorstein would probably be quite three years younger than Bodvar, and about thirteen years old at this time. In Vigfusson's chronological table Thorstein is put as born about 950. We cannot tell exactly the years of the children's birth, but most of them must have been born 938-950. But Vigfusson puts the drowning of Bodvar and Sona-torrek in 975. How can this be? For Bodvar is distinctly said to come first of the sons, Thorstein to be the youngest. And nothing is plainer than that Bodvar was not come to full manhood when Sona-torrek was composed but according to Vigfusson he would be some twenty-eight years old! Jónsson's arrangement seems better: Bodvar born 943, Thorstein 945, Sona-torrek 960. A rather larger interval, however, is probable between Bodvar and Thorstein. And the exact date of Sona-torrek must remain uncertain only it is plain that Bodvar was not older than sixteen or seventeen. As two daughters came before Bodvar. 943 is perhaps full early for his birth, unless we suppose a daughter born while Egil was at home between 927-32.
Sona-torrek] 'Loss of sons.' Or, if Sonar-torrek, 'loss of a son.' The poem is mainly on Bodvar, at least, he is the occasion of it; but Egil had lost Gunnar as well.
Some renderings in this translation of Sona-torrek differ from those in Corpus Poeticum Boreale. But the text there differs from that of Thordarson, which has been here mainly followed; as have also his interpretations.
Sona-torrek is certainly the most remarkable of Egil's poems. There is a deep pathos running through the whole: it has coherence and plan throughout, though this is obscured by corrupt passages. It is unlike most other Icelandic poems. The train of thought is as follows:
'How can I utter words? how essay song? (1-2). A blameless son I have lost: I hear the waves beating on his and my father's tomb: my kindred fall away how can I be gay and sing? (3-4). My father is gone: my mother sad theme for poetry! Now is the worst breach made in my house by the sea: my noble son cut off (5-7). Could I avenge him I would, but none can wreak vengeance on such resistless power. And I am growing old and lone (8-9). The shield of my house is gone: had he come to manhood he had been a mighty warrior. He was ever dutiful, my hope and stay (10-12). Now recall I the earlier loss of my brother Thorolf. Nought else can replace son to father, brother to brother (13-15). Few now see I in the land faithful and true: brother slays brother: deceit is rife. Some live in peace, but in selfishness. Happier are the dead (16-17). Odin hath dealt hardly with me: first by sickness I lost a son: for him, fair branch, still I grieve (18-20). Once I deemed Odin my friend: he helped my spear. Now he fails in my need. Worship I will pay him no more (21-22). Yet some good hath he given for evil: him I thank for poesy, for wit to see and
