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Iceland in the literary and the professorial imagination
Seth Lerer

Haggard’s personal accounts after Verne’s tale of sea voyage, pony trek, and subterranean exploration leaves one with a very blurry line between the autobiographical and the novelistic. It is a journey back into literary time (‘outside of the Bible and Homer, there exists, perhaps, no literature more truly interesting than that of the Icelandic sagas’). 35 It is a journey into social history (Haggard and his companions dig through the remains of Njal’s burnt farm, immortalised in one of the sagas). And coming home is a journey through the sublime terror of a storm at

in From Iceland to the Americas
Abstract only
The narratives of gift in Lydgate’s Troy Book
Nicholas Perkins

-seth [recompense , restitution] by oblacioun / For þe þefte of Palladioun’ (IV.6177–8). In this sense, its narrative trajectory is both fitting and all the more subversive, piling a false oath on top of the theft. Like an insincere speech act in Austinian terms, the Horse is still a gift, but an unhappy one, which both symbolizes and exemplifies the darker cycles of vengeance that characterize the Trojan story. The coming home of these long-laid-down exchanges gives direction to the final sections of Book IV of the Troy Book , pointed especially through the

in The gift of narrative in medieval England
Nicholas Perkins

relationship, this is instead the ‘coming home’ or repayment of a gift. Nevertheless, the elements of interruption, misrecognition and suspense are present here, and the episode acts not only as a conclusion but as a departure from an established narrative pattern that would frequently end a romance – the wedding of the heroine and feasting in the hall. Thus the return of one object or interest may also precipitate the interruption or initiation of another. This scene revolves around the identity or interpretation both of the horn drinking vessel, and of

in The gift of narrative in medieval England