Randvar the songsmith — Edition Insights
Edition facts
The catalog record for Randvar the songsmith — Edition Insights provides practical reading context through 75,239 words, 5 hr 28 min estimated reading time, and 26 detected text sections.
The text analysis averages about 20.2 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Historical fiction,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
led; Many the souls that sped; Many the hearts that bled, By our stern orders._
“_Many a wassail-bout Wore the long winter out; Often our midnight shout Set the cocks crowing, As we the Berserk’s tale Measured in cups of ale, Draining the oaken pail, Filled to o’erflowing._
“_Once as I told in glee Tales of the stormy sea, Soft eyes did gaze on me, Burning yet tender; And as the white stars shine On the dark Norway pine, On that dark heart of mine Fell their soft splendor._
“_I wooed the blue-eyed maid, Yielding, yet half afraid, And in the forest’s shade, Our vows were plighted. Under its loosened vest Fluttered her little breast, Like birds within their nest By the hawk frighted._
“_Bright in her father’s hall Shield gleamed upon the wall, Loud sang the minstrels all, Chanting his glory; When of old Hildebrand I asked his daughter’s hand, Mute did the minstrels stand To hear my story._
“_While the brown ale he quaffed, Loud then the champion laughed, And as the wind-gusts waft The sea-foam brightly, So the loud laugh of scorn, Out of those lips unshorn, From the deep drinking-horn Blew the foam lightly._
“_She was a Prince’s child, I but a Viking wild, And though she blushed and smiled, I was discarded! Should not the dove so white Follow the sea-mew’s flight, Why did they leave that night Her nest unguarded?_
“_Scarce had I put to sea, Bearing the maid with me,— Fairest of all was she Among the Norsemen!— When on the white sea-strand, Waving his armed hand, Saw we old Hildebrand, With twenty horsemen._
“_Then launched they to the blast, Bent like a reed each mast, Yet we were gaining fast, When the wind failed us; And with a sudden flaw Came round the gusty Skaw So that our foe we saw Laugh as he hailed us._
“_And as to catch the gale Round veered the flapping sail, Death! was the helmsman’s hail, Death without quarter! ’Midships with iron keel Struck we her ribs of steel; Down her black hulk did reel Through the black water!_
“_As with his wings aslant, Sails the fierce cormorant, Seeking some rocky haunt, With his prey laden, So toward the open main, Beating to sea again, Through the wild hurricane, Bore I the maiden._
“_Three weeks we westward bore And when the storm was o’er, Cloud-like we saw the shore Stretching to leeward; There for my lady’s bower Built I the lofty tower, Which, to this very hour, Stands looking seaward._
“_There lived we many years; Time dried the maiden’s tears; She had forgot her fears, She was a mother; Death closed her mild blue eyes, Under that tower she lies; Ne’er shall the sun arise On such another!_
“_Still grew my bosom then, Still as a stagnant fen! Hateful to me were men, The sunlight hateful! In the vast forest here, Clad in my warlike gear, Fell I upon my spear, O, death was grateful!_
“_Thus, seamed with many scars Bursting these prison bars Up to its native stars My soul ascended! There from the flowing bowl Deep drinks the warrior’s soul, SKOAL! to the Northland! SKOAL!_” _Thus the tale ended._
_Randvar the Songsmith_
“_A man’s foes are those of his own house_” —Northern saying.
In the old world over the ocean the storm of the Norman Conquest was raging, but no rumble of it reached across the water to the new world and that oasis in the wilderness which men call now the lost city of Norumbega, but which was known in those days as the Town of Starkad Jarl. There in the primeval forest the breath of October was a silver elixir in the air, and the morning breeze carried only the notes of hunting-horns. When half a dozen young Norsemen came galloping down a tree-arched aisle, their talk dealt with no greater matter than the latest freak of their Jarl’s freakish son.
“It is seen from the hoof-marks that he has not turned aside. We need not wait long to overtake—”
“Suppose he should not want to turn back—”
“Heard I never of a jarl’s hunt that began by hunting the Jarl’s son!”
“He was quiet in riding out of the Town with us; what caused him to spur ahead?”
“Only that he had a whim to be alone, as he is apt.”
“I remember how he broke away once last spring.”
“It may be that this fall he has done it once too often. Starkad is wroth.”
So the talk ran on until the tall leader drew rein, signalling to those behind him to check their pace.
The story opens with Randvar the Songsmith caught between his pride and his love for the Jarl's sister, a tension that drives much of the early action. When she passes him in a hall, he curses her vanity and his own heart, wearing "the rut deeper between his heavy brows with scowling." The narrative voice is sharp and immediate, favoring vivid gestures—a flung door, a fox-skin curtain, a mock salute—over exposition. Liljencrantz builds the world through small, telling details: the "smoke-blackened pillar" that hides Randvar, the "purple, fur-edged" mantle that signals the lady's rank, and the way onlookers scramble to their feet in "rough homage." These concrete observations ground the romance in a tactile, early medieval setting.
Pride and Posture in the Hall
The excerpt from Chapter 26 shows how heavily the story relies on physical posture and gesture to convey emotion. Randvar's bitterness is read through his scowl and the way he stands behind a pillar; his rival Olaf's fury is measured by the veins showing "white on purple" on his forehead. The Jarl's sister enters with her head carried "even more than its wonted haughtiness," and the page Eric announces her with a flourish. These are not neutral descriptions—they are loaded with social meaning. The hall becomes a stage where every bow, every hand on a sword-hilt, every sweeping cap is a move in a game of status and desire. Liljencrantz often lets the action speak louder than dialogue: when Randvar offers a mock salute and folds his arms in the formal sign of peace, the threat is unmistakable. The reader is left to infer the unspoken rules of honor and banishment that govern these encounters.
The Songsmith's Double Bind
Randvar is introduced as a man caught between two impulses: his love for the Jarl's sister and his pride, which he calls a curse "worse than Helvin's." The narrative gives us his internal cry—"I would give all I own in the world had I not known how to smile!"—but then immediately shows him smiling in malicious enjoyment at Olaf's anger. This contradiction is central to his character. He is a songsmith, a maker of words and music, yet in this scene he is nearly speechless, communicating through mockery and silence. The other characters, like Bolverk and Mord the Grim, serve as a chorus, commenting on the action and reminding Randvar (and the reader) of the stakes: starting a fight means outlawry. The tension is not just romantic but legal and social; Randvar's emotions are constantly checked by the threat of exile. The excerpt does not reveal whether he will break free of this bind, but it establishes the pattern of restraint and eruption that likely drives the plot.
Voices of the Norse World
Liljencrantz populates her hall with a range of voices that give texture to the setting. The hunters and traders speak in colloquial, sometimes ironic tones: "Every man to his taste!" says Bolverk, while the loungers raise "a chorus of disappointment" when Olaf is dragged away. The page Eric speaks in a "young treble," and Mord the Grim expostulates shrilly. These are not interchangeable voices; each has a distinct register. The author also uses the framing poems by Longfellow and Whittier to evoke a legendary Norse past, but the prose itself is more immediate and earthy. The dialogue is peppered with threats and boasts—"want the Songsmith's head for a hand-ball"—that recall the saga tradition. Yet the narrative voice remains controlled, often ironic, observing the characters' posturing with a cool eye. This blend of saga-style bravado and novelistic interiority gives the romance its particular flavor: heroic in scale but intimate in focus.
Readers should attend to the way Liljencrantz uses the hall as a microcosm: every entrance, every gesture, every whispered comment carries weight. The romance is as much about the performance of honor as it is about love. Pay attention to the recurring motifs of smiling and scowling, of hands on sword-hilts and caps swept in mockery—they are the vocabulary of this world. The excerpts offer only a glimpse of Randvar's journey, but they suggest a story where the songsmith's art may be his only escape from the traps of pride and desire.
That moment in Randvar the Songsmith—where a quiet glance changes everything, and pride nearly costs him the one person who sees him clearly—stayed with me for days. It reminded me of how The rose of old St. Louis — Text and Context lingers, that same ache of choosing carefully in a world where love and honor pull against each other. I still think about both, softly.
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Oliver Nelson
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