This chapter provides an overview of the riddarasögur as a genre, beginning with the first transmission of romance material to Norway in the thirteenth century. It describes how this material was translated, adapted and reworked in Old Norse-Icelandic literature, giving rise to a blossoming literary tradition in Iceland which drew on the translated riddarasögur but featured a uniquely local perspective and narrative emphasis. The chapter discusses the relationship of the translated and indigenous romances to other genres within the Old Norse-Icelandic literary corpus, and argues that the romances introduced an ‘emotive script’ which offered a means of exploring concepts such as masculinity, femininity, honour and identity in a different way from existing genres. It surveys current scholarly interest in the sagas, looking in particular at their attitude to emotion, gender and agency – focusing on the so-called maiden king romances – as well as the geographic expansionism of the works, which offered their readers a vision of the world far beyond the borders of Iceland, informed by contemporary cosmographical learning.

The subject of this chapter is rímur (rhymes), long narrative poems intended to be delivered orally, which were the most important secular poetic genre in Iceland from the late Middle Ages to the end of the nineteenth century. The chapter provides a comprehensive overview of the genre, beginning with a brief introduction to the rímur and the terminology used to describe them, before focusing in detail on their metrical form and linguistic features. It then discusses the relationship of the rímur with their different kinds of source material, since almost all are based on pre-existing narratives, particularly the riddarasögur and fornaldarsögur. It surveys what is known of the poems’ authorship, performance and dating, as well as describing the manuscripts in which they are preserved. Finally, it outlines the critical and editorial history of the rímur, arguing that their unusual linguistic and metrical features, their long-lasting popularity and the significance of their interactions with other genres of Old Norse-Icelandic literature means they deserve more scholarly attention than they have typically received.