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Carrol Zrimsek
The most famous saga-genre is the Íslendingasögur (sagas concerning Icelanders), which feature Viking voyages, migration to Iceland, and feuds between Icelandic families. However, sagas' subject matter is diverse, including pre-Christian Scandinavian legends; saints and bishops both from Scandinavia and elsewhere; Scandinavian kings and contemporary Icelandic politics; and chivalric romances either translated from Continental European languages or composed locally.
Sagas originated in the Middle Ages, but continued to be composed in the ensuing centuries. Whereas the dominant language of history-writing in medieval Europe was Latin, sagas were composed in the vernacular: Old Norse and its later descendants, primarily Icelandic.
The main meanings of the Old Norse word saga (plural sǫgur) are 'what is said, utterance, oral account, notification' and the sense used in this article: '(structured) narrative, story (about somebody)'.[1] It is cognate with the English words say and saw (in the sense 'a saying', as in old saw), and the German Sage; but the modern English term saga was borrowed directly into English from Old Norse by scholars in the eighteenth century to refer to Old Norse prose narratives.[2][3]
The word continues to be used in this sense in the modern Scandinavian languages: Icelandic saga (plural sögur), Faroese søga (plural søgur), Norwegian soge (plural soger), Danish saga (plural sagaer), and Swedish saga (plural sagor). It usually also has wider meanings such as 'history', 'tale', and 'story'. It can also be used of a genre of novels telling stories spanning multiple generations, or to refer to saga-inspired fantasy fiction.[4] Swedish folksaga means folk tale or fairy tale, while konstsaga is the Swedish term for a fairy tale by a known author, such as Hans Christian Andersen. In Swedish historiography, the term sagokung, "saga king", is intended to be ambiguous, as it describes the semi-legendary kings of Sweden, who are known only from unreliable sources.[5]
Kings' sagas (konungasögur) are of the lives of Scandinavian kings. They were composed in the twelfth to fourteenth centuries. A pre-eminent example is Heimskringla, probably compiled and composed by Snorri Sturluson. These sagas frequently quote verse, invariably occasional and praise poetry in the form of skaldic verse.
The material of the short tales of Icelanders (þættir or Íslendingaþættir) is similar to Íslendinga sögur, in shorter form, often preserved as episodes about Icelanders in the kings' sagas.
According to historian Jón Viðar Sigurðsson, "Scholars generally agree that the contemporary sagas are rather reliable sources, based on the short time between the events and the recording of the sagas, normally twenty to seventy years... The main argument for this view on the reliability of these sources is that the audience would have noticed if the saga authors were slandering and not faithfully portraying the past."[9]
While often translated from verse, sagas in this genre almost never quote verse, and when they do it is often unusual in form: for example, Jarlmanns saga ok Hermanns contains the first recorded quotation of a refrain from an Icelandic dance-song,[12] and a metrically irregular riddle in Þjalar-Jóns saga.[13]
Saints' sagas (heilagra manna sögur) and bishops' sagas (biskupa sögur) are vernacular Icelandic translations and compositions, to a greater or lesser extent influenced by saga-style, in the widespread genres of hagiography and episcopal biographies. The genre seems to have begun in the mid-twelfth century.[14]
Most of the medieval manuscripts which are the earliest surviving witnesses to the sagas were taken to Denmark and Sweden in the seventeenth century, but later returned to Iceland. Classical sagas were composed in the thirteenth century. Scholars once believed that these sagas were transmitted orally from generation to generation until scribes wrote them down in the thirteenth century. However, most scholars now believe the sagas were conscious artistic creations, based on both oral and written tradition. A study focusing on the description of the items of clothing mentioned in the sagas concludes that the authors attempted to create a historic "feel" to the story, by dressing the characters in what was at the time thought to be "old fashioned clothing". However, this clothing is not contemporary with the events of the saga as it is a closer match to the clothing worn in the 12th century.[15] It was only recently (start of 20th century) that the tales of the voyages to North America (modern day Canada) were authenticated.[16]
While sagas are generally anonymous, a distinctive literary movement in the 14th century involves sagas, mostly on religious topics, with identifiable authors and a distinctive Latinate style. Associated with Iceland's northern diocese of Hólar, this movement is known as the North Icelandic Benedictine School (Norðlenski Benediktskólinn).[18]
Later (late thirteenth- and fourteenth-century) saga-writing was motivated by the desire of the Icelandic aristocracy to maintain or reconnect links with the Nordic countries by tracing the ancestry of Icelandic aristocrats to well-known kings and heroes to which the contemporary Nordic kings could also trace their origins.[22][23]
Many modern artists working in different creative fields have drawn inspiration from the sagas. Among some well-known writers, for example, who adapted saga narratives in their works are Poul Anderson, Laurent Binet, Margaret Elphinstone, Friedrich de la Motte Fouqué, Gunnar Gunnarsson, Henrik Ibsen, Halldór Laxness, Ottilie Liljencrantz, Henry Wadsworth Longfellow, George Mackay Brown, William Morris, Adam Oehlenschläger, Robert Louis Stevenson, August Strindberg, Rosemary Sutcliff, Esaias Tegnér, J.R.R. Tolkien, and William T. Vollmann.[25]
The original sagas were Icelandic prose narratives that were roughly analogous to modern historical novels. They were penned in the 12th and 13th centuries, and blended fact and fiction to tell the tales of famous rulers, legendary heroes, and average folks of Iceland and Norway. And they were aptly named: saga traces back to an Old Norse root that means "tale." The English word first referred only to those original Icelandic stories, but saga later broadened to cover other narratives reminiscent of those, and the word was eventually further generalized to cover any long, complicated scenario.
The Saga design pattern is a way to manage data consistency across microservices in distributed transaction scenarios. A saga is a sequence of transactions that updates each service and publishes a message or event to trigger the next transaction step. If a step fails, the saga executes compensating transactions that counteract the preceding transactions.
The Saga pattern provides transaction management using a sequence of local transactions. A local transaction is the atomic work effort performed by a saga participant. Each local transaction updates the database and publishes a message or event to trigger the next local transaction in the saga. If a local transaction fails, the saga executes a series of compensating transactions that undo the changes that were made by the preceding local transactions.
Choreography is a way to coordinate sagas where participants exchange events without a centralized point of control. With choreography, each local transaction publishes domain events that trigger local transactions in other services.
Orchestration is a way to coordinate sagas where a centralized controller tells the saga participants what local transactions to execute. The saga orchestrator handles all the transactions and tells the participants which operation to perform based on events. The orchestrator executes saga requests, stores and interprets the states of each task, and handles failure recovery with compensating transactions.
It seems to me that this situation might be a better candidate for an 'integration' test. Something that does not test simply a single method, but how several methods work together as a whole. Perhaps you could call an action that fires a reducer that uses your saga, then check the store for the resulting change? This would be far more meaningful than testing the saga alone.
One of the suggestions is to use redux-saga-tester package created by opener of the issue. It helps to create initial state, start saga helpers (takeEvery, takeLatest), dispatch actions that saga is listening on, observe the state, retrieve a history of actions and listen for specific actions to occur.
The saga pattern is a failure management pattern that helps establish consistency in distributed applications, and coordinates transactions between multiple microservices to maintain data consistency. A microservice publishes an event for every transaction, and the next transaction is initiated based on the event's outcome. It can take two different paths, depending on the success or failure of the transactions.
The saga pattern is difficult to debug and its complexity increases with the number of microservices. The pattern requires a complex programming model that develops and designs compensating transactions for rolling back and undoing changes.
For more information about implementing the saga pattern in a microservices architecture, see the pattern Implement the serverless saga pattern by using AWS Step Functions on the AWS Prescriptive Guidance website.
Back in Tattúínárdalr, Paðéma gives birth to twins, Lúkr and Leia, before dying from her grief at having betrayed her husband. One of the most memorable lines in the saga is given to her on her deathbed:
Here the text of Tattúínardǿla saga is regrettably lost, but is almost surely to be reconstructed as discussed above (with the aid of hints from the Old High German text): with a climactic final holmgang in which a conflicted Veiðari chooses loyalty to his lord over loyalty to his bloodline, killing his son Lúkr and in the process bereaving himself of his own heir, and a later conclusion in which the prosperous, but troubled and aged, hersir Veiðari is himself slain in vengeance for Lúkr by the son of Hani and Leia.
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