Scandinavian adaptations centred on the figure of Tristan are on the whole characterised by an attempt to incorporate the cultural differences between the context of production and that of reception in a structure that results suitable to the expectations and habits of the public. This tendency pervades the Norwegian "Tristrams saga ok Ísöndar" (1226), the Icelandic "Tristrams saga ok Ísoddar" (half of the 14th Century) as well as a broad group of ballads of Danish origins.
