Murder in a "Christian" Household

Njal’s saga’s setting is uniquely positioned around the Christianization of Iceland. This allows us to see the author's interpretation of how the Icelanders adapted to this fundamental change in their society. Using violence to solve problems (like blood feuds) holds contrast to the modern-day values of Christianity. In the saga, men who have adopted Christianity also hold on to the violent problem-solving methods common to the sagas, like blood feuds. This blog will talk about the interesting contradictions to Christian doctrine that shows up when the Icelanders convert. From revenge killing in the name of God, to planning to kill a family in the same room that your holy objects are in, this saga sees it all.

.           Almost immediately after the switch to Christianity, the saga has a killing in the name of God. Hoskuld’s son, Amundi the Blind, confronts his father’s killer. The killer refuses to offer him compensation for his father’s death. Amundi replies “I don’t know that to be just before God” …” seeing that you struck so close to my heart. I can say this-if I were sound in both my eyes, I would either have compensation for my father or take blood revenge, and may God now settle between us.” Amundi walks out of the booth and turns around to find that his vision has returned to him, he says “Praise be to God, my lord. Now it can be seen what He wants.” Amundi then rushes back into the booth and buries his axe in his father’s killer’s head. Even though he is a Christian he still kills in revenge. In this saga, killing someone isn’t a relatively villainous thing to do but even the real antagonist of the saga converted.

19th-century rendering of the Law Rock in Þingvellir. https://en.wikipedia.org/wiki/Althing

            Mord Valgardsson, the antagonist of the saga, converted to Christianity. Its known to the people of Iceland that Mord is an evil person. He was partially responsible for the killing of Njal’s friend Gunnar. Mord’s father returns home and tells his son that he needs to kill the Njalssons to regain his authority, a classic villainous plan. After this planning Mord says “I wish, father, that you would accept the faith” … “you’re an old man.” Mord’s father replies “I don’t want to.” … “and in fact, I would like you to renounce the faith and see what happens.” Mord’s father then proceeds to break Mord’s holy objects. He dies soon after that Even though Mord is a true villain, he is Christian. He plots to kill a family in the same room he has holy objects in.

                                                  a broken crucifix on white background. 

            The adoption of a new religion is bound to be met with a little friction. This saga is set in a time that allows it to document the relatively odd and Anti-Christian practices of the Icelanders who call themselves Christians. This saga sees men kill others for revenge in the name of God and the antagonist of the saga plots the death of a family in the same room he holds his holy objects in. Controversy and friction experienced when adopting a new religion like Christianity makes sense, but the way these Icelanders make it work is something else.

Heroism in the Saga of Grettir the Strong

Even though the ideals of heroism are very prevalent throughout human history, how humanity has defined them have not always been the same. A great example of how our definition of heroism has changed through time can be seen in The Saga of Grettir the Strong. Grettir, the main character of the episodic story, is violent, strong, brave, war-like, and has a rage to match Achilles. 

Pretty creepy picture right? I didn't know Grettir looked so much like a murderous Peter Pan. Anyways, I mention Achilles here because the heroes of the Pre-Christian Vikings, like Beowulf, are very similar in their ideologies to the ancient Greek and Roman heroes of myth, like Achilles. Even though the medieval Viking culture and the ancient Greek culture are very different, their definitions of heroism are very similar. Killing, plundering, and honor in battle are all what matters to these iconic figures, and they were hailed as the great heroes of the time. Grettir the Strong fits right in with this crowd, as he is very passionate about fighting and quick to jump into a battle and kill as he pleases. But what is so unique about The Saga of Grettir the Strong is how it frames Grettir in the context of the story. 

This saga is set during the Christianization of Iceland, and as the culture of the Icelanders begins to change, so do their ideals of heroism. The Christianization of the west brought about a new definition of heroism, the same one that is commonly accepted today. Violence, fury, and honor are no longer venerated as they used to be, instead being replaced by ideals of heroism that champion graciousness, kindness, and sacrifice. Grettir, not exactly keen on graciousness, soon finds himself outdated and an outcast from the rest of his society. He is even outlawed for his violence (although, ironically, that incident of violence was an accident) and forced to live in the wild. And, in the end, Grettir is killed by his enemies before his twenty years of outlawry can be served. He lives by the sword and he dies by the sword. In a way, Grettir’s story also tells us the story of the ideals of classical heroism and how it eventually was pushed out of society and died. And it's all thanks to Glaum.