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.

A Pop Culture Portrayal of Viking Myth & Saga in Samurai Jack Episode X: Jack and The Lava Monster

"At last, the gates of Valhalla open to me. 

Rise, warrior! Rise! Honorably I must be defeated. 

I cannot let up."

Samurai Jack confronting the Lava Monster; Samurai Jack Episode X: Jack and The Lava Monster, Photo courtesy of www.sidereel.com

For those who don't know Samurai Jack was a Cartoon Network show that aired in the early 2000s that detailed the adventures of a 'foolish' Samurai warrior wielding a magical sword who was sent into the twisted future by a shape shifting master of darkness named Aku. This episode was written by Michael Manley, and directed by Robert Alvarez & Genndy Tartakovsky. In this strange new time ruled by Aku, the Samurai journeys and quests for 6 seasons of action packed adventure to find a way to return to his own time. Throughout the course of the series Jack encounters a variety of different people. A significant amount of the people Jack encounters have a rich cultural background that is rooted in historical and modern cultures. More often then not these people are victims of Aku's evil, treachery, and corruption.
In this particular episode Jack is walking through a desolate land, and through the wind hears a voice carried on the wind calling him. "come." after ignoring the voice for some time the voice begins to overwhelm his curiosity and he follows it until he arrives at the edge of a scorched blackened earth, and in the distance he sees a large mound of rock. He moves through it, and when he arrives he goes through several arduous ideals, overcomes terrifying obstacles, and throughout the gauntlet we are shown the corpses of those who failed to brave the trials. At last Jack arrives on a circular platform surrounded by lava. A giant man of Rock, rubble and molten lava rises from the ground in front of him and says, 
"Welcome to your doom." They clash in battle for a brief moment and Jack, horrified by what he has seen asks, "Many warriors have been lured here to their end.Why have you done this?" and the monster answers him very simply, "My purpose is to battle."
They continue to battle, and the monster expresses joy in having a battle after so long, and it seems that none before have made it through the gauntlet to get to him.  After an equal matched skirmish Jack stops and refuses to battle any longer. He sits down, and the monster begs him to continue. Jack suggests that he just strike him down, but the monster refuses and states that he cannot strike the defenseless, and implores jack to continue fighting. the monster answers him:

"For freedom.

The master of this kingdom of rock is just a man.

A cursed man trapped in a rock body.

It happened long ago.

So long ago now.

'Twas once a time where I, too, was a man.

A mighty warrior like thee."

A flashback ensues as the monster explains how he came to be this way. He explains that Aku threatened his people, and he the leader of his people waged war against him, and instead of striking him down when they were defeated, Aku imprisoned him deep withing the earth, robbing him of joining his companions in Valhalla for all eternity. Overtime he learns to manipulate the rock around him, and formed a body for himself and the kingdom of rock to lure the greatest warriors in the hope that he will be slain in battle and get access to Valhalla.

Jack agrees to fight him, and the battle is great. After a well matched fight Jack defeats him, and the rock is cast away to reveal a handsome looking warrior who matches the stereotypical appearance of a viking. The man ages rapidly before his eyes and falls to the ground. Jack runs to his side, and he asks for his sword, and tells jack not to be sad. The man dies with his sword in his hand the skies part and two giant glowing golden haired Valkyries descend from the sky to carry the warrior away with them to Valhalla. Jack carves a note indicating his freedom in the pillar in which the monster's saga is carved, and continues on his journey leaving behind him a newly green land.

This story has many mythic elements that directly a line with Viking myth and saga. The belief that a warrior must die in battle to be received in Valhalla, the miserable fate that he is cursed to by Aku, the nobility reveals by insisting that he not battle the defenseless, and the saga like magical beckoning that lures Jack to him are all very reminiscent of both viking myth tales like those told in the Poetic Edda, and the overwhelming sense of dread, yet compulsion to destiny that is present in the sagas. Jack is drawn there against his wishes yet he is compelled there by something magical, a destiny of sorts. In this way Samurai Jack tells a tale that represents the myths and sagas of Viking literature in an unique but respectful and accurate way.