Fatalism in Icelandic Epic Prose Narrative

This study will examine the role which the perspective of universal fatalism plays in the ethic of human interaction in Njal's Saga, the Icelandic epic prose narrative from the late 13th century by an unknown author and translated by Magnus Magnusson and Hermann Palsson. The study will consider the impact of universal fatalism on not only feud and retribution but also friendship, family, and the rule of law---all important features of this ethic.

Essentially, the argument of the study will be that the perspective of universal fatalism of the culture portrayed in the saga forces the characters to adhere to a strict code of chivalric and heroic behavior on earth because they do not have the promise or consolation of any sort of external afterlife. The unspoken assumption of the author is that human beings must find meaning in life beyond themselves in order to have the motivation to survive and thrive.

If a culture such as the Icelandic culture finds no meaning in any sort of afterlife, or metaphysical continuation of consciousness, or theological structuring of reward or punishment, then it must find that meaning in some philosophical or behavioral system in this world. Accordingly, the characters in the Iceland of the 10th century, portrayed in Njal's Saga, seek in heroic ideals and principles a deeper meaning to individual and social life.

It is also crucial to note that the Iceland of the author's own era was one of violence, chaos and lawlessness. It is no surprise to

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ing Thorvald's arm and shattering the bone. The short-sword fell. Thjostolf raised his axe a second time and drove it into Thorvald's head, killing him instantly (Magnusson 59). The world of Njal and his fellows is one in which the characters see themselves and their foes as unalterably good and evil, but the author portrays them for the reader as more a realistic blend of positive and negative traits. That is, the hero Njal and his friends are more good than evil, but they do at least have flaws. At the same time, the foes with which they feud are more evil than good, but they have some good characteristics. The underlying social reality, however, is so dominated by the sense of universal fatalism that the characters are always on the verge of having to prove their honor and nobility, often and primarily through acts of violence. As Jonas Kristjansson writes, the relationship between Njal and Gunnar and their various exploits demonstrate a number of the major prevailing aspects of the ethic of human interaction of their society: Nothing can mar their friendship. Not even the enmity of their wives, who . . . have each other's house-servants and friends [killed]. . . . Gunnar is a perfect "knight", a dashing figure who can jum

Category: Literature - F