66 pages • 2 hours read
Sigrid UndsetKristin Lavransdatter
Fiction | Novel | Adult | Published in 1920A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Background
Authorial Context: Sigrid Undset and Kristin Lavransdatter
Sigrid Undset was a Norwegian novelist born in 1882. Undset’s most renowned achievement is her trilogy of novels, collectively known as Kristin Lavransdatter, which remains a cornerstone of Norwegian literature. Undset grew up in Kristiania (now Oslo) in a culturally rich environment. Despite her early interest in writing, she initially pursued secretarial work to support herself. However, her passion for literature persisted, and she began writing in her spare time. In 1907, Undset published her first novel, Fru Marta Oulie, which garnered attention for its psychological depth and exploration of the complexities of human relationships.
Undset’s magnum opus, Kristin Lavransdatter, was published between 1920 and 1922. Set in medieval Norway, the trilogy follows the life of its titular protagonist, Kristin Lavransdatter, from her youth to old age. The trilogy received widespread acclaim for its vivid depiction of medieval life, nuanced characterizations, and profound insights into the human condition. Undset’s meticulous research and attention to historical detail added authenticity to the narrative, immersing readers in the rich tapestry of medieval Norway.
Kristin Lavransdatter is notable for its portrayal of the society of 14th-century Norway. The ethnology, geography, and historical events of the novel have been praised for their accuracy, informed by Undset’s own studious research into the literature of the era. Her father, an archeologist, also prompted the meticulous attention to historical detail that is found throughout all three novels. The novels were first translated into English by Charles Archer, between 1923 and 1927. This translation favored an archaic form of English that Archer felt reflected the Medieval setting, though this was criticized for failing to capture Undset’s original prose style. Tina Nunnally’s translation (used in this guide) has been praised by critics for more closely replicating Undset’s original style.
In 1928, Undset was awarded the Nobel Prize in Literature for her contribution to the literary world, and the committee cited Kristin Lavransdatter in particular as a masterpiece of historical fiction. The Nobel Committee praised Undset’s ability to depict the life of the past with historical imagination and her profound understanding of human nature.
Undset’s Nobel Prize not only brought international recognition to her work but also solidified her status as one of the foremost literary figures of her time. Despite facing criticism from some quarters for her unorthodox portrayal of female protagonists and controversial themes, Undset’s legacy endures as a testament to the power of literature to transcend cultural boundaries and illuminate the human experience.
Beyond her literary achievements, Undset’s life was marked by her unwavering commitment to her beliefs. A devout Catholic convert, she faced criticism for her religious views at a time when Norway was predominantly Lutheran and anti-Catholic sentiment was widespread, but she remained steadfast in her convictions. This commitment to religion—and to Catholicism in particular—is evident throughout Kristin Lavransdatter, in which many of the characters are motivated by their deep and sincere affection for God.
Ideological Context: Christianity in Norway
Norway’s medieval era, spanning roughly from the 8th to the 15th century, was a period of profound transformation in the religious landscape, as Christianity gradually supplanted traditional Norse paganism and became the dominant faith. Kristin Lavransdatter, set in the 14th century, depicts a historical moment when Christianity is the dominant faith but people still remember the pagan traditions of the past, particularly during difficult times. Initially, Norse society was predominantly pagan, worshipping a pantheon of gods and goddesses such as Odin, Thor, and Freyja. However, the spread of Christianity was facilitated by trade, diplomacy, and the influence of foreign missionaries.
One of the key figures in the early Christianization of Norway was the Anglo-Saxon missionary St. Willibrord, who is believed to have visited the region in the late 8th century. Willibrord’s efforts laid the groundwork for future missionary endeavors and contributed to the gradual acceptance of Christianity among the Norse population. The 9th and 10th centuries saw sporadic attempts to introduce Christianity to Norway, often met with resistance from local chieftains and traditionalists. However, the tide began to turn with the reign of King Olaf I Tryggvason, who ascended to the throne in 995. Olaf, a renowned warrior and sailor, embarked on a mission to Christianize Norway and consolidate his rule. Olaf’s own conversion to Christianity, influenced by his experiences abroad and his marriage to a Christian princess, marked a turning point in Norwegian history. He implemented a policy of religious reform, promoting Christianity through a combination of persuasion, coercion, and political alliances. Olaf’s efforts culminated in the Battle of Svolder in 1000, where he was defeated and killed by his pagan rivals.
Despite Olaf’s death, Christianity continued to spread in Norway, propelled by the missionary activities of bishops, priests, and monks from England, Germany, and other Christian regions. Churches and monasteries were established, and Christian customs gradually integrated into Norse society. The presence of foreign traders and settlers also contributed to the dissemination of Christian beliefs and practices. The conversion of Norway received a significant boost with the accession of King Olaf II Haraldsson, later known as St. Olaf, in 1015. Olaf, inspired by the example of his namesake and predecessor, embarked on a vigorous campaign to Christianize his kingdom and establish a unified Christian state. His efforts were aided by the support of the church and the aristocracy, as well as by his own charisma and determination.
The 12th century witnessed significant developments in the organization and institutionalization of Christianity in Norway. In 1152, the archdiocese of Nidaros (present-day Trondheim) was established, making it the ecclesiastical center of Norway and elevating its cathedral, Nidaros Cathedral, to a symbol of Norwegian Christianity. The Norwegian Church, or the Church of Norway, emerged as a powerful institution with close ties to the monarchy and the aristocracy. It played a central role in shaping religious, cultural, and political life in Norway, administering sacraments, overseeing education, and exerting moral authority over the population. The medieval period also saw the emergence of religious orders and monastic communities in Norway, such as the Benedictines, Cistercians, and Augustinians. Monasteries served as centers of learning, prayer, and charity, contributing to the spiritual and intellectual life of medieval society.
Despite the official conversion to Christianity, elements of Norse paganism persisted in Norwegian culture, particularly in rural areas and among the common folk. Christian holidays and festivals often incorporated pagan customs and traditions, reflecting the syncretic nature of Norwegian spirituality. The 14th and 15th centuries were characterized by political upheaval, economic instability, and the Black Death, which devastated Norwegian society and reshaped the religious landscape. The church faced challenges from internal dissent, as well as external pressures from neighboring kingdoms and the papacy.
Cultural Context: Norwegian Naming Conventions
In medieval Norway, family naming conventions were influenced by a variety of factors, including geography, social status, and cultural traditions. Unlike modern naming practices, which often involve fixed surnames passed down patrilineally, medieval Norwegian naming was more fluid and variable.
One common practice in medieval Norway was the use of patronymic surnames, where individuals were identified by their father’s name followed by the suffix “-son” (meaning “son of”) or “-datter” (meaning “daughter of”). For example, a man named Olaf with a father named Harald would be known as Olaf Haraldsson, while his daughter might be called Ingrid Haraldsdatter. Kristin Lavransdatter, for example, is the daughter of Lavrans Bjørgulfson. Her children, sons of Erlend Nikulausson, have the surname Erlendsson.
Patronymic surnames served as a practical means of identification in a predominantly agrarian society where people often lived in small, close-knit communities. They provided a simple and effective way to distinguish individuals within the same family or lineage. In the context of this novel, they also serve to emphasize family as a source of identity. At the beginning of her life, Kristin understands herself primarily as Lavrans’s daughter—the literal meaning of her surname. Lavrans is seen as a paragon of moral virtue, and he is the standard against which Kristin continues to measure herself, even as she acquires other relationships and other sources of identity that complicate this comparison.
