Abstract
Scholars have traditionally viewed the post-classical sagas and þættir of Icelanders, written between the late 13th century and the early 15th century, as inferior to the classical sagas for two reasons. Firstly, they have stated that their narrative structure is distorted by random borrowings of motifs from the legendary sagas, saga romances, and folklore.
Secondly, they have criticized them for turning from serious social concerns to pure fabulation that serves only the purpose of thoughtless entertainment. The aim of the present study is to show that the post-classical texts do not employ the supernatural motifs randomly, and that the increasingly open fictionality of the texts, created by their narrative structure, does not mean that the texts turned away from reflection of reality.
There is no straight boundary between social commentary and fantastic elements, as both aspects are inseparably intertwined, and it is just the combination of the mimetic and fantastic impulse that enables the interpretation of society that is presented in the texts. The presence of "other worlds" does not lead to sheer fabulation, but it serves as a means of opening a discussion of various social concerns, so that the post-classical narratives reflect the society of their age in a different way than the classical sagas, but with the same intensity and diversity.
The texts work with the supernatural elements in a sophisticated way and follow specific narrative patterns, comparable with the patterns typical for Old Norse mythology. The myths are based on a conflict between the forces of order and chaos, which are clearly distinguished from each other and defined as internal and external respectively, but there is also a liminal sphere, represented by the figure of Loki, who belongs neither within the world of the gods, nor that of the giants.
In the classical sagas of Icelanders, on the other hand, the tensions come from within the society, so their narrative structure is based on the feud pattern. The post-classical narratives return to the mythological pattern, as they focus on the dichotomy between the society and various forces that threaten it from outside.
The boundaries between these worlds can be crossed in both directions, and the liminal sphere is represented by the marginal figures of outlaws or sorceresses. Such a literary development does not mark a growing disinterest in the social concerns, only a shift in the focus of interest, caused by changes in the society itself.
The social instability during the Sturlung Age with its endless feuds and bloody attacks encouraged the production of narratives focusing on the internal struggles of society, while the acceptance of a new social structure in the last third of the 13th century turned the attention back toward the forces that can threaten the society from outside. It is this social transformation that is reflected in the post-classical narratives.