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8 Death Ere the Afternoon: Jómsvíkinga Saga and a Scene in Hemingway’S for Whom the Bell Tolls

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8 Death Ere the Afternoon: Jómsvíkinga Saga and a Scene in Hemingway’S for Whom the Bell Tolls Richard North 8 Death ere the Afternoon: Jómsvíkinga saga and a Scene in Hemingway’s For Whom the Bell Tolls It is sometimes thought that the Icelandic sagas inspired the hard-boiled prose of Ernest Hemingway (1899–1961). Although there is nothing to show that he read translations of these, I shall argue that a motif in the tale told by Pilar about her husband’s role in a series of executions in For Whom the Bell Tolls, chapter 10, is ultimately derived from the climax of Jómsvíkinga saga.1 Let us see the comparison, then the suggested link. Pilar’s Tale and Jómsvíkinga saga: A Comparison The motif in question is a heroic topos in which each warrior of an elite facing serial execution must put his courage to the ultimate test. The motif appears as a relatively small part of the action in For Whom the Bell Tolls,anovel whichissetinMay1937inthemiddleoftheSpanishCivilWar(1936–1939).2 Hemingway’s hero, Robert Jordan, is at once an American Hispanist professor, Republican sympathizer, and expert in explosives. The last skill puts him into a mission behind Nationalist lines to blow up a bridge in a pass in the Guadarrama mountains between Segovia and the north of Madrid. Having scouted the site and made his rendezvous with a band of guerrillas, Jordan settles down to wait, knowing that the bridge may not be blown until his com- mander, General Golz of the International Brigades, has launched a long- planned offensive. During this interval the resolve of the group’sleader, Pablo, begins to waver and in chapter 10, while Jordan waits in the guerrillas’ cave, he hears a tale about Pablo from the man’s wife, the formidable Gypsy Pilar. As aware as others are of Pablo’s unsuitability for the mission, Pilar aims to tell Jordan what a fine leader her husband was when he liberated a town at the beginning of the war. The night before the attack, according to Pilar, Pablo’s men arrested all the fascists in the town. At dawn, having im- prisoned them in the town hall, Pablo deals with the local Civil Guard. Having surrounded the barracks and killed all policemen inside and outside, Pablo Richard North, University College London https://doi.org/10.1515/9781501513886-009 Brought to you by | UCL - University College London Authenticated Download Date | 3/4/20 10:50 AM 146 Richard North organizes two lines from the courthouse door to the edge of a cliff, between which the town’s mayor, landowners, and finally priest are made to pass under the blows of flails, each till he stumbles or is carried to the edge to be thrown to his death in the gorge. Motive for these murders is shown to be mostly drink, fi- nancial envy, or personal dislike; what starts as an orderly ritual descends into anarchy. It is in the Civil Guard prelude that our parallel lies. Pilar says that the guar- dias civiles (Civil Guard) surrender soon after Pablo blows a hole in their build- ing. There is a shout from the defenders to cease fire and four of them emerge with their hands in the air. Pablo tells his men to guard them: “The four civiles stood against the wall, dirty, dusty, smoke-grimed, with the four who were guarding them pointing their guns at them and Pablo and the others went in to finish the wounded.”3 Pablo shoots the wounded and reappears with a Mauser pistol with which he says the officer has shot himself. He asks one of the four civiles, all tall men who have been standing sweating and saying nothing dur- ing this shooting, to tell him how the Mauser works. The man instructs him twice in a voice which “was grayer than a morning without sunrise.” For the civiles the next conversation is their last: “What are you going to do with us?” one asked him. “Shoot thee,” Pablo said. “When?” the man asked in the same gray voice. “Now,” said Pablo. “Where?” asked the man. “Here,” said Pablo. “Here. Now. Here and now. Have you anything to say?” “Nada,” said the civil. “Nothing. But it is an ugly thing.” “And you are an ugly thing,” Pablo said. “You murderer of peasants. You who would shoot your own mother.” “I have never killed any one,” the civil said. “And do not speak of my mother.” “Show us how to die. You, who have always done the killing.” “There is no necessity to insult us,” another civil said. “And we know how to die.” Pablo orders them to kneel. One asks the other, the civil who helped Pablo with the pistol, what he thinks of this, and this man, a corporal, says that “It is as well to kneel,” for “It is of no importance.” There is an attempt at irony: “‘It is closer to the earth,’ the first one who had spoken said, trying to make a joke, but they were all too grave for a joke and no one smiled.” Then the corporal instructs the others to kneel facing the wall, they all do so and Pablo shoots each one in the back of the head. Although each bears up differently, all die with dignity, “and the four bodies were slumped against the wall when Pablo turned away from them and came towards us with the pistol still in his hand.” This cold-blooded execution is the prelude to the more Brought to you by | UCL - University College London Authenticated Download Date | 3/4/20 10:50 AM 8 Death ere the Afternoon 147 notorious scene in which Pablo orchestrates the murder of the town’s fascists at the hands of farm laborers who have hated them all their lives. In comparison, the civiles are strangers. In their deaths too they appear to be different, an elite attempting a joke before dying. In these elements the scene may be compared with the narrative climax of Jómsvíkinga saga, which is a story of tenth-century Vikings first written in Iceland in the early thirteenth century. The saga survives separately in five versions, as well as in distilled form within two Histories of Norwegian kings: in Fagrskinna, of the early thirteenth century; and in Snorri Sturluson’s Heimskringla of ca. 1235.4 As for the separate extant versions of Jómsvíkinga saga, the oldest consists of a partly incomplete and interpolated text in AM 291 4to, a manuscript from the first half of the thirteenth century. An Icelandic edition mostly of this text in Fornmanna Sögur (XI) served for an English noveli- zation in 1875, on which more below.5 The next oldest text, also the shortest, was copied into Codex Holmianus 7 4to, of the Royal Library of Stockholm, in the first third of the fourteenth century; this serves as the text for Norman Blake’sedition and translation of 1962. The third version is the longest, in AM 510 4to, inscribed before the end of the fifteenth century. Fourth is a text which, though interpo- latedintwopartswithintheÓláfs saga Tryggvasonar in mesta (the greatest Saga of Óláfr Tryggvason), in five manuscripts, including Flateyjarbók in ca. 1390 (chaps. 70–87 and 123–63), is held to represent yet another version of Jómsvíkinga saga.ThefifthandlastversionsurvivesinaLatinadaptation which was made in the Copenhagen Royal LibrarybytheIcelandicantiquar- ian Arngrímur Jónsson in 1592–1593. However complex the transmission of their legend, historically the titular “Vikings of Jumne” seem to have been a nest of pirates with a fortress by Wolin at the mouth of the Oder on what is now the western Polish border.6 In a stirring mixture of fact and fantasy, the saga portrays them as an elite cadre facing death with indifference. It says that Prince, soon to be King, Sveinn Haraldsson of Denmark, in revenge for their kidnapping him earlier and forcing him into a marriage, invites the Jómsborg leader Sigvaldi and his captains to a feast in which he tricks them all into swearing to attack his father’srebelvassal,Earl Hákon of Trøndelag. The next morning the Jómsvikings wake up to the knowl- edge that they must honor their oath. Despite misgivings they ready sixty ships for what will probably be their last expedition. Sailing north, the Jómsvikings meet their fate in Hjǫrungavágr, a bay in north-western Norway, in a sea-battle which took place roughly in 985. For a while things seem to go their way, but when the hard-pressed Hákon takes a moment to sacrifice his young son to his tutelary goddess, Þorgerðr, the tide turns against the Danes and Jómsvikings, and Sigvaldi and his brother Þorkell Brought to you by | UCL - University College London Authenticated Download Date | 3/4/20 10:50 AM 148 Richard North the Tall sail off after the Danes, leaving their fellow Jómsvikings to be killed or captured. The episode of interest here comes after the battle and climactically on the morning of the following day, when the captives are bound to a log. What follows tests the elite’s ideology of courage in a sequence. Earl Hákon tours the scene with his sons Eiríkr and Sveinn, who have also fought in the battle. With them is Þorkell Leira, their headsman who is incidentally looking for Vagn Ákason, author of a vow which has preceded him to Norway. Seeing the seventy Jómsvikings tied up in a line on the log, Earl Hákon orders Þorkell to behead them all. First come the wounded: Three gravely wounded men were freed from the rope, and thralls were appointed to guard them and twist sticks in their hair. Þorkell leira now proceeded to cut off their heads.
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