72 pages • 2-hour read
Halldor K LaxnessA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide features discussion of animal cruelty and death, and illness or death.
Time passes and Bjartur continues to go on roundups for the sheep. When the ewe Gullbra fails to appear in subsequent round-ups, Bjartur grows anxious. One morning Bjartur reports dreaming of Gullbra alive in a green gully near hot springs. Rosa serves him a leftover rib from the very ewe he dreamed about. As winter weather sets in, Bjartur announces a three-day search trip. Rosa tries to dissuade him, citing her advanced pregnancy and unpredictable weather. When she reminds him she is expecting a child, he coldly states “his child” could not be due until after New Year. She suggests that she stay with other people and he forbids it. He kisses her goodbye, calling her his rose, and sets off, leaving the dog Titla with Rosa.
On the first day, Bjartur searches two valleys. On the second day, he searches the Reykjavalalir district, finding only an unfamiliar bird. Heavy snow begins, and he grows anxious about his lambs. Near Glacier River, he spots a bull reindeer and three cows. Hoping to capture the bull alive for meat, he sneaks up and grabs an antler. The cows flee. The bull drags him along the riverbank, and Bjartur leaps onto its back. Unable to shake him off, the bull jumps into the freezing Glacier River.
Bjartur rides the reindeer through the freezing river, until he is thrown off. He manages to climb out but finds himself on the wrong side of the river, facing a 48-hour detour home. He later reflects the reindeer might have been the devil Kolumkilli. A blizzard begins, freezing his wet clothes solid. He recites verses from the rhymes to stay alert, imagining battles with demons from the sagas. He attempts to shelter in the snow, but it collapses. To stay awake, he sings obscene verses and relives ballad scenes, including one in which he imagines himself as Grimur the Noble, rejecting his father’s lecherous wife. Eventually, covered in ice, he collapses at Brun farm. The crofters thaw him and find no serious frostbite. He expresses more concern for his lambs than his own survival.
On the fifth day, Bjartur arrives home to find the croft buried in snow. Only the dog Titla responds from inside. He digs through the drift and enters. In the darkness, he trips over Rosa, lying dead in congealed blood by the bedside. In the bed, he finds a newborn infant: Titla has kept the baby alive with her body heat. He lifts Rosa’s body into the other bedstead, finding her limbs stiff and eyes refusing to close. Realizing he cannot care for the infant alone, he resolves to seek help from others despite the humiliation.
That evening, Bjartur arrives at Rauthsmyri. A workman tells him they have taken in his sheep during the storm. Gudny the housekeeper scolds him for leaving Rosa alone. The Mistress of Myri leads him to Bailiff Jon’s spartan room, where the bailiff lies dressed like a beggar despite his great wealth. After a long story about searching for the lost ewe, Bjartur recites a verse and announces Rosa is dead, adding proudly she died alone. He then mentions the baby he found alive under the dog and asks the Mistress for some guidance. The Mistress misinterprets this as an accusation about the child’s paternity and reacts with cold anger. Bjartur hastily clarifies he is only asking if they can help save the child. The misunderstanding resolved, the Mistress declares her “joy” is to “sustain the feeble” (108).
The Mistress of Myri sends Gudny to Summerhouses with milk, a stove, and baby clothes. Gudny covers Rosa’s corpse. When Titla refuses to leave the baby and snaps at her, Bjartur throws the dog down through the hatchway into the stable below. The baby appears lifeless. Gudny bathes it in extremely hot water and swings it by one leg. When Bjartur questions her methods, she orders him out of the house. He lies on hay in the stable, feeling exhausted and “superfluous.” The next morning, the baby’s crying wakes him and Gudny proudly presents him with his daughter. Bjartur names her Ásta Sollilja, feeling a bond with the helpless child and resolving to share her fate. He enthusiastically plans a lavish funeral feast for Rosa.
Following the death of Rosa, rumors spread that the ghost is active again at Summerhouses. The Rauthsmyri family offers to foster the child if Bjartur gives up the land, which Bjartur angrily rejects. He visits the Reverend Gudmundur, to request Rosa’s funeral. The minister, who is reluctant to travel in winter, raises numerous objections about weather, health, and the circumstances of Rosa’s death. They haggle over the fee.
Gudmundur and Bjartur negotiate about Bjartur marrying a woman in the minister’s household, taking on both her and her old mother. The minister brings in two destitute women from his parish: Hallbera, an old widow, and her middle-aged daughter, Finna. Bjartur recognizes them as the family from Urtharsel, a farm where he once stayed. Hallbera expresses superstitious fears about Summerhouses, and both women speak of friendly relations with local elves. Bjartur dismisses ghosts as “popery.”
On Saturday morning, four bearers arrive: the Fell King; Einar of Undirhlith; Olafur of Yztadale; and Rosa’s father, old Thorthur of Nithurkot. Bjartur welcomes them grandly. The coffin rests in the stable. The men discuss weather, husbandry, and local politics. Einar gives Bjartur a written elegy. They are served strong coffee and lavish cakes. After the feast, solemn silence falls. As the minister has not been persuaded to come for Rosa’s carrying-out, Thorthur sings a hymn from the Passion Hymns over his daughter’s coffin, his voice cracking with grief. He then weeps through the Lord’s Prayer. Thorthur whispers the traditional formula to the horse, telling it that it “carries a coffin that day” (130). The procession sets off toward Rauthsmyri through whirling snow.
The bearers arrive at Rauthsmyri late in the afternoon after a difficult journey. The minister is waiting, clearly in a hurry, and the bailiff attends. The coffin is carried into the church, and feeble bells ring. The minister delivers a short, perfunctory sermon, speaking of the deceased as proof of the individual’s insignificance. The coffin is carried to the grave and a hymn is sung in the drifting snow as the it is buried.
The next day, Bjartur travels back to Summerhouses, leading the horse, Blesi. The dog, Titla, walks beside him, and he reflects on her absolute fidelity. On the horse rides Hallbera, and Finna walks behind. The low winter sun turns the drifting snow into a “golden fire of frost” (134). At Summerhouses, the women from Rauthsmyri serve coffee and depart. Finna feeds the baby its bottle. Bjartur goes to bed early, finally feeling he can rest. Finna and Hallbera whisper before Finna goes to bed with the baby. Hallbera recites an old prayer to drive away evil spirits and welcome Jesus before going to bed.
This section develops the consequences of Bjartur’s rigid ideology, demonstrating how his pursuit of absolute material independence leads to personal tragedy and emotional dependency. His obsession with a single lost ewe, Gullbra, becomes a synecdoche for his worldview. The ewe represents a quantifiable asset, a piece of the “Reverend Gudmundur breed” that signifies his status as a landowner. In prioritizing this symbol of his freedom over the immediate needs of his pregnant wife, Bjartur reveals a central conflict in his philosophy. When Bjartur dismisses Rosa’s concerns and forbids her to seek help, this is a stubborn extension of his creed, which has no room for dependencies or obligations. When Bjartur finds his wife dead and tells of her death at Rauthsmyri, he declares himself proud that she died alone and “independently.” The novel shows that he takes his ideology so far that he is willing to martyr his wife for it.
The journey into the blizzard is a significant trial in which Bjartur’s physical struggle against nature is mediated by the cultural power of art. The moorlands, previously established as his “spiritual mother,” become an antagonist, stripping him of his tools and nearly his life. During this conflict, he relies on both physical strength and his deep knowledge of the Icelandic rhymes. By reciting verses and casting himself as a hero from the ballads locked in combat with demonic forces, he transforms the ordeal into an epic narrative. This act demonstrates the theme of Poetry as a Tool for Survival, Escapism, and Meaning. The poetry provides a framework for his suffering, giving it purpose and form, which in turn allows him to endure the physical torment and resist the “seductive sleep of the snow” (94). His battle with the reindeer, an animal he later suspects is the devil Kolumkilli, further blurs the line between the natural and supernatural, placing his individual struggle within a mythic context. In this context, poetry is becomes a functional tool for survival, demonstrating the human tendency to create narrative order in a chaotic environment.
Bjartur’s return to find Rosa dead and her infant alive initiates a shift in his character. The event places him in a state of dependency he has spent his life avoiding. He must seek help from Rauthsmyri, the seat of power he disdains, and accept assistance from others. The discovery of the baby, kept alive by the warmth of his dog, Titla, introduces a new kind of value into his life that transcends economic calculation. Though he is certain the child is not his, his decision to name her Ásta Sollilja—Beloved Sun-lily—and claim her as his own represents a significant moment. This act challenges the logic of paternity and property that has previously governed him. This choice establishes a bond based on a shared fate and an emotional connection to her helplessness. This development complicates the portrayal of the independent crofter, revealing a capacity for connection that exists in tension with his unyielding ideology.
The rituals surrounding Rosa’s funeral contrast social and religious institutions with communal traditions. The Reverend Gudmundur’s perfunctory service exemplifies this contrast. His sermon devalues human life and relationships, presenting Rosa’s death as proof of the individual’s insignificance. This institutional response to death is juxtaposed with the communal gathering at Summerhouses, especially the singing of Rosa’s father, Thorthur, over the coffin which provides a moment of direct emotional expression that the official church ceremony does not. These scenes suggest that communal bonds and folk traditions provide a form of support that formal institutions fail to offer. The arrival of Hallbera and Finna, with their own blend of Christian prayer and folk magic to ward off evil spirits, further cements the idea that survival in this landscape depends on a syncretic worldview that institutions alone cannot provide.



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