Icelandic Social Hierarchy Within the Historical Fiction 'Burial Rites'

Hannah Kent’s 2013 historical fiction, Burial Rites, explores the way in which characters respond to their placement in the social structure and with this demonstrate their power and ability to acknowledge their authority. Constructing the novel on real events, Kent applies a ruthless tone to the stiff Icelandic social hierarchy to attract modern readers attentions in spite of outlining the harsh realities of the 18th century through the protagonist’s struggles and those who exercise dominance over her. Kent highlights the vulnerability of women by exposing the prejudiced official records as well as society’s defamation which order’s life and death. Additionally, those who possess a high power such as Blondal whom elicits strong superiority and disregards those who are inferior. Finally, Kent addresses the cruel circumstances that servants were subject to.

Throughout Burial Rites, Kent establishes a straightforward analysis of patriarchal Icelandic society that determines women’s lives. Agnes’ intelligence as a female is discouraged, from a young age, her pure curiosity is mocked by her foster father Bjorn as he advises her that books are“not for your kind”. Bjorn “did not like that [she] knew the sagas better than him” and as a result in her elder years Agnes’ potential is used as proof of her guilt. Additionally, Agnes is regrettably faced with fact that ‘men might do as they please’, as even Natan, who Agnes falls in love with and who originally seems to love Agnes back, uses his power of class and gender status to exploit Agnes and use her for sex before hitting her and throwing her out of the house. Not only that but Natan having several partners is expressed as solely ‘indiscreet’, women are labeled as ‘loose with their morals’, ‘loose skirts’, and ‘whore’. Those married farmers and servent men similarly suffer no repercussions from engaging in wrongful activities, whilst women are socially and physically exposed, thus, have minimal ability to reject undesired advances. Subsequently, her mother abandoning her, foster mother dying and foster-father ‘not averse to whipping the learning out of her’, all convey the feeling of powerlessness directed through women and leads Agnes to the realisation of 'no such thing as truth’ displaying her inferiority as she loses hope and disregards her liberty.

Furthermore, Kent suggests that with the fixed structure of the social setting within the text, those who possess power have the ability to dominate over their subordinates due to their social ranking. Due to men being immersed in a significant amount of powered positions, this minimises the means of others rights which altogether dehumanises others capabilities in life. Despite Blondal being seen as a realistic and logical administrator by those of higher titles in Denmark, his character basically represents the insufficiency of care and enforcement of true justice because of his political agenda. His thoughts at one point include the lower class as “hovels of the peasants had begun to repel him” when he goes to visit the Kornsa family. Although Blondal has superiority he also illustrates society’s fear of smart women when he tells Tóti: “like many older servant women she is practised in deception” This clearly demonstrates how women like Agnes can dominate if had the chances given to and make men like Blondal afraid of the outcomes he could face as a result, thus, the harshness she receives from him is the result of his recognition of her full capabilities which in reality makes him afraid and unwilling to sympathise for her. Kent can clearly link this to the official documents and letters from participants of authority to unfold the ruthless and judgemental views and values of the patriarchal society. It becomes evident that Iceland in the 1800, closely to the modern world is accommodated by wealth and prestige among others. Furthermore, Kent explores the attitudes, behaviour and mannerisms of Blondal as they are all suggestive of his high ranking.

In conclusion, Hannah Kent suggests that when people are unable to tell their own stories, they become powerless. Storytelling is significantly embedded within the Icelandic culture, educating people life lessons through their emotional relationships. Icelanders such as Agnes, were well known with the fact that their stories were being told as sagas. Throughout her trial at Hvammur, the attendants at the courtroom “plucked at [her] words like birds...looking for guilt like berries on a bush”. The carelessness of men is indicated through this simile of the men to birds picking off berries. The idea of ravens can associate to the reference of birds, who did not listen to Agnes in spite of the stone that her mother gave to her. The simile proves the connection between the ravens and the men in the courthouse, who simultaneously refuse to listen and understand Agnes.