Whereas in the previous two chapters I consideredNítíða saga’smanuscripts, scribes, and intertextualrelationships, I now consider the saga’s interest ingeography and space, both of which contribute to thesetting and atmosphere of the story. While I beganoutside of the text, looking at ‘external contexts’,I now move more closely to the text itself to seeits ‘internal contexts’, but stopping short ofanalysing the characters, which is the subject ofthe second half of this book. Geography plays animportant role in most medieval Icelandic romances –Nítíða saga is notunique in this respect – and this has long beenrecognized, for the Icelandic romances, practicallyby definition, are set away from Iceland, and awayfrom Scandinavia. They have been defined as ‘thegroup of sagas composed in Iceland from the latethirteenth or early fourteenth centuries onwardswhich take place in an exotic(non-Scandinavian), vaguely chivalricmilieu, and are characterized by anextensive use of foreign motifs and a strongsupernatural or fabulous element’. Geraldine Barneshas recently discussed ways in which the Icelandicromances map these exotic romance worlds and thesources their authors drew on to do so. In the past,it was partly these non-Icelandic settings thatcontributed to the neglect of Icelandic romances,some scholars seeing them as having little to dowith Iceland. But with settings reaching from Swedento Syria and including fantastic locations such asNítíða saga’s islandof Visio, the geographical range presented in theIcelandic romances as a group is impressive, and bylooking at the geography of romance we can considerhow medieval Icelanders may have seen themselves inrelation to the rest of the known world. I willconsider space on both a global level by looking atNítíða saga’sunusual portrayal of world geography, and on asmaller scale by considering the much more typicalseparation of public and private space as it isrepresented in the text. I will first discuss howIceland views itself within Europe – insofar as‘Europe’ is a useful concept when dealing with theMiddle Ages – through the worldview of Nítíða saga.