SAXO GRAMMATICUS. GESTA DANORUM

Introduction. Part II

WAR.

"Weapons". -- The sword is the weapon par excellence in Saxo's narrative, and he names several by name, famous old blades like our royal Curtana, which some believed was once Tristrem's, and that sword of Carlus, whose fortunes are recorded in Irish annals. Such are "Snyrtir", Bearce's sword; "Hothing", Agnar's blade; "Lauf", or "Leaf", Bearce's sword; "Screp", Wermund's sword, long buried and much rust-eaten, but sharp and trusty, and known by its whistle; Miming's sword ("Mistletoe"), which slew Balder. Wainhead's curved blade seems to be a halbert; "Lyusing" and "Hwiting", Ragnald of Norway's swords; "Logthe", the sword of Ole Siward's son.

The "war-club" occurs pretty frequently. But it is usually introduced as a special weapon of a special hero, who fashions a gold-headed club to slay one that steel cannot touch, or who tears up a tree, like the Spanish knight in the ballad, or who uses a club to counteract spells that blunt steel. The bat- shapen archaic rudder of a ship is used as a club in the story of the Sons of Arngrim.

The "spear" plays no particular part in Saxo: even Woden's spear Gungne is not prominent.

"Bows and arrows" are not often spoken of, but archer heroes, such as Toki, Ane Bow-swayer, and Orwar-Odd, are known. Slings and stones are used.

The shield, of all defensive armour, is far the most prominent. They were often painted with devices, such as Hamlet's shield, Hildiger's Swedish shield. Dr. Vigfusson has shown the importance of these painted shields in the poetic history of the Scandinavians.

A red shield is a signal of peace. Shields are set round ramparts on land as round ships at sea.

"Mail-coats" are worn. Frode has one charmed against steel. Hother has another; a mail-coat of proof is mentioned and their iron meshes are spoken of.

"Helmets" are used, but not so carefully described as in "Beowulf's Lay"; crested helmets and a gilded helmet occur in Bearca-mal and in another poem.

"Banners" serve as rallying points in the battle and on the march. The Huns' banners are spoken of in the classic passage for the description of a huge host invading a country. Bearca- mal talks of golden banners.

"Horns" (1) were blown pp at the beginning of the engagement and for signalling. The gathering of the host was made by delivery of a wooden arrow painted to look like iron.

"Tactics". -- The hand-to-hand fight of the wager of battle with sword and shield, and the fighting in ranks and the wedge-column at close quarters, show that the close infantry combat was the main event of the battle. The preliminary hurling of stones, and shooting of arrows, and slinging of pebbles, were harassing and annoying, but seldom sufficiently important to affect the result of the main engagement.

Men ride to battle, but fight on foot; occasionally an aged king is car-borne to the fray, and once the car, whether by Saxo's adorning hand, or by tradition, is scythe-armed.

The gathered host is numbered, once, where, as with Xerxes, counting was too difficult, by making each man as he passed put a pebble in a pile (which piles survive to mark the huge size of Frode's army). This is, of course, a folktale, explaining the pebble-hills and illustrating the belief in Frode's power; but armies were mustered by such expedients of old. Burton tells of an African army each man of whom presented an egg, as a token of his presence and a means of taking the number of the host.

We hear of men marching in light order without even scabbards, and getting over the ice in socks.

The war equipment and habits of the Irish, light armoured, clipped at back of head, hurling the javelin backwards in their feigned flight; of the Slavs, small blue targets and long swords; of the Finns, with their darts and skees, are given.

Watches are kept, and it is noted that "uht", the early watch after midnight, is the worst to be attacked in (the duke's two- o'clock-in-the-morning courage being needed, and the darkness and cold helping the enemy).

Spies were, of course, slain if discovered. But we have instances of kings and heroes getting into foeman's camps in disguise (cf. stories of Alfred and Anlaf).

The order of battle of Bravalla fight is given, and the ideal array of a host. To Woden is ascribed the device of the boar's head, hamalt fylking (the swine-head array of Manu's Indian kings), the terrible column with wedge head which could cleave the stoutest line.

The host of Ring has men from Wener, Wermland, Gotaelf, Thotn, Wick, Thelemark, Throndham, Sogn, Firths, Fialer, Iceland; Sweden, Gislamark, Sigtun, Upsala, Pannonia.

The host of Harold had men from Iceland, the Danish provinces, Frisia, Lifland; Slavs, and men from Jom, Aland, and Sleswick.

The battle of Bravalla is said to have been won by the Gotland archers and the men of Throndham, and the Dales. The death of Harald by treachery completed the defeat, which began when Ubbe fell (after he had broken the enemy's van) riddled with arrows.

The defeated, unless they could fly, got little quarter. One- fifth only of the population of a province are said to have survived an invasion. After sea-battles (always necessarily more deadly) the corpses choke the harbours. Seventy sea-kings are swept away in one sea-fight. Heads seem to have been taken in some cases, but not as a regular Teutonic usage, and the practice, from its being attributed to ghosts and aliens, must have already been considered savage by Saxo, and probably by his informants and authorities.

Prisoners were slaves; they might be killed, put to cruel death, outraged, used as slaves, but the feeling in favour of mercy was growing, and the cruelty of Eormenric, who used tortures to his prisoners, of Rothe, who stripped his captives, and of Fro, who sent captive ladies to a brothel in insult, is regarded with dislike.

Wounds were looked on as honourable, but they must be in front or honourably got. A man who was shot through the buttocks, or wounded in the back, was laughed at and disgraced. We hear of a mother helping her wounded son out of battle.

That much of human interest centered round war is evident by the mass of tradition that surrounds the subject in Saxo, both in its public and private aspects. Quaint is the analysis of the four kinds of warriors: (a) The Veterans, or Doughty, who kill foes and spare flyers; (b) the Young men who kill foes and flyers too; (c) the well-to-do, landed, and propertied men of the main levy, who neither fight for fear nor fly for shame; (d) the worthless, last to fight and first to fly; and curious are the remarks about married and unmarried troops, a matter which Chaka pondered over in later days. Homeric speeches precede the fight.

"Stratagems of War" greatly interested Saxo (probably because Valerius Maximus, one of his most esteemed models, was much occupied with such matters), so that he diligently records the military traditions of the notably skillful expedients of famous commanders of old.

There is the device for taking a town by means of the "pretended death" of the besieging general, a device ascribed to Hastings and many more commanders (see Steenstrup Normannerne); the plan of "firing" a besieged town by fire-bearing birds, ascribed here to Fridlev, in the case of Dublin to Hadding against Duna (where it was foiled by all tame birds being chased out of the place).

There is the "Birnam Wood" stratagem, by which men advanced behind a screen of boughs, which is even used for the concealment of ships, and the curious legend (occurring in Irish tradition also, and recalling Capt. B. Hall's "quaker gun" story) by which a commander bluffs off his enemy by binding his dead to stakes in rows, as if they were living men.

Less easy to understand are the "brazen horses" or "machines" driven into the close lines of the enemy to crush and open them, an invention of Gewar. The use of hooked weapons to pull down the foes' shields and helmets was also taught to Hother by Gewar.

The use of black tents to conceal encampment; the defence of a pass by hurling rocks from the heights; the bridge of boats across the Elbe; and the employment of spies, and the bold venture, ascribed in our chronicles to Alfred and Anlaf, of visiting in disguise the enemy's camp, is here attributed to Frode, who even assumed women's clothes for the purpose.

Frode is throughout the typical general, as he is the typical statesman and law-giver of archaic Denmark.

There are certain heathen usages connected with war, as the hurling of a javelin or shooting of an arrow over the enemy's ranks as a "sacratio" to Woden of the foe at the beginning of a battle. This is recorded in the older vernacular authorities also, in exact accordance with the Homeric usage, "Odyssey" xxiv, 516-595.

The dedication of part of the spoils to the god who gave good omens for the war is told of the heathen Baltic peoples; but though, as Sidonius records, it had once prevailed among the Saxons, and, as other witnesses add, among the Scandinavian people, the tradition is not clearly preserved by Saxo.

"Sea and Sea Warfare." -- As might be expected, there is much mention of Wicking adventure and of maritime warfare in Saxo.

Saxo tells of Asmund's huge ship (Gnod), built high that he might shoot down on the enemy's craft; he speaks of a ship (such as Godwin gave as a gift to the king his master), and the monk of St. Bertin and the court-poets have lovingly described a ship with gold-broidered sails, gilt masts, and red-dyed rigging. One of his ships has, like the ships in the Chansons de Geste, a carbuncle for a lantern at the masthead. Hedin signals to Frode by a shield at the masthead. A red shield was a peace signal, as noted above. The practice of "strand-hewing", a great feature in Wicking-life (which, so far as the victualling of raw meat by the fishing fleets, and its use raw, as Mr. P. H. Emerson informs me, still survives), is spoken of. There was great fear of monsters attacking them, a fear probably justified by such occasional attacks of angry whales as Melville (founding his narrative on repeated facts) has immortalised. The whales, like Moby Dick, were uncanny, and inspired by troll-women or witches (cf. "Frithiof Saga" and the older "Lay of Atle and Rimegerd"). The clever sailing of Hadding, by which he eludes pursuit, is tantalising, for one gathers that, Saxo knows the details that he for some reason omits. Big fleets of 150 and a monster armada of 3,000 vessels are recorded.

The ships were moved by oars and sails; they had rudders, no doubt such as the Gokstad ship, for the hero Arrow-Odd used a rudder as a weapon.

"Champions". -- Professed fighting men were often kept by kings and earls about their court as useful in feud and fray. Harald Fairhair's champions are admirably described in the contemporary Raven Song by Hornclofe --

"Feasts". -- The hall-dinner was an important feature in the old Teutonic court-life. Many a fine scene in a saga takes place in the hall while the king and his men are sitting over their ale. The hall decked with hangings, with its fires, lights, plate and provisions, appears in Saxo just as in the Eddic Lays, especially Rigsmal, and the Lives of the Norwegian Kings and Orkney Earls.

The order of seats is a great point of archaic manners. Behaviour at table was a matter of careful observance. The service, especially that of the cup-bearer, was minutely regulated by etiquette. An honoured guest was welcomed by the host rising to receive him and giving him a seat near himself, but less distinguished visitors were often victims to the rough horseplay of the baser sort, and of the wanton young gentleman at court. The food was simple, boiled beef and pork, and mutton without sauce, ale served in horns from the butt. Roast meat, game, sauces, mead, and flagons set on the table, are looked on by Starcad as foreign luxuries, and Germany was credited with luxurious cookery.

"Mimes and jugglers", who went through the country or were attached to the lord's court to amuse the company, were a despised race because of their ribaldry, obscenity, cowardice, and unabashed self-debasement; and their newfangled dances and piping were loathsome to the old court-poets, who accepted the harp alone as an instrument of music.

The story that once a king went to war with his jugglers and they ran away, would represent the point of view of the old house- carle, who was neglected, though "a first-class fighting man", for these debauched foreign buffoons.

SUPERNATURAL BEINGS.

GODS AND GODDESSES. -- The gods spring, according to Saxo's belief, from a race of sorcerers, some of whom rose to pre-eminence and expelled and crushed the rest, ending the "wizard-age", as the wizards had ended the monster or "giant-age". That they were identic with the classic gods he is inclined to believe, but his difficulty is that in the week-days we have Jove : Thor; Mercury : Woden; whereas it is perfectly well known that Mercury is Jove's son, and also that Woden is the father of Thor -- a comic "embarras". That the persians the heathens worshipped as gods existed, and that they were men and women false and powerful, Saxo plainly believes. He has not Snorre's appreciation of the humorous side of the mythology. He is ironic and scornful, but without the kindly, naive fun of the Icelander.

The most active god, the Dane's chief god (as Frey is the Swede's god, and patriarch), is "Woden". He appears in heroic life as patron of great heroes and kings. Cf. "Hyndla-Lay", where it is said of Woden: --

"Thunder", or "Thor", is Woden's son, strongest of gods or men, patron of Starcad, whom he turned, by pulling off four arms, from a monster to a man.

He fights by Woden's side and Balder's against Hother, by whose magic wand his club (hammer) was lopped off part of its shaft, a wholly different and, a much later version than the one Snorre gives in the prose Edda. Saxo knows of Thor's journey to the haunt of giant Garfred (Geirrod) and his three daughters, and of the hurling of the iron "bloom", and of the crushing of the giantesses, though he does not seem to have known of the river- feats of either the ladies or Thor, if we may judge (never a safe thing wholly) by his silence.

Whether "Tew" is meant by the Mars of the Song of the Voice is not evident. Saxo may only be imitating the repeated catch-word "war" of the original.

"Loke" appears as Utgard-Loke, Loke of the skirts of the World, as it were; is treated as a venomous giant bound in agony under a serpent-haunted cavern (no mention is made of "Sigyn" or her pious ministry).

"Hela" seems to be meant by Saxo's Proserpina.

"Nanna" is the daughter of Gewar, and Balder sees her bathing and falls in love with her, as madly as Frey with Gertha in Skirnismal.

"Freya", the mistress of Od, the patroness of Othere the homely, the sister of Frey-Frode, and daughter of Niord-Fridlaf, appears as Gunwara Eric's love and Syritha Ottar's love and the hair- clogged maiden, as Dr. Rydberg has shown.

The gods can disguise their form, change their shape, are often met in a mist, which shrouds them save from the right person; they appear and disappear at will. For the rest they have the mental and physical characteristics of the kings and queens they protect or persecute so capriciously. They can be seen by making a magic sign and looking through a witch's arm held akimbo. They are no good comates for men or women, and to meddle with a goddess or nymph or giantess was to ensure evil or death for a man. The god's loves were apparently not always so fatal, though there seems to be some tradition to that effect. Most of the god-sprung heroes are motherless or unborn (i.e., born like Macduff by the Caesarean operation) -- Sigfred, in the Eddic Lays for instance.

Besides the gods, possibly older than they are, and presumably mightier, are the "Fates" (Norns), three Ladies who are met with together, who fulfil the parts of the gift-fairies of our Sleeping Beauty tales, and bestow endowments on the new-born child, as in the beautiful "Helge Lay", a point of the story which survives in Ogier of the Chansons de Geste, wherein Eadgar (Otkerus or Otgerus) gets what belonged to Holger (Holge), the Helga of "Beowulf's Lay". The caprices of the Fates, where one corrects or spoils the others' endowments, are seen in Saxo, when beauty, bounty, and meanness are given together. They sometimes meet heroes, as they met Helgi in the Eddic Lay (Helgi and Sigrun Lay), and help or begift them; they prepare the magic broth for Balder, are charmed with Hother's lute-playing, and bestow on him a belt of victory and a girdle of splendour, and prophesy things to come.

The verse in Biarca-mal, where "Pluto weaves the dooms of the mighty and fills Phlegethon with noble shapes," recalls Darrada-liod, and points to Woden as death-doomer of the warrior.

"Giants". -- These are stupid, mischievous, evil and cunning in Saxo's eyes. Oldest of beings, with chaotic force and exuberance, monstrous in extravagant vitality.

The giant nature of the older troll-kind is abhorrent to man and woman. But a giantess is enamoured of a youth she had fostered, and giants carry off king's daughters, and a three-bodied giant captures young children.

Giants live in caves by the sea, where they keep their treasure. One giant, Unfoot (Ofoti), is a shepherd, like Polyphemus, and has a famous dog which passed into the charge of Biorn, and won a battle; a giantess is keeping goats in the wilds. A giant's fury is so great that it takes twelve champions to control him, when the rage is on him. The troll (like our Puss-in-Boots Ogre) can take any shape.

Monstrous apparitions are mentioned, a giant hand (like that in one story of Finn) searching for its prey among the inmates of a booth in the wilds. But this Grendel-like arm is torn off by a giantess, Hardgrip, daughter of Wainhead and niece possibly of Hafle.

The voice heard at night prophesying is that of some god or monster, possibly Woden himself.

"Dwarves". -- These Saxo calls Satyrs, and but rarely mentions. The dwarf Miming, who lives in the desert, has a precious sword of sharpness (Mistletoe?) that could even pierce skin-hard Balder, and a ring (Draupnir) that multiplied itself for its possessor. He is trapped by the hero and robbed of his treasures.

FUNERAL RITES AND MAN'S FUTURE STATE.

"Barrow-burials". -- The obsequies of great men (such as the classic funeral of "Beowulf's Lay", 3138-80) are much noticed by Saxo, and we might expect that he knew such a poem (one similar to Ynglingatal, but not it) which, like the Books of the Kings of Israel and Judah, recorded the deaths and burials, as well as the pedigrees and deeds, of the Danish kings.

The various stages of the "obsequy by fire" are noted; the byre sometimes formed out of a ship; the "sati"; the devoted bower- maidens choosing to die with their mistress, the dead man's beloved (cf. The Eddic funerals of Balder, Sigfred, and Brunhild, in the Long "Brunhild's Lay", Tregrof Gudrumar and the lost poem of Balder's death paraphrased in the prose Edda); the last message given to the corpse on the pyre (Woden's last words to Balder are famous); the riding round the pyre; the eulogium; the piling of the barrow, which sometimes took whole days, as the size of many existing grass mounds assure us; the funeral feast, where an immense vat of ale or mead is drunk in honor of the dead; the epitaph, like an ogham, set up on a stone over the barrow.

The inclusion of a live man with the dead in a barrow, with the live or fresh-slain beasts (horse and bound) of the dead man, seems to point to a time or district when burning was not used. Apparently, at one time, judging from Frode's law, only chiefs and warriors were burnt.

Not to bury was, as in Hellas, an insult to the dead, reserved for the bodies of hated foes. Conquerors sometimes show their magnanimity (like Harald Godwineson) by offering to bury their dead foes.

The buried "barrow-ghost" was formidable; he could rise and slay and eat, vampire-like, as in the tale of Asmund and Aswit. He must in such case be mastered and prevented doing further harm by decapitation and thigh-forking, or by staking and burning. So criminals' bodies were often burnt to stop possible haunting.

Witches and wizards could raise corpses by spells to make them prophesy. The dead also appeared in visions, usually foretelling death to the person they visited.

OTHER WORLDS. -- The " Land of Undeath" is spoken of as a place reached by an exiled hero in his wanderings. We know it from Eric the traveller's S., Helge Thoreson's S., Herrand and Bose S., Herwon S., Thorstan Baearmagn S., and other Icelandic sources. But the voyage to the Other Worlds are some of the most remarkable of the narratives Saxo has preserved for us.

"Hadding's Voyage Underground". -- (a) A woman bearing in her lap angelica fresh and green, though it was deep winter, appears to the hero at supper, raising her head beside the brazier. Hadding wishes to know where such plants grow.

(b) She takes him with her, under cover of her mantle, underground.

(c) They pierce a mist, get on a road worn by long use, pass nobly-clad men, and reach the sunny fields that bear the angelica: --

"Thorkill's Second Voyage to Outgarth-Loke to get Knowledge". -- (a) Guthrum is troubled as to the immortality and fate of the soul, and the reward of piety after death. To spite Thorkill, his enviers advised the king to send him to consult Outgarth- Loke. He required of the king that his enemies should be sent with him.

(b) In one well-stored and hide-defended ship they set out, reached a sunless, starless land, without fuel; ate raw food and suffered. At last, after many days, a fire was seen ashore. Thorkill, setting a jewel at the mast-head to be able to regain his vessel easily, rows ashore to get fire.

(c) In a filthy, snake-paved, stinking cavern he sees two horny- nebbed giants, (2) making a fire. One of the giants offers to direct him to Loke if he will say three true things in three phrases, and this done, tells him to row four days and then he would reach a Dark and Grassless Land. For three more true sayings he obtains fire, and gets back to his vessel.

(d) With good wind they make Grassless Land, go ashore, find a huge, rocky cavern, strike a flint to kindle a fire at the entrance as a safeguard against demons, and a torch to light them as they explored the cavern.

(e) First appears iron seats set amid crawling snakes.

(f) Next is sluggish water flowing over sand.

(g) Last a steep, sloping cavern is reached, in a chamber of which lay Outgarth-Loke chained, huge and foul.

(h) Thorkill plucks a hair of his beard "as big as a cornel-wood spear." The stench that arose was fearful; the demens and snakes fell upon the invaders at once; only Thorkill and five of the crew, who had sheltered themselves with hides against the virulent poison the demons and snakes cast, which would take a head off at the neck if it fell upon it, got back to their ship.

(i) By vow to the "God that made the world", and offerings, a good voyage was made back, and Germany reached, where Thorkill became a Christian. Only two of his men survived the effects of the poison and stench, and he himself was scarred and spoilt in the face.

(k) When he reached the king, Guthrum would not listen to his tale, because it was prophesied to him that he would die suddenly if he heard it; nay, he even sent men to smite him as he lay in bed, but, by the device of laying a log in his place, he escaped, and going to the king as he sat at meat, reproached him for his treachery.

(l) Guthrum bade him tell his story, but died of horror at hearing his god Loke foully spoken of, while the stench of the hair that Thorkill produced, as Othere did his horn for a voucher of his speech, slew many bystanders.

This is the regular myth of Loke, punished by the gods, lying bound with his own soils' entrails on three sharp stones and a sword-blade, (this latter an addition, when the myth was made stones were the only blades), with snakes' venom dripping on to him, so that when it falls on him he shakes with pain and makes earthquakes -- a Titan myth in answer to the question, "Why does the earth quake?" The vitriolic power of the poison is excellently expressed in the story. The plucking of the hair as a token is like the plucking of a horn off the giant or devil that occurs in some folk-tale.

MAGIC AND FOLK-SCIENCE.

There is a belief in magic throughout Saxo's work, showing how fresh heathendom still was in men's minds and memories. His explanations, when he euhemerizes, are those of his day.

By means of spells all kinds of wonders could be effected, and the powers of nature forced to work for the magician or his favourite.

"Skin-changing" (so common in "Landnamaboc") was as well known as in the classic world of Lucian and Apuleius; and, where Frode perishes of the attacks of a witch metamorphosed into a walrus.

"Mist" is induced by spells to cover and hide persons, as in Homer, and "glamour" is produced by spells to dazzle foemen's sight. To cast glamour and put confusion into a besieged place a witch is employed by the beleaguerer, just as William the Conqueror used the witch in the Fens against Hereward's fortalice. A soothsayer warns Charles the Great of the coming of a Danish fleet to the Seine's mouth.

"Rain and bad weather" may be brought on, as in a battle against the enemy, but in this, as in other instances, the spell may be counteracted.

"Panic Terror" may be induced by the spell worked with a dead horse's head set up on a pole facing the antagonist, but the spell may be met and combatted by silence and a counter-curse.

"Magic help" may be got by calling on the friendly magician's name. The magician has also the power of summoning to him anyone, however unwilling, to appear.

Of spells and magic power to blunt steel there are several instances; they may be counteracted (as in the Icelandic Sagas) by using the hilt, or a club, or covering the blade with fine skin. In another case the champion can only be overcome by one that will take up some of the dust from under his feet. This is effected by the combatants shifting their ground and exchanging places. In another case the foeman can only be slain by gold, whereupon the hero has a gold-headed mace made and batters the life out of him therewith. The brothers of Swanhild cannot be cut by steel, for their mail was charmed by the witch Gudrun, but Woden taught Eormenric, the Gothic king, how to overcome them with stones (which apparently cannot, as archaic weapons, be charmed against at all, resisting magic like wood and water and fire). Jordanis tells the true history of Ermanaric, that great Gothic emperor whose rule from the Dnieper to the Baltic and Rhine and Danube, and long reign of prosperity, were broken by the coming of the Huns. With him vanished the first great Teutonic empire.

Magic was powerful enough even to raise the dead, as was practised by the Perms, who thus renewed their forces after a battle. In the Everlasting battle the combatants were by some strange trick of fate obliged to fulfil a perennial weird (like the unhappy Vanderdecken). Spells to wake the dead were written on wood and put under the corpses' tongue. Spells (written on bark) induce frenzy.

"Charms" would secure a man against claw or tooth.

"Love philtres" (as in the long "Lay of Gudrun) appear as everywhere in savage and archaic society.

"Food", porridge mixed with the slaver of tortured snakes, gives magic strength or endues the eater with eloquence and knowledge of beast and bird speech (as Finn's broiled fish and Sigfred's broiled dragon-heart do).

"Poison" like these hell-broths are part of the Witch or Obi stock-in-trade, and Frode uses powdered gold as an antidote.

"Omens" are observed; tripping as one lands is lucky (as with our William the Norman). Portents, such as a sudden reddening of the sea where the hero is drowned, are noticed and interpreted.

"Dreams" (cf. Eddic Lays of Attila, and the Border ballads) are prophetic (as nine-tenths of Europeans firmly believe still); thus the visionary flame-spouting dragon is interpreted exactly as Hogne's and Attila's dreams. The dreams of the three first bridals nights (which were kept hallowed by a curious superstition, either because the dreams would then bold good, or as is more likely, for fear of some Asmodeus) were fateful. Animals and birds in dreams are read as persons, as nowadays.

A "curse" is powerful unless it can be turned back, when it will harm its utterer, for harm someone it must. The "curse" of a dying man on his slayer, and its lack of effect, is noted.

Sometimes "magic messengers" are sent, like the swans that bore a token and uttered warning songs to the hero.

"Witches and wizards" (as belonging to the older layer of archaic beliefs) are hateful to the gods, and Woden casts them out as accursed, though he himself was the mightiest of wizards. Heathen Teutonic life was a long terror by reason of witchcraft, as is the heathen African life to-day, continual precautions being needful to escape the magic of enemies. The Icelandic Sagas, such as Gretter's, are full of magic and witchcraft. It is by witchcraft that Gretter is first lamed and finally slain; one can see that Glam's curse, the Beowulf motif, was not really in the original Gretter story.

"Folk-medicine" is really a branch of magic in old days, even to such pioneers of science as Paracelsus.

Saxo's traditions note drinking of a lion's blood that eats men as a means of gaining might and strength; the drinking of bear's blood is also declared to give great bodily power.

The tests for "madness" are of a primitive character, such as those applied to Odusseus, who, however, was not able, like Hamlet, to evade them.

The test for death is the red-hot iron or hot brand (used by the Abyssinians of to-day, as it was supposed in the thirteenth century to have been used by Grimhild. "And now Grimhild goes and takes a great brand, where the house had burnt, and goes to Gernot her brother, and thrusts the burning brand in his mouth, and will know whether he is dead or living. But Gernot was clearly dead. And now she goes to Gislher and thrusts the firebrand in his mouth. He was not dead before, but Gislher died of that. Now King Thidrec of Bern saw what Grimhild is doing, and speaks to King Attila. `See how that devil Grimhild, thy wife, is killing her brothers, the good warriors, and how many men have lost their lives for her sake, and how many good men she has destroyed, Huns and Amalungs and Niflungs; and in the same way would she bring thee and me to hell, if she could do it?' Then spake King Attila, `Surely she is a devil, and slay thou her, and that were a good work if thou had done it seven nights ago! Then many a gallant fellow were whole that is now dead.' Now King Thidrec springs at Grimhild and swings up his sword Eckisax, and hews her asunder at the middle").

It was believed (as in Polynesia, where "Captain Cook's path" was shown in the grass) that the heat of the hero's body might blast the grass; so Starcad's entrails withered the grass.

It was believed that a severed head might bite the ground in rage, and there were certainly plenty of opportunities for observation of such cases.

It was believed that a "dumb man" might be so wrought on by passion that he would speak, and wholly acquire speech-power.

Little is told of "surgery", but in one case of intestines protruding owing to wounds, withies were employed to bind round the trunk and keep the bowels from risk till the patient could be taken to a house and his wounds examined and dressed. It was considered heroic to pay little heed to wounds that were not dangerous, but just to leave them to nature.

Personal "cleanliness" was not higher than among savages now. A lover is loused by his lady after the mediaeval fashion.

CHRISTIANITY -- In the first nine books of Saxo, which are devoted to heathendom, there is not much save the author's own Christian point of view that smacks of the New Faith. The apostleships of Ansgarius in Denmark, the conversion of King Eric, the Christianity of several later Danish Kings, one of whom was (like Olaf Tryggwason) baptised in Britain are also noticed.

Of "Christian legends" and beliefs, besides the euhemerist theory, widely held, of the heathen gods there are few hints, save the idea that Christ was born in the reign of Frode, Frode having been somehow synchronised with Augustus, in whose reign also there was a world-peace.

Of course the christening of Scandinavia is history, and the mythic books are little concerned with it. The episode in Adam of Bremen, where the king offers the people, if they want a new god, to deify Eric, one of their hero-kings, is eminently characteristic and true.

FOLK-TALES.

There might be a classification of Saxo's stories akin to that of the Irish poets, Battles, Sieges, Voyages, Rapes, Cattle Forays, etc.; and quite apart from the historic element, however faint and legendary, there are a set of stories ascribed by him, or rather his authorities, to definite persons, which had, even in his day, probably long been the property of Tis, their original owners not being known owing to lapse of time and the wear of memory, and the natural and accidental catastrophies that impair the human record. Such are the "Dragon-Slayer" stories. In one type of these the hero (Frithlaf) is cast on a desolate island, and warned by a dream to attack and slay a dragon guarding treasure. He wakes, sees the dragon arise out of the waves, apparently, to come ashore and go back to the cavern or mound wherein the treasure lay. His scales are too hard to pierce; he is terribly strong, lashing trees down with his tail, and wearing a deep path through the wood and over the stones with his huge and perpetual bulk; but the hero, covered with hide-wrapped shield against the poison, gets down into the hollow path, and pierces the monster from below, afterward rifling its underground store and carrying off its treasure.

Again the story is repeated; the hero (Frode Haddingsson) is warned by a countryman of the island-dragon and its hoard, is told to cover his shield and body with bulls' hides against the poison, and smite the monster's belly. The dragon goes to drink, and, as it is coming back, it is attacked, slain, and its treasure lifted precisely as before. The analogies with the Beowulf and Sigfred stories are evident; but no great poet has arisen to weave the dragon-slaying intimately into the lives of Frode and Frithlaf as they have been woven into the tragedy of Sigfred the wooer of Brunhild and, if Dr. Vigffisson be right the conqueror of Varus, or into the story of Beowulf, whose real engagements were with sea-monsters, not fiery dragons.

Another type is that of the "Loathly Worm". A king out hunting (Herod or Herraud, King of Sweden), for some unexplained reason brings home two small snakes as presents for his daughter. They wax wonderfully, have to be fed a whole ox a day, and proceed to poison and waste the countryside. The wretched king is forced to offer his daughter (Thora) to anyone who will slay them. The hero (Ragnar) devises a dress of a peculiar kind (by help of his nurse, apparently), in this case, woolly mantle and hairy breeches all frozen and ice-covered to resist the venom, then strapping his spear to his hand, he encounters them boldly alone. The courtiers hide "like frightened little girls", and the king betakes him to a "narrow shelter", an euphemism evidently of Saxo's, for the scene is comic. The king comes forth when the hero is victorious, and laughing at his hairy legs, nick-names him Shaggy-breech, and bids him to the feast. Ragnar fetches up his comrades, and apparently seeks out the frightened courtiers (no doubt with appropriate quip, omitted by Saxo, who hurries on), feasts, marries the king's daughter, and begets on her two fine sons.

Of somewhat similar type is the proud "Maiden guarded" by Beasts. Here the scene is laid in Gaulardale in Norway. The lady is Ladgerda, the hero Ragnar. Enamoured of the maiden by seeing her prowess in war, he accepts no rebuffs, but leaving his followers, enters the house, slays the guardian Bear and Dog, thrusting one through with a spear and throttling the other with his hand. The lady is won and wed, and two daughters and a son (Frithlaf) duly begotten. The story of Alf and Alfhild combines several types. There are the tame snakes, the baffled suitors' heads staked to terrify other suitors, and the hero using red-hot iron and spear to slay the two reptiles.

The "Proud Lady", (cf. Kudrun and the Niebelungen, and Are's story of the queen that burnt her suitors) appears in Hermintrude, Queen of Scotland, who battles and slays her lovers, but is out-witted by the hero (Hamlet), and, abating her arrogance, agrees to wed him. This seems an obvious accretion in the original Hamlet story, and probably owing not to Saxo, but to his authority.

The "Beggar that stole the Lady" (told of Snio Siwaldson and the daughter of the King of the Goths), with its brisk dialogue, must have been one of the most artful of the folk-tales worked on by Saxo or his informants; but it is only half told, unfortunately.

The "Crafty Soaker" is another excellent comic folk-tale. A terrible famine made the king (Snio) forbid brewing to save the barley for bread, and abolished all needless toping. The Soaker baffled the king by sipping, never taking a full draught. Rebuked, be declared that he never drank, but only sucked a drop. This was forbidden him for the future, so he sopped his bread in ale, and in that inconvenient manner continued to get drunk, excusing himself with the plea that though it was forbidden to drink or sip beer, it was not forbidden to eat it. When this was in turn prohibited, the Soaker gave up any pretence, and brewed and drank unabashed, telling the angry king that he was celebrating his approaching funeral with due respect, which excuse led to the repeal of the obnoxious decree. A good Rabelaisian tale, that must not have been wide-spread among the Danish topers, whose powers both Saxo and Shakespeare have celebrated, from actual experience no doubt.

The "Magician's tricks to elude pursuit", so common an incident in our fairy tales, e.g., Michael Scot's flight, is ascribed here to the wonder-working and uncanny Finns, who, when pursued, cast behind them successively three pebbles, which become to their enemies' eyes mountains, then snow, which appeared like a roaring torrent. But they could not cast the glamour on Arngrim a third time, and were forced to submit. The glamour here and in the case of the breaking of Balder's barrow is akin to that which the Druid puts on the sons of Uisnach.

The tale of the king who shuts up his daughter in an "earth- house" or underground chamber with treasures (weapons and gold and silver), in fear of invasion, looks like a bit of folk-tale, such as the "Hind in the Wood", but it may have a traditional base of some kind here.

A folk-tale, very imperfectly narrated, is the "Clever King's Daughter", who evidently in the original story had to choose her suitor by his feet (as the giantess in the prose Edda chooses her husband), and was able to do so by the device she had practised of sewing up her ring in his leg sometime before, so that when she touched the flesh she could feel the hardness of the ring beneath the scar.

Bits of folk-tales are the "Device for escaping threatened death by putting a log in one's bed" (as in our Jack the Giant-Killer). The device, as old as David's wife, of dressing up a dummy (here a basket with a dog inside, covered outside with clothes), while the hero escapes, is told of Eormenric, the mighty Gothic King of Kings, who, like Walter of Aquitaine, Theodoric of Varona, Ecgherht, and Arminius, was an exile in his youth. This traditional escape of the two lads from the Scyths should be compared with the true story in Paul the Deacon of his little ancestor's captivity and bold and successful stroke for freedom.

"Disguise" plays a great part in the folk-tales used by Saxo. Woden disguises himself in a cowl on his earthly travels, and heroes do the same; a king disguises himself as a slave at his rival's court, to try and find occasion of slaying him; a hero wraps himself up in skins, like Alleleirah.

"Escaped recognition" is accordingly a feature in many of these simple but artistic plots. A son is not known by his mother in the story of Hrolf.

Other "Devices" are exemplified, such as the "booby-trap" loaded with a millstone, which slays a hateful and despised tyrant, imposed by a foreign conqueror; evasion by secret passages, and concealment in underground vaults or earth-houses. The feigning of madness to escape death occurs, as well as in the better-known Hamlet story. These stratagems are universal in folk-history.

To Eric, the clever and quick of speech, is ascribed an excellent sailor's smuggling trick to hide slaughtered cattle, by sinking them till the search is over.

The "Hero's Mighty Childhood" (like David's) of course occurs when he binds a bear with his girdle. Sciold is full grown at fifteen, and Hadding is full grown in extreme youth. The hero in his boyhood slays a full-grown man and champion. The cinder- biting, lazy stage of a mighty youth is exemplified.

The "fierce eyes" of the hero or heroine, which can daunt an assassin as could the piercing glance of Marius, are the "falcon eyes" of the Eddic Lays.

The shining, effulgent, "illuminating hair" of the hero, which gives light in the darkness, is noticed here, as it obtains in Cuaran's thirteenth century English legend.

The wide-spread tale of the "City founded on a site marked out by a hide cut into finest thongs", occurs, told of Hella and Iwarus exactly as our Kentishmen told it of Hengist, and as it is also told of Dido.

The incidents of the "hero sleeping by a rill", of the guarded king's daughter, with her thirty attendants, the king's son keeping sheep, are part of the regular stock incidents in European folk-tales. So are the Nausicaa incident of the "king's daughter going a washing", the hero disguising himself as a woman and winding wool (like a second Heracles).

There are a certain number of stories, which only occur in Saxo and in our other Northern sources with attributions, though they are of course legendary; such are:

The "Everlasting Battle" between Hedhin and Hogne, a legend connected with the great Brisinga-men story, and paralleled by the Cordelia-tale among the Britons.

The story of the "Children preserved" is not very clearly told, and Saxo seems to have euhemerized. It is evidently of the same type as the Lionel-Lancelot story in the Arthurian cycle. Two children, ordered to be killed, are saved by the slaying of other children in their place; and afterwards by their being kept and named as dogs; they come to their own and avenge their wrongs.

The "Journey to Hell" story is told of Eric, who goes to a far land to fetch a princess back, and is successful. It is apparently an adventure of Swipdag, if everyone had their rights. It is also told of Thorkill, whose adventures are rather of the "True Thomas" type.

The "Test of Endurance" by sitting between fires, and the relief of the tortured and patient hero by a kindly trick, is a variant of the famous Eddic Lays concerning Agnar.

The "Robbers of the Island", evidently comes from an Icelandic source (cf. The historic "Holmveria Saga" and Icelandic folk- tales of later date), the incident of the hero slaying his slave, that the body might be mistaken for his, is archaic in tone; the powerful horse recalls Grani, Bayard, and even Sleipner; the dog which had once belonged to Unfoot (Ofote), the giant shepherd (cf. its analogues in old Welsh tales), is not quite assimilated or properly used in this story. It seems (as Dr. Rydberg suspects) a mythical story coloured by the Icelandic relater with memory full of the robber-hands of his own land.

The stratagem of "Starcad", who tried even in death to slay his slayer, seems an integral part of the Starcad story; as much as the doom of three crimes which are to be the price for the threefold life that a triple man or giant should enjoy. The noose story in Starcad (cf. that told of Bicce in the Eormenric story), is also integral.

SAXO'S MYTHOLOGY.

No one has commented upon Saxo's mythology with such brilliancy, such minute consideration, and such success as the Swedish scholar, Victor Rydberg. More than occasionally he is over- ingenious and over-anxious to reduce chaos to order; sometimes he almost loses his faithful reader in the maze he treads so easily and confidently, and sometimes he stumbles badly. But he has placed the whole subject on a fresh footing, and much that is to follow will be drawn from his "Teutonic Mythology" (cited here from the English version by Rasmus B. Anderson, London, 1889, as "T.M.").

Let us take first some of the incontestable results of his investigations that affect Saxo.

SCIOLD is the father of Gram in Saxo, and the son of Sceaf in other older authorities. Dr. Rydberg (97-101) forms the following equations for the Sciolding patriarchs: --

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