Ireland we meet with similar ideas. On the death of Laeghaire (King Lear), his body was carried to Tara and interred with his arms and cuirass, and with his face turned towards his enemies, as if still threatening them. Eoghan, King of Connaught, was so buried in Sligo, and as long as his dead head looked towards Ulster, the Connaught men were victorious; so the Ulster men disinterred him and buried him face downwards, and then gained the victory. According to Welsh tradition, the head of Bran was buried with the face to France, so that no invasion could come from thence. A Welsh story says that the son of Lear bade his companions cut off his head, take it to the White Hill in London, and bury it there, with the face directed towards France. The head of man and beast, when cut off, was thought to be gifted with oracular powers, and the piping of the wind in the skulls over the house gables was interpreted—as he who consulted it desired.
In an account we have of the Wends in the fifteenth century, we are told that they set up the heads of horses and cows on stakes above their stables to drive away disease from their cattle, and they put the skull of a horse under the fodder in the manger to scare away the hobgoblins who ride horses at night. In Holland, horses’ heads are hung up over pigstyes, and in Mecklenburg they are placed under the pillows of the sick to drive away fever. It must be remembered that pest or fever was formerly, and is still among the superstitious Slaves, held to be a female deity or spirit of evil.
Now we can understand whence came the headless horses, so common in superstition, as premonitions of death. Sometimes a horse is heard galloping along a road or through a street. It is seen to be headless. It stops before a door, or it strikes the door with its hoof. That is a sure death token. The reader may recall Albert Dürer’s engraving of the white horse at a door, waiting for the dead soul to mount it, that it may bear him away to the doleful realms of Hæla. In Denmark and North Germany the “Hell-horse” is well known. It has three legs, and is not necessarily headless. It looks in at a window and neighs for a soul to mount it. The image of Death on the Pale Horse in the Apocalypse was not unfamiliar to the Norse and German races. They knew all about Odin’s white horse that conveyed souls to the drear abode.
Properly, every village, every house had its own hell-horse. Indeed, it was not unusual to bury a live horse in a churchyard, to serve the purpose of conveying souls. A vault was recently opened in a church at Görlitz, which was found to contain a skeleton of a horse only, and this church and yard had long been believed to be haunted by a hell-horse. The horse whose head was set up over the gable of a house was the domestic spirit of the family, retained to carry the souls away.
The child’s hobby-horse is the degraded hell-horse. The grey or white hobby was one of the essential performers in old May Day mummings, and this represents the pale horse of Odin, as Robin Hood represents Odin himself.[10] We see in the hobby-horse the long beam of the principal with the head at the end. It was copied therefrom, and the copy remains long after the original has disappeared from among us.
A man was on his way at night from Oldenburg to Heiligenhafen. When he came near the gallows-hill he saw a white horse standing under it. He was tired, and jumped on its back. The horse went on with him, but became larger and larger at every step, and whither that ghostly beast would have carried him no one can say; but, fortunately, the man flung himself off the back. In Sweden the village of Hästveda is said to take its name from häst-hvith, a white horse which haunts the churchyard and village.
In Bürger’s ballad of Leonore, the dead lover comes riding at night to the door of the maiden, and persuades her to mount behind him. Then the horse dashes off.
“How fast, how fast, fly darting past
Hill, mountain, tree, and bower;
Right, left, and right, they fly like light,
Hamlet, and town, and tower.
‘Fear’st thou, my love? The moon shines bright.
Hurrah! the dead ride fast by night,
And dost thou dread the silent dead?’ ”
They dash past a graveyard in which is a mourning train with a coffin. But the funeral is interrupted; the dead man must follow horse and rider.
Fig. 7.—OLD TEMPLE BAR, WITH TRAITORS’ HEADS.
They pass a gallows, round which a ghostly crew are hovering. The hanging men and the spectral dance must follow.
The rider carries his bride to a churchyard, and plunges down with her into a vault.
Bürger has utilised for his ballad a tradition of Woden as the God of the Dead, carrying off the souls on his hell-horse. The story is found in many places; amongst others in Iceland, and variously modified.
The nightmare is the same horse coming in and trampling on the sleeper’s chest. The reader will remember Fuseli’s picture of the head of the spectre horse peering in at the sleeper between the curtains of her bed, whilst an imp sits on and oppresses her bosom.
But the horse is not always ridden. Modern ideas, modern luxury, have invaded the phantom world, and now—we hear of death-coaches drawn by headless horses. These are black, like mourning carriages, and the horses are sable; a driver sits on the box; he is in black, but he has no weeper to his hat, because he has not a hat. He has not a hat, because he is without a head. The death-coach is sometimes not seen, but heard. At others it is seen, not heard. It rolls silently as a shadow along the road.
But, indeed, Woden had a black horse as well as one that was white. Rime-locks (Hrimfaxi) was his sable steed, and Shining-locks (Skinfaxi) his white one. The first is the night horse, from whose mane falls the dew; the second is the day horse, whose mane is the morning light. One of the legends of St. Nicholas refers to these two horses, which have been transferred to him when Woden was displaced. The saint was travelling with a black and a white steed, when some evil-minded man cut off their heads at an inn where they were spending the night. When St. Nicholas heard what had been done, he sent his servant to put on the heads again. This the man did; but so hurriedly and carelessly, that he put the black head on the white trunk, and vice versâ. In the morning St. Nicholas saw, when too late, what had been done. The horses were alive and running. This legend refers to the morning and the evening twilights, part night and part day. The morning twilight has the body dark and the head light; and the evening twilight has the white trunk and the black head.
St. Nicholas has taken Odin’s place in other ways. As Saint Klaus he appears to children at Yule. The very name is a predicate of the god of the dead. He is represented as the patron of ships; indeed, St. Nicholas is a puzzle to ecclesiastical historians—his history and his symbols and cult have so little in common. The reason is, that he has taken to him the symbols, and myths, and functions of the Northern god. His ship is Odin’s death-ship, constructed out of dead men’s finger and toe-nails.
Fig. 8.—A GABLE, CHARTRES.
In Denmark, a shovelful of oats is thrown out at Yule for Saint Klaus’s horse; if this be neglected, death enters the house and claims a soul. When a person is convalescent after a dangerous illness, he is said to have “given a feed to Death’s Horse.” The identification is complete. Formerly, the last bundle of oats in a field was cast into the air by the reapers “for Odin at Yule to feed his horse.” And in the writer’s recollection it was customary in Devon for the last sheaf to be raised in the air with the cry, “A neck Weeday!” That is to “Nickar Woden.”
The sheaf of corn, which is fastened in Norway and Denmark to the gable of a house, is now supposed to be an offering to the birds; originally, it was a feed for the pale horse of the death-god Woden. And now we see the origin of the bush which is set up when a roof is completed, and also of the floral hip-knobs of Gothic buildings. Both are relics of the oblation affixed to the gable made to the horse of Woden—corn, or hay, or grass; and this is also the origin of the “palms,” poles with bouquets at the top, erected in the Black Forest to keep off lightning.
A little while ago the writer