The basis of modern storytelling in both cinema and television lies deeply rooted in the mythological tradition. The Disney Corporation is notorious among cultural study scholars for ‘reinventing’ traditional childhood myths. While many films are not as obvious as Disney fairy tales in respect to the employment of myth, the plots of many films are largely based on the rough structure of the myth such as the cautionary tale regarding the abuse of technology, battles between gods, and creation stories are often the subject of major film productions. Folklore, myths and legends are very much a part of our life today, and it is hoped that the current reader is inspired to find out more about this fascinating subject.
LEGENDS OF THE MIDDLE AGES
NARRATED WITH SPECIAL REFERENCE TO LITERATURE AND ART
BY
H.A. GUERBER
“Saddle the Hippogriffs, ye Muses nine,
And straight we’ll ride to the land of old Romance”
- WIELAND
DEDICATED TO MY SISTER ADELE E. GUERBER
“Men lykyn jestis for to here,
And romans rede in diuers manere
“Of Brute that baron bold of hond,
The first conqueroure of Englond;
Of kyng Artour that was so riche,
Was non in his tyme him liche.
“How kyng Charlis and Rowlond fawght
With sarzyns nold they be cawght;
Of Tristrem and of Ysoude the swete,
How they with love first gan mete;
“Stories of diuerce thynggis,
Of pryncis, prelatis, and of kynggis;
Many songgis of diuers ryme,
As english, frensh, and latyne.”
Curser Mundi.
PREFACE.
The object of this work is to familiarize young students with the legends which form the staple of mediaeval literature.
While they may owe more than is apparent at first sight to the classical writings of the palmy days of Greece and Rome, these legends are very characteristic of the people who told them, and they are the best exponents of the customs, manners, and beliefs of the time to which they belong. They have been repeated in poetry and prose with endless variations, and some of our greatest modern writers have deemed them worthy of a new dress, as is seen in Tennyson’s “Idyls of the King,” Goethe’s “Reineke Fuchs,” Tegnér’s “Frithiof Saga,” Wieland’s “Oberon,” Morris’s “Story of Sigurd,” and many shorter works by these and less noted writers.
These mediaeval legends form a sort of literary quarry, from which, consciously or unconsciously, each writer takes some stones wherewith to build his own edifice. Many allusions in the literature of our own day lose much of their force simply because these legends are not available to the general reader.
It is the aim of this volume to bring them within reach of all, and to condense them so that they may readily be understood. Of course in so limited a space only an outline of each legend can be given, with a few short quotations from ancient and modern writings to illustrate the style of the poem in which they are embodied, or to lend additional force to some point in the story.
This book is, therefore, not a manual of mediaeval literature, or a series of critical essays, but rather a synopsis of some of the epics and romances which formed the main part of the culture of those days. Very little prominence has been given to the obscure early versions, all disquisitions have been carefully avoided, and explanations have been given only where they seemed essential.
The wealth and variety of imagination displayed in these legends will, I hope, prove that the epoch to which they belong has been greatly maligned by the term “dark ages,” often applied to it. Such was the favor which the legendary style of composition enjoyed with our ancestors that several of the poems analyzed in this volume were among the first books printed for general circulation in Europe.
Previous to the invention of printing, however, they were familiar to rich and poor, thanks to the scalds, bards, trouvères, troubadours, minstrels, and minnesingers, who, like the rhapsodists of Greece, spent their lives in wandering from place to place, relating or reciting these tales to all they met in castle, cottage, and inn.
A chapter on the Romance literature of the period in the different countries of Europe, and a complete index, will, it is hoped, fit this volume for handy reference in schools and libraries, where the author trusts it may soon find its own place and win a warm welcome.
CHAPTER I.
BEOWULF.
“List! we have learnt a tale of other years,
Of kings and warrior Danes, a wondrous tale,
How aethelings bore them in the brunt of war.”
Beowulf (Conybeare’s tr.).
The most ancient relic of literature of the spoken languages of modern Europe is undoubtedly the epic poem “Beowulf,” which is supposed to have been composed by the Anglo-Saxons previous to their invasion of England. Although the poem probably belongs to the fifth century, the only existing manuscript is said to date from the ninth or tenth century.
This curious work, in rude alliterative verse (for rhyme was introduced in England only after the Norman Conquest), is the most valuable old English manuscript in the British Museum. Although much damaged by fire, it has been carefully studied by learned men. They have patiently restored the poem, the story of which is as follows:
[Sidenote: Origin of the Skioldungs.] Hrothgar (the modern Roger), King of Denmark, was a descendant of Odin, being the third monarch of the celebrated dynasty of the Skioldungs. They proudly traced their ancestry to Skeaf, or Skiold, Odin’s son, who mysteriously drifted to their shores. He was then but an infant, and lay in the middle of a boat, on a sheaf of ripe wheat, surrounded by priceless weapons and jewels. As the people were seeking for a ruler, they immediately recognized the hand of Odin in this mysterious advent, proclaimed the child king, and obeyed him loyally as long as he lived. When he felt death draw near, Skeaf, or Skiold, ordered a vessel to be prepared, lay down in the midst on a sheaf of grain or on a funeral pyre, and drifted out into the wide ocean, disappearing as mysteriously as he had come.
[Sidenote: Construction of Heorot.] Such being his lineage, it is no wonder that Hrothgar became a mighty chief; and as he had amassed much wealth in the course of a long life of warfare, he resolved to devote part of it to the construction of a magnificent hall, called Heorot, where he might feast his retainers and listen to the heroic lays of the scalds during the long winter evenings.
“A hall of mead, such as for space and state
The elder time ne’er boasted; there with free
And princely hand he might dispense to all
(Save the rude crowd and men of evil minds)
The good he held from Heaven. That gallant work,
Full well I wot, through many a land was known
Of festal halls the brightest and the best.”
Beowulf (Conybeare’s tr.).
The inauguration of this hall was celebrated by a sumptuous entertainment; and when all the guests had retired, the king’s bodyguard, composed of thirty-two dauntless warriors, lay down in the hall to rest. When morning dawned, and the servants appeared to remove the couches, they beheld with horror the floor and walls all stained with blood, the only trace of the knights who had gone to rest there in full armor.
[Sidenote: The monster Grendel.] Gigantic, blood-stained footsteps, leading directly from the festive hall to the sluggish waters of a deep mountain lake, or fiord, furnished the only clew to their disappearance.