Essays on Scandinavian Literature by Hjalmar Hjorth Boyesen (e book reader online .txt) 📖

of this brooding
melancholy in his repentance of the unintentional burning of the
temple, his brooding fear of Balder,

"Who sits in the sky, and the thoughts he sends down,
Which forever are clouding my mind."

It will be seen from this that Tegnér was fully conscious of what he was doing. He civilized Frithjof, because he was addressing a civilized audience which would have taken little interest in the rude viking of the eighth century, if he had been presented to them in all his savage unrestraint. He did exactly what Tennyson did, when he made King Arthur the model of a modern English gentleman and (by implication) a Protestant a thousand years before Protestantism existed. Ingeborg, too, had to be a trifle modified and disembarrassed of a few somewhat too naturalistic traits with which the saga endows her, before she became the lovely type that she is of the faithful, loving, long-suffering, womanhood of the North, with trustful blue eyes, golden hair, and a heart full of sweet and beautiful sentiment. It was because Oehlenschläger had neglected to make sufficient concessions to modern demands that his "Helge" (though in some respects a greater poem than "Frithjof's Saga") never crossed the boundary of Scandinavia, and even there made no deep impression upon the general public.

Though the story of "Frithjof" is familiar to most readers, I may be pardoned for presenting a brief _résumé_. The general plot, in Tegnér's version, coincides in its main outlines with that of the saga. Frithjof, the son of the free yeoman Thorstein Vikingson, is fostered in the house of the peasant Hilding, with Ingeborg, the daughter of King Belë of Sogn. The King and the yeoman have been life-long friends, and each has a most cordial regard for the other.


"By sword upheld, King Belë in King's-hall stood,
Beside him Thorstein Vikingson, that yeoman good,
His battle-friend with almost a century hoary,
And deep-marked like a rune-stone with scars of glory."


The yeoman's son and the king's daughter, thrown into daily companionship in their foster-father's hall, love each other; and Frithjof, after the death of their fathers, goes to Ingeborg's brothers, Helge and Halfdan, and asks her hand in marriage. His suit is scornfully rejected, and he departs in wrath vowing vengeance. The ancient King Ring, of Ringerike, having heard of Ingeborg's beauty, sends also ambassadors to woo her. Her brothers make sacrifices in order to ascertain the will of the gods. The omens are inauspicious, and they accordingly feel compelled to decline the King's offer.

Ingeborg is shut up in Balder's Grove, where the sanctity of the temple would make it sacrilege for any one to approach her. Frithjof, however, braves the wrath of the god, and sails every night across the fjord to a stolen rendezvous with his beloved. The canto called "Frithjof's Happiness," which is brimming over with a swelling redundance of sentiment, is so cloyingly sweet that the reader must himself be in love in order to enjoy it. It is written in the key of the watch-songs of the German minnesingers and the aubades of Provençal troubadours. The Norse note is not only wanting, but would never fit into that key:


"'Hush! 'tis the lark.' Nay, those soft numbers
Of doves' faith tell that knows no rest.
The lark yet on the hillside slumbers
Beside his mate in grassy nest.
To them no king seals his dominions
When morning breaks in eastern air;
Their life is free as are their pinions
Which bear aloft the gladsome pair.

"'See day is breaking!' Nay, some tower
Far eastward sendeth forth that light;
We yet may spend another hour,
Not yet shall end the precious night.
May sleep, thou sun, thee long encumber,
And waking may'st thou linger still,
For Frithjof's sake may'st freely slumber
Till Ragnarök, be such thy will.

"Vain hope! The day its gray discloses,
Already morning breezes blow,
Already bend the eastern roses,
As fresh as Ingeborg's can glow;
The winged songsters mount and twitter
(The thoughtless throng!) along the sky,
And life starts forth, and billows glitter,
And far the shades and lover fly.

* * * * *

"Farewell, beloved: till some longer
And fairer eve we meet again.
By one kiss on thy brow the stronger
Let me depart--thy lips, once, then!
Sleep now and dream of me, and waken
When mid-day comes, and faithful tell
The hours as I yearn forsaken,
And sigh as I! Farewell, farewell!"[38]

[38] Translation of L. A. Sherman, Ph.D. Boston, 1878.


The two following cantos, entitled "The Parting" and "Ingeborg's Lament," though liable to the same criticism as their predecessor, are, with all their sentimental effusiveness, beautiful. No lover, I fancy, ever found them redundant, overstrained, spoiled by the lavish splendor of their imagery. Tegnér has accomplished the remarkable feat of interveining, as it were, his academic rhetoric with a blood-red humanity, and making the warm pulse of experience throb through the stately phrases.

King Ring, incensed at the rejection of his suit, declares war against Helge and Halfdan, who in their dire need ask Frithjof's aid, which is promptly refused. In order to be rid of him they then send him on an expedition to the Orkneys, to collect a tribute which is due to them from Earl Angantyr. He entreats Ingeborg to flee with him; but she refuses. She sees from Balder's Grove his good ship Ellida breasting the waves and weeps bitter tears at his loss:


"Swell not so high,
Billows of blue with your deafening cry!
Stars, lend assistance, a shining
Pathway defining!

"With the spring doves
Frithjof will come, but the maiden he loves
Cannot in hall or dell meet him,
Lovingly greet him.
Buried she sleeps
Dead for love's sake, or bleeding she weeps
Heart-broken, given by her brother
Unto another."


It is perfectly in keeping with the character of Norse womanhood in the saga age that Ingeborg should refuse to defy her brother's authority by fleeing with Frithjof and yet deeply mourn his departure without her. The family feeling, the bond of blood, was exceptionally strong; and submission to the social code which made the male head of the house the arbiter of his sister's fate was bred in the bone. It is, therefore, perfectly natural that, when King Ring has beaten her brothers in battle, and exacted Ingeborg as the prize of victory, she yields unmurmuringly to their decree.

Frithjof, in the meanwhile, distinguishes himself greatly in the Orkneys by his strength and prowess, gains Earl Angantyr's friendship, and returns with the tribute. As he sails into the fjord, a sight greets him which makes his heart quail. Framnaes, his paternal estate, is burnt to the ground, and the charred beams lie in a ruined heap under the smiling sky. The kings, though they had pledged their honor that they would not harm his property, had broken faith with him; and Ingeborg, in the hope of gaining whom he had undertaken the perilous voyage, was wedded to King Ring. In a white-heat of wrath and sorrow Frithjof starts out to call her perjured brothers to account. He finds them in the temple in Balder's Grove, preparing for the sacrifice. There he flings the bag containing the tribute into King Helge's face, knocking out his front teeth, and observing on his wife's arm the ring with which he had once pledged Ingeborg, he rushes at her to recover it. The woman, who had been warming the wooden image of Balder before the fire, drops, in her fright, the idol into the flame. Frithjof seizes her by the arm and snatches the ring from her. In the general confusion that follows the temple takes fire, and all attempts to quench the flames are futile. In consequence of this sacrilege Frithjof is outlawed at the _Thing_ as a _vargr-i-véum_, _i.e._, wolf in the sanctuary, and is forced to go into exile. His farewell to his native land strikes one as being altogether out of tune. The old Norse viking is made to anticipate sentiments which are of far later growth; but for all that the verses are quite stirring:


"Brow of creation,
Thou North sublime!
I have no station
Within thy clime.
Proud, hence descended
My race I tell;
Of heroes splendid,
Fond nurse, farewell!

* * * * *

My love false-hearted,
My manor burned,
My name departed,
An outlaw, spurned,
I now appealing
From earth, will dwell
With waves, for healing.
Farewell, farewell!"[39]

[39] Sherman's translation.


Frithjof now roams for many years over the sea as a viking, and gains much booty and honor. His viking code, with its swift anapestic rhythm, has a breezy melody which sings in the ear. It is an attempt to embody the ethics of Norse warfare at its best, and to present in the most poetic light the rampant, untamable individualism of the ancient Germanic paganism. In defiance of his friend Björn's advice, Frithjof, weary of this bootless chase for glory and pelf, resolves to see Ingeborg once more before he dies, and, disguised as a salt-boiler, he enters King Ring's hall. There he sees his beloved sitting in the high-seat beside her aged lord; and the sorrow which the years had dulled revives with an exquisite agony. He punishes with fierce promptitude one of the King's men who insults him; and his answer to the King's rebuke betrays him as a man of rank and station. He then throws away his disguise, without, however, revealing his name, but Ingeborg instantly recognizes him.


"Then even to her temples the queen's deep blushes sped,
As when the northlight tinges the snow-clad fields with red,
And like two full-blown lilies on racking waves which rest,
With ill-concealed emotion so heaved her throbbing breast."


The king now invites the stranger, who calls himself Thjof, to remain his guest during the winter, and Frithjof accepts. He makes, however, no approach to Ingeborg, with whom he scarcely exchanges a single word. During a sleigh-ride on the ice he saves, by a tremendous feat of strength, the life of the king and queen. With the coming of the spring preparations are made for a grand chase, in which Frithjof participates.

"Spring is coming, birds are twittering, forests leaf, and smiles