GEORGE HICKES (1642-1715).

The next book in the list that contains an English contribution to the knowledge of our subject is the _Thesaurus_ of George Hickes. On p. 193 of Part I, there is a prose translation of "The Awakening of Angantyr,"

from the _Harvarar Saga_. Acknowledgment is given to Verelius for the text of the poem, but Hickes seems to have chosen this poem as the gem of the Saga. The translation is another proof of an antiquarian's taste and judgment, and the reader does not wonder that it soon found a wider audience through another publication. It was reprinted in the books of 1716 and 1770 in the above list. An extract or two will show that the vigor of the old poem has not been altogether lost in the translation:

_Hervor_.--Awake Angantyr, Hervor the only daughter of thee and Suafu doth awaken thee. Give me out of the tombe, the hardned[9] sword, which the dwarfs made for Suafurlama. Hervardur, Hiorvardur, Hrani, and Angantyr, with helmet, and coat of mail, and a sharp sword, with sheild and accoutrements, and b.l.o.o.d.y spear, I wake you all, under the roots of trees. Are the sons of Andgrym, who delighted in mischief, now become dust and ashes, can none of Eyvors sons now speak with me out of the habitations of the dead! Harvardur, Hiorvardur! so may you all be within your ribs, as a thing that is hanged up to putrifie among insects, unlesse you deliver me the sword which the dwarfs made ... and the glorious belt.

_Angantyr_.--Daughter Hervor, full of spells to raise the dead, why dost thou call so? wilt thou run on to thy own mischief? thou art mad, and out of thy senses, who art desperatly resolved to waken dead men. I was not buried either by father or other freinds. Two which lived after me got Tirfing, one of whome is now possessor thereof.

_Hervor_.--Thou dost not tell the truth: so let Odin hide thee in the tombe, as thou hast Tirfing by thee. Art thou unwilling, Angantyr, to give an inheritance to thy only child?...

_Angantyr_.--Fals woman, thou dost not understand, that thou speakest foolishly of that, in which thou dost rejoice, for Tirfing shall, if thou wilt beleive me, maid, destroy all thy offspring.

_Hervor_.--I must go to my seamen, here I have no mind to stay longer.

Little do I care, O Royall friend, what my sons hereafter quarrell about.

_Angantyr_.--Take and keep Hialmars bane, which thou shalt long have and enjoy, touch but the edges of it, there is poyson in both of them, it is a most cruell devourer of men.

_Hervor_.--I shall keep, and take in hand, the sharp sword which thou hast let me have: I do not fear, O slain father! what my sons hereafter may quarrell about.... Dwell all of you safe in the tombe, I must be gon, and hasten hence, for I seem to be, in the midst of a place where fire burns round about me.

One can well understand, who handles the ponderous _Thesaurus_, why the first English lovers of Old Norse were antiquarians. "The Awakening of Angantyr" is literally buried in this work, and only the student of Anglo-Saxon prosody would come upon it una.s.sisted, since it is an ill.u.s.tration in a chapter of the _Grammaticae Anglo-Saxonicae et Moeso-Gothicae_. Students will remember in this connection that it was a work on poetics that saved for us the original Icelandic _Edda_. The Icelandic skald had to know his nation's mythology.

THOMAS PERCY (1729-1811).

The t.i.tle of Chapter XXIII in Hickes' work indicates that even among learned doctors mistaken notions existed as to the relationship of the Teutonic languages. It took more than a hundred years to set the error right, but in the meanwhile the literature of Iceland was becoming better known to English readers. To the French scholar, Paul Henri Mallet (1730-1807), Europe owes the first popular presentation of Northern antiquities and literature. Appointed professor of belles-lettres in the Copenhagen academy he found himself with more time than students on his hands, because not many Danes at that time understood French. His leisure time was applied to the study of the antiquities of his adopted country, the King's commission for a history of Denmark making that necessary. As a preface to this work he published, in 1755, an _Introduction a l'Histoire de Dannemarc ou l'on traite de la Religion, des Lois, des Moeurs et des Usages des Anciens Danois_, and, in 1756, the work in the list on a previous page. In this second book was the first translation into a modern tongue of the _Edda_, and this volume, in consequence, attracted much attention. The great English antiquarian, Thomas Percy, afterward Bishop of Dromore, was early drawn to this work, and with the aid of friends he accomplished a translation of it, which was published in 1770.

Mallet's work was very bad in its account of the racial affinities of the nations commonly referred to as the barbarians that overturned the Roman empire and culture. Percy, who had failed to edit the ballad MSS.

so as to please Ritson, was wise enough to see Mallet's error, and to insist that Celtic and Gothic antiquities must not be confounded.

Mallet's translation of the _Edda_ was imperfect, too, because he had followed the Latin version of Resenius, which was notoriously poor.

Percy's _Edda_ was no better, because it was only an English version of Mallet. But we are not concerned with these critical considerations here; and so it will be enough to record the fact that with the publication of Percy's _Northern Antiquities_--the English name of Mallet's work--in 1770, knowledge of Icelandic literature pa.s.sed from the exclusive control of learned antiquarians. More and more, as time went on, men went to the Icelandic originals, and translations of poems and sagas came from the press in increasing numbers. In the course of time came original works that were inspired by Old Norse stories and Old Norse conceptions.

We have already noted that Gray's poems on Icelandic themes, though written in 1761, were not published until 1768. Another delayed work on similar themes was Percy's _Five Pieces of Runic Poetry_, which, the author tells us, was prepared for the press in 1761, but, through an accident, was not published until 1763. The preface has this interesting sentence: "It would be as vain to deny, as it is perhaps impolitic to mention, that this attempt is owing to the success of the Erse fragments." The book has an appendix containing the Icelandic originals of the poems translated, and that portion of the book shows that a scholar's hand and interest made the volume. So, too, does the close of the preface: "That the study of ancient northern literature hath its important uses has been often evinced by able writers: and that it is not dry or unamusive this little work it is hoped will demonstrate. Its aim at least is to shew, that if those kind of studies are not always employed on works of taste or cla.s.sic elegance, they serve at least to unlock the treasures of native genius; they present us with frequent sallies of bold imagination, and constantly afford matter for philosophical reflection by showing the workings of the human mind in its almost original state of nature."

That original state was certainly one of original sin, if these poems are to be believed. Every page in this volume is drenched with blood, and from this book, as from Gray's poems and the other Old Norse imitations of the time, a picture of fierceness and fearfulness was the only one possible. Percy intimates in his preface that Icelandic poetry has other tales to tell besides the "Incantation of Hervor," the "Dying Ode of Regner Lodbrog," the "Ransome of Egill the Scald," and the "Funeral Song of Hacon," which are here set down; he offers the "Complaint of Harold" as a slight indication that the old poets left "behind them many pieces on the gentler subjects of love or friendship."

But the time had not come for the presentation of those pieces.

All of these translations were from the Latin versions extant in Percy's time. This volume copied Hickes's translation of "Hervor's Incantation"

modified in a few particulars, and like that one, the other translations in this volume were in prose. The work is done as well as possible, and it remained for later scholars to point out errors in translation. The negative contractions in Icelandic were as yet unfamiliar, and so, as Walter Scott pointed out (in _Edin. Rev._, Oct., 1806), Percy made Regner Lodbrog say, "The pleasure of that day (of battle, p. 34 in this _Five Pieces_) was like having a fair virgin placed beside one in the bed," and "The pleasure of that day was like kissing a young widow at the highest seat of the table," when the poet really made the contrary statement.

Of course, the value of this book depends upon the view that is taken of it. Intrinsically, as literature, it is well-nigh valueless. It indicates to us, however, a constantly growing interest in the literature it reveals, and it undoubtedly directed the attention of the poets of the succeeding generation to a field rich in romantic possibilities. That no great work was then created out of this material was not due to neglect. As we shall see, many puny poets strove to breathe life into these bones, but the divine power was not in the poets. Some who were not poets had yet the insight to feel the value of this ancient literature, and they made known the facts concerning it. It seems a mechanical and unpromising way to have great poetry written, this calling out, "New Lamps for Old." Yet it is on record that great poems have been written at just such instigation.

THOMAS WARTON (1728-1790).

Historians[10] of Romanticism have marked Warton's _History of English Poetry_ as one of the forces that made for the new idea in literature.

This record of a past which, though out of favor, was immeasurably superior to the time of its historian, spread new views concerning the poetic art among the rising generation, and suggested new subjects as well as new treatments of old subjects. We have mentioned the fact that Gray handed over to Warton his notes for a contemplated history of poetry, and that Warton found no place in his work for Gray's adaptations from the Old Norse. Warton was not blind to the beauties of Gray's poems, nor did he fail to appreciate the merits of the literature which they ill.u.s.trated. His scheme relegated his remarks concerning that poetry to the introductory dissertation, "Of the Origin of Romantic Fiction in Europe." What he had to say was in support of a theory which is not accepted to-day, and of course his statements concerning the origin of the Scandinavian people were as wrong as those that we found in Mallet and Temple. But with all his misinformation, Warton managed to get at many truths about Icelandic poetry, and his presentation of them was fresh and stimulating. Already the Old Norse mythology was well known, even down to Valhalla and the mistletoe. Old Norse poetry was well enough known to call forth this remark:

"They (the 'Runic' odes) have a certain sublime and figurative cast of diction, which is indeed one of their predominant characteristics....

When obvious terms and phrases evidently occurred, the Runic poets are fond of departing from the common and established diction. They appear to use circ.u.mlocution and comparisons not as a matter of necessity, but of choice and skill: nor are these metaphorical colourings so much the result of want of words, as of warmth of fancy." The note gives these examples: "Thus, a rainbow is called, the bridge of the G.o.ds. Poetry, the mead of Odin. The earth, the vessel that floats on ages. A ship, the horse of the waves. A tongue, the sword of words. Night, the veil of cares."

A study of the notes to Warton's dissertation reveals the fact that he had made use of the books already mentioned in the list on a previous page, and of no others that are significant. But such excellent use was made of them, that it would seem as if nothing was left in them that could be made valuable for spreading a knowledge of and an enthusiasm for Icelandic literature. When it is remembered that Warton's purpose was to prove the Saracenic origin of romantic fiction in Europe, through the Moors in Spain, and that Icelandic literature was mentioned only to account for a certain un-Arabian tinge in that romantic fiction, the wonder grows that so full and fresh a presentation of Old Norse poetry should have been made. He puts such pa.s.sages as these into his ill.u.s.trative notes: "Tell my mother Suanhita in Denmark, that she will not this summer comb the hair of her son. I had promised her to return, but now my side shall feel the edge of the sword." There is an appreciation of the poetic here, that makes us feel that Warton was not an unworthy wearer of the laurel. He insists that the Saxon poetry was powerfully affected by "the old scaldic fables and heroes," and gives in the text a translation of the "Battle of Brunenburgh" to prove his case. He admires "the scaldic dialogue at the tomb of Angantyr," but wrongly attributes a beautiful translation of it to Gray. He quotes at length from "a n.o.ble ode, called in the northern chronicles the Elogium of Hacon, by the scald Eyvynd; who, for his superior skill in poetry was called the Cross of Poets (Eyvindr Skalldaspillir), and fought in the battle which he celebrated."

He knows how Iceland touched England, as this pa.s.sage will show: "That the Icelandic bards were common in England during the Danish invasions, there are numerous proofs. Egill, a celebrated Icelandic poet, having murthered the son and many of the friends of Eric Blodaxe, king of Denmark or Norway, then residing in Northumberland, and which he had just conquered, procured a pardon by singing before the king, at the command of his queen Gunhilde, an extemporaneous ode. Egill compliments the king, who probably was his patron, with the appellation of the English chief. 'I offer my freight to the king. I owe a poem for my ransom. I present to the ENGLISH CHIEF the mead of Odin.' Afterwards he calls this Danish conqueror the commander of the Scottish fleet. 'The commander of the Scottish fleet fattened the ravenous birds. The sister of Nera (Death) trampled on the foe: she trampled on the evening food of the eagle.'"

So wide a knowledge and so keen an appreciation of Old Norse in a Warton, whose interest was chiefly elsewhere, argues for a spreading popularity of the ancient literature. Thus far, only Gray has made living English literature out of these old stories, and he only two short poems. There were other attempts to achieve poetic success with this foreign material, but a hundred exacting years have covered them with oblivion.

DRAKE (1766-1836). MATHIAS (1754-1835).

In the second decade of the nineteenth century, Nathan Drake, M.D., made a strong effort to popularize Norse mythology and literature. The fourth edition of his work ent.i.tled _Literary Hours_ (London, 1820) contains[11] an appreciative article on the subject, the fullness of which is indicated in these words from p. 309:

"The most striking and characteristic parts of the Scandinavian mythology, together with no inconsiderable portion of the manners and customs of our northern ancestors, have now pa.s.sed before the reader; their theology, warfare, and poetry, their gallantry, religious rites, and superst.i.tions, have been separately, and, I trust, distinctly reviewed."

The essay is written in an easy style that doubtless gained for it many readers. All the available knowledge of the subject was used, and a clearer view of it was presented than had been obtainable in Percy's "Mallet." The author was a thoughtful man, able to detect errors in Warton and Percy, but his zeal in his enterprise led him to praise versifiers inordinately that had used the "Gothic fables." He quotes liberally from writers whose books are not to be had in this country, and certainly the uninspired verses merit the neglect that this fact indicates. He calls Sayers' pen "masterly" that wrote these lines:

Coucher of the ponderous spear, Thou shout'st amid the battle's stound-- The armed Sisters hear, Viewless hurrying o'er the ground They strike the destin'd chiefs and call them to the skies.

(P. 168.)

From Penrose he quotes such lines as these:

The feast begins, the skull goes round, Laughter shouts--the shouts resound.

The gust of war subsides--E'en now The grim chief curls his cheek, and smooths his rugged brow.

(P. 171.)

From Sterling comes this imitation of Gray:

Now the rage of combat burns, Haughty chiefs on chiefs lie slain; The battle glows and sinks by turns, Death and carnage load the plain.

(P 172.)

From these extracts, it appears that the poets who imitated Gray considered that only "dreadful songs," like his, were to be found in Scandinavian poetry.

Downman, Herbert and Mathias are also adduced by Dr. Drake as examples of poets who have gained much by Old Norse borrowings, but these borrowings are invariably scenes from a chamber of horrors. It occurs to me that perhaps Dr. Drake had begun to tire of the spiritless echoes of the cla.s.sical schools, and that he fondly hoped that such shrieks and groans as those he admired in this essay would satisfy his cravings for better things in poetry. But the critic had no adequate knowledge of the way in which genius works. His one desire in these studies of Scandinavian mythology was "to recommend it to the votaries of the Muse, as a machinery admirably constructed for their purpose" (p. 158). He hopes for "a more extensive adoption of the Scandinavian mythology, especially in our _epic_ and _lyric_ compositions" (p. 311). We smile at the notion, to-day, but that very conception of poetry as "machinery" is characteristic of a whole century of our English literature.

The Mathias mentioned by Drake is Thomas James Mathias, whose book, _Odes Chiefly from the Norse Tongue_ (London, 1781), received the distinction of an American reprint (New York, 1806). Bartholinus furnishes the material and Gray the spirit for these pieces.

AMOS S. COTTLE(1768-1800). WILLIAM HERBERT (1778-1847).

In this period belong two works of translation that mark the approach of the time when Old Norse prose and poetry were to be read in the original. As literature they are of little value, and they had but slight influence on succeeding writers.

At Bristol, in 1797, was published _Icelandic Poetry, or, The Edda of Saemund translated into English Verse_, by A.S. Cottle of Magdalen College, Cambridge. This work has an Introduction containing nothing worth discussing here, and an "Epistle" to A.S. Cottle from Robert Southey. The laureate, in good blank verse, discourses on the Old Norse heroes whom he happens to know about. They are the old favorites, Regner Lodbrog and his sons; in Southey's poem the foeman's skull is, as usual, the drinking cup. It was certainly time for new actors and new properties to appear in English versions of Scandinavian stories.

The translations are twelve in number, and evince an intelligent and facile versifier. When all is said, these old songs could contribute to the pleasure of very few. Only a student of history, or a poet, or an antiquarian, would dwell with loving interest on the lays of Vafthrudnis, Grimner, Skirner and Hymer (as Cottle spells them).

Besides, they are difficult to read, and must be abundantly annotated to make them comprehensible. In such works as this of Cottle, a Scott might find wherewith to lend color to a story or a poem, but the common man would borrow Walpole's words, used in characterizing Gray's "Odes": "They are not interesting, and do not ... touch any pa.s.sion; our human feelings ... are not here affected. Who can care through what horrors a Runic savage arrived at all the joys and glories they could conceive--the supreme felicity of boozing ale out of the skull of an enemy in Odin's hall?"[12]