THE SOGNE FJORD
From the brilliant and heroic Viking age originate those priceless gems
of early literature, the "Eddas" and "Sagas," poems and prose of the
greatest beauty.
The "Eddas" chronicle the exploits of pagan gods and legendary heroes,
in no way historical; they are purely mythological. They convey to us
in the form of poetry an idea of the pagan mythology of the North in
pre-Christian times. They were written at a period following on the
first settlement of Iceland, which was accomplished by pagan Celts and
Norwegians in the days of Harald Haarfagre, about A.D. 874, and they
were continued long after the introduction there of {48} Christianity
by King Olav Trygvesson, A.D. 1000.
Snorre Sturlason, the Skald, about A.D. 1220 composed what is known as
the "Younger Edda," being inspired by the oldest poetry in the Celtic
and Icelandic languages.
The "Sagas" had their beginning in oral tradition. They celebrated the
deeds and exploits of heroic men of the early Viking age. These
stories were greatly embellished by the "Saga"-makers, who related them
in the halls of petty kings and chieftains at great feasts, and we may
be sure they delighted the hearers, who took part in imagination in the
lively doings of their brave ancestors.
The learned Ari Frodi was first to commit these "Sagas" to writing in
the year 1130. From these early writings we gather some information
regarding the heathen gods of mythology.
[Sidenote: Heathen mythology]
We learn that Odin was all-father and god of war. Thor, the son of
Odin the Thunderer, was ruler of the air and a {49} deadly foe to
"jotuns" (giants) and wizards. Niord was controller of winds and
protector of sailors, and Freya was the goddess of peace. Balder the
Beautiful was the sun-god. "Trolds" are spirits of the mountains,
forests, and lakes, and "valkyries" are the beautiful maidens of Odin.
Asgaard was the home of the "æsir" (gods), Valhalla the hall of the
departed heroes in Asgaard. Neiffelheim was the frozen underworld, and
Muspelheim the place of heat and fire, while Loki was the enemy of the
gods (Lucifer).
Images of these gods were placed in the pagan temple, which was called
"Hov," or "Hove." This edifice was built of stone or wood. It
consisted of a nave and chancel. In the centre of the nave stood a
large flat fireplace of stone, on which the flesh of the sacrifice was
cooked. The smoke from the burning found its way through a square hole
in the roof. Rude benches ran along the sides of the walls, and in the
midst of {50} these was placed, in a conspicuous position, the high
seat, with its great carved pillars ("stolper"), and it was on this
seat that the heathen chief sat who officiated at the sacrificial rites.
In the centre of the chancel stood the altar. This was placed on a
slight elevation, above the hard earthen floor of the temple. Ranged
at the back of the altar were the wooden images of the pagan gods, with
the principal one--oftest Thor--in the centre. On the altar the victim
of the sacrifice--usually an animal, but sometimes a human being--was
slain and laid, and the blood was caught in huge bowls of wood or
metal, kept expressly for that purpose. The blood was then sprinkled
on the altar and walls, on the images of the gods, and on those
worshipping.
Hung on to the altar was a large golden ring, which the officiating
chieftain bore around during the mystic rites and ceremonies. On this
ring were sworn all oaths at the "Thing" meeting, or {51} local
Parliament, which generally met on the same day, at the conclusion of
the ceremonies.
[Sidenote: A pagan temple]
Hove Kirke, at Vik, in the Sogne Fjord, is a fair example of such a
temple. It dates from the eleventh century. It was restored by the
Norwegian architect Blix in 1880. Built of stone, it is picturesquely
situated on an eminence, at an elevation of some 200 feet. It
overlooks the village and bay of Vik, and across the Sogne Fjord the
prospect terminates in the glacier of Vetle Fjord, and the high and
rugged mountains of Fjærland.
Nearer the village, and on a conical mound, stands also the wooden
"Stav" church, which here forms the subject of our illustration.
Dating from the twelfth century, it is one of the finest examples of
its kind in existence in the country. It is now owned by the Society
for the Preservation of Norwegian Monuments of Antiquity.
Inside this church, among other quaint objects of interest, is a
baldaquin, {52} decorated with early medieval paintings and richly
carved. The massive church portals show also antique carving in bold
design, and some fine old hinges almost cover the heavy door with their
decoration.
[Sidenote: Superstitious beliefs]
Superstition is not yet quite extinct in Sogn. In places such as Vik,
where the mountains are high and steep, and the valley is narrow and
wild, it is no wonder that the peasants retain to a great degree the
superstitious beliefs of their ancestors.
Hearing from childhood those weird fairy tales and legends which are
the fireside sagas of the peasantry, and spending their whole lives in
association with such relics of antiquity as these hoary churches and
the scattered burial-mounds ("grav-haug") of dead warriors of pagan
times, we can quite understand why it is that vestiges of heathen
superstition still exist among the peasantry, and it is discovered in
many a quaint form in their daily lives, even in these enlightened days.
If we stroll among the farmsteads, we {53} may observe a cross within a
circle painted on many a barn-door and outhouse, this being done as a
protection against the mischievous tricks of the "trolds" (gnomes).
These are believed to live up in the wildest and most lonely places in
the mountains. Whenever cattle on the farm fall sick, it is put down
to the work of the "trolds."
[Illustration: Vik "Stav-kirke" Sogne Fjord]
On Christmas Eve the peasants burn a candle all night in the house, and
at early morning they go into the cow-house and singe each cow on the
tail as a protection against sickness.
"Trolds" are thought to be very musical. If there is an exceptionally
clever fiddler at a wedding feast, the peasants say that the performer
must have been up the mountains and learnt from the "trolds," who are
believed to play weird and bewitching music in the loneliest recesses
of the mountains.
In addition to "trolds," there are "huldr" (fairies or sprites). These
are said to be very beautiful, and they {54} sometimes assume human
form, the only difference being that they have a cow's tail. These
"huldr" have their abode underground, and always close by the farm
buildings.
It is told that on one occasion a servant-girl by ill-chance threw hot
water out from the kitchen door, and immediately the "huldr" called out
noisily, screaming that the hot water was scalding them and their
children underground. Peasant women to this day will never throw out
hot water from their doorways without first saying, "Take care, you who
under live." Should children fall sick, the neighbours will say that
"the mother cannot expect anything else, for she is in the habit of
throwing hot water from the doorway, and the 'huldr' are having
revenge."
There is a legend relating to a peasant girl who, on her way to a
lonely "sæter," or mountain out-farm, heard a voice near her call out,
"Tell Turid that Tarald is dead." The girl could see no one near, and
{55} on arriving at the "sæter" told the other girls there what she had
heard; immediately there came a loud cry out of the ground, "Oh, it is
me who is called Turid, and Tarald is my husband."
A similar story is found in Plutarch, A.D. 120, in which he relates
that a skipper sailing among the Greek islands heard a voice which
called out, "Thamus." Thamus was the name of the skipper. Twice the
voice called out, and he did not answer; but on hearing it for the
third time he did reply. The voice then called out to him loudly,
"When you come to Palodes, call out that the great Pan is dead."
Thamus thought that he would sail past Palodes, but would not utter a
word of what he had heard unless the weather happened to be still.
When he arrived there, however, the sea was quiet, and he, remembering
the words, called out loudly that the great Pan was dead. Immediately
there came from the island a great moaning as of many voices weirdly
blended, {56} and this that happened was soon related in Rome.
A quaint conception relating to mountain folklore refers to what is
known in Sogn as "jolaskrei," a kind of kelpie or old witch wife; these
belong to the nightriders of the kingdom of the departed. They are
seen on high, ugly mountain ridges at dead of night. When these
kelpies are out, they often visit the stables of the lonely farms and
take out the horses. These are brought back again, however, just
before dawn, but so overworked or overridden and tired that they are
quite ready to collapse with fatigue. To guard against this
inconvenience, the peasants paint a cross on the stable door, or lay an
axe underneath it. In some places even now the farmers place food and
drink on the table on Christmas night after all the family have
retired, this being for the kelpies; otherwise they might be angry and
cause much annoyance.
In some districts these curious sprites or goblins are known as
"vaasedrift." These {57} ride or drive through the night among the
farms; and there are those now living who relate that in their
fore-elders' time the bits and reins were found on the horses in the
early morning, having been placed there by the kelpies.
The spirits of dead Vikings and chiefs who are buried under those huge
mounds, "grav-haug," are thought to visit each other, and may be seen
flitting to and fro on Christmas eve and for thirteen nights after.
"Nykk," "nökken" (nixies) are known throughout the country. These were
in former times seen near deep and gloomy mountain tarns and by the
brooks. These nixies are able to transform themselves into any kind of
animal or reptile, sometimes even assuming strange and grotesque
shapes, with heads both front and back; they are the spirits of fresh
water.
A peculiar legend originates from Underdal in Aurland, in the inner
Sogne Fjord. In the olden time there was quite {58} a plague of snakes
in that place. A Finn from Nordland happened to be travelling in the
neighbourhood. The Finns have always been held in great dread by the
Norwegian peasants on account of their pagan practices, witchcraft and
sorcery. This pagan Finn offered to rid the place of the reptiles if
only there was not among them what he called a "hvidorm" or "visorm" (a
wizard serpent), which he described as being in shape like a long
hempen rope; it was quite white, and had a red head. The peasants
informed him that the "visorm" was never seen there.
The Finn then built up a large "baal" (funeral pyre), and fixed up a
high post near by, up which he climbed; it was just so high that none
of the snakes could reach him. There he sat and beat loudly on his
conjuring drum with a drumstick of reindeer horn, and began to conjure.
Then out sprang the snake, which was charmed by the noise of the "rune"
drum, and forthwith sprang all the other snakes: {59} from fell and
brake, from crag and wood, all came racing up to the fire. But now,
alas! came also the "visorm" so dreaded by the Finn, who shrieked that
it was now all over with him, for in company with "visormen" came
always "hvidormen," the dragon snake.
Thunder was heard in the crags close by, and a huge piece of rock was
hurled into the fjord. As the dragon snake came forth, down sprang the
Finn from his high seat; but he was promptly seized by "hvidormen," and
both disappeared into the funeral pyre together and were burnt up. It
was in this way that Underdal was rid at once of both snakes and Finn,
and this happened long ago.
"Trolds" (sprites) and "horven" or "kraken" (sea-monsters) were thought
to inhabit the sea and lonely parts of the coast and uninhabited
islands in the old days, but it is uncertain whether people nowadays
quite believe in this nonsense, although they might say "You must have
been a-fishing with 'kraken' to-day" if a {60} fisherman happened to
come in with an unusual harvest of fish.
"Kraken" is also thought to be the legendary sea serpent which is said
to have been seen in still summer weather on the deep sea, far out from
land, by fishermen, but always at a distance, never near enough for
them to be able to take its dimensions. This sea-monster is supposed
to be about one hundred fathoms long, and to wriggle over the surface
of the water, at times heaving itself even to the height of the masts
of a ship.
An old saga speaks of a kind of merman, "hav-strambr," a sea-monster,
whose head resembles a man's helmeted head, the lower part of the body
being in shape like to an icicle, and no one has ever seen where it
ends. When this monster appears it is said to be a sign of storm and
shipwreck.
[Sidenote: Quaint customs]
A custom which had its origin in pagan times is the lighting of the
Saint John's fires, "Sankt Hans," or "Balder's Baal," on midsummer's
eve, a festival of the sun, {61} held on the longest day. It is
intimately connected with sun-worship, Balder being the sun-god, and
fire a symbolic image of the sun.
"Balder's Baal, solbilledet, smukt, brændte paa
viede stene."[1]
[1] Frithjof's saga.
This, translated, reads:
"Balder's symbol, sun's beautiful image, burned
in pyres on rocks consecrated."
We read in the Icelandic sagas that the two great festivals of the year
in heathen times were Yuletide and midsummer, and both were celebrated
by the lighting of great fires. This primitive custom is better
preserved in Norway than in most other countries, but even here it
appears to be slowly dying out.
Exactly at midnight the fires begin to appear, and soon every
promontory, rock, and mountain breast is alight; hundreds of fires
shine and glimmer as far as the eye can see, casting their lurid
reflections on {62} the waters of the fjord in the brilliant twilight.
Around the nearer fires may be discerned shadow-like figures moving
round the blaze in the dance, the music of the fiddle being almost
drowned by the singing and merriment of the young people who are taking
part in the proceedings.
A mock wedding forms part of the ceremony, a young peasant girl being
dressed as a bride, wearing on her head a crown of birch twigs; the
other girls, in national costume, follow in procession, headed by the
fiddler, and the boys bring up the rear. The dancing afterwards is
kept up all through the long midsummer night.
It is a very effective sight to see the well-filled boats stealing over
the water from the surrounding farms, the young folks, dressed in
holiday costume, coming to take part in the festival.
In several places along the fjord it is the custom to build a strong
raft of logs; this is piled high with combustible material {63} and
floated some distance from shore, where it is anchored. When in full
blaze it looks very effective, and lights up the water with ruddy
reflection.
Numbers of boats may be observed to creep mysteriously around the fire,
at a safe distance from it, and the lively notes of the fiddle and of
singing float sweetly over the water.
Another old custom still survives in this district of Sogn. When it
becomes known that two young people are to be engaged to be married,
the boys in the district shoot into the air with rifles, and fire small
cannon around the house on the evening when the young man goes to ask
of the parents their consent to the engagement. They also ring
hand-bells and blow a horn; these noises must surely prove rather
disconcerting to the newly betrothed.
In some cases the prospective bride-groom has many miles of rowing
along the fjord before he reaches the home of his lady-love. His visit
is usually paid at the end of the week, and he generally spends {64}
the night there. As a practical joke, the peasant boys have been known
to take his boat, drag it up on shore, and hide it in some secluded
place, much to his great discomfort and annoyance when he wishes to
return in the morning.
At all large weddings, to which may be invited from 150 to 200 guests,
festivities are usually kept up for a week or more.
Dancing and fiddling go on day and night continuously, the "Hailing"
and "Spring" dances being general favourites on these festive occasions.
The music to these dances is exceedingly lively, even barbaric in
character, and the dances are consequently wild and exciting. The
services of the Hardanger fiddler are in great request, and he finds
himself engaged throughout the springtime, going with his fiddle from
one wedding to another.
Each wedding party engage their own fiddler, and he it is who leads the
procession from the farm to the church door, and it often occurs that
several weddings take {65} place at the same church at the same time.
There is great competition among the fiddlers on such an occasion, each
one playing to the very extent of his ability. With a jaunty air the
fiddlers step forward, and each neighbourhood upholds with pride the
honour and reputation of their own fiddler.
[Illustration: Ese Fjord]
It happened that on one such occasion the church folk were divided in
their admiration between two fiddlers of about equal cleverness. One
side claimed that a feat had been achieved on the way to the kirk by
their fiddler, who, while all along playing his best, did at the same
time chaff his comrades who stood on the roadside as he calmly went on
with his difficult bridal march, as though it were quite the most easy
and natural thing in the world.
This same spirit of rivalry also possesses the younger men; each vies
with the others in skill and cleverness in the dances, in which their
ability to kick the highest is put to the test for the admiration and
{66} applause of the onlooking girls. This rivalry would result at
times in quite a battle royal of words, and even more seriously, it
would end in real danger to life and limb.
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