SAGA-BOOK - Viking Society Web Publications
SAGA-BOOK - Viking Society Web Publications SAGA-BOOK - Viking Society Web Publications
26 Saga-Book of the Viking Society Welsh and French literatures the totally different character of the Celtic and the Germanic mind and spirit. Once aware of this different atmosphere of their literary productions, we can easily detect Celtic motifs and incidents in the medieval literature of Germany. To be sure they are not apparent in the Nibelungenlied, but they pop up in the Kudrun. and they submerge the poems about Wolfdietrich. One instance may suffice: for example, the meeting of the hero with the ugly old hag, who transforms herself into a lovely young maiden. We are reminded at once of similar instances in Irish tales: in a poem of the sons of king Daire Doimthech we are told, that a very forbidding old hag requires them to sleep with her; they all shrink back from it with the exception of Lugaid; when all has become dark, she is changed into a lovely maiden and reveals to him, that she is the sovereignty of Ireland. This shows the hidden meaning of scenes of this kind; the future king must show his prowess and courage to win the beautiful woman, who represents the flaith or sovereignty.' Stripped, however, of its mythical meaning, the scene shows a quite unusual fantasy. Such maidens in the appearance of ugly hags move through the British romances and are even admitted into the tales of Wolfdietrich, who is after all the East Gothic king Theodoric the Creat.> So far I have tried to point out the difference in the methods of Germanic and Celtic story-tellers. We would like to understand the reason for these contradictory attitudes towards the real and the unreal, but we should run the risk of grappling with the dangerous problem of the psychology of peoples and races. This is moreover outside the scope of this paper. The fact that literary motifs wander from one people to another is not surprising at all. More interesting, however, is the fact that in this case we cannot restrict 1 See for other examples my Keltische Religion (1961), 242. 2 For this identification see my paper in Germanisch-romanische Monatsschrift XXXIX (1958), 1-18.
Germanic and Celtic Heroic Traditions 27 ourselves to the mention of literary borrowings alone, for with them new modes of feeling and expression gain access to peoples who have not known them before. We are accustomed to this spectacle; we have experienced the influence of Scandinavian and Russian literature as well as of Italian or Spanish. We have assimilated them all. The unification of Europe began long ago, in the realm of imagination and literary expression, even of innermost thought in general: the melting of national idiosyncrasies into a uniform mould of European thought. In former times, it seems to me, the individuality of peoples and races was more sharply defined, more thoroughly consistent in its basic characteristics and manifestations. The confrontation of Celts and Teutons must have been different in character from that of more recent cultures; it may be likened in some ways to a shock. And therefore the imprint of one people's mental structure on the other appears to us in higher colours. If we grope back into the Dark Ages, when Western Europe began to become conscious of herself, and seek for instances of the intermingling of Celtic and Germanic literature, the examples to be found are rather few. They are nonetheless of great interest. Let us consider for a moment the poem Beowulf. Its contents are certainly of Scandinavian origin. The personages playing a role in it can be identified in the half-legendary history of Denmark and Sweden and there are episodes reflecting conflicts between the Gauts and the Swedes. This is all well known; it shows a mighty current of tradition wandering from Scandinavia to England and shows moreover that people here were deeply interested in the affairs of Northern Europe. We find a receptiveness of mind to the facts of history, which seems so akin to the spirit of the Icelandic saga. An epic poem, however, has not the character of a chronicle. The plot of the action is not at all a reflection of actual political life. A monster entering a king's hall
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Germanic and Celtic Heroic Traditions 27<br />
ourselves to the mention of literary borrowings alone, for<br />
with them new modes of feeling and expression gain<br />
access to peoples who have not known them before. We<br />
are accustomed to this spectacle; we have experienced<br />
the influence of Scandinavian and Russian literature as<br />
well as of Italian or Spanish. We have assimilated them<br />
all. The unification of Europe began long ago, in the<br />
realm of imagination and literary expression, even of<br />
innermost thought in general: the melting of national<br />
idiosyncrasies into a uniform mould of European thought.<br />
In former times, it seems to me, the individuality of<br />
peoples and races was more sharply defined, more<br />
thoroughly consistent in its basic characteristics and<br />
manifestations. The confrontation of Celts and Teutons<br />
must have been different in character from that of more<br />
recent cultures; it may be likened in some ways to a shock.<br />
And therefore the imprint of one people's mental<br />
structure on the other appears to us in higher colours.<br />
If we grope back into the Dark Ages, when Western<br />
Europe began to become conscious of herself, and seek<br />
for instances of the intermingling of Celtic and Germanic<br />
literature, the examples to be found are rather few.<br />
They are nonetheless of great interest. Let us consider<br />
for a moment the poem Beowulf. Its contents are<br />
certainly of Scandinavian origin. The personages playing<br />
a role in it can be identified in the half-legendary history<br />
of Denmark and Sweden and there are episodes reflecting<br />
conflicts between the Gauts and the Swedes. This is all<br />
well known; it shows a mighty current of tradition<br />
wandering from Scandinavia to England and shows<br />
moreover that people here were deeply interested in the<br />
affairs of Northern Europe. We find a receptiveness<br />
of mind to the facts of history, which seems so akin to the<br />
spirit of the Icelandic saga.<br />
An epic poem, however, has not the character of<br />
a chronicle. The plot of the action is not at all a reflection<br />
of actual political life. A monster entering a king's hall