MAGIC AND FOLK-SCIENCE
There is a belief in magic throughout Saxo's work, showing how fresh heathendom still was in men's minds and memories. His explanations, when he euhemerizes, are those of his day.
By means of spells all kinds of wonders could be effected, and the powers of nature forced to work for the magician or his favourite.
"Skin-changing" (so common in "Landnamaboc") was as well known as in the classic world of Lucian and Apuleius; and, where Frode perishes of the attacks of a witch metamorphosed into a walrus.
"Mist" is induced by spells to cover and hide persons, as in Homer, and "glamour" is produced by spells to dazzle foemen's sight. To cast glamour and put confusion into a besieged place a witch is employed by the beleaguerer, just as William the Conqueror used the witch in the Fens against Hereward's fortalice. A soothsayer warns Charles the Great of the coming of a Danish fleet to the Seine's mouth.
"Rain and bad weather" may be brought on, as in a battle against the enemy, but in this, as in other instances, the spell may be counteracted.
"Panic Terror" may be induced by the spell worked with a dead horse's head set up on a pole facing the antagonist, but the spell may be met and combatted by silence and a counter-curse.
"Magic help" may be got by calling on the friendly magician's name. The magician has also the power of summoning to him anyone, however unwilling, to appear.
Of spells and magic power to blunt steel there are several instances; they may be counteracted (as in the Icelandic Sagas) by using the hilt, or a club, or covering the blade with fine skin. In another case the champion can only be overcome by one that will take up some of the dust from under his feet. This is effected by the combatants shifting their ground and exchanging places. In another case the foeman can only be slain by gold, whereupon the hero has a gold-headed mace made and batters the life out of him therewith. The brothers of Swanhild cannot be cut by steel, for their mail was charmed by the witch Gudrun, but Woden taught Eormenric, the Gothic king, how to overcome them with stones (which apparently cannot, as archaic weapons, be charmed against at all, resisting magic like wood and water and fire). Jordanis tells the true history of Ermanaric, that great Gothic emperor whose rule from the Dnieper to the Baltic and Rhine and Danube, and long reign of prosperity, were broken by the coming of the Huns. With him vanished the first great Teutonic empire.
Magic was powerful enough even to raise the dead, as was practised by the Perms, who thus renewed their forces after a battle. In the Everlasting battle the combatants were by some strange trick of fate obliged to fulfil a perennial weird (like the unhappy Vanderdecken). Spells to wake the dead were written on wood and put under the corpses' tongue. Spells (written on bark) induce frenzy.
"Charms" would secure a man against claw or tooth.
"Love philtres" (as in the long "Lay of Gudrun) appear as everywhere in savage and archaic society.
"Food", porridge mixed with the slaver of tortured snakes, gives magic strength or endues the eater with eloquence and knowledge of beast and bird speech (as Finn's broiled fish and Sigfred's broiled dragon-heart do).
"Poison" like these hell-broths are part of the Witch or Obi stock-in-trade, and Frode uses powdered gold as an antidote.
"Omens" are observed; tripping as one lands is lucky (as with our William the Norman). Portents, such as a sudden reddening of the sea where the hero is drowned, are noticed and interpreted.
"Dreams" (cf. Eddic Lays of Attila, and the Border ballads) are prophetic (as nine-tenths of Europeans firmly believe still); thus the visionary flame-spouting dragon is interpreted exactly as Hogne's and Attila's dreams. The dreams of the three first bridals nights (which were kept hallowed by a curious superstition, either because the dreams would then bold good, or as is more likely, for fear of some Asmodeus) were fateful. Animals and birds in dreams are read as persons, as nowadays.
A "curse" is powerful unless it can be turned back, when it will harm its utterer, for harm someone it must. The "curse" of a dying man on his slayer, and its lack of effect, is noted.
Sometimes "magic messengers" are sent, like the swans that bore a token and uttered warning songs to the hero.
"Witches and wizards" (as belonging to the older layer of archaic beliefs) are hateful to the gods, and Woden casts them out as accursed, though he himself was the mightiest of wizards. Heathen Teutonic life was a long terror by reason of witchcraft, as is the heathen African life to-day, continual precautions being needful to escape the magic of enemies. The Icelandic Sagas, such as Gretter's, are full of magic and witchcraft. It is by witchcraft that Gretter is first lamed and finally slain; one can see that Glam's curse, the Beowulf motif, was not really in the original Gretter story.
"Folk-medicine" is really a branch of magic in old days, even to such pioneers of science as Paracelsus.
Saxo's traditions note drinking of a lion's blood that eats men as a means of gaining might and strength; the drinking of bear's blood is also declared to give great bodily power.
The tests for "madness" are of a primitive character, such as those applied to Odusseus, who, however, was not able, like Hamlet, to evade them.
The test for death is the red-hot iron or hot brand (used by the Abyssinians of to-day, as it was supposed in the thirteenth century to have been used by Grimhild. "And now Grimhild goes and takes a great brand, where the house had burnt, and goes to Gernot her brother, and thrusts the burning brand in his mouth, and will know whether he is dead or living. But Gernot was clearly dead. And now she goes to Gislher and thrusts the firebrand in his mouth. He was not dead before, but Gislher died of that. Now King Thidrec of Bern saw what Grimhild is doing, and speaks to King Attila. `See how that devil Grimhild, thy wife, is killing her brothers, the good warriors, and how many men have lost their lives for her sake, and how many good men she has destroyed, Huns and Amalungs and Niflungs; and in the same way would she bring thee and me to hell, if she could do it?' Then spake King Attila, `Surely she is a devil, and slay thou her, and that were a good work if thou had done it seven nights ago! Then many a gallant fellow were whole that is now dead.' Now King Thidrec springs at Grimhild and swings up his sword Eckisax, and hews her asunder at the middle").
It was believed (as in Polynesia, where "Captain Cook's path" was shown in the grass) that the heat of the hero's body might blast the grass; so Starcad's entrails withered the grass.
It was believed that a severed head might bite the ground in rage, and there were certainly plenty of opportunities for observation of such cases.
It was believed that a "dumb man" might be so wrought on by passion that he would speak, and wholly acquire speech-power.
Little is told of "surgery", but in one case of intestines protruding owing to wounds, withies were employed to bind round the trunk and keep the bowels from risk till the patient could be taken to a house and his wounds examined and dressed. It was considered heroic to pay little heed to wounds that were not dangerous, but just to leave them to nature.
Personal "cleanliness" was not higher than among savages now. A lover is loused by his lady after the mediaeval fashion.
CHRISTIANITY—In the first nine books of Saxo, which are devoted to heathendom, there is not much save the author's own Christian point of view that smacks of the New Faith. The apostleships of Ansgarius in Denmark, the conversion of King Eric, the Christianity of several later Danish Kings, one of whom was (like Olaf Tryggwason) baptised in Britain are also noticed.
Of "Christian legends" and beliefs, besides the euhemerist theory, widely held, of the heathen gods there are few hints, save the idea that Christ was born in the reign of Frode, Frode having been somehow synchronised with Augustus, in whose reign also there was a world-peace.
Of course the christening of Scandinavia is history, and the mythic books are little concerned with it. The episode in Adam of Bremen, where the king offers the people, if they want a new god, to deify Eric, one of their hero-kings, is eminently characteristic and true.
FOLK-TALES
There might be a classification of Saxo's stories akin to that of the Irish poets, Battles, Sieges, Voyages, Rapes, Cattle Forays, etc.; and quite apart from the historic element, however faint and legendary, there are a set of stories ascribed by him, or rather his authorities, to definite persons, which had, even in his day, probably long been the property of Tis, their original owners not being known owing to lapse of time and the wear of memory, and the natural and accidental catastrophies that impair the human record. Such are the "Dragon-Slayer" stories. In one type of these the hero (Frithlaf) is cast on a desolate island, and warned by a dream to attack and slay a dragon guarding treasure. He wakes, sees the dragon arise out of the waves, apparently, to come ashore and go back to the cavern or mound wherein the treasure lay. His scales are too hard to pierce; he is terribly strong, lashing trees down with his tail, and wearing a deep path through the wood and over the stones with his huge and perpetual bulk; but the hero, covered with hide-wrapped shield against the poison, gets down into the hollow path, and pierces the monster from below, afterward rifling its underground store and carrying off its treasure.
Again the story is repeated; the hero (Frode Haddingsson) is warned by a countryman of the island-dragon and its hoard, is told to cover his shield and body with bulls' hides against the poison, and smite the monster's belly. The dragon goes to drink, and, as it is coming back, it is attacked, slain, and its treasure lifted precisely as before. The analogies with the Beowulf and Sigfred stories are evident; but no great poet has arisen to weave the dragon-slaying intimately into the lives of Frode and Frithlaf as they have been woven into the tragedy of Sigfred the wooer of Brunhild and, if Dr. Vigffisson be right the conqueror of Varus, or into the story of Beowulf, whose real engagements were with sea-monsters, not fiery dragons.
Another type is that of the "Loathly Worm". A king out hunting (Herod or Herraud, King of Sweden), for some unexplained reason brings home two small snakes as presents for his daughter. They wax wonderfully, have to be fed a whole ox a day, and proceed to poison and waste the countryside. The wretched king is forced to offer his daughter (Thora) to anyone who will slay them. The hero (Ragnar) devises a dress of a peculiar kind (by help of his nurse, apparently), in this case, woolly mantle and hairy breeches all frozen and ice-covered to resist the venom, then strapping his spear to his hand, he encounters them boldly alone. The courtiers hide "like frightened little girls", and the king betakes him to a "narrow shelter", an euphemism evidently of Saxo's, for the scene is comic. The king comes forth when the hero is victorious, and laughing at his hairy legs, nick-names him Shaggy-breech, and bids him to the feast. Ragnar fetches up his comrades, and apparently seeks out the frightened courtiers (no doubt with appropriate quip, omitted by Saxo, who hurries on), feasts, marries the king's daughter, and begets on her two fine sons.
Of somewhat similar type is the proud "Maiden guarded" by Beasts. Here the scene is laid in Gaulardale in Norway. The lady is Ladgerda, the hero Ragnar. Enamoured of the maiden by seeing her prowess in war, he accepts no rebuffs, but leaving his followers, enters the house, slays the guardian Bear and Dog, thrusting one through with a spear and throttling the other with his hand. The lady is won and wed, and two daughters and a son (Frithlaf) duly begotten. The story of Alf and Alfhild combines several types. There are the tame snakes, the baffled suitors' heads staked to terrify other suitors, and the hero using red-hot iron and spear to slay the two reptiles.
The "Proud Lady", (cf. Kudrun and the Niebelungen, and Are's story of the queen that burnt her suitors) appears in Hermintrude, Queen of Scotland, who battles and slays her lovers, but is out-witted by the hero (Hamlet), and, abating her arrogance, agrees to wed him. This seems an obvious accretion in the original Hamlet story, and probably owing not to Saxo, but to his authority.
The "Beggar that stole the Lady" (told of Snio Siwaldson and the daughter of the King of the Goths), with its brisk dialogue, must have been one of the most artful of the folk-tales worked on by Saxo or his informants; but it is only half told, unfortunately.
The "Crafty Soaker" is another excellent comic folk-tale. A terrible famine made the king (Snio) forbid brewing to save the barley for bread, and abolished all needless toping. The Soaker baffled the king by sipping, never taking a full draught. Rebuked, he declared that he never drank, but only sucked a drop. This was forbidden him for the future, so he sopped his bread in ale, and in that inconvenient manner continued to get drunk, excusing himself with the plea that though it was forbidden to drink or sip beer, it was not forbidden to eat it. When this was in turn prohibited, the Soaker gave up any pretence, and brewed and drank unabashed, telling the angry king that he was celebrating his approaching funeral with due respect, which excuse led to the repeal of the obnoxious decree. A good Rabelaisian tale, that must not have been wide-spread among the Danish topers, whose powers both Saxo and Shakespeare have celebrated, from actual experience no doubt.
The "Magician's tricks to elude pursuit", so common an incident in our fairy tales, e.g., Michael Scot's flight, is ascribed here to the wonder-working and uncanny Finns, who, when pursued, cast behind them successively three pebbles, which become to their enemies' eyes mountains, then snow, which appeared like a roaring torrent. But they could not cast the glamour on Arngrim a third time, and were forced to submit. The glamour here and in the case of the breaking of Balder's barrow is akin to that which the Druid puts on the sons of Uisnach.
The tale of the king who shuts up his daughter in an "earth-house" or underground chamber with treasures (weapons and gold and silver), in fear of invasion, looks like a bit of folk-tale, such as the "Hind in the Wood", but it may have a traditional base of some kind here.
A folk-tale, very imperfectly narrated, is the "Clever King's Daughter", who evidently in the original story had to choose her suitor by his feet (as the giantess in the prose Edda chooses her husband), and was able to do so by the device she had practised of sewing up her ring in his leg sometime before, so that when she touched the flesh she could feel the hardness of the ring beneath the scar.
Bits of folk-tales are the "Device for escaping threatened death by putting a log in one's bed" (as in our Jack the Giant-Killer). The device, as old as David's wife, of dressing up a dummy (here a basket with a dog inside, covered outside with clothes), while the hero escapes, is told of Eormenric, the mighty Gothic King of Kings, who, like Walter of Aquitaine, Theodoric of Varona, Ecgherht, and Arminius, was an exile in his youth. This traditional escape of the two lads from the Scyths should be compared with the true story in Paul the Deacon of his little ancestor's captivity and bold and successful stroke for freedom.
"Disguise" plays a great part in the folk-tales used by Saxo. Woden disguises himself in a cowl on his earthly travels, and heroes do the same; a king disguises himself as a slave at his rival's court, to try and find occasion of slaying him; a hero wraps himself up in skins, like Alleleirah.
"Escaped recognition" is accordingly a feature in many of these simple but artistic plots. A son is not known by his mother in the story of Hrolf.
Other "Devices" are exemplified, such as the "booby-trap" loaded with a millstone, which slays a hateful and despised tyrant, imposed by a foreign conqueror; evasion by secret passages, and concealment in underground vaults or earth-houses. The feigning of madness to escape death occurs, as well as in the better-known Hamlet story. These stratagems are universal in folk-history.
To Eric, the clever and quick of speech, is ascribed an excellent sailor's smuggling trick to hide slaughtered cattle, by sinking them till the search is over.
The "Hero's Mighty Childhood" (like David's) of course occurs when he binds a bear with his girdle. Sciold is full grown at fifteen, and Hadding is full grown in extreme youth. The hero in his boyhood slays a full-grown man and champion. The cinder-biting, lazy stage of a mighty youth is exemplified.
The "fierce eyes" of the hero or heroine, which can daunt an assassin as could the piercing glance of Marius, are the "falcon eyes" of the Eddic Lays.
The shining, effulgent, "illuminating hair" of the hero, which gives light in the darkness, is noticed here, as it obtains in Cuaran's thirteenth century English legend.
The wide-spread tale of the "City founded on a site marked out by a hide cut into finest thongs", occurs, told of Hella and Iwarus exactly as our Kentishmen told it of Hengist, and as it is also told of Dido.
The incidents of the "hero sleeping by a rill", of the guarded king's daughter, with her thirty attendants, the king's son keeping sheep, are part of the regular stock incidents in European folk-tales. So are the Nausicaa incident of the "king's daughter going a washing", the hero disguising himself as a woman and winding wool (like a second Heracles).
There are a certain number of stories, which only occur in Saxo and in our other Northern sources with attributions, though they are of course legendary; such are:
The "Everlasting Battle" between Hedhin and Hogne, a legend connected with the great Brisinga-men story, and paralleled by the Cordelia-tale among the Britons.
The story of the "Children preserved" is not very clearly told, and Saxo seems to have euhemerized. It is evidently of the same type as the Lionel-Lancelot story in the Arthurian cycle. Two children, ordered to be killed, are saved by the slaying of other children in their place; and afterwards by their being kept and named as dogs; they come to their own and avenge their wrongs.
The "Journey to Hell" story is told of Eric, who goes to a far land to fetch a princess back, and is successful. It is apparently an adventure of Swipdag, if everyone had their rights. It is also told of Thorkill, whose adventures are rather of the "True Thomas" type.
The "Test of Endurance" by sitting between fires, and the relief of the tortured and patient hero by a kindly trick, is a variant of the famous Eddic Lays concerning Agnar.
The "Robbers of the Island", evidently comes from an Icelandic source (cf. The historic "Holmveria Saga" and Icelandic folk-tales of later date), the incident of the hero slaying his slave, that the body might be mistaken for his, is archaic in tone; the powerful horse recalls Grani, Bayard, and even Sleipner; the dog which had once belonged to Unfoot (Ofote), the giant shepherd (cf. its analogues in old Welsh tales), is not quite assimilated or properly used in this story. It seems (as Dr. Rydberg suspects) a mythical story coloured by the Icelandic relater with memory full of the robber-hands of his own land.
The stratagem of "Starcad", who tried even in death to slay his slayer, seems an integral part of the Starcad story; as much as the doom of three crimes which are to be the price for the threefold life that a triple man or giant should enjoy. The noose story in Starcad (cf. that told of Bicce in the Eormenric story), is also integral.
SAXO'S MYTHOLOGY
No one has commented upon Saxo's mythology with such brilliancy, such minute consideration, and such success as the Swedish scholar, Victor Rydberg. More than occasionally he is over-ingenious and over-anxious to reduce chaos to order; sometimes he almost loses his faithful reader in the maze he treads so easily and confidently, and sometimes he stumbles badly. But he has placed the whole subject on a fresh footing, and much that is to follow will be drawn from his "Teutonic Mythology" (cited here from the English version by Rasmus B. Anderson, London, 1889, as "T.M.").
Let us take first some of the incontestable results of his investigations that affect Saxo.
SCIOLD is the father of Gram in Saxo, and the son of Sceaf in other older authorities. Dr. Rydberg (97-101) forms the following equations for the Sciolding patriarchs:—
a. Scef—Heimdal—Rig.
b. Sciold—Borgar—Jarl.
c. Gram—Halfdan—Koming.
Chief among the mythic tales that concern Saxo are the various portions of the Swipdag-Myth, which Dr. Rydberg has been able to complete with much success. They may be resumed briefly as follows:—
Swipdag, helped by the incantations of his dead mother, whom he had raised from the dead to teach him spells of protection, sets forth on his quests. He is the Odusseus of the Teutonic mythology. He desires to avenge his father on Halfdan that slew him. To this end he must have a weapon of might against Halfdan's club. The Moon-god tells him of the blade Thiasse has forged. It has been stolen by Mimer, who has gone out into the cold wilderness on the rim of the world. Swipdag achieves the sword, and defeats and slays Halfdan. He now buys a wife, Menglad, of her kinsmen the gods by the gift of the sword, which thus passes into Frey's hands.
How he established a claim upon Frey, and who Menglad was, is explained in Saxo's story of Eric, where the characters may be identified thus:—
Swipdag—Eric
Freya—Gunwara
Frey—Frode III
Niord—Fridlaf
Wuldor—Roller
Thor—Brac
Giants—The Greps
Giants—Coller.
Frey and Freya had been carried off by the giants, and Swipdag and his faithful friend resolve to get them back for the Anses, who bewail their absence. They journey to Monster-land, win back the lady, who ultimately is to become the hero's wife, and return her to her kindred; but her brother can only be rescued by his father Niord. It is by wit rather than by force that Swipdag is successful here.
The third journey of Swipdag is undertaken on Frey's behalf; he goes under the name of Scirner to woo giant Gymer's daughter Gerth for his brother-in-law, buying her with the sword that he himself had paid to Frey as his sister's bride-price. So the sword gets back to the giants again.
Swipdag's dead foe Halfdan left two young "avengers", Hadding and Guthorm, whom he seeks to slay. But Thor-Brache gives them in charge of two giant brothers. Wainhead took care of Hadding, Hafle of Guthorm. Swipdag made peace with Guthorm, in a way not fully explained to us, but Hadding took up the blood-feud as soon as he was old enough.
Hadding was befriended by a woman, who took him to the Underworld—the story is only half told in Saxo, unluckily—and by Woden, who took him over-sea wrapt in his mantle as they rode Sleipner over the waves; but here again Saxo either had not the whole story before him, or he wished to abridge it for some reason or prejudice, and the only result of this astonishing pilgrimage is that Woden gives the young hero some useful counsels. He falls into captivity, entrapped by Loke (for what reason again we are left to guess), and is exposed to wild beasts, but he slays the wolf that attacks him, and eating its heart as Woden had bidden him, he gains wisdom and foresight.
Prepared by these adventures, he gets Guthorm to join him (how or why the peace between him and Swipdag was broken, we know not), and they attack their father's slayer, but are defeated, though Woden sunk Asmund Swipdag's son's ship, Grio, at Hlessey, and Wainhead and Hardgrip his daughter fought for Hadding.
Hadding wanders off to the East with his foster-sister and mistress and Hardgrip, who is slain protecting him against an angry ghost raised from the Underworld by her spells. However, helped by Heimdal and Woden (who at this time was an exile), Hadding's ultimate success is assured.
When Woden came back to power, Swipdag, whose violence and pride grew horribly upon him, was exiled, possibly by some device of his foes, and took upon him, whether by will or doom, a sea-monster's shape. His faithful wife follows him over land and sea, but is not able to save him. He is met by Hadding and, after a fierce fight, slain. Swipdag's wife cursed the conqueror, and he was obliged to institute an annual sacrifice to Frey (her brother) at Upsale, who annuls the curse. Loke, in seal's guise, tried to steal the necklace of Freya at the Reef of Treasures, where Swipdag was slain, but Haimdal, also in sealskin, fought him, and recovered it for the gods.
Other myths having reference to the goddesses appear in Saxo. There is the story of "Heimdall and Sol", which Dr. Rydberg has recognised in the tale of Alf and Alfhild. The same tale of how the god won the sun for his wife appears in the mediaeval German King Ruther (in which title Dr. Ryuberg sees Hrutr, a name of the ram-headed god).
The story of "Othar" (Od) and "Syritha" (Sigrid) is obviously that of Freya and her lover. She has been stolen by the giants, owing to the wiles of her waiting-maid, Loke's helper, the evil witch Angrbode. Od seeks her, finds her, slays the evil giant who keeps her in the cave; but she is still bewitched, her hair knotted into a hard, horny mass, her eyes void of brightness. Unable to gain recognition he lets her go, and she is made by a giantess to herd her flocks. Again found by Od, and again refusing to recognise him, she is let go again. But this time she flies to the world of men, and takes service with Od's mother and father. Here, after a trial of her love, she and Od are reconciled. Sywald (Sigwald), her father, weds Od's sister.
The tale of the vengeance of Balder is more clearly given by the Dane, and with a comic force that recalls the Aristophanic fun of Loka-senna. It appears that the story had a sequel which only Saxo gives. Woden had the giantess Angrbode, who stole Freya, punished. Frey, whose mother-in-law she was, took up her quarrel, and accusing Woden of sorcery and dressing up like a woman to betray Wrind, got him banished. While in exile Wuldor takes Woden's place and name, and Woden lives on earth, part of the time at least, with Scathe Thiasse's daughter, who had parted from Niord.
The giants now resolved to attack Ansegard; and Woden, under the name of Yggr, warned the gods, who recall him after ten years' exile.
But for Saxo this part of the story of the wars of the gods would be very fragmentary.
The "Hildiger story", where a father slays his son unwittingly, and then falls at his brother's hand, a tale combining the Rustam and the Balin-Balan types, is one of the Hilding tragedies, and curiously preserved in the late "Saga of Asmund the Champions' bane". It is an antithesis, as Dr. Rydberg remarks, to the Hildebrand and Hadubrand story, where father and son must fight and are reconciled.
The "story of Orwandel" (the analogue of Orion the Hunter) must be gathered chiefly from the prose Edda. He was a huntsman, big enough and brave enough to cope with giants. He was the friend of Thor, the husband of Groa, the father of Swipdag, the enemy of giant Coller and the monster Sela. The story of his birth, and of his being blinded, are lost apparently in the Teutonic stories, unless we may suppose that the bleeding of Robin Hood till he could not see by the traitorous prioress is the last remains of the story of the great archer's death.
Great part of the troubles which befell the gods arose from the antagonism of the sons of Iwalde and the brethren Sindre and Brokk (Cinder and Brank), rival artist families; and it was owing to the retirement of their artist foster-parents that Frey and Freya were left among the giants. The Hniflung hoard is also supposed to have consisted of the treasures of one band of primaeval artists, the Iwaldings.
Whether we have here the phenomenon of mythological doublets belonging to different tribes, or whether we have already among these early names that descent of story which has led to an adventure of Moses being attributed to Garibaldi, given to Theodoric the king the adventures of Theodoric the god, taken Arthur to Rome, and Charles the Great to Constantinople, it is hard to say.
The skeleton-key of identification, used even as ably as Dr. Rydberg uses it, will not pick every mythologic lock, though it undoubtedly has opened many hitherto closed. The truth is that man is a finite animal; that he has a limited number of types of legend; that these legends, as long as they live and exist, are excessively prehensile; that, like the opossum, they can swing from tree to tree without falling; as one tree dies out of memory they pass on to another. When they are scared away by what is called exact intelligence from the tall forest of great personalities, they contrive to live humbly clinging to such bare plain stocks and poles (Tis and Jack and Cinderella) as enable them to find a precarious perch.
To drop similitudes, we must be prepared, in unravelling our tangled mythology, to go through several processes. We must, of course, note the parallelisms and get back to the earliest attribution-names we can find. But all system is of late creation, it does not begin till a certain political stage, a stage where the myths of coalescing clans come into contact, and an official settlement is attempted by some school of poets or priests. Moreover, systematization is never so complete that it effaces all the earlier state of things. Behind the official systems of Homer and Hesiod lies the actual chaos of local faiths preserved for us by Pausanias and other mythographers. The common factors in the various local faiths are much the majority among the factors they each possess; and many of these common factors are exceedingly primitive, and resolve themselves into answers to the questions that children still ask, still receiving no answer but myth—that is, poetic and subjective hypothesis, containing as much truth as they can receive or their inventors can grasp.