The Bee Wolf

The previous post ended with a riddle about a hero's name that you all know. This blog has mentioned the poem Beowulf before in the context of its place in the development of the English language, or its discovery in the Cotton Library, but has not addressed its actual contents. Therefore, like Tolkien did, I will finally discuss the poem itself as a story.

Beowulf the warrior, a Geat from southern Sweden, travels to Denmark to the hall of King Hrothgar. Hrothgar has been menaced by a monster, Grendel, who comes at night and kills and eats Hrothgar's men. Beowulf lies in wait in the hall, and fights Grendel that night, ripping off Grendel's arm. Grendel flees back to the marshes.

That night, after feasting, Grendel's mother visits the hall and kills one of Hrothgar's men while they all lay asleep. The next day, Beowulf and Hrothgar and their men track the monster to a lake. One of Hrothgar's retainers who had been rude to Beowulf upon his arrival offers his sword to Beowulf. Beowulf tells Hrothgar that, if he does not return from under the lake, Hrothgar must accept Beowulf's followers as his retainers. He dives in, finding a cave at the bottom where he encounters Grendel's mother.

The sword he was given has no effect on her hide, but her attempts to stab him are likewise turned aside by his armor. Spotting a giant blade hanging on the wall, he grabs it and cuts off her head. He finds Grendel's body, cuts off Grendel's head with the giant sword, whose blade then melts away from Grendel's corrosive blood. He returns to the surface where his men are waiting, and presents Grendel's head and the hilt of the sword to Hrothgar. Hrothgar gives Beowulf gifts and a makes speech about avoiding pride.

Beowulf returns home, where he eventually becomes king of his people. Fifty years later, a dragon menaces the land because a thief stole a cup from its hoard. Beowulf fights it alone, deserted by his fearful men except for one man. Beowulf's body is burned in a great pyre.

It is an interesting mix of fictional, mythical, and historical elements. A number of characters mentioned in the poem show up in other records as historical figures, and one event mentioned is related by Gregory of Tours. One of the elements is the name of the hero. "Beowulf" is a kenning: a compound word using figurative language to represent a single noun. In this case, Beowulf means "bee wolf"; that is, one who preys on bees. This was one way to describe a bear.

Bears were symbolic of strength and power in Norse legend. The common name "Bjorn" means bear, and was clearly the origin of the were-bear character of Beorn in Tolkien's The Hobbit. There is a Norwegian legend of a king named Bjorn, whose wife was named Bera ("she-bear"). They had a child named "little bear"; I want to tell you about his legend next, and about his two brothers, who likewise had a connection to animals.

"The Hands of the King...

...are the hands of a healer." This line from The Lord of the Rings sounds fantastical, but as a first-rate historian and medievalist, J.R.R.Tolkien knew well the idea that the laying on of hands by a king (or queen: that's Mary I of England in the illustration) could heal illness. This was supposedly possible because of their "divine right" as anointed kings.

The King's Touch, or Royal Touch, was the practice of laying on of hands by English and French monarchs that was believed to cure diseases, particularly the King's Evil, scrofula. Hippocrates thought scrofula was a disproportionate accumulation of phlegm.

Scrofula, a disease of the lymph nodes, is now called mycobacterial cervical lymphadenitis, and is associated with tuberculosis. It usually manifests as a painless swelling in the lymph nodes of the neck caused by infection. It almost disappeared in the second half of the 20th century, but the appearance of HIV/AIDS has caused a small resurgence.

Where did the Royal Touch start? A 16th-century physician thought it began with Clovis I (reigned 481 - 511) after he accepted Christianity. Many other origins are offered. King Philip I of France (1052 - 1108) was perhaps the first time a king's touch was requested to heal a stubborn disease, so the French say. King Henry I of England (1068 - 1135) was appealed to for the same reason, although some scholars believe Edward the Confessor (reigned until 1066) was the first. The French denied this, and claimed that it started with Henry in England only because he was imitating Philip. What we can say is that records under Edward I show the practice of a penny given to sufferers afterward was established by 1276, two years after Edward's arrival back in England as king. Some say this means it was probably introduced by Edward's father, the pious Henry III, who was also a huge fan of Edward the Confessor and might have patterned his behavior after that monarch and therefore—but let's just stop there because there's too much speculation to reconcile all the conflicting theories. The record of tokens handed out suggests that Edward "touched" about a thousand people a year.

Scrofula became known as the "King's Evil" because an appeal to the king was considered the best recourse. John Gaddesden (1280 - 1361) recommends it as treatment for scrofula and other skin diseases. Eventually, a special gold-plated coin would be given by the king to the sufferer to be worn around the neck to ward off the disease. The truth is, the disease rarely was associated with death, and often went into remission on its own, supporting the notion that the king's touch cured the patient.

The Royal Touch persisted into the Renaissance, even though there was plenty of evidence that it did not inevitably lead to a cure. The formula in France added the line Le roi te touche, Dieu te guérisse ("The King touches you, may God heal you"), taking the burden of healing off the king's shoulders (or hands) and placing the possible healing on God. Louis XIV of France touched 1600 people on Easter 1680. Voltaire wrote that a mistress of Louis XIV died of scrofula despite "being very well touched by the king." Louis XV stopped the practice by not calling sufferers to be touched at Easter 1739. Louis XVI touched 2400 at his coronation in 1775, and Charles X touched 121 at his coronation in 1825, but there are no records of the Royal Touch being used after that date.

But where does the word scrofula come from? That's a slightly trickier question that will lead us into sympathetic magic and the Doctrine of Signatures. That's for another day.

Fastitocalon

Fastitocalon is the name given to a sea creature in an Old English poem called "The Whale."

This time I will with poetic art rehearse, by means of words and wit, a poem about a kind of fish, the great sea-monster which is often unwillingly met, terrible and cruel-hearted to seafarers, yea, to every man; this swimmer of the ocean-streams is known as the asp-turtle.

His appearance is like that of a rough boulder, as if there were tossing by the shore a great ocean-reedbank begirt with sand-dunes, so that seamen imagine they are gazing upon an island, and moor their high-prowed ships with cables to that false land, make fast the ocean-coursers at the sea's end, and, bold of heart, climb up on that island; the vessels stand by the beach, enringed by the flood.

The weary-hearted sailors then encamp, dreaming not of peril.
On the island they start a fire, kindle a mounting flame. The dispirited
heroes, eager for repose, are flushed with joy. Now when the cunning
plotter feels that the seamen are firmly established upon him, and have
settled down to enjoy the weather, the guest of ocean sinks without
warning into the salt wave with his prey (?), and makes for the bottom,
thus whelming ships and men in that abode of death.

Such is the way of demons, the wont of devils:

The poem then shares a moral, comparing the experience of Fastitocalon with the Devil, who entices men with a promise of safety and security before turning and "sinking" them into their own destruction.

The poem continues, explaining another trait of the monster: when it is hungry, it opens its enormous maw, from which a "perfume" emanates that draws a host of fish inside, when it then snaps its jaws shut. This suggests that sailors may have actually seen a whale opening its mouth to feed.

Fastitocalon is the name given to the creature, but that is the Old English version of the original. The poem (and two others) is found in a Bestiary called the Old English Physiologus, part of the Exeter Book. In the Latin version, the creature is called aspidochelone, combining Greek aspis (shield) and chelone (turtle). The Old English version has become more popular (and familiar) thanks to Tolkien writing a poem of that name in The Adventures of Tom Bombadil.

Where did the story of this giant sea-creature-as-island originate? There is a Greek Alexander Romance written in the first few centuries CE that contains a whale-island anecdote in a letter from Alexander to Aristotle. The first voyage of Sinbad (composed c.8th-9th centuries CE) tells a similar tale. Pliny the Elder talks about enormous fish as well. The Babylonian Talmud and Inuit of Greenland folklore both contains legends of a fish so large that it resembled an island and inspired sailors to land on its back. There are many more examples from different parts of the world.

Even St. Brendan encountered it, and gave it a name that has since been used by the Magic: The Gathering card game. I'll share more tomorrow.

The Eddas and Tolkien

The first and much-talked -about poem in the Poetic Edda is the Völuspá ("Prophecy of the Seeress"). In it, a seeress tells Odin the story of the Creation of the world and its upcoming end and rebirth. J.R.R.Tolkien (3 January 1892 – 2 September 1973), medievalist and author of The Hobbit and The Lord of the Rings, was intimately familiar with the Eddas and all things northern. When the Völuspá lists the creation of the dwarves, we see some familiar names:

There was Motsognir | the mightiest made
Of all the dwarfs, | and Durin next;
Many a likeness | of men they made,
The dwarfs in the earth, | as Durin said.

11. Nyi and Nithi, | Northri and Suthri,
Austri and Vestri, | Althjof, Dvalin,
Nar and Nain, | Niping, Dain,
Bifur, Bofur, | Bombur, Nori,
An and Onar, | Óin, Mjothvitnir.

12. Vigg and Gandalf | Vindalf, Thorin,
Thror and Thrain | Thekk, Lit and Vit,
Nyr and Nyrath,-- | now have I told--
Regin and Rathsvith-- | the list aright.

13. Fili, Kili, | Fundin, Nali

15. There were Draupnir | and Dolgthrasir,
Hor, Haugspori, | Hlevang, Gloin,
Dori, Ori, | Duf, Andvari,
Skirfir, Virfir, | Skafith, Ai.

You can see here the source of familiar dwarf names in his stories, and one extra: Gandalf (appropriately tinted gray). The name is interpreted as "wand elf" and seems to denote either a magical dwarf or a dwarf with a staff. Speaking of Gandalf the Grey, the illustration above is a postcard in Tolkien's possession which he said was the inspiration for the character of Gandalf. It is called Der Beggeist ("The Mountain-spirit"), and was painted by a German artist in the 1920s. The character's colors are off for Gandalf, and his obvious connection to nature suggests rather Gandalf's colleague Rhadagast the Brown, but something about it caused Tolkien to label it "Origin of Gandalf."

Now, to get from a 20th-century scholar back to medieval scholarship: Tolkien wrote poems, one of which, Fastitocalon, referenced a giant mythological sea creature. This was from an Old English poem called "The Whale," and it's worth taking a look at next time.

The Poetic Edda

The Poetic Edda (author[s] unknown) is our name for a collection of narrative poems in Old Norse. It is distinct from the Prose Edda whose author is known, but Snorri Sturluson certainly found a source for some of his stories in the Poetic Edda. Of all the versions that exist, the "common ancestor" is a manuscript called the Codex Regius or Konungsbók ("King's Book"). The Codex was discovered in 1643; it was made a gift to the king of Denmark in 1662; in 1971 it was taken to Iceland, its likely place of origin.

The poems are all alliterative and use kennings. Authorship is impossible to determine, as well as original composition date for most. They were likely orally transmitted over generations before being committed to written form. Dating of a few can be done by internal information. One poem's title, for instance, Atlamál in grǿnlenzku ("The Greenlandic Lay of Atli") could not have been composed before 985, since Greenland had not been settled before that year. Occasionally a poem will mention an actual historical person, indicating the poem's composition obviously later than that person's life.

Another way of dating and locating the poems is by considering the flora and fauna mentioned. If a story contains wolves, for example, it could not have taken place in Iceland. There is always the chance, however, that poetic license was used to enhance a story.

The best-known and most-examined story in the Edda is the Vǫluspá ("Prophecy of the seeress") in which a seeress tells Odin the story of the creation of the world, its coming end, and its rebirth. It exists not only here, but also in another manuscript, and parts are quoted in the Prose Edda. Although dated to the 10th century, prior to the Christianization of Iceland, some think the idea of rebirth after destruction was influenced by Christian ideas of redemption and Heaven.

Speaking of Norse culture, Christianity, literature, and the Eddas, I hope you'll indulge me in discussing their influence on a 20th century Roman Catholic writer and medievalist named Tolkien; but that's for tomorrow.

The Prose Edda

Written about 1220, the Prose Edda by Snorri Sturluson is a detailed telling of the Scandinavian creation of the world, mythological stories of the gods, the ending of the gods, and other tales besides. It is the most thorough source we have for Norse mythology.

It has four sections. The Prologue tells the basics of the gods, treating them as if they were real people whose exploits became exaggerated over the years. The second part is called Gylfaginning ("The deluding of Gylfi"). Gylfi is tricked by a goddess and tries to sail to Asgard. He winds up elsewhere and is taken to a castle with three kings, who ask him questions about the creation and destruction of the world. After answering, the castle vanishes, leaving him alone.

Part three, Skáldskaparmál ("The Language of Poetry") is over twice as long as part two, and consists of a dialogue between two mythical characters: Ægir (the sea) and Bragi (god of poetry). They discuss the nature of poetry while discussing Norse mythology, and Bragi lists numerous acceptable kennings. A kenning is a phrase that can be used in poetry to stand for something else. An example would be "the wave horse" to refer to a ship.

The last section is Háttatal, ("Tally of Meters"). In it, Snorri explains the different types of verse forms in Scandinavian poetry, using his own works as examples. Rhyme is not as important to this poetry as are number of syllables per line and alliteration.

The origin of the word edda (plural eddur) is uncertain. It is identical to the word for "great-grandmother" in another Eddic poem, the Rígsþula. Another Edda as important to our understanding of Norse mythology and culture is the Poetic Edda. I'll talk about it, and its connection to Tolkien, tomorrow.

Birth of a Medievalist

This is a slightly different tack for DailyMedieval, but many fans of his fiction are unaware of his career as a medievalist.

John Ronald Reuel Tolkien (3 January 1892 - 2 September 1973) graduated college with a specialty in Old Norse before he went not fight in World War I. After the war, his first job was working for the Oxford English Dictionary, reviewing the history and etymology of Germanic words. He became an expert in Old Norse, Old English, Middle English, Old Icelandic, Gothic, and Medieval Welsh. He also taught himself some Finnish.

Later, at the University of Leeds, he produced A Middle English Vocabulary and a translation of the poem Sir Gawain and the Green Knight that is still in print.

One of his most significant additions to medieval studies was his long essay "Beowulf: The Monsters and the Critics." Delivered as a lecture in 1936, it argued for the beauty of the poem as Early English literature. Up to this point, Beowulf had been used largely as a primer on the language of Old English/Anglo-Saxon, and picked apart for its references to places and names that could be matched to historical facts.

He describes the attitude toward the poem with a parable:

A man inherited a field in which was an accumulation of old stone, part of an older hall. Of the old stone some had already been used in building the house in which he actually lived, not far from the old house of his fathers. Of the rest he took some and built a tower. But his friends coming perceived at once (without troubling to climb the steps) that these stones had formerly belonged to a more ancient building. So they pushed the tower over, with no little labour, in order to look for hidden carvings and inscriptions, or to discover whence the man's distant forefathers had obtained their building material.

His essay created an atmosphere in which Beowulf could be seen as a poem worthy of being treated as a poem, not as an old document to be studied simply for clues to language and criticized as a dish-mosh of paganism and Christianity, mingled stories of heroism and monsters, history and myth.

Death of a Medievalist

Tolkien in his study

Time to break one of my rules and discuss a 20th century event.

Today is the 41st anniversary of the death of J.R.R.Tolkien. Born 3 January 1892, he learned to read and write by the time he was four, even learning a little Latin from his mother. Among his literary preferences were the fairy stories of Andrew Lang and the fantasy of George MacDonald. In his teens he added the Anglo-Saxon language to his Latin studies. He and his cousins played with inventing languages of their own, a pursuit that would help him lend artistic verisimilitude to his literary masterpiece The Lord of the Rings.

A career in World War I brought him home as an invalid, after coming down with trench fever. In 1920 he became the youngest professor at the University of Leeds, on the strength of his linguistic knowledge. His first academic publication was a Middle English Vocabulary in 1922. A few years later, this was followed by an edition/translation of Sir Gawain and the Green Knight that is still in print.

Although his focus was more on language than literature, he produced two scholarly works in the 1930s that bridged (what some would call) the gap between the two. His 1934 article "Chaucer as a Philologist: The Reeve's Tale" showed that Chaucer was well aware of dialects and deliberately gave some of his characters a different dialect to make their status plain to the audience

Then, in 1937, he published a lecture (given the year before) called Beowulf: The Monsters and the Critics. In it, he argued successfully that the poem Beowulf had value not just as a repository of Anglo-Saxon language and northern European history that could be used to cross-reference other references to history It was also a poem of literary merit. This essay continues to be fundamental to any modern study of the poem. His own translation of the poem was published a few months ago.

Current culture equates his name with a series of blockbuster adventure movies, but long after those have fallen out of favor, his academic work will still be fundamental to future scholarly endeavors.