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the great Yulecake crowned with a cheese, and garlanded with apples, and upholding a three-armed candlestick over the Christmas feast. They may tell tales, too, of Jöns Lundsbracka, and Lunkenfus, and the great Riddar Finke of Pingsdaga.*
And now the glad, leafy mid-summer, full of blossoms and the song of nightingales, is come! Saint John has taken the flowers and festival of heathen Balder; and in every village there is a May-pole fifty feet high, with wreaths and roses and ribands streaming in the wind, and a noisy weathercock on top, to tell the village whence the wind cometh and whither it goeth. The sun does not set till ten o'clock at night; and the children are at play in the streets an hour later. The windows and doors are all open, and you may sit and read till midnight without a candle. O how beautiful is the summer night, which is not night, but a sunless yet unclouded day, descending upon earth with dews, and shadows and refreshing coolness ! How beautiful the long, mild twilight, which like a silver clasp unites to-day with yesterday! How beautiful the silent hour, when Morning and Evening thus sit together, hand in hand, beneath the starless sky of midnight! From the church-tower in the public square the bell tolls the hour, with a soft, musical chime; and the watchman, whose watch-tower is the belfry, blows a blast in his horn, for each stroke of the hammer, and four times, to the four corners of the heavens, in a sonorous voice he chaunts,
* Ho! watchman, ho!
Twelve is the clock!
From his swallow's nest in the belfry he can see the sun all night long; and farther north the priest stands at his door in the warm midnight, and lights his pipe with a common burning glass.
I trust that these remarks will not be deemed irrelevant to the poem, but will lead to a clearer understanding of it. The translation is literal, perhaps to a fault. In no instance have I done the author a wrong, by introducing into his work any supposed improvements or embellishments of
Titles of Swedislı popular tales.
my own. I have preserved even the measure ; that inexorable hexameter in which, it must be confessed, the motions of the English Muse are not unlike those of a prisoner dancing to the music of his chains; and perhaps, as Dr. Johnson said of the dancing dog, “the wonder is not that she should do it so well, but that she should do it at all.”
Esaias Tegnér, the author of this poem, was born in the parish of By in Wärmland, in the year 1782. In 1799 he entered the University of Lund, as a student; and in 1812 was appointed Professor of Greek in that institution. In 1824 he became Bishop of Wexiö, which office he still holds. He stands first among all the poets of Sweden, living or dead. His principal work is Frithiofs Saga; one of the most remarkable poems of the age. This modern Scald has written his name in immortal runes. He is the glory and boast of Sweden ; a prophet, honored in his own country, and adding one more to the list of great names, that adorn her history.
THE SKELETON IN ARMOUR.
[The following Ballad was suggested to me while riding on the sea-shore at Newport. A year or two previous a skeleton had been dug up at Fall River, clad in broken and corroded armour; and the idea occurred to me of connecting it with the Round Tower at Newport, generally known hitherto as the Old Windmill, though now claimed by the Danes as a work of their early ancestors. l'rofessor Rafn, in the Mémoires de la Société Royale des Antiquaires du Nord, for 1838-1839, says,
“There is no mistaking in this instance the style in which the more ancient stone edifices of the North were constructed, the style which belongs to the Roman or Ante-Gothic architecture, and which, especially after the time of Charlemagne, diffused itself from Italy over the whole of the West and North of Europe, where it continued to predominate until the close of the twelfth century; that style which some authors have, from one of its most striking characteristics, called the round arch style, the same which in England is denominated Saxon and sometimes Norman architecture,
“ On the ancient structure in Newport there are no ornaments remaining, which might possibly have served to guide us in assigning the probable date of its erection. That no vestige whatever is found of the pointed arch, nor any approximation to it, is indicative of an earlier rather than of a later period. From such characteristics as remain, however, we can scarcely form any other inference than one, in which I am persuaded that all, who are familiar with Old-Northern architecture, will concur, tuat TUIS BUILDING WAS ERECTED AT A PERIOD DECIDEDLY NOT LATER THAN THE TWELFTH CENTURY. This remark applies, of course, to the original building only, and not to the alterations that it subsequently received; for there are several such alterations in the upper part of the building which cannot be mistaken, and which were most likely occasioned by its being adapted in modern times to various uses, for example, as the subtructure of a windmill, and latterly as a hay magazine. To the same times may be referred the windows, the fire-place, and the apertures made above the columns. That this building could not have been erected for a windmill is what an architect will easily discern."
I will not enter into a discussion of the point. It is sufficiently well established for the purpose of a ballad, though doubtless many an honest citizen of Newport, who has passed his days within sight of the Round Tower, will be ready to exclaim with Sancho, “God bless me! did I not warn you to have a care of what you were doing, for that it was nothing but a windmill; and nobody could mistake it, but one who had the like in his head.”]
Wrapt not in Eastern balms,
Why dost thou haunt me?"
Then, from those cavernous eyes
Gleam in December ;
From the heart's chamber.
“I was a Viking old!
My deeds, though manifold,
No Saga taught thee!
For this I sought thee.
“ Far in the Northern Land,
By the wild Baltic's strand,
Tamed the ger-falcon ;
“Oft to his frozen lair
Tracked I the grisly bear,
Fled like a shadow;