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