Something really ‘higher’ is occasionally glimpsed in mythology: Divinity, the right to power (as distinct from its possession), the due of worship; in fact ‘religion’. Andrew Lang said, and is by some still commended for saying,19 that mythology and religion (in the strict sense of that word) are two distinct things that have become inextricably entangled, though mythology is in itself almost devoid of religious significance.20
Yet these things have in fact become entangled – or maybe they were sundered long ago and have since groped slowly, through a labyrinth of error, through confusion, back towards re-fusion. Even fairy-stories as a whole have three faces: the Mystical towards the Supernatural; the Magical towards Nature; and the Mirror of scorn and pity towards Man. The essential face of Faërie is the middle one, the Magical. But the degree in which the others appear (if at all) is variable, and may be decided by the individual story-teller. The Magical, the fairy-story, may be used as a Mirour de l’Omme; and it may (but not so easily) be made a vehicle of Mystery. This at least is what George MacDonald attempted, achieving stories of power and beauty when he succeeded, as in The Golden Key (which he called a fairy-tale); and even when he partly failed, as in Lilith (which he called a romance).
For a moment let us return to the ‘Soup’ that I mentioned above. Speaking of the history of stories and especially of fairy-stories we may say that the Pot of Soup, the Cauldron of Story, has always been boiling, and to it have continually been added new bits, dainty and undainty. For this reason, to take a casual example, the fact that a story resembling the one known as The Goosegirl (Die Gänsemagd in Grimm) is told in the thirteenth century of Bertha Broadfoot, mother of Charlemagne, really proves nothing either way: neither that the story was (in the thirteenth century) descending from Olympus or Asgard by way of an already legendary king of old, on its way to become a Hausmärchen; nor that it was on its way up. The story is found to be widespread, unattached to the mother of Charlemagne or to any historical character. From this fact by itself we certainly cannot deduce that it is not true of Charlemagne’s mother, though that is the kind of deduction that is most frequently made from that kind of evidence. The opinion that the story is not true of Bertha Broadfoot must be founded on something else: on features in the story which the critic’s philosophy does not allow to be possible in ‘real life’, so that he would actually disbelieve the tale, even if it were found nowhere else; or on the existence of good historical evidence that Bertha’s actual life was quite different, so that he would disbelieve the tale, even if his philosophy allowed that it was perfectly possible in ‘real life’. No one, I fancy, would discredit a story that the Archbishop of Canterbury slipped on a banana skin merely because he found that a similar comic mishap had been reported of many people, and especially of elderly gentlemen of dignity. He might disbelieve the story, if he discovered that in it an angel (or even a fairy) had warned the Archbishop that he would slip if he wore gaiters on a Friday. He might also disbelieve the story, if it was stated to have occurred in the period between, say, 1940 and 1945. So much for that. It is an obvious point, and it has been made before; but I venture to make it again (although it is a little beside my present purpose), for it is constantly neglected by those who concern themselves with the origins of tales.
But what of the banana skin? Our business with it really only begins when it has been rejected by historians. It is more useful when it has been thrown away. The historian would be likely to say that the banana-skin story ‘became attached to the Archbishop’, as he does say on fair evidence that ‘the Goosegirl Märchen became attached to Bertha’. That way of putting it is harmless enough, in what is commonly known as ‘history’. But is it really a good description of what is going on and has gone on in the history of story-making? I do not think so. I think it would be nearer the truth to say that the Archbishop bcame attached to the banana skin, or that Bertha was turned into the Goosegirl. Better still: I would say that Charlemagne’s mother and the Archbishop were put into the Pot, in fact got into the Soup. They were just new bits added to the stock. A considerable honour, for in that soup were many things older, more potent, more beautiful, comic, or terrible than they were in themselves (considered simply as figures of history).
It seems fairly plain that Arthur, once historical (but perhaps as such not of great importance), was also put into the Pot. There he was boiled for a long time, together with many other older figures and devices, of mythology and Faërie, and even some other stray bones of history (such as Alfred’s defence against the Danes), until he emerged as a King of Faërie. The situation is similar in the great Northern ‘Arthurian’ court of the Shield-Kings of Denmark, the Scyldingas of ancient English tradition. King Hrothgar and his family have many manifest marks of true history, far more than Arthur; yet even in the older (English) accounts of them they are associated with many figures and events of fairy-story: they have been in the Pot. But I refer now to the remnants of the oldest recorded English tales of Faërie (or its borders), in spite of the fact that they are little known in England, not to discuss the turning of the bear-boy into the knight Beowulf, or to explain the intrusion of the ogre Grendel into the royal hall of Hrothgar. I wish to point to something else that these traditions contain: a singularly suggestive example of the relation of the ‘fairy-tale element’ to gods and kings and nameless men, illustrating (I believe) the view that this element does not rise or fall, but is there, in the Cauldron of Story, waiting for the great figures of Myth and History, and for the yet nameless He or She, waiting for the moment when they are cast into the simmering stew, one by one or all together, without consideration of rank or precedence.
The great enemy of King Hrothgar was Froda, King of the Heathobards. Yet of Hrothgar’s daughter Freawaru we hear echoes of a strange tale – not a usual one in Northern heroic legend: the son of the enemy of her house, Ingeld son of Froda, fell in love with her and wedded her, disastrously. But that is extremely interesting and significant. In the background of the ancient feud looms the figure of that god whom the Norsemen called Frey (the Lord) or Yngvi-frey, and the Angles called Ing: a god of the ancient Northern mythology (and religion) of Fertility and Corn. The enmity of the royal houses was connected with the sacred site of a cult of that religion. Ingeld and his father bear names belonging to it. Freawaru herself is named ‘Protection of the Lord (of Frey)’. Yet one of the chief things told later (in Old Icelandic) about Frey is the story in which he falls in love from afar with the daughter of the enemies of the gods, Gerdr, daughter of the giant Gymir, and weds her. Does this prove that Ingeld and Freawaru, or their love, are ‘merely mythical’? I think not. History often resembles ‘Myth’, because they are both ultimately of the same stuff. If indeed Ingeld and Freawaru never lived, or at least never loved, then it is ultimately from nameless man and woman that they get their tale, or rather into whose tale they have entered. They have been put into the Cauldron, where so many potent things lie simmering agelong on the fire, among them Love-at-first-sight. So too of the god. If no young man had ever fallen in love by chance meeting with a maiden, and found old enmities to stand between him and his love, then the god Frey would never have seen Gerdr the giant’s daughter from the high-seat of Odin. But if we speak of a Cauldron, we must not wholly forget the Cooks. There are many things in the Cauldron, but the Cooks do not dip in the ladle quite blindly. Their selection is important. The gods are after all gods, and it is a matter of some moment what stories are told of them. So we must freely admit that a tale of love is more likely to be told of a prince in history, indeed is more likely actually to happen in an historical family whose traditions are those of golden Frey and the Vanir, rather than those of Odin the Goth, the Necromancer, glutter of the crows, Lord of the Slain. Small wonder that spell means both a story told, and a formula of power over living men.
But when we have done all that research – collection and comparison of the tales of many lands – can do; when we have explained many of the elements commonly found embedded in fairy-stories (such as stepmothers, enchanted bears and bulls, cannibal witches, taboos on names, and the like) as relics of ancient customs once practised in daily life, or of beliefs once held as beliefs and not as ‘fancies’ – there remains still a point too often forgotten: that is the effect produced