Friday, 15 May 2026

Scandinavian Countries

I feel that a contemporary novel or play set in a Scandinavian country and a fantasy novel based on Norse mythology are indirectly connected if only because the former is about the descendants of the people that had created that mythology. In Uppsala, where there is now a cathedral, there was a temple with idols of the Norse gods. When Stieg Larsson's Mikael Blomkvist travels north to the fictional town of Hedestad, he must pass through Uppsala. When Blomkvist investigates a series of Biblically based murders, he must consult a pastor - although about the Apocrypha, not about the Eddas. The national Church of Sweden is headquartered in Uppsala.

Odin and the Aesir are not mentioned although I sense their presence in the background. They were here in Northern Europe whereas it was a very different pantheon, the Olympians, that had held sway in Greece and Italy. This evening, I reread Poul Anderson's account of Odin appearing and intervening during the events of The Broken Sword, then  returned to rereading Larsson's Trilogy. Sometimes it is a relief only to deal with human beings!

Freda, Wind And Odin

The Broken Sword, XIX. 

While Freda waits for Skafloc to return from Elfheugh with the broken sword, wind fills a paragraph and comments on the action:

"A rising wind blew clouds ever thicker across the sky, so that the moon seemed to flee great black dragons which swallowed it and spewed it briefly back out. The wind wailed and roared (also here) around her, whipping her garb, sinking teeth into her flesh. Hoo, hoo, it sang, blowing a sudden drift of snowdrift before it, white under the moon, hoo, halloo, hunting you!
"Hoo, hoo! echoed the troll horns." (p. 136)

Freda stiffens as she realizes that the trolls are hunting and that their prey must be Skafloc. However, Odin - who, although it is not mentioned here, is the god of the wind - intervenes. Ancient heroes like, e.g., Aeneas, were guided and helped by regular divine interventions.

When Not To Kill

There are times when a character could have been killed but wasn't and we think about what might have happened if he had been. In The Broken Sword, XIX, Skafolc could have killed Valgard in his sleep but it:

"...would too likely make a noise and thus cost him the sword." (p. 130)

"Castelar wasted no time finishing [Varagan]."
-Poul Anderson, "The Day of the Ransom" IN Anderson, Time Patrol (Riverdale, NY, December 2010), pp. 641-735 AT 15 April 1610, p. 666.

Manse Everard has "already" met Varagan "later" so, although the latter could have been killed at Machu Picchu in 1610, we already know that he wasn't.

Lisbeth Salander:

"...considered shooting Zalachenko in the skull. Then she remembered that Niedermann was still there, out in the dark, and she had better save it."
-Stieg Larsson, The Girl Who Played With Fire (London, 2009), CHAPTER 32, p. 562. 

So Zala survives into Volume III but Lisbeth does not wind up with a charge for murdering him.

You can probably think of other examples.

A New Way

The Broken Sword, XIX.

Skafloc reflects:

"Was Freda - was the White Christ of whom she had told a little - not right in saying that wrongs only led to more wrongs and thus at last to Ragnarok; that the time was overpast when pride and vengefulness give way to love and forgiveness, which were not unmanly but in truth the hardest things a man could undertake?" (p. 132)

The New Testament can be seen as fulfilling not only the Law and Prophets but also:

Virgil's Fourth Eclogue;

the transformation of the Furies into the Kindly Ones;

the mighty lord who comes on high, all power to hold, all lands to rule, in Voluspa 65.

A Christian missionary interviewed on British TV said that, in China, he learned of a mythological figure, the Old Grandfather, then identified this being with God the Father! You have to start somewhere.

Everything is the Old Testament if we see it that way.

"David's words with Sybil's blending..."

Thursday, 14 May 2026

Ages Of Transition

As we have seen, some works by Poul Anderson are set during a period of transition from paganism to Christianity whereas others are set during the transition from Christianity to secularism. One passage in Hamlet expresses both these transitions:

The cock, that is the trumpet to the morn,
Doth with his lofty and shrill-sounding throat
Awake the god of day, and at his warning,
Whether in sea or fire, in earth or air,
Th’ extravagant and erring spirit hies
To his confine, and of the truth herein
This present object made probation.

MARCELLUS 
It faded on the crowing of the cock.
Some say that ever ’gainst that season comes
Wherein our Savior’s birth is celebrated,
This bird of dawning singeth all night long;
And then, they say, no spirit dare stir abroad,
The nights are wholesome; then no planets strike,
No fairy takes, nor witch hath power to charm,
So hallowed and so gracious is that time.


HORATIO 
So have I heard and do in part believe it.
-copied from here.

Relevant phrases:

"the god of day"
"our Savior's birth"
"in part believe it"

Relevant to Anderson's The Broken Sword:

"No fairy takes..."
"...nor witch has power to charm"

Outlawry And Realization

 

The Broken Sword, XVIII.

Skafloc and Freda live as outlaws:

"Dark and drear was that land, unpeopled by men or Faerie folk..." (p. 120)

"Dank and chill was the cave. Winds whittered in its mouth and surf pounded on the rocks at its foot." (ibid.)

They hunt game and kill trolls but a raven tells Skafloc that the trolls are winning the war. Despair? No, a moment of realization as Skafloc suddenly remembers the gods' gift of a sword. Freda feels him stiffen and tremble: yet another standard Andersonian moment... David Falkayn has at least two such moments (of realization) - and how many other Anderson characters also have them?

That is a fitting note on which to end for this evening. I am too head-tired for any more research and as always feel the call of other reading. Poul Anderson has to compete for attention - and always wins some of it.

Futureward.

Freda, Wind And Women's Weapons

The Broken Sword, XVI.

When Freda rides out from Elfheugh:

"The wind whined around her and bit through layers of fur." (p. 112)

When she realizes that she is pursued by trolls:

"The wind of her gallop screamed about her, nigh ripping her from the saddle, forcing her to shield her eyes with an upraised arm." (p. 113)

Air hoots and bites. During the prolonged pursuit:

"Time brawled past like the wind." (ibid.)

She is captured by a troll but immediately rescued by the returning Skafloc!

Meanwhile, elven women welcome troll invaders into Elfheugh. Leea has spoken of:

"'Women's weapons...'" (p. 110)

The trolls will be put off their guard and, in the fullness of time, slaughtered.

An Anomalous Apostrophe

The Broken Sword, XV.

Smiting Valgard during a sea battle, Skafloc shouts:

"'That for Freda!... I'll have you done to her.'" (p. 104)

What does that mean? There is a clue in Valgard's reply:

"'Not so ill as I think you have...'" (ibid.)

Ill? Yes. The original edition confirms:

"'That for Freda!' he shouted. 'Ill have you done to her.'
"'Not so ill as I think you have,' snarled Valgard..."
-Poul Anderson, The Broken Sword (London, 2014), 15, p. 105.

It is helpful to be able to compare editions. I do not remember noticing that anomalous apostrophe on previous readings. For a summary of the entire sea battle, see:


The plot thickens.

Wednesday, 13 May 2026

Fictive References

Authors refer to other authors. Stieg Larsson's Mikael Blomkvist reads Val McDermid and sees The Lord Of The Rings for the first time. In the latter case, he reflects that orcs are simple creatures when compared to human beings. Of course, Tolkien's titles - and the films - are universally known so that every reader of Larsson immediately understands a reference to The Lord Of the Rings - as also to Mr Spock and Miss Marple. By implication, Blomkvist also has access to all other fictional works that are known to us - except, of course, for three novels by Stieg Larsson! (Addendum: And I should also have remembered to mention sequels by other authors but I don't read those.) Blomkvist could read not only JRR Tolkien's but also Poul Anderson's Norse-based fantasies and, in the latter, he would find creatures more complicated than orcs. The elves from Pictland have:

"...blood of troll and goblin and still older folk in them, as well as Pictish women stolen in long-gone days.'"
-The Broken Sword, XIV, p. 96.

Anderson imagines intricate details of his fictional world. And it suffices for Larsson's purposes to reference The Lord Of The Rings but not to mention any other fantasy writers that are known to us. They are all there but only implicitly.

Knowledge And Understanding

Are there things "that man was not meant to know"? Of course not. Not meant by whom for a start? Knowledge is good for its practical applications and, in my opinion, is a value in itself. We are better for knowing, since 1925, that our galaxy is not the entire universe. (I have met people who either disagree with me on that or do not even see the point of such a value judgment.) James Blish's After Such Knowledge Trilogy addresses the question whether secular knowledge is evil.

Sometimes an author reaches a limit of what he is able to explain or account for within a given text. Discussing time travel paradoxes, Manse Everard of the Time Patrol breaks off and says:

"'I hope you understand what I'm saying. I don't.'"
-Poul Anderson, The Shield Of Time (New York, July 1991), PART SIX, 18,244 B. C., II, p. 304.

His fellow agent, Komozino, helpfully adds:

"'It requires a metalanguage and metalogic accessible to few intellects...'" (ibid.)

- and besides:

"'We haven't time to quibble about theory.'" (ibid.)

So the text can move on to practical matters! (But one thing that they do have is time. Komozino might already have spent weeks, months or years of her lifespan on their current problem. Anderson's characters have come a long way from Wells' Time Traveller and his outer narrator wondering about curious possibilities of anachronism and of utter confusion.) 

When Valgard asks Illrede about the new god, the troll-king replies:

"'Best not speak of mysteries we cannot understand.'"
-The Broken Spear, XIII, p. 92.

Indeed, none of us can understand such a mixing of mythologies!

In Neil Gaiman's The Sandman: The Wake (New York, 1997):

"...there are some powers that no one, not even the Endless, seeks to inquire into deeply." (p. 17, panel 4)

Why not?