Various - The Atlantic Monthly, Volume 10, No. 57, July, 1862

of future prowess. The sense of dependence upon an unseen Power is manifested only in superstitious vows for luck and congratulations that the Strong Ones have been upon the conquering side. There is no lifting up of the heart which checks for a time the joy of victory. They are ferociously glad that they have beaten. This prize-fighting imagery belongs also to the Anglo-Saxon poetry, and is in marked contrast with the commemorative poetry of Franks and Germans after the introduction of Christianity. The allusions may be quite as conventional, but they show that another power has taken the field, and is willing to risk the fortunes of war. Norse poetry loses its vigor when the secure establishment of Christianity abolishes piracy and puts fighting upon an allowance. Its muscle was its chief characteristic. We speak only of war-poetry.

Here, for instance, is the difference plainly told. Hucbald, a monk of the cloister St. Amand in Flanders, wrote "The Louis-Lay," to celebrate the victory gained by the West-Frankish King Louis III. over the Normans, in 881, near Saucourt. It is in the Old-High-German. A few lines will suffice:—

Earlier than this it was the custom for soldiers to sing just before fighting. Tacitus alludes to a kind of measured warcry of the Germans, which they made more sonorous and terrific by shouting it into the hollow of their shields. He calls it barditus by mistake, borrowing a term from the custom of the Gauls, who sang before battle by proxy,—that is, their bards chanted the national songs. But Norse and German soldiers loved to sing. King Harald Sigurdson composes verses just before battle; so do the Skalds before the Battle of Stiklestad, which was fatal to the great King Olaf. The soldiers learn the verses and sing them with the Skalds. They also recollect older songs,—the "Biarkamal," for instance, which Biarke made before he fought. 5 5 Laing's Sea-Kings of Norway , Vol. II. p. 312; Vol. III. p. 90. These are all of the indomitable kind, and well charged with threats of unlimited slaughter. The custom survived all the social and religious changes of Europe. But the wild war-phrases which the Germans shouted for mutual encouragement, and to derive, like the Highlanders, an omen from the magnitude of the sound, became hymns: they were sung in unison, with the ordinary monkish modulations of the time. The most famous of these was written by Notker, a Benedictine of St. Gall, about the year 900. It was translated by Luther in 1524, and an English translation from Luther's German can be found in the "Lyra Germanica," p. 237.

William's minstrel, Taillefer, sang a song before the Battle of Hastings: but the Normans loved the purely martial strain, and this was a ballad of French composition, perhaps a fragment of the older "Roland's Song." The "Roman de Rou," composed by Master Wace, or Gasse, a native of Jersey and Canon of Bayeux, who died in 1184, is very minute in its description of the Battle of Val des Dunes, near Caen, fought by Henry of France and William the Bastard against Guy, a Norman noble in the Burgundian interest. The year of the battle was 1047. There is a Latin narrative of the Battle of Hastings, in eight hundred and thirty-five hexameters and pentameters. This was composed by Wido, or Guido, Bishop of Amiens, who died in 1075.

The German knights on their way to Jerusalem sang a holy psalm, beginning, "Fairest Lord Jesus, Ruler of the earth." This was discovered not long ago in Westphalia; a translation of it, with the music, can be found in Mr. Richard Willis's collection of hymns.

One would expect to gather fragments of war-poetry from the early times of the Hungarians, who held the outpost of Europe against the Turks, and were also sometimes in arms against the imperial policy of Germany. But De Gerando informs us that they set both victories and defeats to music. The "Rákótzi" is a national air which bears the name of an illustrious prince who was overcome by Leopold. "It is remarkable that in Hungary great thoughts and deep popular feelings were expressed and consecrated, not by poetry, but by national airs. The armed Diets which were held upon the plain of Rákos were the symbol of ancient liberty to the popular apprehension; there is the 'Air of Rákos,' also the 'Air of Mohács,' which recalls the fall of the old monarchy, and the 'Air of Zrinyi,' which preserves the recollection of the heroic defence of Szigeth." 6 6 A. De Gerando, La Transylvanie et ses Habitants , Tom. II. p. 265, et seq. These airs are not written; the first comer extemporized their inartificial strains, which the feeling of the moment seized upon and transmitted by tradition. Among the Servians, on the contrary, the heroic ballad is full of fire and meaning, but the music amounts to nothing.

The first important production of the warlike kind, after Germany began to struggle with its medieval restrictions, was composed after the Battle of Sempach, where Arnold Struthalm of Winkelried opened a passage for the Swiss peasants through the ranks of Austrian spears. It is written in the Middle-High-German, by Halbsuter, a native of Lucerne, who was in the fight. Here are specimens of it. There is a paraphrase by Sir Walter Scott, but it is done at the expense of the metre and naïve character of the original.

That was July 9, 1386. The Swiss had been exasperated by the establishment of new tolls by the nobility, who were upheld in it by the Duke of Austria. The Federates ( Confederates can never again be used in connection with a just fight) began to attack the castles which sheltered the oppressive baronial power. The castle behind the little town of Willisow is stormed and burned. Thereupon the nobles swear to put these Swiss free peasants down and get them a master. The poet tells all this, and proceeds to describe their excesses and pride. Then,—

To which the nobles are imagined to reply,—

"Indeed! where sits the priest, then, to grant this needful gift?" In the Schweitz he is all ready,—he'll give you hearty shrift: Hei! he will give it to you sheer, This blessing will he give it with sharp halberds and such gear.

The Duke's people are mowing in the fields near Sempach. A knight insolently demands lunch for them from the Sempachers: a burgher threatens to break his head and lunch them in a heavy fashion, for the Federates are gathering, and will undoubtedly make him spill his porridge. A cautious old knight, named Von Hasenburg, rides out to reconnoitre, and he sees enough to warn the Duke that it is the most serious business in which he ever engaged.

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