of the broth in which he has bathed, lapping it with his mouth.” (“Topography of Ireland,” c. xxv.) This is, perhaps, the origin of the Irish expression, “a broth of a boy.”
Tacitus tells us that after a defeat of the Chatti, their conquerors sacrificed horses, ate their flesh, and hung up their heads in trees, or affixed them to poles, as offerings to Wuotan. So, after the defeat of Varus and his legions, when Cæcina visited the scene of the disaster, he found the heads of the horses affixed to the branches and trunks of the trees. Gregory the Great, in a letter to Queen Brunehild, exhorted her not to suffer the Franks thus to expose the heads of animals offered in sacrifice. At the beginning of the fifth century, St. Germanus, who was addicted to the chase before he was made Bishop of Auxerre, was wont to hang up the heads and antlers of the game killed in hunting in a huge pear-tree in the midst of Auxerre, as an oblation to Odin, regardless of the reproof of his bishop, Amator, who, to put an end to this continuance of a heathenish ceremony, cut down the tree.
Adam of Bremen tells of the custom of hanging men, horses, and dogs at Upsala; and a Christian who visited the place counted seventy-two bodies. In Zeeland, in the eleventh century, every ninth year, men, horses, dogs, and cocks were thus sacrificed, as Dietmar (Bishop of Merseburg) tells us. Saxo, the grammarian, at the end of the twelfth century, describes how horses’ heads were set up on poles, with pieces of wood stuck in their jaws to keep them open. The object was to produce terror in the minds of enemies, and to drive away evil spirits and the pestilence. For this reason it was, in addition to the practical one already adduced, that the heads of horses, men, and other creatures which had been sacrificed to Odin were fastened to the gables of houses. The creature offered to the god became, so to speak, incorporate in the god, partook of the Divine power, and its skull acted as a protection to the house, because that skull in some sort represented the god.
In the Egil’s saga, an old Icelandic chief is said to have taken a post, fixed a horse’s head on the top, and to have recited an incantation over it which carried a curse on Norway and the King and Queen; when he turned the head inland, it made all the guardian spirits of the land to fly. This post he fixed into the side of a mountain, with the open jaws turned towards Norway.[8] Another Icelander took a pole, carved a human head at the top, then killed a mare, slit up the body, inserted the post and set it up with the head looking towards the residence of an enemy.[9]
These figures were called Nith-stangs, and their original force and significance became obscured. The nith-stang primarily was the head of the victim offered in sacrifice, lifted up with an invocation to the god to look on the sacrifice, and in return carry evil to the houses of all those who wished ill to the sacrificer. The figure-head of a war-ship was designed in like manner, to strike terror into the opponents, and scare away their guardian spirits. The last trace of the nith-stang as a vehicle of doing ill was at Basle, where the inhabitants of Great and Little Basle set up figures at their several ends of the bridge over the Rhine to outrage each other.
Fig. 6.—A GABLE, GUILDFORD.
In Ireland we meet with similar ideas. On the death of Laeghaire (King Lear), his body was carried to Tara and interred with his arms and cuirass, and with his face turned towards his enemies, as if still threatening them. Eoghan, King of Connaught, was so buried in Sligo, and as long as his dead head looked towards Ulster, the Connaught men were victorious; so the Ulster men disinterred him and buried him face downwards, and then gained the victory. According to Welsh tradition, the head of Bran was buried with the face to France, so that no invasion could come from thence. A Welsh story says that the son of Lear bade his companions cut off his head, take it to the White Hill in London, and bury it there, with the face directed towards France. The head of man and beast, when cut off, was thought to be gifted with oracular powers, and the piping of the wind in the skulls over the house gables was interpreted—as he who consulted it desired.
In an account we have of the Wends in the fifteenth century, we are told that they set up the heads of horses and cows on stakes above their stables to drive away disease from their cattle, and they put the skull of a horse under the fodder in the manger to scare away the hobgoblins who ride horses at night. In Holland, horses’ heads are hung up over pigstyes, and in Mecklenburg they are placed under the pillows of the sick to drive away fever. It must be remembered that pest or fever was formerly, and is still among the superstitious Slaves, held to be a female deity or spirit of evil.
Now we can understand whence came the headless horses, so common in superstition, as premonitions of death. Sometimes a horse is heard galloping along a road or through a street. It is seen to be headless. It stops before a door, or it strikes the door with its hoof. That is a sure death token. The reader may recall Albert Dürer’s engraving of the white horse at a door, waiting for the dead soul to mount it, that it may bear him away to the doleful realms of Hæla. In Denmark and North Germany the “Hell-horse” is well known. It has three legs, and is not necessarily headless. It looks in at a window and neighs for a soul to mount it. The image of Death on the Pale Horse in the Apocalypse was not unfamiliar to the Norse and German races. They knew all about Odin’s white horse that conveyed souls to the drear abode.
Properly, every village, every house had its own hell-horse. Indeed, it was not unusual to bury a live horse in a churchyard, to serve the purpose of conveying souls. A vault was recently opened in a church at Görlitz, which was found to contain a skeleton of a horse only, and this church and yard had long been believed to be haunted by a hell-horse. The horse whose head was set up over the gable of a house was the domestic spirit of the family, retained to carry the souls away.
The child’s hobby-horse is the degraded hell-horse. The grey or white hobby was one of the essential performers in old May Day mummings, and this represents the pale horse of Odin, as Robin Hood represents Odin himself.[10] We see in the hobby-horse the long beam of the principal with the head at the end. It was copied therefrom, and the copy remains long after the original has disappeared from among us.
A man was on his way at night from Oldenburg to Heiligenhafen. When he came near the gallows-hill he saw a white horse standing under it. He was tired, and jumped on its back. The horse went on with him, but became larger and larger at every step, and whither that ghostly beast would have carried him no one can say; but, fortunately, the man flung himself off the back. In Sweden the village of Hästveda is said to take its name from häst-hvith, a white horse which haunts the churchyard and village.
In Bürger’s ballad of Leonore, the dead lover comes riding at night to the door of the maiden, and persuades her to mount behind him. Then the horse dashes off.
“How fast, how fast, fly darting past
Hill, mountain, tree, and bower;
Right, left, and right, they fly like light,
Hamlet, and town, and tower.
‘Fear’st thou, my love? The moon shines bright.
Hurrah! the dead ride fast by night,
And dost thou dread the silent dead?’ ”
They dash past a graveyard in which is a mourning train with a coffin. But the funeral is interrupted; the dead man must follow horse and rider.
Fig. 7.—OLD TEMPLE BAR, WITH TRAITORS’ HEADS.
They pass a gallows, round which a ghostly crew are hovering. The hanging men and the spectral dance must follow.
The rider carries his bride to a churchyard, and plunges down with her into a vault.
Bürger
