Wild Hunt
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The Wild Hunt was a folk myth prevalent in former times across Germany and Britain. The introduction of Christianity also brought this folk myth to Scandinavia.[citation needed] The fundamental premise in all instances is the same: a phantasmal group of huntsmen with the accoutrements of hunting, horses, hounds, etc., in mad pursuit across the skies or along the ground, or just above it.[1] The hunters may be the dead, or the fairies (often in folklore connected with the dead).[2]
It has been variably referred to as the Wild Hunt, Woden's Hunt, the Raging Host (Germany), Herlathing (England), Mesnee d'Hellequin (Northern France), Cŵn Annwn (Wales) Cain's Hunt, Herod's Hunt, Gabriel's Hounds, Asgardreia and even in Cornwall "the devil's dandy dogs."[3]
In many Scandinavian and German versions, the hunt is often for a woman, who is captured or killed.[citation needed] The hunter may be an unidentified lost soul, or a named woman, or he may a historical or legendary figure like Dietrich of Berne or the Danish king Valdemar Atterdag, Satan, or identified with Odin (or other reflexes of the same god, such as Alemannic Wuodan in Wuotis Heer of Central Switzerland etc.)
Seeing the Wild Hunt was thought to presage some catastrophe such as war or plague, or at best the death of the one who witnessed it.[citation needed] Mortals getting in the path of or following the Hunt could be kidnapped and brought to the land of the dead. A girl who saw Wild Edric's Ride was warned by her father to put her apron over her head to avoid the sight.[4] Others believed that people's spirits could be pulled away during their sleep to join the cavalcade.[5]
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[edit] Middle Ages
Medieval legends are mostly from Germany. Historical figures reported to have participated in the Wild Hunt were St. Guthlac (683–714), and Hereward the Wake (died ca. 1070). From the 12th century, there are testimonies from England: In the Peterborough Chronicle, the chronicler attests the Wild Hunt's appearance at the appointment of a disastrous abbot for the monastery. Around the year 1132, the anonymous monk wrote:
- Tha huntes waeron swarte and micele and lardlice, and here hondes ealle swarte and bradegede and lardlice, and hi ridone on swarte hors and on swarte bucces....
- ("Then the hunters were black and large and terrifying, and their hounds were all black and broad-eyed and terrifying, and they rode on black horses and black goats....")
This particular Wild Hunt was banished by the intervention of the monks of the monastery and the local nobility.
The leaders were known by many names, including Berta, Holle, Hulda, Selga.[6] The commonest name is Diana, which may stem from the Roman goddess's connection with the hunt, the night, and witchcraft, but the Wild Hunt is known exactly in those areas that have no known connection with the worship of the Roman Diana, and it may also stem from "Diana of the Ephesians" the only goddess mentioned in the New Testament; it is certain that another name for this figure, Herodias, comes from that source.[7]
While these Wild Hunts are recorded by clergymen, and portrayed as diabolic, late medieval English romance like Sir Orfeo, the hunters are rather from a fairy otherworld, as in Celtic countries, where the Wild Hunt was the hosting of the Sidhe, the fairies; its leaders also varied, but they included Gwydion, Gwynn ap Nudd, King Arthur, Nuada, and Herne the Hunter. Many legends are told of their origins, as in that of "Dando and his dogs" or "the dandy dogs": Dando, wanting a drink but having exhausted what his huntsmen carried, declared he would go to hell for it. A stranger came and offered a drink, only to steal Dando's game and then Dano himself, with his dogs giving chase. The sight was long claimed to have been seen in the area.[8] Another legend recounted how King Herla, having visited the Fairy King, was warned not to step down from his horse until the greyhound he carried jumped down; he found that three centuries had passed during his visit, and those of his men who dismounted crumbled to dust, and he and his men are still riding, because the greyhound has yet to jump down.[9]
[edit] Post-medieval legend
The Wild Hunt is known from the post-medieval folklore of Germany, Ireland, Great Britain, Denmark, Sweden, and to a lesser extent Norway. One of the origins postulated for the modern Harlequin is Hellequin, a stock character in French passion plays. Hellequin, a black-faced emissary of the devil, is said to have roamed the countryside with a group of demons chasing the damned souls of evil people to Hell. The physical appearance of Hellequin offers an explanation for the traditional colours of Harlequin's mask (red and black).[10]
The myth of the Wild Hunt has through the ages been modified to accommodate other gods and folk heroes, among them King Arthur and, more recently, in a Dartmoor folk legend, Sir Francis Drake. A rare modern example of a Wild Hunt legend dates from the 1950s: a group of boys vandalising trees in Windsor Great Park came across a horn. Two of the boys refused to touch it, but the third picked it up and blew it. The call was answered by the cry of the hunt and the baying of hounds. The boys ran for a nearby church, but the boy who blew the horn fell behind. The hounds grew closer, there was the sound of a loosed arrow and the boy who blew the horn fell dead. No arrow was found, nor was a wound.
In certain parts of Britain, the hunt is said to be that of hell-hounds chasing sinners or the unbaptised. In Devon these are known as Yeth Hounds, and in Somerset as Gabriel Ratchets.
In Quebec, the legend of the “chasse-galerie”, or witched canoe, is a favorite.
It can be compared to another ghostly troop: the Santa Compaña in Galicia, a procession of the dead that recruits those who meet it.
[edit] Origins
As Kris Kershaw has exhaustively documented (Kershaw 2001), the ritual re-enactment of the Wild Hunt was a cultural phenomenon documented among many Gaulish and Germanic peoples. In its Germanic manifestations the Harii painted themselves black to attack their enemies in the darkness. The Heruli, nomadic, ecstatic wolf-warriors, dedicated themselves to Wodan.
The Norse god Odin in his many forms, astride his eight-legged steed Sleipnir, came to be deeply associated with the Wild Hunt in Scandinavia because of his aspect of berserking. Odin acquired another aspect (to add to his many other names and attributes) in this context, that of the Wild Huntsman, along with Frigg. The passage of this hunt was also referred to as Odin's Hunt. People who saw the passing hunt and mocked it were cursed and would mysteriously vanish along with the host; those that joined in sincerity were rewarded with gold (H.A. Guerber, 1922). In the wake of the passing storm (which the Hunt was often identified with), a black dog would be found upon a neighboring hearth. To remove it, it would need to be exorcised similar to the custom for removing changelings. However, if it could not be removed by trickery, it must be kept for a whole year and carefully tended.
According to H.A. Guerber: "The object of this phantom hunt varied greatly, and was either [that of] a visionary boar or wild horse, white-breasted maidens who were caught and borne away bound only once in seven years, or the wood nymphs, called Moss Maidens, who were thought to represent the autumn leaves torn from the trees and whirled away by the wintry gale." Whatever the case, the Hunt was most often seen in the autumn and winter, when the winds blew the fiercest.
Otto Höfler (1934) and other authors of his generation emphasized the identification of the hunter with Odin, looking for the traces of an ecstatic Odin cult in more recent customs from German-speaking areas.
In view of this, John Lindow of the University of California, Berkeley (Lindahl et al. 2002:433) notes that more recent scholarship: "would argue a basis in an Indo-European warrior cult in which young warriors imbued with the life force fight with the characteristics of animals, especially, those of wolves, and are initiated into a warrior band [...]."
[edit] Leader of the Wild Hunt
- Britanny: King Arthur.[11]
- Denmark: Valdemar Atterdag (usually styled "King Waldemar" in English).
- England: Wild Edric, a Saxon rebel;[12] Hereward the Wake; King Arthur; Herne the Hunter; Herla (a King of the Britons who stayed too long at a fairy wedding feast and returned to find centuries had passed);[13] St. Guthlac; Old Nick; Jan Tregeagle, a Cornish lawyer who escaped from Hell and is pursued by the devil's hounds.
- France: Charlemagne and Roland the standard bearer.
- Scandinavia: Odin; Valdemar Atterdag; the witch Gurorysse (Norway).
- Gaul: Cernunnos.
- Germany: Dietrich of Berne; Woden, Wildes Gjait.
- Guernsey: Herodias (Rides with witches at sea)[14]
- Ireland: Fionn mac Cumhaill and the Fianna; Manannan—also known as The Fairy Cavalcade.
- Netherlands: Wodan, Gait met de hunties/hondjes (Gait with his dogs), Derk met de hunties/hondjes (Derk with his dogs), Derk met de beer (Derk with his boar), het Glujende peerd (the glowing horse), Ronnekemère, Henske met de hondjes/Hänske mit de hond (Henske with his dogs), Berend van Galen (Beerneken van Galen, Bèrndeken van Geulen, Bommen Berend or Beerneken, the bishop of Münster, Germany).
- Wales: Arawn or Gwyn ap Nudd, the Welsh god of the Underworld.
Others: the Squire of Rodenstein and Hans von Hackelberg (both Sabbath-breakers).
[edit] Cultural references
William Butler Yeats evoked the Wild Hunt in "The Hosting of the Sidhe", the opening poem in his collection inspired by Gaelic faery lore, The Celtic Twilight (1893, 1903) [3]
The Wild Hunt, led by Garanhir, is the central motif in Alan Garner's The Moon of Gomrath.
The Wild Hunt, presided by Arawn and run by the Cwn Annwn, are a key plot point in Diana Wynne Jones's 1975 fantasy novel Dogsbody.
The Wild Hunt is also a central plot component in Raymond E. Feist's popular 1988 fantasy novel, Faerie Tale.
Legends of the Wild Hunt have been used by science fiction author Julian May in her series "Saga of Pliocene Exile (British series title, Saga of the Exiles)."
Black metal band Bathory used Peter Nicolai Arbo's painting Åsgårdsreien as the cover for their 1988 album Blood Fire Death. The instrumental intro track Oden's Ride Over Nordland, and portions of A Fine Day To Die include thunderous noise and wild horse cries to paint an aural picture of the Hunt.
Peter Beagle's novel Tamsin has the Wild Hunt as one of the main themes, along with some other Celtic beliefs.
Similarly, Nigel Kneale tied the legend to a racial memory introduced by prehistoric Martian attempts at colonizing Earth in the famous television serial Quatermass and the Pit.
In the 1940s, Stan Jones encoded the story of the Wild Hunt in his country song "(Ghost) Riders in the Sky" (song written some time around 1948), which transposes the story to a group of cowboys who chase the devil's herd of cattle through the night skies, tormented by madness and thirst.
In Susan Cooper's series The Dark Is Rising, the Hunt is led by Herne the Hunter and is responsible for driving back the Dark (the enemy in the series), after seeing the six signs collected by Will Stanton, one of the main characters.
In The Bitterbynde Trillogy by Cecilia Dart-Thornton the Wild Hunt is led by Huon, a powerful "unseelie wight" who chases with his hell-hounds through the skies of Erith in search of the main protagonist.
The Wild Hunt also appears in the classic computer game Darklands as a recurring event.
The Wild Hunt also appears in the RPG Morrowind in an in-game history book about elf mythology.
In Mercedes Lackey's urban fantasy novel The Chrome Circle, protagonist and human mage Tannim and his companion in the book, the half-kitsune, half-dragon Shar encounter the Wild Hunt in their attempts to escape the darker, more evil-controlled pockets of Underhill.
One of Franz Liszt's twelve piano studies, the Études Transcendantales (1838/51), is based on the Wild Hunt, and entitled Wilde Jagd.
The Wild Hunt is also the focus of a "Buffy the Vampire Slayer" novel, "Child of the Hunt"
In Dead Beat, Jim Butcher's seventh novel of The Dresden Files, the Hunt is lead by a malevolent wyldfae called the Erlking.
In the Warhammer Fantasy milieu, the Wild Hunt is an aspect of the Wood Elves and their mystical king-in-the-woods, Orion (cognate with Arawn?).
In Guy Gavriel Kay's trilogy The Fionavar Tapestry the Wild Hunt appear as eight lawless kings traveling the universe. While their leader is Owein, they all follow a child rider. They bring randomness to the world, making freedom possible despite the Weaver's chosen patterns.
The book Lords of Chaos contains a chapter which attempts to make parallels between the myth of the wild hunt and the phenomenon of Scandinavian black metal.
In Arnold Schönberg's oratorium Gurrelieder the Wild Hunt appears in a third part. Danish king Waldemar was in love with Tove, who was murdered at jealous queen's bidding. Waldemar damned God and then Waldemar himself was laid under a curse to ride with his dead company until the day of judgement.
In the Meredith Gentry books by Laurell K. Hamilton, the Hunt appear as the Sluagh, led by a mixed-race Sidhe named Sholto. In the Meredith books, the Hunt are the legion of Fey too twisted and strange even for the Unseelie Court. They are Queen Andais' secret weapon, to be unleashed upon those Fey of her court who go into hiding to escape her wrath.
In A Wizard Abroad by Diane Duane, Nita invokes the Wild Hunt as part of a plan to destroy the Fomori (also called Drow) in order to weaken the Lone Powery in the guise of Balor of the Evil Eye
In Urban Shaman by C. E. Murphy, The Wild Hunt pursues the protagonist Siobhan Walkingstick (anglicized to Joanna Walker).
In Mistral's Kiss by Laurell K. Hamilton, the Wild Hunt is part of the Sluagh and is awakened as magic beings to return to the Unseelie Court.
[edit] See also
[edit] References
- ^ Katharine Briggs, An Encyclopedia of Fairies, Hobgoblins, Brownies, Boogies, and Other Supernatural Creatures, "Wild Hunt", p 437. ISBN 0-394-73467-X
- ^ K. M. Briggs, The Fairies in English Tradition and Literature, p 49-50 University of Chicago Press, London, 1967
- ^ [1]
- ^ Katharine Briggs, An Encyclopedia of Fairies, Hobgoblins, Brownies, Boogies, and Other Supernatural Creatures, "Infringement of fairy privacy", p 233. ISBN 0-394-73467-X
- ^ Ronald Hutton, The Pagan Religions of the Ancient British Isles: Their Nature and Legacy, p 307, ISBN 0-631-18946-7
- ^ Ronald Hutton, The Pagan Religions of the Ancient British Isles: Their Nature and Legacy, p 307, ISBN 0-631-18946-7.
- ^ Ronald Hutton, "Paganism in the Lost Centuries", p 169, Witches, Druids, and King Arthur, ISBN 1-85285-397-2.
- ^ K. M. Briggs, The Fairies in English Tradition and Literature, p 49. University of Chicago Press, London, 1967.
- ^ K. M. Briggs, The Fairies in English Tradition and Literature, p 50–1. University of Chicago Press, London, 1967.
- ^ Grantham, B., Playing Commedia, A Training Guide to Commedia Techniques, Nick Hern Books, London, 2000
- ^ K. M. Briggs, The Fairies in English Tradition and Literature, p 51. University of Chicago Press, London, 1967.
- ^ Katharine Briggs, An Encyclopedia of Fairies, Hobgoblins, Brownies, Boogies, and Other Supernatural Creatures, "Wild Hunt", p 436. ISBN 0-394-73467-X.
- ^ K. M. Briggs, The Fairies in English Tradition and Literature, p 50–1. University of Chicago Press, London, 1967.
- ^ Ronald Hutton, "Paganism in the Lost Centuries", p 169, Witches, Druids, and King Arthur, ISBN 1-85285-397-2.
- ^ Ruben A. Koman, Dalfser Muggen Profiel, Bedum 2006. [2]
- Jean-Claude Schmitt, Ghosts in the Middle Ages: The Living and the Dead in Medieval Society (1998), ISBN 0-226-73887-6 and ISBN 0-226-73888-4
- Kris Kershaw, The One-Eyed God: Odin and the Indo-Germanic Mannerbunde, Journal of Indo-European Studies, (2001).
- Carl Lindahl, John McNamara, John Lindow (eds.) Medieval Folklore: A Guide to Myths, Legends, Tales, Beliefs, and Customs, Oxford University Press (2002), p. 432f. ISBN 0-19-514772-3
- Otto Höfler, Kultische Geheimbünde der Germanen, Frankfurt (1934).
- Ruben A. Koman, 'Dalfser Muggen'. - Bedum : Profiel. - With a summary in English, (2006).
