By “Th. F.”

I translated the article below from Norwegian for my uncle, who told me about his great-granddaughter, who was named “Sophie” after my grandmother, his mother. He tells me she takes after her namesake in several ways. This reminded me of this article, taken from a Norwegian-language almanac published in Minneapolis. The distant relation who sent it to me told me that the subject of the article was a mutual ancestor, also named “Sofie.” Judging the description, my grandmother was one in a line of godly Sophies.

(From Folke Calender 1932, ed. by D. C. Jordahl, published by Augsburg Publishing House. I have translated the word røkstue as “smoky cottage.” In old times in Norway, it was common for people to live in houses with a fireplace built into a corner, but no chimney. The smoke would simply vent out into the room, and escape through a hole in the roof. lw)

Deep among the many miles of fjords in the southern part of the Bergen diocese, there lies a pretty little farming community. Here there is an inlet on one bank of the fjord, and in the curve of the bay is a ring of beautiful farms on either side of a frothy river that descends from the mighty mountain in the background. Just at the mouth of the river may be seen the white-painted local store building, and a little further up on a terraced hillside stands the church, whose spire points to heaven, speaking silent words to the residents round about, reminding them now and then, amid the business of the day, to turn their thoughts to higher things. But when Sunday comes it seems that it cannot be content with this silent witness – the bells begin “calling the young and old to rest, but above all the soul distressed, longing for rest everlasting.”

It was in my younger days that I first came as a school teacher to this beautiful little community. The schoolhouse stood on a farm called Vika, a farm which, with its many residents, all of whom followed the old custom and usage of building their houses close together, looked almost like a little village. In the midst of this cluster of houses stood a small cottage with a turf roof. Its door was so low that one had to bend to go inside, and its window was so small that the light of day could hardly force its way in. This was a “smoky cottage” (røkstue) in the genuine old style. The ceiling and the wainscotting within were black as coal from smoke and soot, but the upper areas of the walls all around had been coated with a kind of clay or chalk compound, whose gray-white color was intended to make things brighter and more cheerful inside the cottage. On the lower part of the white area a number of decorations had been drawn, consisting of triangular figures, dots, and flourishes, all made of that same chalky compound. It did not look so terribly bad, and was at least a testimony to how the desire for beauty, inborn in every person, must be expressed, even through the most primitive means.

Unprepossessing and small as the cottage was, for me holy and precious memories are bound up with it. It was a little “Bethel,” a house of God, for in it dwelt one of “the quiet in the land,” a widow of more than sixty years of age, a true Anna who “never ceased to serve God night and day.” Sofie was her name, and although in all probability she did not herself know that her name meant “Wisdom,” she nonetheless answered well to it. Indeed, seldom has a name better suited the person who bore it. For God’s wisdom dwelt, in rich measure, in that simple old Christian soul. Continue reading "The Old Widow in the Smokey Cottage" →

Thor as C. S. Lewis fell in love with him. Arthur Rackham illustration from The Rhinegold and the Valkyrie, 1910.

A disagreement arose today, on a Facebook page where I participate, about modern heathenism – particularly the adoption of the old Norse gods by modern people, most of whom were raised Christian. I’m reluctant to argue these things in public, but here – just between you and me – I’ll share my thoughts.

I first encountered Thor in the pages of some kind of anthology in an elementary school classroom. I found a story called “How Thor Lost His Hammer,” read it, and found it a lot of fun. When the teacher called for volunteers to read a story to the class, I volunteered to read that one. But I told my fellow students that Thor was a Greek god, because the Greek ones were the only small “g” gods I’d ever heard of.

Later I discovered that Thor and company were in fact the gods of the Norse, my ancestors. I borrowed Padraic Colum’s The Children of Odin from the library and was fascinated (Willy Pogany’s excellent stylized illustrations didn’t hurt). As the years passed, my interest expanded to include the whole Viking world, and (as C. S. Lewis said) “I reveled in my Nibelungs.”

I’m one of those who believe that Norse mythology beats Classical mythology like a rug. I’ll grant that, simply because of longevity, the Greek and Roman gods informed more – and greater – works of art. But in themselves the Mediterranean gods are kind of second (or third) rate. They start out interestingly enough, with Chronos eating his children and the wars with the Titans, but then the gods just settle down to meddling in mortal affairs and catering dei ex machina.

The Norse gods, on the other hand, have a story arc. Their myths actually improve as they go along, until in the end they achieve the level of the tragic and the epic. Ragnarok, the fall of the gods, is one of the most romantic themes in the world. Richard Wagner, in spite of his many personal sins, recognized this and did it something like justice. Wagner’s music swept the young C. S. Lewis away and inspired his creativity and (eventually) his Christian faith. Continue reading Monotheistic meditations →