19. The Girl in the Tower (Stúlkan í turninum)

Greyscale image of tower ruin, small version.
[larger image/full caption]

Ruined tower by the seashore.

The Girl in the Tower

Once upon a time there was a poor fisherman who had a young and beautiful daughter. She walked down to the shore, one evening, to see if she could glimpse her father coming home. Suddenly some pirates appeared from nowhere; they planned to seize the girl and carry her off with them. But she took to her heels and ran away as fast as she could.

Nearby stood an ancient tower that was starting to fall into ruins. No one dared go near it, since people thought it was full of ghosts and monsters. But the girl was so terrified she didn't even remember this. She ran into the tower and down some stairs all the way to the dungeon, where she saw bloodstains on the floor and iron chains in the walls. She hurried past them, terrified, ran up a spiral staircase, through a doorway, and into a room at the top of the tower. There she found a huge and menacing owl who stared at her out of fiery eyes. The girl turned, intending to flee. But at that moment the staircase collapsed.

"You will have to stay here, now," said the owl, "and I promise you will have a good time. I am going to teach you to prefer night to day. Here are some apples. Whenever you eat one, your hunger and thirst will vanish. And here is a bed you can rest in whenever you feel the need. I sleep all day long, myself, and you must be quiet as a mouse and not wake me up. If you do, I'll throw you out of that window." With this the owl flew off and left the girl sitting there weeping.


A little later the owl came back in the company of an enormous flock of bats. They flew past the girl and disappeared into the wall opposite the window. She got up to investigate and discovered a tiny opening; it was octagonal and covered with a spiderweb. When she squinted into this hole she could see — far, far away, as if through mist — a brightly-lit hall, gleaming with gold and silver, where countless figures were moving to and fro dressed in splendid garments. She stared at this vision for a long time until suddenly it dimmed and vanished. Afterward she sat and thought about what she had seen. Later still the owl and his bats flew past her again on their way out the window. The owl returned at dawn, perched itself in a corner and went to sleep. The girl stared at the daylight outside. She was up so high that she couldn't see the ground, only sky and a raging sea.


When she got hungry she ate a tiny apple and this satisfied her. Soon she grew drowsy and lay down to sleep. A little after noon she woke again and gazed at the sky, the sea, and the sleeping bird of prey. She sat there, still as death, afraid to move a muscle. This was a pretty miserable existence, she thought.

When it began to grow dark the owl woke up and said: "Which do you prefer, night or day?"

"Day," said the girl. And at this the owl flew off to join the bats.

Afterward everything happened just the way it had the night before. And so it went for several nights, except that the vision kept coming closer and closer and growing ever more distinct: the hall with its lights and gorgeous figures in bright clothing, eating dainties at a richly-laid table.

Every evening the owl asked the girl whether she preferred night or day and she always said she preferred day. But as time went on she became more and more hesitant about this until at last the owl told her: "The moment you say you prefer night, you can join our revels and sit at the table with our splendid company and wear clothes just as beautiful as ours."


Next morning the girl couldn't sleep at all, she was thinking so hard about what she was going to say to the owl that evening. Just then she heard a voice behind her whispering: "Little girl! Keep on preferring day!"

She had no idea what this was all about, so she turned round and asked who was talking.

"Shh!" said the voice. "Shh! Don't wake the owl."

"Who are you?" the girl whispered.

"Once I was a human being," the voice replied, "and I had the bad luck to stray into this place, just like you. I almost died here of boredom, so one night I flew out with the owl. Next morning I had turned into a bat and now I can't stand daylight any more. I want to help you escape, that's why I hid myself just now. . . . Wait — don't make a sound! The monster is waking up!"


When the girl told the owl she still preferred day, it shook with rage and flapped its wing at her, flames darting from its eyes. Later, when the owl and its companions had vanished into the wall, the bat reappeared from his hiding place.

"Aren't you going to go in too?" asked the girl.

"No," said the bat. "I'm never going to go in there again. And please, don't keep going over to that hole and peeping into it!"

"Is there any way we can escape?" asked the girl.

"Yes," said the bat. "If you have the courage to kill the owl, you will be free. You must slip up behind it while it's sleeping, put both hands round its neck, and choke it to death. If it wakes before you get your hands around it, that will be the end of you."

"I think I'll chance it," said the girl. "It's awful living like this."


Next morning, when the owl was fast asleep, the girl got silently to her feet, trembling with fear that it might wake up. She managed to sneak behind it and clasp both hands round its neck as tight as she could. The Enemy raged violently, beating its wings, lashing out with its claws, swivelling its head round and rolling its eyes so menacingly that she was just on the point of letting go. But then the bat flew over and covered the owl's eyes with his wings until it was dead.

The girl was so weak from exhaustion she could hardly stand. But at that moment the whole tower collapsed and vanished away, and when she came to her senses she found herself standing on green grass in bright sunshine. Beside her was a young man who said, "I am the bat who spoke to you just now, and you have set me free. My father is a mighty king. Let's go home and get married."

First they visited the girl's parents in their little cottage and asked their permission to wed. Then they set off for the prince's kingdom, where they were very warmly welcomed, as you can well imagine.

Stúlkan í turninum

Einu sinni var fátækur fiskimaður og átti sér dóttur; hún var ung og fríð. Eitt kvöld gekk hún niður í fjöru, til að vita, hvort hún sæi föður sinn koma að. Þá spruttu þar upp víkingar og ætluðu að taka hana og hafa hana á burt með sér. En stúlkan flýtti sér og hljóp undan, eins og fætur toguðu.

Skammt í burtu þaðan var gamall turn, og farinn víða að hrynja. Enginn maður þorði að koma nærri honum, af því menn héldu hann væri fullur með drauga og forynjur. En stúlkan var svo hrædd, að hún hugsaði ekki eftir því, og hljóp inn í turninn, og ofan stiga, þangað til hún kom niður í jarðhús. Þar voru blóðslettur um gólfið og járnhlekkir í veggjunum. Hún hljóp í ósköpum fram hjá þessu öllu saman, og upp einn skrúfstiga, og inn um dyr inn í klefa í turninum. Þar sat stór og hræðileg ugla og starði á hana og brann úr augunum. Stúlkan sneri við og ætlaði að flýja; en í því bili datt stiginn niður.

"Þú verður nú að vera hér," segir uglan, "og þú skalt eiga fullgott. Ég ætla að kenna þér, að una betur nóttinni, en deginum. Hér liggja nokkur epli; þegar þú borðar eitt þeirra, þá fer af þér hungur og þorsti; og hérna er rúm, sem þú getur sofið í, þegar þú vilt. Ég sef allan daginn, og þá máttu ekki bæra á þér, svo ég hrökkvi ekki upp; ellegar ég steypi þér út um vindaugað." Síðan flaug uglan í burt, en stúlkan sat eftir grátandi.


Skömmu síðar kemur uglan aftur og hefur með sér mikinn hóp af leðurblökum. Þær fljúga allar fram hjá stúlkunni og inn um vegginn, rétt á móti vindauganu. Hún stóð upp og fann á veggnum átthyrnda smugu og ofinn yfir dordingulsvef. Hún gægðist inn um þetta gat og sá þaðan langt í burt, eins og í þoku, bjartan sal, og allt ljómandi, eins og sæi á silfur og gull, og margar myndir í skínandi klæðum bæra sig til og frá. Á þetta starði hún langa stund, þangað til að dimmdi allt í einu; síðan settist hún niður og hugsaði um þenna fyrirburð. Litlu síðar flýgur aftur uglan og leðurblökurnar fram hjá henni út um vindaugað. Þegar dagaði, kemur ugla heim, sest út í horn og fer að sofa. Stúlkan var að horfa út í dagsbirtuna; en svo var hún hátt uppi, að ekki sá til jarðar, heldur aðeins loftið og ólgusjóinn.


Þegar hana svengdi, borðaði hún dálítið epli, og varð södd af því. Síðan varð hún syfjuð og hallaði sér út af. Að aflíðandi hádegi vaknaði hún aftur, og horfði á loftið og sjóinn og illfyglið, þar sem hún svaf. Hún sat grafkyrr og þorði ekki á sér að bæra, og þótti þetta leiðinleg ævi.

Uglan vaknaði, þegar fór að dimma, og tók svo til orða: "Hvort unir þú betur nóttinni eða deginum?"

"Deginum," sagði stúlkan; þá flaug uglan út, og sótti leðurblökurnar.

Síðan fór allt fram, eins og hina fyrri nótt, og gekk svo nokkrar nætur, nema hvað allt var að færast nær, og verða skýrara fyrir henni, salurinn með ljósunum og fallegt fólk á björtum klæðum, sem borðaði dýrar krásir við fagurt borð og ríkuglega búið.

Á hverju kvöldi spurði uglan hana, við hvort henni væri betur, nóttina eða daginn; en hún sagði alltaf, að sér væri betur við daginn. En þó fór hún að hika sér meira og meira, eftir því sem á leið, þangað til uglan segir við hana: "Undir eins og þú svarar mér því, að þér sé betur við nóttina, þá skaltu komast í veisluna með okkur og sitja þar við borðið hjá skrúðbúna fólkinu og fá eins fögur klæði eins og það."


Morguninn eftir gat stúlkan ekki sofið og var einlægt að hugsa um, hverju hún ætti að svara uglunni um kvöldið. Þá heyrði hún á baki sínu vera sagt í hálfum hljóðum: "Stúlka litla! unntu meir deginum, eins og þú hefur gjört."

Hún vissi ekki, hvað þetta var, sneri sér við og spurði, hver talaði.

"Þei þei," sagði röddin, "vektu ekki ugluna."

Þá sagði stúlkan í hálfum hljóðum: "Segðu mér, hver þú ert."

Þá sagði röddin: "Ég hef verið maður og varð fyrir því óláni, að villast hingað inn, eins og þú; ég var nærri dauður af leiðindum og fór út með uglunni eina nótt, en um morguninn varð ég að þessari leðurblöku, og þoli nú ekki framar að horfa í blessaða dagsbirtuna. Mig langar til að frelsa þig; þess vegna hef ég nú falið mig — hafðu ekki hátt! nú vaknar ókindin."


Uglan varð bálreið, þegar stúlkan svaraði henni því, að sér væri betur við daginn. Hún skók að henni vængina, og eldur brann úr augum hennar. Þegar allur hópurinn var floginn inn um vegginn, þá kom leðurblakan aftur út úr skoti sínu.

"Ætlar þú ekki inn líka?" sagði stúlkan.

"Nei," sagði leðurblakan, "þangað ætla ég ekki oftar að fara, og gerðu það fyrir mig, að fara ekki að smugunni til að horfa inn."

Stúlkan sagði þá: "Getum við með engu móti losnað?"

"Jú," sagði leðurblakan, "þú getur losnað, ef þú hefur hug til að drepa ugluna. Þegar hún sefur, verðurðu að læðast aftan að henni, taka báðum höndum utan um hálsinn og kyrkja hana; en það er þinn bani, ef hún vaknar áður en þú nærð utan um hálsinn."

Stúlkan svaraði: "Mér leiðist þessi ævi; þess vegna ætla ég að reyna það."


Morguninn eftir, meðan uglan svaf, stóð hún hægt á fætur, en skalf þó af hræðslu, að uglan mundi vakna. Hún gat komist aftan að henni og tók utan um hálsinn báðum höndum eins fast og hún gat. Óvinurinn hamaðist, þandi út klærnar, barðist um með vængjunum og ranghvolfdi í sér augunum svo voðalega aftur á bak, að stúlkan var nærri búin að sleppa henni af hræðslu. Þá kom leðurblakan og breiddi vængina yfir augun á henni, þangað til hún var kyrkt.

Stúlkan var svo máttfarin, að hún gat ekki staðið fyrir þreytu; en í sama bili hrundi turninn og varð að engu, og þegar hún vaknaði við, stóð hún á grænu grasi í björtu sólskini; við hliðina á henni stóð ungur maður, og sagði við hana: "Ég er leðurblakan, sem talaði við þig, og þú hefur frelsað mig; faðir minn er ríkur konungur; förum til hans og gerum brúðkaup okkar."

Síðan gengu þau fyrst heim í kofann, til foreldra hennar, og beiddu að lofa sér að eigast, og þaðan heim í kóngsríki og fengu góðar viðtökur, eins og þið getið nærri.


Date:1835-45 (winter/spring 1842?)
Form:Prose
Manuscript:None surviving
First published:1847 (9F48-51; image) under the title "Stúlkan í turninum" ("The Girl in the Tower")

Commentary:        It has been claimed that this fable is "modeled on an unknown German romantic tale" (HIL235). The claim is made, no doubt, because moldering towers with resident owls are a familiar part of the German (but not the Icelandic) landscape. However, answering the question of Jónas's source in this fashion leads to a serious underestimate of his powers of originality and creative assimilation, and results in a misunderstanding of his complex intentions in this deceptively simple piece.

In the absence, to date, of any identified German source, the following stanzas from Jónas's favorite German poet, Heinrich Heine, may be cited as illustrative. Jónas will certainly have been familiar with them. They come from one of the poems in Heine's Der Harzreise (1824) and contain many of the features of Jónas's tale (a general atmosphere of evil and sorcery; an ancient dilapidated tower full of spirits; owls; supernatural revellers), though these elements are arranged in a very different pattern:

"Und die Katz' ist eine Hexe,
Denn sie schleicht, bei Nacht und Sturm,
Drüben nach dem Geisterberge,
Nach dem altverfall'nen Thurm.

"Dort hat einst ein Schloß gestanden,
Voller Lust und Waffenglanz;
Blanke Ritter, Frau'n und Knappen
Schwangen sich im Fackeltanz.

"Da verwünschte Schloß und Leute
Eine böse Zauberin,
Nur die Trümmer blieben stehen,
Und die Eulen nisten d'rin.

"Doch die sel'ge Muhme sagte:
Wenn man spricht das rechte Wort,
Nächtlich zu der rechten Stunde,
Drüben an dem rechten Ort:

"So verwandeln sich die Trümmer
Wieder in ein helles Schloß,
Und es tanzen wieder lustig
Ritter, Frau'n und Knappentroß." (1HHS150-1)

H. C. Andersen has also been adduced as a source for Jónas's fable (4E248). Some of its features bear a slight resemblance to the witch's flight to the troll's hall — and the activities that take place there — in Andersen's "The Travelling Companion" ("Reisekammeraten"), published 16 December 1835 in Eventyr, fortalte for Børn (Første Samling, Andet Hefte; see 1HCA78-9). On the other hand, Jónas could have derived these features from descriptions in Icelandic folktales of the opulent living conditions of the elves, which humans are sometimes privileged to glimpse (see, for example, 1Íþs59, 110, 113). The association of splendid elvish banquets with night and of daylight with God and good is also found in Icelandic folktales (see especially 1Íþs118-9).

However we get a better sense of where Jónas is actually quarrying the building blocks of this fable if we turn our attention to its central theme and imagery: the need to choose between day and night, and diabolic promptings to choose night. (There can be no doubt about the fact that the owl represents the Devil: at one point in the story he is referred to simply as "the Enemy" [óvinurinn]).

There is good reason to believe that during the winter of 1841-2 Jónas was steeping himself in the poetry of his old Öxnadalur neighbor Jón Þorláksson,1 including Jón's three satiric poems about Magnús Stephensen and his crusade to introduce the ideas of the European Enlightenment into Iceland.2

Magnús himself was fond of describing his opponents as "enemies of the light" ("fjandmenn ljóssins" [K285]) and Jón Þorláksson — in his "Short Lullaby of Devils" — believed that an appropriate epitaph for Magnús would be the statement: "'He was light and he enlightened profoundly'" ("'hann var ljós og lýsti vel'"). In Jón's poem, the archfiend and two human helpers — nameless wretches wearing devil-masks — discuss plans to attack Magnús, "the light of his fatherland" ("föðurlandsins ljómi"). Jónas was so impressed by this episode that he made a battle between Magnús Stephensen and devils the central motif of his own elegy on Magnús, the "Poem of Magnús" ("Magnúsarkviða"), written that same winter or spring of 1842 (see BPM30-1). Here Magnús, waging his warfare "beneath the standard of light" ("und' merki. . .ljóss"), carries the fight into the devils' own territory, assaulting their citadel (landvirki, forvirki) and overthrowing it.

In another of Jón's poems, "The Battle against the Light," Jupiter (i.e., God) says at the creation of the world, "The light is extremely good!" ("Ljósið er harðla gott!"). This prompts "Iceland's night-raven" ("nátthrafninn Íslands") to grumble, "Oh, no! it is the darkness that is very good!" and to add: "Light is black and ugly!" A snail goes the night raven one better, saying to the sun: "You are of absolutely no use at all!" ("þín eru not ei nein!").3 The message of Jón's poem, duly articulated as it nears its end, is that men fall into two categories: those who promote "useful enlightenment" ("nýta upplýsing") and those who hate the light ("ljós hatast við"). And the moral of the poem is: "he who hates light will never come to a good end!" ("gott ljós sá hatar, hlýtur síst!").

In the third of Jón's poems, "A Revelation of Error," Satan — addressing his fellow devils — promises "warfare against all those who love light, and the praise of all the demons for those who hate it."

       "Sjáið þèr" hann sagði,
"sjálfir hættu þá
oss er búin að bragði,
brjótist ljósið á;
myrkrið er vor maktar stoð,
aðalkraptur, element
og átrúnaðar-goð."

The likelihood that Jónas was familiar with these poems by Jón Þorláksson makes it extremely probable that they are his source for the theme and imagery of "The Girl in the Tower."4 Indeed it is possible to go even farther than this and to suggest that Jónas is remembering Magnús Stephensen's struggle and is consciously or half-consciously indulging in allegory. This suggestion has the virtue of explaining a number of features in the tale.

The owl is Satan. His ruinous tower represents the edifice of unreason and superstition that was constructed during the Middle Ages and continues to be inhabited, even in modern times, by certain misguided parties.5 The dungeon of the owl's tower, with its "bloodstains on the floor and iron chains in the walls," brings to mind the fate of victims of the owl's regime of darkness (one thinks of the Inquisition, perhaps even specifically of Galileo). The flock of bats are men who play the owl's game of preferring darkness and superstition to enlightenment and reason. The girl represents men who resist the blandishments of ignorance and superstition; the helper bat represents men who desire to liberate themselves from them. The collapse and disappearance of the tower represent the defeat of superstition and the triumph of enlightenment. It is notable that at the end of Jónas's fable the girl finds herself "standing on green grass in bright sunshine."

If some such allegorical dimension of the tale is admitted — and it is important to stress that the allegory is extremely unobtrusive and need not even be recognized for full enjoyment of the text — then it is easy to see why Jónas thought the German scenery (the ruinous tower and the owl) essential6 and why he might have created it completely on his own. No doubt he availed himself of hints like those in the poem by Heine quoted earlier; but he need not have been dependent on any prior German tale.

It is not known when Jónas wrote "The Girl in the Tower." If it is indeed a relatively unmodified translation of some unidentified German tale (as has been thought in the past), this might point to a date around 1835, when Jónas and his friend Konráð Gíslason translated Ludwig Tieck's "Der Blonde Eckbert" (1796) and published it in the first number of Fjölnir. If, on the other hand, there is anything to the theory, propounded above, of a close thematic and imagic connection between Jónas's fable and Jón Þorláksson's poems about Magnús Stephensen, then Jónas's piece probably dates from winter/spring 1842. That is why it is placed at this point in the present collection.

Notes

1 Jónas had been hired by Þorsteinn J. Kúld, the publisher of the monumental collected edition of Jón Þorláksson's poetry (Íl), to assist Jón Sigurðsson with the editing. On 2 March 1842 Þorsteinn wrote to Jón:

The manuscript of the second section of the poems [the section containing Jón Þorláksson's original poetry] is in no better shape than the first [containing his translations], since Jónas — who has had it all winter and was supposed to get it completely ready for the press — didn't have time to do this and returned it exactly as he had received it. I've never known such a lazy good-for-nothing. He says he is going to write you about the matter. (See Lúðvík Kristjánsson, "Fjölnismenn og Þorsteinn J. Kúld," Sjötíu ritgerðir helgaðir Jakobi Benediktssyni 20. júlí 1977 [Reykjavík: Stofnun Árna Magnússonar, 1977], p. 564.)

2 For the texts see 2Íl557-72. The three poems are "The Battle against the Light" ("Bardaginn við ljósið," pp. 557-8), "The Short Lullaby of Devils" ("Áragæla en skamma," pp. 559-63), and "A Revelation of Error" ("Villu vitran," pp. 563-72). All three were probably written in the decade 1791-1801, since they show influence from Milton's Paradise Lost (which Jón did not begin translating until 1791) and it is unlikely that any of them dates from after Jón's quarrel with Magnús Stephensen regarding the 1801 hymnal (on this see K43-7).

3 Compare Jón's translation of Satan's address to the sun in Paradise Lost: "I call to you, but not with the words of a friend! And I name you by name, you Sun, but I hate your golden beams!" (Pm86/1)

4 Various details in Jónas's story may also be based on hints from Jón's poems. The owl and his airborne bats may owe something to the description of Satan and his minions at the beginning of "A Revelation of Error." Jón writes:

Leið eg draums í dvala,
döpur varð mèr ró,
hulinn heyrð' eg tala
hóp, í fjarska þó,
virtist mèr í lopti lið.

The description of the owl in his death-throes seems indebted to a description of Satan in "The Short Lullaby of Devils":

       Slokinn fjandans augna eldur
upp tók nú að glæðast heldur,
helblár st[r]ax upp glossi gaus;
klær út þandi heldrenn hendur.

The bat's idea of flying over to cover the owl's eyes may be related to Satan's anxiety, in "A Revelation of Error," that he is going blind because of the flashes of light that are flooding into his realm.

It is probable, moreover, that Jónas's encounter with these three poems by Jón Þorláksson in the winter of 1841-2 explains certain features in two of his own poems. In one of them ("Á sumardagsmorguninn fyrsta [1842]") Jónas adjures God: "myrkur og villu og lygalið / láttu nú ekki standa við" (1E147). The poem was written in April. The other ("Andvökusálmur"; see 1E167-8) shows such clear affiliations with the complex of ideas and images under discussion here (darkness/hell/devils vs. daylight/sun/God), that it probably dates from about the same time. (Its terminus ad quem is March 1843 [see 32Eim277].)

5 For example persons who oppose the enlightenment of science (what Jónas elsewhere calls the "light of the sciences" ["ljós vísindanna"], shining again in modern times after the long darkness of the Middle Ages). Satan in Jón Þorláksson's "A Revelation of Error" is hostile to modern science. He favors the old Ptolemaic model of the universe and is annoyed that the Copernican model has risen to challenge it:

"sól er látin sitja kyr,
en jörðin á að hlaupa' í hríng,
sem heyrt er aldrei fyr."

6 The tower corresponds, in a sense, to the devils' fortress (landvirki) assaulted and overthrown by Magnús Stephensen in Jónas's "Poem of Magnús."

Copyright © 1996-8 Dick Ringler. All rights reserved.

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