Three Kings' Day

January 6th is, according to Scandinavian traditions, widely known as Thirteenth Day Yule, referering to this day as the thirteenth day after Christmas Eve. Commemorating the visit of the Magi to baby Christ, this day is also called Helligtrekongersdag ("Three Kings' Day"). Many places, Thirteenth Day Yule was marked as the actual day of Christmas, and hence called Old Christmas; it was a celebration consisting of traditional Christmas cuisine, many toasts to the year to come, as well as a three-armed "Three Kings" candelabra in the center of the feast. In the evening people preferred to stay indoors, as the infamous Wild Hunt began its retreat after creating havoc all through the holidays. Whatever dream one may have dreamed on this night, was believed to come true.

As early as the 3rd century, the baptism of Jesus was celebrated on this day. For the Gnostics, the day of Christ's baptism was his actual birthday, as he, through his baptism, became the undisputed son of God. In latin the day was called Epiphania domini ("Revelation of the Lord"). Thorughout the fourth century, the Epiphany was arranged to be celebrated on the 25th of December. In the year 1700 the holiday was abolished by Danish-Norwegian authorities.

For the common folk however, the Thirteenth Day was known as an important day of forsight; clear weather predicted a good and fertile year. It was also believed that the weather on this day would last for 13 weeks - from now on the coldest part of winter began.

Stefano da Verona (1435). Adoration of the Magi.
Tempera on panel. Pinacoteca di Brera.

"Crack and crackle and make merry!" - Keeping Warm at Christmas

Nearly all of the supernatural beings inhabiting the Scandinavian folklore were on the move on Christmas Eve, and were especially dangerous around winter solstice. For protection and safeguard against this rabble, there were a number of superstitious customs that were carefully observed. In the old society, these were important elements within the Yule celebration.

Having nothing but firewood, and in some places peat, to keep warm it was important to acquire a large stock in advance, making sure that the house would remain nice and heated all Christmas without having to disrupt the peace of mind and reduce the festivities. At Christmas, no room should be locked, dark or cold.

The Christmas wood should be nice and sturdy, preferably dry birch and pine. It was to be cut in the growing moon and with the leaves on - then it burned twice as well, it was told. In Fjærland in Western Norway it had to be of seven sorts, the best one came across in the forest during the year. On Christmas Eve, the fire should "crack and crackle and make merry", for when it crackled, the witches were scared away from the chimney! Preferably it should be one single great, big log that would burn throughout Christmas Eve or even longer.

Some notions indicate that in earlier times, the lokal fjøsnisse - or more menacing Christmas spirits - , would make sure that the right procedure had been conducted. In Lofoten it was told, that if the firewood were not proparly provided, the undead came at night and sawing and chopping, making a terrible noise. The usual practice was to chop up enough for the thirteenth or twentieth day of Christmas, and stock it inside for the first two days of the celebration. Any other procedure was considered a disgrace. Finally, a cross of firewood was placed on the chopping block, and it had to lie there until Christmas had passed - to bless the work completed and protect against evil spirits.

Theodor Kittelsen. Freezing cold, 1903

Source:

• Ørnulf Hodne. Jul i Norge. Cappelen, 1996.

Staffan the Stable Boy

It's Christmas night. The dark winter sky is hovering above a snow-covered landscape. Nature is lifeless and quiet; only the stars seem to breathe. It is Christmas peace, and a bright star is reminiscent of the one who shone above the manger of Christ. On this holy night, one would think that humans too would find peace. Suddenly however, the sound of feet drifts across the courtyard. A torch moves across to the stables, and after a while riders in wild gallop is seen leaving the farms, following the road to the nearest neighbor. Shouting and and screaming interrupt the silence of the night.

Such nightly rides bore some resemblance to the dreaded åsgårdsreien (Eng. the wild hunt)- only worse. With their shrieks and bawls, the riders made as much havoc as they could, knocking down the doors, banging on the timber walls. At each door they got a sip of the mighty Christmas beer, and as the night unfolded, the more intense the riding became. Not seldom did a rider fall off his horse, making the animal run home unaccompanied. 

Yet these rides were not solidly an excuse to kicking down the neighbour's door for a taste of the Christmas beer. There were also had a earnest idea involved; for it was said that one should go out to the crack of dawn with the horses and let them drink of the wells. There were some springs in particular which had a reputation for their clean water, and it was important to be there first; it was "holy water," and whoever drank first, drank wine; the horses would thrive of such water. As a result, there was a violent race race to come first, people rode like crazy. Coming in second was simply not an option, stories tell even of lives being lost. This nocturnal race called for the "'Staffan's race," and songs about him have been sung in Scandinavia since the Middle Ages. Staffan was a stableboy, watering his horses… These lines of text are among our oldest musical treasures. But who was he really - this Steffan?

The biblical Staffan - Stephen – we already encounter in the Acts of the Apostles; shortly after Jesus' death, the number of disciples is increasing continuously. The original twelve apostles need help in the practical work of a fast-growing congregation and appoint seven men to help. One of them is Stephen - the stable boy of King Herrod. Stephen does not content himself with serving food without preaching; Stephen start doing wonders on his own which, eventually, resulting in him being being stoned to death by an angry crowd, as the first Christian martyr. Consequently, Stephen quickly became a revered saint and the deacons appointed Stefanus as their patron saint. His increasing popularity led to the legends surrounding his life story, legends that were both colorful and imaginative – and completely devoid of reality.

The rooster miracle depicted on an altar front from the 1100s. Originating from Broddetorp's church in Västergötland, the altar piece is exhibited at the Historical Museum in Stockholm.

One of the legends tells about how Stephen on the night of Christmas Eve sees the Star of Bethlehem. He understands that it is a sign that the King of Judah, the Savior, has been born. Stephen tells of his discovery of Herod. The king refuses to believe his words, unless the fried rooster lying on his breakfast table rises, flaps his wings and crows. Of course, this is exactly what happens. The king is horrified at how powerful this newborn king must be who can already do such wonders. He decides to kill the child who threatens his kingdom. Stefanus himself is captured and stoned to death outside the city walls. “The rooster miracle”, as the event was called, became the prelude to the Massacre of the Innocents; by Herod’s orders, all boys two years of age and younger in Bethlehem and its vicinity, should be killed. In the Middle Ages there was a widely held belief that the child murders in Bethlehem were the first and perhaps most cruel of the martyrs.

In medieval Scandinavia, the legend of Stefanus, or Staffan as he is called here, takes on a quite different approach in which the horses play an important role. It's Christmas night and Staffan has ridden out to a well to water Herod's horses. But a horse refuses to drink from the water. It has seen the reflection of the star in the water and rears frightened into the night sky. 

Staffan stable boy and the star depicted on the ceiling of Dädesjö church in Småland.

Images of Staffan with his horses or in conjunction with the rooster miracle became popular in the early medieval Scandinavian art. The motif is often found on baptismal fonts as part of the story of Jesus' birth. The fact that it became so popular may have to do with the long and protracted Christianization process that characterized especially the ancient Sweden. Around the year 1100, the majority of the Swedish population was still pagan. It took nearly 300 years for Christianity to gain a foothold. The long missionary period caused Bible stories to emerge at the same time as a later developed cult of saints. The legend of Stephen and Herod must have been quite remodeled when it came to the Nordic countries, for then to be transformed by local traditions. In the Old Norse cult, the horse was put in the center and Christmas was a time when you should take special care of your horses. Making pagan customs Christian became a way for the new religion to establish itself. The legend of Stefan and Herod is a typical example of this initiation.

With Gustaf Vasa and the Reformation, the Catholic saint traditions connected to Stephen was abolished. Staffan the stable boy however, did not lose his popularity. During the 18th century, it was common to go horseback racing, in relation with the Staffan cult, and long into the 20th century he remained a part of the Christmas plays and carols, performed on his memorial day, the 26th of December.

Nowadays, the songs about Steffan stable boy has been as become a cherished part of the Lucia-celebration, as a companion of the female saint. "Staffansvisan", "Sankt Staffan" or "Staffan was a stable boy" is a well known and traditionally bound Swedish Lucia song, which is usually performed by the star boys in a so called Lucia proseccion.

Sources:

• Charlotte Hedenstierna-Jonson. 'Staffan var en stalledräng.' URL: https://historiska.se/upptack-historien/artikel/staffan-var-en-stalledrang/ 
• Kristofer Visted (2016). Jul i gamle dager. Norsk Folkeminnelag/ Scandinavian Academic Press/Spartacus. 

Thou green and glittering tree, good day!

To decorate for a feast with something green indoors is ancient custom throughout Europe, Scandinavia included. In Ofoten in Northern Norway it was said that it was life-giving to have juniper, pine or branch of fir in the house around Christmas, dispossessing "the undead and other evil spirits" from exercising their wicked games. In 1850, vicar M.B. Landstad wrote that it was an old custom among farmers to fetch a rowan from the woods, complete with root and top, and place it in the corner of the living room. "When the tree began to bud, it was believed to predict how the coming of spring and summer. The sooner the Christmas tree went popping, the sooner spring to arrive; the more abundant the tree grew to be, the more fruitful the year would be."

Perhaps this is one of the reasons why the Christmas tree quickly spread and was met with limited resistance in the rural communities when it was first introduced - it prolonged a custom that was already familiar. 

Norwegian Christmas card, 1880: The National Library of Norway

Already in 1605, notions of the Christmas tree was featured in anonymous records from Strasbourg in Alsace, telling about fir trees being placed in people's living rooms at Christmas, embellished with colorful paper roses, apples, cakes and the like. During the 1700's, the custom spread to Germany, and was expanded with new symbolic effects and features: candlelit branches, an imitation of the Betlehem star in the top, followed by a gift ceremony on Christmas Eve. The first known description of Christmas candles also originate from Strasbourg, in 1765. In the 1790s, paintings of candlelit Christmas trees  occur. In the 1840s, Christmas trees had gained a place among wealthy families in all the larger German cities, and from there on, the custom spread to the rural communities.

The first to bring the Christmas tree to Denmark, were supposedly German dignitary families who immigrated to Copenhagen around 1810. However, until 1850, the practice rarely occurred among other than landlords and the city's civil servants, as was the case in Norway as well. The great breakthrough came in the 1870s-1880s, and the influence can be traced in a similar fashion as in Germany: springing from the wealthy, to the broad sections of the population in urban and rural communities.

The most ardent proponents of the new custom were found among priests and teachers. In Jølster, in western Norway, an old man recounted that, as a child, he attended a Christmas party at the vicorage in 1876: "We came in from the kitchen into the living room and saw the Christmas tree. It was like coming into the holy of holies." 

"There was always a sense of feast and excitement associated with the excursion"
Artist uknown

The Christmas tree was chopped and brought to the farm in due time before Christmas Eve. In case of great snowfall and heavy lead, it was convenient to have decided for appropriate tree in advance, and there was always a sense of feast and excitement associated with the excursion and return.

"It had to be tall enough to catch the ceiling and were transported home on the toboggan of us children. At that point, we had been acquainted with it for some time, for it was carefully chosen for our Christmas tree that very same summer. "

In the cities, the new custom led to rapid growth in the sale of Christmas trees. In Oslo, it was considered warmhearted charity to provide poor people with free-of-charge trees; it was contrary to the meaning of the festival that not everyone could afford to celebrate it in a full-fledged way. The Christmas tree had become a focal point on common values and an expression of social equality.

As a rule, it was the children's privilege to decorate the tree on the morning of Christmas Eve, while the adults completed the final preparations. In older times however, and in affluent families, the children were often left outside, and had to wait in tension behind closed doors while the parents carried out the decorations in the room next door. The great moment arose when the doors were opened, and the tree was revealed in all its splendor. 

Illustration for Hans Christian Andersen's fairytale "The Fir Tree", 
by Danish artist Svend Otto Sørensen

From Gildeskål in northern Norway it has been told: "Mother and father disappeared and we sat listening to the sounds in the living room: now they decorated the Christmas tree, now they brought in the presents. It was nice and warm in there, for the fire had been burning since early morning. And then finally the doors were opened. I’ll never forget the wonderful, indescribable feeling of the sight of the decorated Christmas tree with candlelight. And on the table with the fine cloth on, there were bowls with cakes and fruits and nuts, bottles of wine and holstein mead and shiny glasses."

The oldest Christmas decorations were simple and homemade: molded candles with old-fashioned holders, colorful paperchains, flowers and tiny wicker baskets, small figurines of pastries, some fruit (apples, raisins, oranges) and other Christmas treats to fill in the baskets. A man from Evanger in western Norway wrote in 1964: “But what sparkled most was the silver ribbon from mother's wedding dress, which she had kept hidden; and of course, the star in the top.”

It is still unclear when it became custom to walk around the tree and sing Christmas songs. From the 16th century there are records from Germany, telling about people decorating a tree outside, dancing around it at Christmas or New Year’s. To do that at home together with family members and close friends was a form of privatization that happened a lot later. The Danish poet B.S. Ingemann mentioned the custom in 1818, and from Denmark it probably came to Norway with the introduction of the Christmas tree in the mid 1800's. 

Danish Christmas card, probably 1900. The Royal Danish Library, Copenhagen

It was characteristic of the home's Christmas tree that it was consistently a part of to the entire feast, not just a particular day. It gave rise to social gatherings at home both before and after New Year’s. Such Christmas visits often coincided with the "harvesting" of the tree, i.e. to strip it for edible treats and other decorations and distribute the sweets. This was the children's field of expertise, a popular “after-party” and a solemn occasion they had all to themselves.

Nowadays, electrical lighting has helped extend the life of the Christmas tree. In thousands of gardens, bushes and trees with lit light bulbs are twinkling in the winter darkness several weeks into the new year. In some cases, this form of privatization of the public, outdoor Christmas tree can easily be perceived as waste of resources and status symbol for wealthy homeowners.

In most cases, however, this practice is most likely a symbolic expression, more than socially conditioned. The lights bring some of the Christmas spirit and atmosphere into the future, keeping the memory of the Christmas feast alive. 

Thou green and glittering tree, good day!

Released in 1951, the following short film, loosely translated to "The Chime of Church Bells", was created as a Christmas greeting by Oslo Cinemas. Inviting the audience to sing along with the carols, the film truly captures some of the magic and fairy dust many of us associate with our childhood's Christmas - regardsless of age and mother tongue. The song performed by the end of the film, is one of the most well-known Scandinavian Christmas songs to date, written by German-Danish composer Cristoph E.F. Weyse, and Danish poet Johan Krohn. First published in Denmark in 1866, the lyrics were translated to Norwegian in 1892, bearing the title Song to the Christmas Tree. Nowadays, however, it is simply known by the first line of the first verse, emphasizing the song as a tribute and salute to the tree:

Thou green and glittering tree, good day!
With joy and gladness we hial your comingt;
Bedecked with candles and spangles gay,
Your topmost star is as sunlight dawning!
Our hearts' reminder, of Heaven's splendor,
Our hearts' reminder of Heaven's splendor,
And God's great love, And God's great love. 

Sources:

• Ørnulf Hodne (1996). Jul i Norge. Gamle og nye tradisjoner. Cappelen. 
• Stovner, Ina Louise. (2018, 8. februar). Juletre. I Store norske leksikon: https://snl.no/juletre
• Thank you to https://www.hymnsandcarolsofchristmas.com/Hymns_and_Carols/thou_green_and_glittering_tree.htm for a beautiful translation of Du grønne glitrende tre, goddag!

The Christmas Sheaf

The first written notions about the Christmas sheaf is found in Norway's Natural History (1753), written by Danish-Norwegian author, bishop and historian, Erik Pontoppidan. According to Pontoppidan, at "Christmas Eve, the hospitality of the Norwegian farmer goes to great lengths, by also inviting the birds for a feast. Setting up an elaborate bunch of cereal-crop stems bound together outside the door on a rod, this practice facilitate a joyous Christmas party for sparrows and other little birds." More recent traditions can confirm that such Christmas sheafs have been common in farms and dwellings all over the country, gradually gaining ground in in the cities. 

Christmas preperations. Siblings pictured in Oslo, 1905

© Museum of Oslo

The lifespan and purpose of this custom is difficult to identify. However, several theories have been suggested, more or less justified within the tradition itself. Norwegian theologist and sociologist Eilert Sundt, for example, thought that the sheaf was a pagan protecting agent against evil spirits, in the same way as fire, burnt bread, green leaves and twigs. For most, however, a set up sheaf unlikely had no other meaning than letting even the smallest of creatures in on the fun; for also the birds were entitled to the same care and consideration on Christmas Eve, as other animals on the farm.

There were a number of regulations for when and how a sheaf should be set up. First and foremost, it had to be placed high and visible to birds and people, on a set stake or in a tree. In Hemne, a municipality in the county of Trøndelag, a young spruce with many branches were placed in the top, so the birds had "something to sit on while they had their meal." Below the snow had to be swept away, so that the little ones could jump and dance and make merry. 

Immediately after the Chritmas sheaf was set up, it was important to make observations; of what kind of birds were visiting, and how they conducted. If the sparrows and bullfinches flocked to the sheaf, being  cheerful and voracious,  it was a sign of a fruitful forthcoming crop. If the birds were few and far between, eating very little, it was believed that a future famine was in store. At Christmas, nearly everything came a warning. Originally, the sheafs were placed at the foot of the barn bridge – in recent times however, it became more common to place them so that the birds could be seen from the living room windows.

Whether they were made out of barley or oats, the sheafs should be large and have plenty of food. Otherwise, the bird food consisted of tallow and bits of pork for the tits, grains and bread "sprinkled on the roof tops". The magpies and crows got something from slaughter and other scraps from the household kitchen – and "even a glass of liquor" (!). On Christmas eve all living beings should have peace and an abundance of food and drink.

In "Norheimsund in the county of Hordaland it was said: "The Christmas sheaf was the well-established Christmas dinner for birds. The old society showed great care for the animals, always having the birds in mind.” 

Painting by Adolph Tidemand, Traditions of Christmas, 1846

Sources:

• Ørnulf Hodne (1999). Jul i Norge: gamle og nye tradisjoner. Cappelen

Christmas Eve

Twinkling lights are glowing
in silent hamlets tonight
And the hands of thousand children
hold the lights up towards the sky.

And joyful with song they’re greeting
their brother in heaven’s hall,
who came to us as our savior
as a child in a little stall.

There he laid, on a pillow made of hay
crying in his simple crib
the angles singing out there
on the desolate meadows of Bethlehem.

There they sang, for the first time
at night above David’s town
the eternal heavenly song,
which is always is young and new.

The song which tolls once more
with cheer each Christmas night
about the child, God's Son, our reconciler,
who gave us eternal life.

Jakob Sande 1929. 

Foto: Gyldendal.

Eigar: Jakob Sande-selskapet

On what has been said to be a sizzling hot summer’s day in 1931, a young man sat in a garden in the shadow of a tree and wrote. The man was Jakob Sande, the poet who two years before had published the poetry collection Svarte næter ("Black nights,") a book which had attracted a great deal of attention. The poem he now was about to write, was commissioned to be a part of a Christmas booklet by the title Jol in Sunnfjord (“Christmas in Sunnfjord”). The poem was simply called Jolekveld (”Christmas Eve”). 

Jakob Sande himself probably did not think very highly of what was to become his most famous poem, for it is not represented in any of his poetry collections. The public however, would have it otherwise, much due to the melody created for the poem by Lars Søraas in 1948. Today known as Det lyser i stille grender ("Twinkling lights are glowing in silent hamlets"), Sandes lyrics and Søraas' melody belongs to the Norwegian Christmas song canon, and the song remains as one of the most well-known and beloved carols to date.

Countless versions has been put on record throughout the years, the perhaps most renowned sung by Sissel Kyrkjebø (whom many might remember from the Titanic-soundtrack, as well as Prince Igor, a 1997-crossover duet with rapper Warren G.)

The following version, I must however admit to be my favorite one by far. Performed by the Norwegian trio Vintermåne, first released on their Christmas album Søde Julenat in 2005, it brings an overwhelming sense of warmth and tranquility, most certainly fit for the occasion.

With best wishes for a peaceful, and very merry Christmas.