Viking Britain: A History
Thomas Williams
A new narrative history of the Viking Age, interwoven with exploration of the physical remains and landscapes that the Vikings fashioned and walked: their rune-stones and ship burials, settlements and battlefields.To many, the word ‘Viking’ brings to mind red scenes of rape and pillage, of marauders from beyond the sea rampaging around the British coastline in the last gloomy centuries before the Norman Conquest. It is true that Britain in the Viking Age was a turbulent, violent place. The kings and warlords who have impressed their memories on the period revel in names that fire the blood and stir the imagination: Svein Forkbeard and Edmund Ironside, Ivar the Boneless and Alfred the Great, Erik Bloodaxe and Edgar the Pacifier amongst many others. Evidence for their brutality, their dominance, their avarice and their pride is still unearthed from British soil with stunning regularity.But this is not the whole story.In Viking Britain, Thomas Williams has drawn on his experience as project curator of the British Museum exhibition of Vikings: Life and Legend to show how the people we call Vikings came not just to raid and plunder, but to settle, to colonize and to rule. The impact on these islands was profound and enduring, shaping British social, cultural and political development for hundreds of years. Indeed, in language, literature, place-names and folklore, the presence of Scandinavian settlers can still be felt, and their memory – filtered and refashioned through the writings of people like J.R.R. Tolkien, William Morris and G.K.Chesterton – has transformed the western imagination.This remarkable book makes use of new academic research and first-hand experience, drawing deeply from the relics and landscapes that the Vikings and their contemporaries fashioned and walked: their runestones and ship burials, settlements and battlefields, poems and chronicles. The book offers a vital evocation of a forgotten world, its echoes in later history and its implications for the present.
(#uaab9a6a7-0300-5895-89dd-6ec3e820de8d)
Copyright (#uaab9a6a7-0300-5895-89dd-6ec3e820de8d)
William Collins
An imprint of HarperCollinsPublishers
1 London Bridge Street
London SE1 9GF
www.WilliamCollinsBooks.com (http://www.williamcollinsbooks.com)
This eBook first published in Great Britain by William Collins in 2017
Copyright © Thomas Williams 2017
Thomas Williams asserts the moral right to be identified as the author of this work
A catalogue record for this book is available from the British Library
Cover illustration by Joe McLaren
Maps by Martin Brown
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.
Source ISBN: 9780008171933
Ebook Edition © September 2017 ISBN: 9780008171940
Version: 2018-06-25
Dedication (#uaab9a6a7-0300-5895-89dd-6ec3e820de8d)
FOR Z
Epigraph (#uaab9a6a7-0300-5895-89dd-6ec3e820de8d)
Storms break on stone-strewn slopes,
Snows falling, the ground enfettered,
the howling of winter. Then darkness awakens,
deepens the night-shadow, sends from the north
a harsh hail-harrying bringing terror to men.
The Wanderer (tenth century)1 (#u8c8b2f8c-834c-5fff-81dd-a78a68d3b2cd)
Contents
Cover (#u3e393fb7-ee40-5319-a6de-84b01a5e80ee)
Title Page (#u87988c2c-7055-5319-9f86-1a407a94c824)
Copyright (#u1706e83c-175a-5fe1-b139-5a8a22299ae5)
Dedication (#ued612693-7a2d-5116-8b73-80286294bdc1)
Epigraph (#u599e8639-a04d-56d6-a9db-85308b375835)
Maps (#uea6bc385-c832-59ba-a1f3-d4032904d003)
Preface (#ua6a6b615-80c8-5788-b07b-dc7d971c9f17)
1 Outsiders from Across the Water (#u836f9a6b-2d31-5f92-a84e-0e96833d8cf7)
2 Heart of Darkness (#udfdf72ba-8275-537d-8a9a-197f3ff5f507)
3 Mother North (#u81cccc80-11f1-57f7-8a7c-f4c866006b59)
4 Shores in Flames (#uc3059a31-ce84-503c-b4b3-fea05de4466f)
5 Beyond the North Waves (#uae507ac4-9b63-5b85-9b38-908cf37990e6)
6 The Gathering Storm (#uc69ca137-c11d-5a8a-9188-665c2ee670d8)
7 Dragon-Slayers (#u9b26fb07-be0e-53e4-af99-18e247b0d9ab)
8 Eagles of Blood (#u1c8f4a0d-ffb7-5d0d-87d4-c2af3f410def)
9 Wayland’s Bones (#u02a9a8e8-813a-5ca1-85a5-2812ff6aecdd)
10 Real Men (#ubc7684bd-a8ca-5ffa-aaf1-daff5e3d1410)
11 The Return of the King (#ud208b745-10da-5332-96a6-c03c64b9d42d)
12 The Godfather (#u06f1c4ab-f7f1-5f03-bad4-02bb3c1b65c8)
13 Rogue Traders (#ude7f975c-0253-56a4-ae9e-7b11288f5e0e)
14 Danelaw (#u4ed2ca17-c07e-58bc-8f0f-541d04d79480)
15 Lakeland Sagas (#ua1d9a2cb-03b2-5b9e-b3d1-54ef01d5fbcb)
16 A New Way (#u575e3c99-910d-5b1c-bea5-d31921dd9d5e)
17 The Pagan Winter (#u7fb2f010-86c2-5717-9d25-774546aec607)
18 The Great War (#u2d8541b3-8fdd-5369-9d80-5724940eb857)
19 Bloodaxe (#ufe244448-4818-5767-bc9c-46d2ecf55e48)
20 Wolves (#u1d71046f-0f9f-5ec5-bd4c-c81545e064fc)
21 Mortal Remains (#ub5f9a5be-a205-5bc5-8e1b-c6f0ba40a1cc)
Epilogue (#u8c605c5f-213e-50f4-8af0-d8b3c9fdd25b)
Timeline (#uf836380e-087f-53f0-808d-1bd1ed40c0c2)
Abbreviations and Primary Sources (#ue5f28219-c7f8-5dbc-a987-a01a64fea2b7)
Notes (#u8c8b2f8c-834c-5fff-81dd-a78a68d3b2cd)
Further Reading (#u4162c2f3-4baa-58bf-b079-ee0f0b20795f)
Picture Section (#u4859610e-551a-5381-88ad-b8bb90e77bb3)
Index (#ua15c43e6-a603-53e9-9c98-878af3444e61)
About the Author (#u349b8aae-eb75-5102-a36f-d9c5cfbe58df)
About the Publisher (#ucfc69cfe-9427-5402-a56d-137ff637c95a)
(#uaab9a6a7-0300-5895-89dd-6ec3e820de8d)
Preface (#uaab9a6a7-0300-5895-89dd-6ec3e820de8d)
In 2013–14 I was the project curator for the exhibition Vikings: Life and Legend at the British Museum. One of the first reviews, published in a major national newspaper, offered the following critique:
There’s no stage-setting. No gory recreation of the Lindisfarne raid, say, to get us in the mood […] I felt like crying. Where were the swords? And if I was ready to bawl, what does this exhibition offer its younger visitors? It can’t claim not to be for them. You can’t put on an exhibition called Vikings without expecting some kids. The only way this exhibition could sound more child-friendly would be if it was called Vikings and Dinosaurs. But the austerely beautiful cases of brooches and golden rings and amber offer very little to fans of Horrible Histories.1 (#u8c8b2f8c-834c-5fff-81dd-a78a68d3b2cd)
Leaving aside the issue of whether sensationalizing historical violence for the entertainment of children is ever appropriate (how about a ‘gory recreation’ of the Srebrenica massacre?), what these comments really reveal is an uncritical assumption that the Vikings have their proper place as players in a hilarious historical Grand Guignol, alongside head-chopping at the Tower of London. The Vikings, it seems to say, are a cheerful, bloody diversion for the kids on a wet bank-holiday afternoon, not a proper historical phenomenon. The indignation that springs from not having had these prejudices confirmed is palpable. Brooches? Women? Trade? BORING! Vikings are big men with swords, crushing skulls left, right and centre: the barbarian archetype writ large and red.
It occurred to me at the time that nobody would treat Roman history in this way. It is unthinkable, for example, that any art critic would yearn for lurid re-enactments of Roman soldiers cheerfully raping and murdering British women and children – least of all within the austere neo-classical precincts of the British Museum. The Romans, it is instinctively felt, are refined, have gravitas. They benefit from a cultural snobbery with extraordinarily deep roots (ultimately fastened in the smug imperial propaganda of the Romans themselves). Roman Britain, in particular, is widely presented in a solidly respectable way – epitomized in tiresome tropes of roof tiles and under-floor heating, good roads and urban planning, fine wine and fancy tableware. It is a period that can serve as an acceptable backstory to who we are and where we come from, a people ‘just like us’, who went to parties and wrote letters and had jobs. Romanitas – Romanness – means ‘civilization’.
Few think of the age of the Vikings in those terms. Like other romantic curios they have been fetishized and infantilized, set apart from wider history alongside pirates, gladiators, knights-in-armour and, I suppose, dinosaurs. The Vikings are presented as cartoon savages who had a short-lived cameo rampaging around in the gloomy interlude between the end of Roman Britain and the Norman Conquest. It does them a grave disservice.
Between the conventional beginning of the Viking Age in the late eighth century and its close in the eleventh, Scandinavian people and culture were involved with Britain to a degree that left a permanent impression on these islands. They came to trade and plunder and, ultimately, to settle, to colonize and to rule. It is a story of often epic proportions, thronged with characters whose names and deeds still fire the blood and stir the imagination – Svein Forkbeard and Edmund Ironside, Ivar the Boneless and Alfred the Great, Erik Bloodaxe and Edgar the Pacifier – a story of war and upheaval. It is also, however, the story of how the people of the British Isles came to reorient themselves in a new and interconnected world, where new technologies for travel and communication brought ideas and customs into sometimes explosive contact, but which also fostered the development of towns and trade, forged new identities and gave birth to England and Scotland as unified nations for the first time. By the time of the Norman Conquest, most of Britain might justifiably be described as ‘Viking’ to varying degrees, and in language, literature, place-names and folklore the presence of Scandinavian settlers can still be felt throughout the British Isles, with repercussions for all those places that British culture and colonization have subsequently touched.
The Vikings have also retained their influence as a powerful cultural force in the modern world, and representations of the Viking Age in art, music and literature have had a profound impact on the western imagination. Indeed, much of what we imagine when we think of this period in British history – even the word ‘Viking’ itself – grew from political, literary and artistic currents that swelled in the nineteenth and early twentieth centuries. Here, too, a ‘Viking Britain’ came alive and, to the likes of William Morris and J. R. R. Tolkien, this was a place that seemed to lurk unseen just at the borders of their rapidly modernizing world. It was there not only in the writings and monuments that time had preserved, but also (and perhaps especially) in the elements themselves – the grey sea, the north wind and the very bones of the earth. In travel, art and literature, landscape became a way to commune with the people of the Viking Age – people who had seen the same red sun rising, felt the same cold wind on their necks, touched the same fissures in the smooth grey rock. This has in turn become a way to explore the mentality and world-view of a people with an intimate and profoundly imaginative relationship with the environment. For people living in the latter centuries of the first millennium, the landscape was teeming with unseen inhabitants and riddled with gateways to other worlds. Pits and ditches, barrows and ruins, mountains, rivers and forests: all could be home to the dead, the divine and the diabolical, haunted by monsters and gods.
Telling the story of the Vikings in Britain is therefore not a straightforward undertaking – it is the tale of a people who were not a people, who came to lands that were not yet nations. The historical record is patchy, the archaeology equivocal. Even the very words we use – ‘Viking’ most of all – slither away from easy definition. It is, moreover, the story not only of the three centuries leading up to (and overlapping) the Norman Conquest, but also of how that time has been remembered, recycled and reimagined by successive generations. It is, as earlier generations seem better to have appreciated, a world that is still tangible. The sense that the past is present in the landscape – that there is another world hovering just out of sight – has receded in step with modernity’s alienation from the land. Against the advance of technology, urbanization and globalization, our imaginative connection to landscape continues to fight the long defeat. The land, water and sky have largely been disenchanted of the past, just as they were disenchanted of their elves and spirits during the enlightenment and industrial revolution. But the past can never be wholly erased, and the rivers, hills, woods and stones of Britain remain deeply imprinted with memories of the Vikings and their world.
It is a legacy that runs far beyond the confines of Britain itself. From the seventeenth century to the present, the English-speaking diaspora – of people, ideas, systems, values, laws and language – has had a transformative impact on the world, firstly through the expansion of Britain’s Empire, and latterly through the ongoing dominance and global reach of North American culture and economic power. The memory of the Vikings may only be one small cell in the vast genome of Anglophone identity, but it is a tenacious and enduring one. Sometimes it appears overtly, in the simplified and bowdlerized versions of Norse myths and Viking stereotypes that penetrate popular culture, whether through the pages of comic books, the iconography of football teams or the covers of heavy-metal albums. But it also runs in deeper channels of thought and language, the serpentine ships that travel the dark rivers of the subconscious mind, a half-seen shadow of grim gods and thudding oars and dark pine forests wreathed in mist.
The chapters that follow tell the tale of the Vikings in Britain as a broadly chronological narrative. At times the story diverges as events begin to unfold simultaneously across Britain, but I have largely endeavoured to keep the overall momentum moving forward as much as possible. At the same time, however, this is also a book about ideas, objects and places. Through the physical remains and landscapes that the Vikings fashioned and walked – their runestones and ship burials, settlements and battlefields – it is possible to reach beyond the bare rehearsal of names and dates to explore the way that people in Viking Age Britain thought about their world and their place within it, and the way they have been remembered in the centuries since their passing: the stories they told and the tales they inspired, their fears, their fantasies, and the dooms they aspired to. Several themes recur throughout this book – in particular what being a ‘Viking’ really meant, how attitudes and identities changed over time, and what that meant for the ethnic evolution of the people of Britain – but in a general sense this book is about illuminating an influence on British history that has been profound and enduring, one that has shaped languages, culture and the historical trajectory of the British Isles and beyond for hundreds of years. In a small way, I hope, this book may help to restore to the Vikings some of the dignity that they have too often been denied.
There are, it must be acknowledged, some difficulties that attend the writing of a chronological history of this period; some parts of Britain – England especially – receive more detailed treatment than others, and not all of the evidence is discussed at equal length. In many cases this reflects the availability of source material: both the lack of it and – less often – its abundance. A complete inventory of all Viking-period archaeology found on the Isle of Man would run to many hundreds of pages; a compendium of all the contemporary written references to Viking activity in the same place would fit on the back of a small envelope. Frequently, however, the question of what to cover and what to leave out has been decided by me, and I make no apology for this: it reflects the fact that this book is a personal, at times perhaps idiosyncratic, exploration of the subject. It is intended to be neither definitive nor comprehensive – it cannot hope to be either, not within the covers of a book as slim as this. For all of the detailed regional surveys and the surfeit of books (of wildly varying quality) on the Vikings as a whole, a truly definitive compendium of evidence for the Vikings in Britain remains to be written: it would be a mammoth undertaking, probably running to multiple volumes. It would also, more than likely, be made less than definitive within days of its publication, as new data – much of it gathered by metal-detectorists – continues to roll in, week after week, and spectacular finds are made with some regularity.2 At the same time, major research projects continue to transform our perception of Viking Age societies, their interactions and their evolutions; this too is unlikely to stop any time soon.3
This book has not been written with an academic audience in mind, but I am nevertheless deeply conscious of the need to provide signposts for the reader to the sources of the material from which this narrative has been constructed. Although it would be unnecessarily distracting to provide full scholarly citations, some textual references are necessary for the reader’s orientation and to acknowledge sources that I have cited directly. I have chosen, in the main, to restrict these citations to primary written sources and archaeological reports – that is, to evidence rather than interpretation. However, where the work of individual scholars is referred to directly, or where a particular argument or line of reasoning is consciously derived from the work of others, I have also provided the appropriate citations. For brevity, a full citation is only provided the first time a work is referred to in the notes; thereafter, works are referred to by their author (or editor) and abbreviated title only. Primary sources that are referred to frequently have been abbreviated, and a full list of the abbreviations used and a full citation to the edition(s) relied upon in each case are provided in the endmatter. Where primary sources have been quoted in the text and the translation is my own, the citation in the Notes refers to an original language edition of the source in question. Where a translated edition of a source has been quoted, the citation in the Notes directs the reader to the translated edition relied upon. Exceptions are indicated in the Notes. A short summary of relevant further reading can be found at the end of this book. This is intended to direct the reader to the most accessible and up-to-date treatments and is intended only as a starting point to the vast literature that touches on the Vikings – in Britain and in wider perspective. In addition, a full bibliography of all literature cited can be accessed at tjtwilliams.com (http://www.tjtwilliams.com)
Acknowledgements
The ideas and opinions expressed in this book are – even where I believe them to be my own – indebted to a huge number of historians, archaeologists, linguists, numismatists, scientists and others, whose work I have read or with whom I have had the privilege of working, whether as a student, a colleague or a friend. Those people will know who they are, and may well recognize their own fingerprints on my thought-processes. Particular thanks are due to Gareth Williams (no relation), my colleague at the British Museum, and a man to whom I owe a great personal and intellectual debt. Neil Price at the University of Uppsala did me the honour of reading the entire book in draft. His comments have been both hugely encouraging and unerringly pertinent. My editors, Arabella Pike and Peter James, deserve many thanks indeed. Their ministrations – and, in the case of the former, great forbearance – have helped to ensure that the best possible version of this book was ultimately realized. My agents, Julian Alexander and Ben Clarke at LAW, also deserve fulsome thanks for their support and tireless efforts on my behalf. Tom Holland requires a special mention: if it had not been for a good-natured intervention on his part, my introduction to the aforementioned gentlemen would never have been effected, and this book may not have come into being at all.
My father, Geoffrey Williams, read every word of the manuscript as the chapters were produced and watched its slow gestation over many months. My discussions with him, and the innumerable errors identified and improvements suggested, have undoubtedly made this a better book. My mother, Gilli, produced (at exceptionally short notice and with remarkable facility) several of the fabulous line drawings in this book. For all of the help that both my parents have provided, as well as their unwavering love and support, my gratitude is profound.
And finally my wife, Zeena, has had to contend with an intrusive Viking presence in her life for longer now than she probably ever imagined. But she has weathered the storm and borne me up whenever I felt that I might sink. Nothing would have been possible without her. She is the best.
I cannot stress enough, however, that none of the people I have mentioned above can in any way be held responsible for my wilder flights of imagination, or for any errors that have made it into print: these are all my own.
A Note on Names
There is a bewildering amount of variation in the rendering of personal names across this period, with the same name frequently appearing in wildly different spellings depending on the language of the written source in which it appears. As a rule of thumb, I have preferred to use the most contemporary and ethno-linguistically appropriate versions wherever possible. I have, however, made frequent exception wherever normalized modern spellings of names are likely to be more familiar to the reader: hence ‘Olaf’, rather than Oláfr; ‘Eric’, rather than Eiríkr; ‘Odin’, rather than Oðinn. Where variant forms are used (especially in quotations), I have provided the more familiar form in square brackets. Given the complexities and ambiguities of Viking Age onomastics, it is entirely likely that some inconsistencies remain: my apologies in advance if this is so.
In the text and Notes, ‘ON’ denotes Old Norse, ‘OE’ Old English and ‘ModE’ Modern English.
1
Outsiders from Across the Water (#uaab9a6a7-0300-5895-89dd-6ec3e820de8d)
When the watchman on the wall, the Shieldings’ lookout
whose job it was to guard the sea-cliffs,
saw shields glittering on the gangplank
and battle-equipment being unloaded
he had to find out who and what they were. So he rode to the shore,
this horseman of Hrothgar’s, and challenged them
in formal terms, flourishing his spear.
Beowulf 1
In the days of King Beorhtric of Wessex (r. 786–802), ‘there came for the first time three ships of Northmen from Hordaland’,2 and ‘they landed in the island which is called Portland’.3 ‘[T]he king’s reeve, who was then in the town called Dorchester, leapt on his horse, sped to the harbour with a few men (for he thought they were merchants rather than marauders), and admonishing them [the Northmen] in an authoritative manner, gave orders that they should be driven to the royal town. And he and his companions were killed by them on the spot. The name of the reeve was Beaduheard.’4
‘Those were the first ships of Danish men which came to the land of the English.’5
Looking south from the summit of the barrow, the land feels like it is slipping away, yielding itself to the ineffable splendour of the ocean. Away in the distance the dark bulk of Portland languishes, a last defiant redoubt set in the glittering sea. The world is wide here, the coast of England laid out in broad wings to east and west; on a bright clear day – the ozone hollowing out the sinuses – you feel weightless, as if you could step from the top of that mound and be lifted into the firmament, soar into that white light obliterating the edges of land, sea and sky, tumbling in the breeze.
The mound is known, for reasons now lost, as Culliford Tree. It is a tumulus, a Bronze Age burial mound – one of five running east to west – that had stood on the Dorset chalk for more than 2,000 years before it received a name in the English tongue. Like breakwaters in the surf, the mounds and their ancient dead have endured the battering tides of time, forcing history to shape itself around them. At some point after it was named, the barrow became the meeting place of Culliford Tree Hundred, the administrative district of which Portland formed part at the time of the Domesday Survey in 1086. It had probably served this purpose for hundreds of years prior to William the Conqueror’s great national audit and by the end of the eighth century it was almost certainly a significant regional meeting place. It was in this place and in others like it that royal officials enacted the king’s will and delivered his justice, adjudicating disputes and pronouncing verdicts which could include fines, mutilation and death. From the summit of the barrow, the landscape reveals itself to the watcher – a place from which the land could be claimed, authority enacted in the act of seeing.
On that day at the end of the eighth century when three ships came unasked to Portland, the man riding down to Portland strand might well have paused and looked back over his shoulder, looked for Culliford Tree. He might have sought comfort from the distant mound on the horizon – a dark beacon of antiquity and earth-fast custom, a symbol of territory and authority, of land and legitimacy. This man, Beaduheard, would have known that the barrow watched over him, lending him the power in the land, confirming the prerogatives of his office. He was reeve to the king of Wessex, Beorhtric, and as such he exercised the king’s delegated authority. Reeves represented the king in towns, ports and sometimes across whole shires; the modern and medieval word ‘sheriff’ has its origin in these ‘shire-reeves’. Beaduheard, therefore, was an important man – responsible, perhaps, for local government in Dorchester and the surrounding countryside, a man used to getting his own way.
Beaduheard arrives on Portland to find a group of travellers arrayed on the beach, their ships drawn up behind them, their backs to the sea. They are wary – frightened even. They are strangers in a strange land, conditioned perhaps to expect a frosty welcome. Beaduheard dismounts from his horse to receive them, others following his lead, shingle crunching beneath leather-shod feet. Words are exchanged but their meaning is lost – whatever mutual words they understood failing in the tension of the moment, drowned by the crashing of the waves. But Beaduheard is no diplomat, and the tenor of his words is clear enough. He ‘admonishes’ the newcomers in an ‘authoritative manner’, he attempts to ‘drive them’ to the king’s residence (‘against their will’ as the chronicle of John of Worcester adds).6 He knows his duty, and he knows the law.
The West Saxon edicts that are closest in date to these events are the laws of King Ine (r. 688–726). Clause 20 gives a sense of the sort of welcome that the unfortunate wanderer could expect in eighth-century Wessex: ‘If a man from afar, or a stranger, goes through the woods off the highway and neither calls out nor blows a horn, he may be considered a thief, to be slain or to be redeemed [by paying his wergild (“man-price”)].’7 Britain’s most southerly realm offered cold comfort to the lost.
In the Old English poem Beowulf – composed at some point between the early eighth and the early eleventh century – there can be found, expressed in the Reeve’s own West Saxon tongue, a form of words that we might imagine Beaduheard speaking in his final hours: an echo of a lived experience.8
‘What kind of men are you who arrive
rigged out for combat in coats of mail,
sailing here over the sea-lanes
in your steep-hulled boat? […]
Never before has a force under arms
disembarked so openly – not bothering to ask
if the sentries allowed them safe passage
or the clan had consented […]
So now, before you fare inland
as interlopers, I have to be informed
about who you are and where you hail from.
Outsiders from across the water,
I say it again: the sooner you tell
where you come from and why, the better.’9
In the poem, these words are spoken by the Danish coastguard to the eponymous hero and his men as they arrive from the realm of the Geats (southern Sweden) to lend their aid to Hrothgar, the Danish king. They are formalities, to be understood both by questioner and visitor: the back-and-forth ritual of arrival.
In the real-life counterpart to this scene, however, the newcomers on the Portland beach chose not to participate, not to play the game. Perhaps they did not know the rules.
The travellers, berated in a foreign tongue by an aggressive stranger, are frightened and frustrated – the instinct to fight or flee like a high-pitched whine, raised to intolerable pitch. In the heavy moments that follow, the confrontation develops the hypertension of a shoot-out: a bead of sweat running down the back of a sun-burnt neck, eyes darting left and right as time slows to dream-pace, measured out by the metronomic crashing of the surf. Perhaps a hand flickers towards a sword hilt; perhaps a horse stamps, a cloak billows, a gull shrieks … When the spell finally breaks the violence seems inevitable – preordained – as if only death can bring the world back into balance.
In the end, all that is left, in place of Beowulf’s polite and formal replies, are huddled corpses on the strand, their blood swallowed between stones.
The arrival of these Northmen in Portland – the carbuncle that sprouts from Dorset into the English Channel – established the leitmotifs for Britain’s early interactions with its northern neighbours: unanswered questions and sudden brutality, the fluid identity of the merchant-marauder, the collision of cultures at the margins of the land. For almost three centuries, seaborne marauders would return again and again – sometimes like the inevitable attrition of the tides, dissolving the most vulnerable shores one wave at a time, at others like a mighty storm that smashes sea-walls and wreaks devastation before expending itself exhausted. Sometimes it would seem more like the inexorable flood of a climate apocalypse, the waters rising and rising without respite, washing deep inland and bursting river banks deep in the interior of the land. Everywhere the crimson tide flowed and pounded, the history of these islands would be changed for ever, new channels and shapes scoured and moulded in the clay of British history.
The island that the crew of those three ships blundered into in the reign of King Beorhtric was still far from settling into its familiar modern grooves. Scotland, Wales and England did not exist, and the shifting patchwork of petty kingdoms that made up the political geography of Britain was fractured along cultural, linguistic, religious, geographical and historical lines. Major fault-lines divided those parts of Britain that had once been exposed to intensive Roman colonization from those which had not, those which adhered to Roman and which to Irish forms of Christian liturgy, those who believed their ancestors were British from those who looked to a homeland in Ireland or across the North Sea. Landscape sundered highland zones from lowland zones; language divided speakers of Celtic languages from those who used a Germanic tongue; the sea brought an influx of foreign goods and ideas to some, while shutting others out.
The map of Britain at the end of the eighth century had developed slowly from conditions arising from the decline of the Roman Empire during the fourth century. In Britain, the removal of direct Roman administration and military defence around the year 400 coincided with changes to the cultural orientation of communities along Britain’s eastern seaboard. Increasingly, their centre of gravity shifted from the Mediterranean world to the North Sea. Part of the reason for this was political and economic, but migration also played a major role. People from what is now northern Germany, southern Scandinavia and the Low Countries had been moving into eastern areas of Britain – particularly Kent, East Anglia and England north of the Humber – from at least the early fifth century. The numbers involved, and the nature of the migration, remains fiercely contested, but the impact was undeniable and dramatic.
By the early eighth century, the northern monk Bede was able to write with confidence about an ‘English-speaking people’ who were distinct from the native British. The key distinguishing characteristic of this group – as implied by Bede’s phrase – was their tongue. These were people who spoke a different language from both Romano-British elites (for whom Latin was the ubiquitous written language) and the ‘indigenous’ Britons, who spoke varying forms of a Celtic language known as Common or Old Brittonic (or Brythonic). The newcomers, however, spoke a Germanic language known to modern scholars as ‘Old English’ (or, more rarely these days, as ‘Anglo-Saxon’) which was closely related to the languages spoken in the regions from which migrants across the North Sea had come.
While doubts hover over a great deal of Bede’s narrative, and particularly his migration and conquest narratives (much of which is an elaboration of a vague, tendentious and ideologically motivated sermon written by the British monk Gildas in the sixth century),10 the impact of the English language is not in doubt. Place-names and early vernacular written records attest that English became dominant and widespread at a remarkably early date. Moreover, these English-speakers (whatever their genetic ancestry) had, by Bede’s day, become culturally and linguistically dominant in most of lowland Britain, forming a tapestry of greater and lesser kingdoms which had grown out of an inconsistent pattern of tribal groupings and late Roman administrative districts.
The most northerly of these English-speaking realms was Northumbria – literally the land north of the River Humber. By the late eighth century this kingdom covered a huge swathe of northern Britain, from the Humber to the Forth, cobbled together from a number of former British territories: Deira, Bernicia, Gododdin, Rheged and Elmet. For over a century, Northumbria had represented a high point of post-Roman achievement in scholarship and artistic culture, driven from major centres of learning such as Wearmouth-Jarrow (where Bede wrote, among much else, his Ecclesiastical History of the English People) and the island monastery of Lindisfarne. This extraordinary cultural flowering was also remarkable for its fusion of British, Irish, Anglo-Saxon and Mediterranean influences. The Lindisfarne Gospels – an illuminated manuscript of breathtaking beauty and craftsmanship – exemplifies the splendour, ingenuity and spontaneity of this northern renaissance, its famous ‘carpet pages’ weaving Celtic, Germanic and Coptic Christian themes into mind-bending symphonies of colour and cultural synthesis.
However, despite the cultural refinement and territorial muscle, Northumbria had been growing weaker throughout the eighth century, undermined by the incessant feuding of its aristocracy and the instability of its royal house. In 790, for example, around the time that the Northmen had arrived in Portland, King Osred II was deposed after only a year on the throne, forcibly tonsured and exiled from his kingdom. His replacement, Æthelred I, seems to have had powerful friends. It is likely that the coup was carried out with the support of Northumbria’s large and belligerent southern neighbour: the kingdom of Mercia.
Covering most of the English midlands from approximately the modern Welsh border in the west to the borders of East Anglia in the east, and from the Thames valley in the south to the Humber and the Wirral in the north, Mercia dominated southern Britain and reached the apogee of its political dominance under King Offa (r. 757–96). In the last decade of the eighth century, Offa was at the height of his powers. From his power-base in the Staffordshire heartlands around Tamworth, Lichfield and Repton, the king exercised not only direct rule over Mercia, but political and military control over the neighbouring kingdoms of East Anglia, Essex, Kent, Sussex and Wessex. The greatest surviving monument of his reign is the massive defensive earthwork marking the western boundary of Mercia: Offa’s Dyke. The scale of this engineering project is testament to the extent of the king’s power and ambition, not to mention his ability to coerce his subjects into undertaking state-wide projects.11 Offan statecraft was of the Corleone school of governance. When, for example, King Æthelberht of East Anglia attempted to assert a measure of independence (briefly minting his own coins), ‘Offa ordered King Æthelberht’s head to be struck off.’ This sort of gangland authority was closely tied to the personal charisma of the king and, as it turned out, the Mercian supremacy unravelled shortly after Offa’s death in 796.12
The decapitation of King Æthelberht wasn’t enough to bring the kingdom of East Anglia to an end. Comprising at its core the ancient counties of Norfolk and Suffolk (the ‘north folk’ and the ‘south folk’ in Old English), the kingdom had, at the beginning of the seventh century, been an important power-broker. East Anglia had once boasted links to Scandinavia, the rest of continental Europe and beyond, and nothing better exemplifies the kingdom’s cosmopolitan splendour than the great ship burial at Sutton Hoo near Woodbridge in Suffolk. The famous mustachioed helmet found at Sutton Hoo is the ubiquitous icon of the Anglo-Saxon age, an object which in its style, iconography and manufacture has its closest parallels among the grave goods buried with the military elite of southern Sweden. But the burial also contained – among other objects – silverware from the Byzantine Empire (the surviving eastern part of the Roman Empire, centred on Constantinople – modern Istanbul), coins from Merovingian Gaul (which comprised parts of France, Germany and the Low Countries) and weapons and jewellery embellished with garnets imported from India. Although East Anglia would never again achieve the influence it commanded in this glittering seventh-century heyday, it nevertheless maintained its independence long into the ninth century.13
The smaller kingdoms which had lain under Mercian domination during Offa’s reign were, however, destined ultimately to becoming defunct as independent concerns. The royal dynasty of the East Saxons (with its core in Essex) and those of the South Saxons (Sussex) and Kent either disappeared or had been demoted to junior aristocratic rank by the early ninth century. The killer blow in each case was delivered not by Mercia but by another resurgent player in the English-speaking community: Wessex – the kingdom of the West Saxons.
Wessex had experienced a torrid eighth century. With its heartlands in Hampshire and Dorset, Wessex was an assertive force in southern Britain, extending north across Somerset, Wiltshire and Berkshire, and eating steadily westwards into Devon. During its heyday in the reign of King Ine (r. 688–726), West Saxon authority had also extended across Surrey and Sussex in the east. But more than sixty years of attritional warfare with the Mercians to the north had eroded its territories south of the Thames, created a militarized zone across the chalk uplands of Wiltshire and Berkshire and seen control of Sussex lost to Offa’s Mercia. In 786, the pugnacious West Saxon ruler Cynewulf was killed in a power-struggle and the man who emerged as king, Beorhtric, was, it seems, Offa’s man. The impression of Wessex in these years is of a beaten-down kingdom, exhausted by war and resigned to its subordinate status in Offa’s new order. The man who would pick up the banner of West Saxon kingship from Beorhtric, however, was of a markedly different stamp. King Ecgberht (r. 802–39) would take the West Saxon kingdom to the peak of its power and prestige, overwhelming its smaller neighbours, restoring the pride and reputation of its royal house, and ultimately providing the self-confidence that future kings would need in the dark days that lay ahead. But all this was in the future. When the Northmen arrived on Portland, Wessex yet remained a weakened client state of the Mercian supremacy.
Although English kingdoms had been, and continued to be, dominant in lowland Britain, they were never the whole story, and in parts of Britain – notably the highlands and islands of what is now Scotland, Cumbria and the valley of the Clyde, the lands west of Offa’s Dyke and the Cornish peninsula – a number of kingdoms of mixed provenance maintained distinct identities, languages, religious practices and cultural norms. Cornwall, beyond the south-western marches of Wessex, had been only lightly touched by direct Roman rule. At the western end of the kingdom of Dumnonia (Devon and Cornwall), the region had developed a distinctive culture that blended British and Irish influences and maintained maritime links with both Brittany and the Byzantine Empire. While Devon, the eastern part of Dumnonia, became subsumed by Wessex over the course of the eighth century – becoming thoroughly Anglicized in the process – Cornwall, for the time being, retained its independence.
Further north, the kingdoms of what is now Wales present an altogether more complex picture, and posed a greater challenge for their Mercian neighbours to the east. The scale of the threat is represented by the magnitude of the effort made by Offa, and perhaps his predecessors, to contain it (through the construction of the dyke), and a range of sources make clear that border raids into Mercian territory (and vice versa) were endemic.14 The Celtic-speaking people of what is now Wales were no more unified, however, than their Anglophone rivals. The four main kingdoms, as established by at least 850, were Gwynedd (in the north and north-west), Dyfed (in the south-west), Gwent (in the south-east) and Powys (in the eastern and central regions). All of these, in one way or another, were based on the former Roman civitates of western Britain, themselves based on old Iron Age tribal groupings.15 This, it must be admitted, is to simplify a complex and volatile pattern of tribal confederations, but it is evident that ruling Welsh elites clung to an idea of Romanitas even as it drifted ever further into the past. Latin and bilingual inscriptions on standing stones (stones deliberately erected as upright monuments) throughout Wales (and elsewhere in former Roman Britain) reveal a self-consciously Latinate identity that lasted into the ninth century and beyond. The bitter irony was that it was the heathen interlopers – the Anglo-Saxons – who, having adopted an explicitly Roman model of Christianity, would ultimately align themselves with the new mainstream culture of ‘Latin’ Europe; the British, despite having kept alive a vibrant, if idiosyncratic, Christian faith alongside the memory of their imperial heritage, were increasingly cast as the barbarians in this changing European landscape.16
The British kingdoms of Wales and Cornwall were by no means the only representatives of Brittonic-speaking culture to survive the Anglo-Saxon cultural takeover. Though some (such as Rheged, Gododdin and Elmet) had perished in the expansion of Northumbria, the British kingdom of Alt Clud (‘the rock of the Clyde’) still held out in the region bordering the Clyde. A shadowy kingdom of obscure origin, Alt Clud had its fortress capital at Dumbarton Rock. The kingdom had spent most of the eighth century fending off the unwelcome advances of its neighbours, and in 780 was burned (by whom, or why, is not known). One of the possible culprits was Alt Clud’s neighbour to the north-east, the substantial and periodically powerful kingdom of the Picts (sometimes referred to as ‘Pictavia’), a realm that had its heartland in northern and eastern Scotland, and which seems to have held sway (at least culturally) over the Orkney and Shetland islands. The most visible and dramatic monuments to Pictish culture are the symbol stones – slabs carved with images of beasts and enigmatic symbols that are most often interpreted as representations of the names of kings and aristocrats. By the eighth century, many of these objects displayed ostentatiously Christian iconography, and it is clear that Christianity had by that time become associated with expressions of power and status: a monastery at Portmahomack, on the Tarbat peninsula in Easter Ross, had been established as early as the sixth century, possibly with royal patronage.17
Pictish power was by no means unchallenged in northern Britain. The kingdom’s main rivals were Northumbria, whose borders extended to the Forth, and whose armies it had repeatedly beaten back during the earlier part of the century, and the kingdom of Dál Riata, a Gaelic-speaking polity spanning the Irish Sea to include Argyll, Lochaber and the north-eastern part of Ulster. Dál Riata had its power-base at Dunadd near Kilmartin, an imposing hill-fort where its kings were believed to have been inaugurated – the impression of a foot, worn into the living rock, may have played a key role in the rituals that were enacted there. By the end of the eighth century, however, Dál Riata was coming under Pictish domination. In 736 Dunadd had been captured by the Pictish king Oengus (he underscored his dominance by dragging the sons of the Dál Riatan king back to Pictavia in chains), and by 811 Dál Riata was being ruled directly by the Pictish king Constantine (r. 789–820). By then, however, a new power was rising, and the Viking impact in northern Britain would have profound consequences for all of its regional players.
There is more that might be said. Ireland, the Isle of Man and the Irish monastic colonies of the Western Isles – Iona chief among them – are all stitched tightly into the events that followed the advent of the Northmen. Nor can the story of the Vikings in Britain be told without some reference to events in continental Europe. Nevertheless, the foregoing paragraphs sketch – in broad outline – the most important contours of British political geography at the time that three strange ships pitched up on the beach at Portland. Though nobody could have known it then, the death of Beaduheard marked the beginning of a series of cataclysmic upheavals that changed Britain for ever. Many of the places mentioned above will be revisited in the chapters that follow; many of the kingdoms will fall.
But before that story can be told, we must return to that beach in Portland, the dark sails receding into the distance. We watch them go, and the coastguard’s questions replay in our minds, too late now for any hope of an answer: ‘Outsiders from across the water […] the sooner you tell where you come from and why, the better.’18
There is no written source that tells these events in the words of the Vikings themselves. For the most part, the people of Scandinavia did not record their history in written form until long after the Viking Age is usually considered to have closed. The sagas and histories, produced in Norway and especially in Iceland, are products of the late twelfth century and later – sometimes much later. To say that the Vikings were illiterate is strictly false, however. As will be seen, they made use of their own runic script for inscriptions marking ownership or memorializing the dead. Moreover, poems composed during the Viking Age survived orally to be written down in later centuries. Nevertheless, very little of the Viking voice survives, and certainly nothing that will explain the identities, motivations and origins of those first violent pioneers. In the face of this Scandinavian silence we must turn and consider who the people of early medieval Britain thought these strangers were, where they had come from and what had driven them on to British shores.
The written sources for the Viking Age in Britain are not a straightforward guide to contemporary events. These were documents written for specific purposes, in different times and in different places, each one reflecting the views of the people who compiled or commissioned them. As such, they are partial and biased, limited by the range of knowledge which their authors possessed, though not by their imaginations. By far the most important sources for this period are the various manuscripts of the Anglo-Saxon Chronicle. The first, and oldest, of these manuscripts is normally referred to as the A text or, sometimes, as the ‘Winchester Chronicle’. It was put together in the late ninth century – probably in the 890s – as part of the intellectual scene that surrounded the court of King Alfred in Wessex. All later historians and chroniclers of the Middle Ages, including the other texts of the Anglo-Saxon Chronicle, rely on the A text to some degree.
The earliest record of the Viking arrival on Portland is found in the A text, and was therefore written down a century later than the events it describes. Although this Chronicle almost certainly contains real traditions and material from older sources, none of these survive for us to make a comparison. The suspicion therefore remains that the view of history which the Chronicle presents is coloured by a bleak century of Scandinavian plunder, conquest and colonization. In particular, one might justly raise an eyebrow at the chronicler’s assertion that these ‘were the first ships of Danish men which came to the land of the English [Angelcynnes lond]’: quite apart from the vexed question of what exactly the chronicler meant by ‘Angelcynnes lond’, one might well question how, 100 years later and from the perspective of Britain’s most southerly realm, such knowledge could possibly have been possessed.19
The A text tells us, in no uncertain terms, that the newcomers were ‘Danish’ (denisc). While this might seem, on the face of things, to be a useful statement of origins, it is not at all certain whether that which seemed ‘danish’ to Anglo-Saxon eyes would necessarily appear ‘Danish’ to our own. As will be seen, the term denisc (along with other generic terms used throughout Britain) in fact came to be applied indiscriminately to people and things held to have emanated from the North. Far more promising is the statement that the newcomers were ‘Northmen’ (Norðmanna) from Hordaland (Hereðalande), now a county of western Norway centred on Bergen. Alas, this is surprisingly (and suspiciously) specific. The earliest record of this notice is found, not in the A text, but in the so-called ‘northern recension’ of the Anglo-Saxon Chronicle, and can be dated no earlier than the mid-eleventh century – at least 250 years after the incident at Portland. This reference may shed more light on the origin of eleventh-century Scandinavian settlers in Northumbria than it does on events in late eighth-century Wessex.20
In other words, the sources – so promising at first reading – really only tell us that the newcomers were foreigners, probably from somewhere across the North Sea. It is certain, however, that the people of Britain thought something when they encountered strangers on their beaches and imagined the worlds from which they had come. Understanding what that something might have been – what it meant – is bound up with how the people of early medieval Britain understood their own world, and their place within it.
Конец ознакомительного фрагмента.
Текст предоставлен ООО «ЛитРес».
Прочитайте эту книгу целиком, купив полную легальную версию (https://www.litres.ru/raznoe-12661756/viking-britain-a-history/) на ЛитРес.
Безопасно оплатить книгу можно банковской картой Visa, MasterCard, Maestro, со счета мобильного телефона, с платежного терминала, в салоне МТС или Связной, через PayPal, WebMoney, Яндекс.Деньги, QIWI Кошелек, бонусными картами или другим удобным Вам способом.