Agneta and the Sea King
One of John Bauer’s magnificent illustrations for Agneta and the Sea King.
One of my favourite collections of stories is Swedish Folk Tales illustrated by John Bauer, and published most recently by Floris Books in the U.K. Agneta and the Sea King by Helena Nyblom is one of the tales in the book, and is particularly striking as it goes against multiple folkloric conventions. The titular heroine Agnete is largely concerned with her own self-preservation, and there are no starry-eyed princes or persecuted siblings in sight.
The tale focuses on Agneta - the “daughter of the lord of the castle” - who is sitting at the edge of a lake when a merman rises up from the sea and urges her to return to his Kingdom with him. Agneta politely refuses but offers the merman some flowers she is carrying as a parting gift, only for him to grab hold of her when she extends her hand and pull her down with him under the sea. The merman enchants Agneta with a song he plays on his harp, causing her to lose her memory of her life on earth. Agneta remains with the Sea King for eight years and bears him seven sons, but one day she hears the peal of church bells above the water and begs her husband for a chance to go to church. After securing her promise that she will return to him and their children, the Sea King reluctantly takes Agneta back to her world. Upon entering the church, Agneta recognizes her aged father and her memories return to her. The Sea King appears at the threshold of the church to reclaim Agneta, but she refuses to as much as look at him, remaining steadfast in prayer. Agneta’s devotion to God repels the Sea King, and she is joyfully reunited with her father, never to return to the Kingdom under the sea.
Nyblom’s version of the tale is heavily embellished and filled with literary flourishes, and is based on earlier sources that are difficult to trace. The direct source for the tale appears to be a Danish ballad, Agnete and the Merman (Agnete og Havmanden). The ballad essentially follows the same storyline, one of the few notable differences being that the Agnete is a peasant girl rather than a noble woman. I have been unable to find any information about how far the ballad’s provenance stretches back, however Hans Christian Andersen self-published a dramatic poem based on Agnete and the Merman in 1833, indicating it must have been in circulation prior to that date.
Regardless of its origins, Agneta and the Sea King is the most startling narrative in Swedish Folk Tales. While heartless parents are commonplace in fairy tales and folklore, they are for the most part villains. Heroes and heroines who are suspected of neglecting their children in some way are generally vindicated. Despite being the heroine in her tale, Agneta abandons her children for the sake of her freedom, telling the Sea King “they shall wait in vain” for her return. While callous when taken out of context, this behaviour possesses an unusual level of psychological realism when considered in relation to the events that lead up to the tale’s climax.
Agneta is kidnapped, has her memories taken from her and gives birth to seven of her captor’s children in quick succession. While happy and contented while in ignorance of the circumstances that led to her entering the Sea King’s kingdom, Agneta rejects her family utterly upon realizing what has happened to her. Her face “white with pain” Agneta tells the Sea King “none of you will make me return” in a moment that far from being callous is touching due to its strength of feeling. Agneta derives the strength she requires to leave her children from God, however the choice to do so is hers alone.
Agneta and the Sea King is a weird, oddly affecting story, and while (as told by Helena Nyblom, at least) it is a tale intended for children it has unsettling implications.
If anyone here has any further knowledge of this story or its origins, I would welcome contact!
