z
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NORSE MYTHOLOGY;
OR,
THE   RELIGION     OF  OUR    FOREFATHERS,
CONTAINING ALL THE
MYTHS OF THE EDDAS,
SYSTEMATIZED AND INTERPRETED.
WITH
AN INTRODUCTION, VOCABULARY AND INDEX.
BY RT B.P/NDERSON, A.M.,
PROFESSOR OF THE SCANDINAVIAN LANGUAGES IN THE UNIVERSITY OP
WISCONSIN, AUTHOR OF "AMERICA NOT DISCOVERED BY
COLUMBUS," "DEN NORSKE MAALSAG," ETC.
SECOND EDITION.
CHICAGO:
S. C. GRIGGS AND COMPANY.
LONDON    TRUBNER & CO.
1876.





COPYRIGHT 18-5.
BY S. C, GRIGGS AND COMPANY.
WIGIAIT & LEONAMD.
ELECTROTYPED BY A. ZEESE & CO.





TO
HENRY WADSWORTH LONGFELLOW,
THE AMERICAN POET,
WHO HAS NOT ONLY REFRESHED HIMSELF AT THE CASTALIAN FOUNTAIN, BUT
ALSO COMMUNED WITH BRAGE, AND TAKEN DEEP DRAUGHTS
FROM THE WELLS OF URD AND MIMER,
THIS VOLUME IS DEDICATED,
WITH THE GRATEFUL REVERENCE OF
THE AUTHOR.










I think Scandinavian Paganism, to us here, is more interesting than any
other. It is, for one thing, the latest; it continued in these regions of
Europe till the eleventh century: eight hundred years ago the Norwegians
were still worshipers of Odin.  It is interesting also as the creed of our
fathers; the men whose blood still runs in our veins, whom doubtless we
still resemble in so many ways. Strange: they did believe that, while we
believe so differently. Let us look a little at this poor Norse creed, for
many reasons. We have tolerable means to do it; for there is another
point of interest in these Scandinavian mythologies: that they have been
preserved so well.
Neither is there no use in knowing something about this old Paganism
of our fathers. Unconsciously, and combined with higher things, it is in uW
yet, that old faith withal. To know it consciously brings us into closer and
clearer relations with the past,- with our own possessions in the past. For
the whole past, as I keep repeating, is the possession of the present. The
past had always something true, and is a precious possession. In a different
time, in a different place, it is always some other side of our common human
nature that has been developing itself.
-- Thomas Carlysle.










PIREFACE.
AERICA NOT DISCOVERED BY COLUMBUS having
Sbeen so favorably received by the *press generally, as well as by many distinguished scholars, who
have expressed themselves in very flattering terms of
our recent d~but in English, we venture to appear
again; and, although the subject is somewhat different, it still (as did the first) has its fountain head
in the literature of the North.,We come, this time, encouraged by all your kind
words, with higher aspirations, and perhaps, too, with
less timidity and modesty.   We come to ask your
opinion of Norse mythology. We come to ask whether
Norse mythology is not equally as worthy of your
attention as the Greek. Nay, we come to ask whether
you will not give the Norse the preference. We propose to call your attention earnestly, in this volume,
to the merits of our common Gothic or Teutonic
inheritance, and to chat a few hours with you about
the imaginative, poetic and prophetic period of our
Gothic history.
We are well aware that we are here giving you
a book full of imperfections so far as style, originality, arrangement and external adornment of' the
(7)





8


PREFACE.


subject is concerned, and we shall not take it much
to heart, even if we are severely criticised in these
respects; we shall rather take it as an earnest admonition to study and improve in language and composition for the future.
But, if the spirit of the book, that is, the cause
which we have undertaken to plead therein,--if that
be frowned down, or rejected, or laughed at, we shall
be the recipient. of a most bitter disappointment, and
yet we shall not wholly despair.     The time must
come, when our common Gothic inheritance will be
loved  and  respected.  There will come     men-ay,
there are already men in our midst who will advocate and defend its rights on American soil with
sharper steel than ours.  And, though we may find
but few roses and many thorns on our pathway, we
shall not suffer our ardor in    our chosen field of
labor to be diminished.   We are determined not to
be discouraged.
What we claim     for  this  work  is, that  it is
the first complete and systematic presentation of the
Norse mythology in the English language;     and this
we think   is a sufficient reason  for our asking   a
humble place upon your book-shelves. And, while we
make this claim, we fully appreciate the value of the
many excellent treatises and translations that have
appeared on this subject in    England.   We do not
undervalue the labors of Dasent, Thorpe, Pigott, Carlyle, etc., but none of these give a comprehensive





PREFACE.


9


account of all the deities and the myths in full.
There is, indeed, no work     outside of Scandinavia
that covers the whole ground. So far as America is
concerned, the only work on Norse mythology that
has hitherto been published in this country is BARCLAY PENNOCK'S translation of the Norse Professor
Rudolph Keyser's Religion of the Northmnen. This is
indeed an excellent and scholarly work, and a valuable contribution to knowledge; but, instead of presenting the mythology of the Norsemen, it interprets
it; and Professor Keyser is yet one of the most
eminent authorities in the exposition of the Asa doctrine.  Pennock's translation of Keyser is a book of
three hundred and forty-six pages, and of these only
sixteen are devoted to a synopsis of the mythology;
and it is, as the reader may judge, nothing but a
very brief synopsis.  The remaining    three hundred
and thirty pages contain a history of Old Norse literature, an interpretation of the Odinic religion, and
an exhibition of the manner of worship among the
heathen Norsemen. In a word, Pennock's book presupposes a knowledge of the subject; and for one
who has this, we would recommend Pennock's KEYSER as the best work extant in English.       We are
indebted to it for many valuable paragraphs in this
volume.
This subject has, then, been investigated by many
able writers; and, in preparing this volume, we have
borrowed from their works all the light they could





10


PREFACE.


shed upon our pathway. The authors we have chiefly
consulted are named in the accompanying list. While
we have used their very phrase whenever it was convenient, we have not followed    them  in  a slavish
manner.   We have made such changes as in        our
judgment seemed necessary to give our work harmony
and symmetry throughout.    We at first felt disposed
to give the reader a mere translation either of N.
M. Petersen, or of Grundtvig, or of P. A. Munch;
but upon further reflection we came to the conclusion that we could treat the subject more satisfactorily to ourselves, and fully as acceptably to our
readers, by sketching out a plan of our own, and
making free use of all the best writers upon     this
subject. And as we now review our pages, we find
that N. M. Petersen has served us the most. Much
of his work   has been   appropriated  in  an  almost
unchanged form.
Although many of the ideas set forth in this
work may seem new to American readers, yet they
are by no means wholly original.     Many of them
have for many years been successfully advocated in
Scandinavian countries, and to some extent, also, in
Germany and England. Our aim has not at present
been so much to make original investigations, asthat which is far more needed and to the purpose--
to give the fruits of the labors performed in the
North, and call the attention of the American public earnestly to the wealth stored up in the Eddas
and Sagas of Iceland.   No one can doubt the cor




PREFACE.


11


rectness of our position in this matter, when he
reflects that we are now drawing near the close of
the nineteenth century, and have not yet had a complete Norse mythology in the English language, while
the number of Greek     and   Roman   mythologies is
legion. Bayard Taylor said to us, recently, that the
Scandinavian languages, in view of their rich literature, in view of the light which this literature throws
upon early English history, and in view of the importance of Icelandic in a successful study of English
and Anglo-Saxon, ought to be taught in every college in Vinland; and that is the very pith of what
we have to say in this preface.
We have had excellent aid from    Dr. S. H. Carpenter, who combines broad general culture with a
thorough knowledge of Old English and Anglo-Saxon.
He has read every page of this work, and we hereby
thank him   for the generous sympathy and advice
which  he has invariably given   us.   To  President
John Bascom we are under obligations for kind words
and valuable suggestions. We hereby extend heartfelt
thanks to Professor Willard Fiske, of Cornell University, for aid and encouragement; to Mrs. Ole Bull,
for free use of her excellent library;  and to the
poet, H. W. Longfellow, for permitting us to make
extracts from his works, and to inscribe this volume
to him as the Nestor among American writers on
Scandinavian themes.   May the persons here named
find that this our work, in spite of its faults, ad




12


PREFACE.


vances, somewhat, the interest in the studies of Northern literature in this country.
While   Mallet's  Northern  Antiquities  is a very
valuable  work, we    cannot but make      known   our
regrets that Blackwell's edition of it ever was published. Mr. Blackwell has in many ways injured the
cause which he evidently intended to promote. While
we, therefore, urge caution   in the use of Mallet's
Northern Antiquities by Blackwell, we can with all
our heart recommend such writers upon the North
as Dasent, Laing, Thorpe, Gosse, Pennock, Boyesen,
Marsh, Fiske, the    Howitts, Pigott, Lord    Dufferin,
Maurer, Mobius, Morris, Magnisson, Vigfusson, Hjaltalin, and several others.
It is sincerely hoped that by this our effort we
may, at least for the present, fill a gap in English
literature, and  accomplish  something   in  awakening
among students some interest in Norse mythology,
history, literature and institutions.  Let it be remembered, that Carlyle, and    many others of our best
scholars, claim that it is from the Norsemen we have
derived our vital energy, our freedom      of thought,
and, in a measure that we do not yet suspect, our
strength of speech.
We are conscious that our work      contains many
imperfections, and that others might have performed
the task better; and thus we commend this volume
to the kind indulgence of the critic and the reader.
R. B. ANDERSON.
University of Wisconsin, May 15, 1875.





LIST OF WORKS CONSULTED.


The following   authors have been   consulted  in
preparing  this work, and   to them   the reader is
referred, if he wishes to make special study of the
subject of Norse mythology.
Of the Elder Edda we have used Benjamin Thorpe's
translation and Sophus Bugge's edition of the original.
It has been found necessary to make a few alterations in Thorpe's translation. Of the Younger Edda
we have used    Dasent's translation  and  Sveinbjorn
Egilsson's edition of the original.  Of modern Scandinavian writers we have confined ourselves mainly
to N. M. Petersen, N. F. S. Grundtvig, P. A. Munch,
Rudolph Keyser, Finn Magnuisson, and Christian Winther.  Other authors borrowed from more or less are:
H. W. Longfellow, H. G. Mdller, R. Nyerup, E. G.
Geier, M. Hammerich, F. J. Mone, Jacob Grimm,
Thomas Keightly, Thomas Carlyle, Max Muiller, and
Geo. W. Cox.
The recent excellent work of Alexander Murray
has been referred to on the subject of Greek mythology.  It claims on its title-page to give an account
of Norse mythology; but we were surprised to find
(13)





14           LIST OF WORKS CONSULTED.
that the author dismisses the subject with fifteen
pages and a few wood-cuts of questionable value.
The philological notes are chiefly based upon the
Icelandic Dictionary recently published by Macmillan
& (Jo., and edited by Gudbrand Vigfusson, of Oxford
University, England.   We object to the price of it,
which is thirty-two dollars, but it is indeed a scholarly work, and marks a new epoch in the study of
the Icelandic language.
For the engraving opposite the title-page we are
indebted to Mr. James R. Stuart, who has devoted many
years in America and Europe to the study of his art. The
painting, from which the engraving is made, is wholly
original, and was made expressly for this work. We
hereby extend our thanks to Mr. Stuart., and hope some
day to see more of Norse mythology treated by his brush.





TABLE OF CONTENTS.
A list of authors consulted in the preparation of this work will
be found on page 13.
INTRODUCTION.
CHAPTER 1.
WHAT IS MYTHOLOGY, AND WHAT IS NORSE MYTHOLOGY?
The myth the oldest form of truth-The Unknown God-Ingemund the Old - Thorkel Maane - Harald Fairfax - Every
cause in nature a divinity - Thor in the thunder-storm -
Prominent faculties impersonated - These gods worthy of
reverence -Church ceremonies --Different religions - Hints
to preachers - The mythology of our ancestors - In its
oldest form it is Teutonic - What Dasent says - Thomas
Carlyle, ---   --      --     --      --      --23
CHAPTER II.
WHY CALL THIS MYTHOLOGY NORSE? OUGHT IT NOT RATHER TO
BE CALLED GOTHIC OR TEUTONIC?
Introduction of Christianity - The Catholic priests- The Eddas
- Mythology in its Germanic form -Thor not the same in
Norway and Denmark - Norse mythology - Max MUller, - 41
CHAPTER III.
NORSE MYTHOLOGY COMPARED WITH THE GREEK.
Norse and Greek mythology widely differ--Balder and Adonis
-Greek gods free from decay-The Deluge-Not the same
but a similar tradition - The hard stone weeps tears--- The
separate groups exquisite -Greek mythology an epic poem
(15)





16


CONTENTS.


- Theoktony - The Norse yields the prize to the Greek -
Depth of Norse and Christian thought - Naastrand - Outward nature influences the mythology - Visit Norseland -
Norse scenery- Simple and martial religion -Sincerity and
grace -Norse and Greek mythology,     -    -   -   -51
CHAPTER IV.
ROMAN MYTHOLOGY.
Oxford and Cambridge--The Romans were robbers--We must
not throw Latin wholly overboard-We must study English
and Anglo-Saxon -English more terse than Latin--Greek
preferable to Hebrew or Latin - Shakespeare- He who is
not a son of Thor,  -          - -  -  - - -   -   - 71
CHAPTER V.
INTERPRETATION OF NORSE MYTHOLOGY.
Aberration from the true religion - Historical interpretation -
Ethical interpretation - Physical interpretation - Odin,
Thor, Argos, Io--Our ancestors not prosaic- The Romans
again-Physical interpretation insufficient-Natural science
- Historical prophecy - A complete niythology, -  -  - 80
CHAPTER VI.
THE NORSE MYTHOLOGY FURNISHES ABUNDANT AND EXCELLENT
MATERIAL FOR THE USE OF POETS, SCULPTORS AND PAINTERS.
How to educate the child - Ole Bull - Men frequently act like
ants - Oelenschleeger - Thor's fishing - The dwarfs - Ten
stanzas in Danish-The brush and the chisel-Nude artThe germ of the faith -We Goths are a chaste race - Dr.
John Bascom - We are growing too prosaic and ungodly, - 94
CHAPTER VII.
THE SOURCES OF NORSE MYTHOLOGY AND INFLUENCE OF THE
ASA-FAITH.
The Elder Edda - Icelandic poetry - Beowulf's Drapa and
Niebelungen-Lied- Influence of the Norse mythology -
Influence of the Asa-faith-Samuel Laing-Odinic rules of
life - HavamAil - The lay of Sigdrifa - Rudolph Keyser--
The days of the week, -      -   -   -    -   -   - 116





CONTENTS.


17


NORSE MYTHOLOGY.
PART I.
THE CREATION AND PRESERVATION OF THE WORLD.
CHAPTER I.
THE CREATION.
Section i. The original condition of the world--Ginungagap.
Section ii. The origin of the giants - Ymer. Section iii.
The origin of the cow Audhumbla and the birth of the
gods-Odin, Vile and Ve. Section iv. The Norse deluge and
the origin of heaven and earth. Section v. The heavenly
bodies, time, the wind, the rainbow--The sun and moonHrimfaxe and Skinfaxe-The seasons-The Elder Edda -
Bil and Hjuke. Section vi. The Golden Age-The origin
of the dwarfs-The creation of the first man and womanThe Elder Edda. Section vii. The gods and their abodes.
Section viii. The divisions of the world,  -  -  -  - 171
CHAPTER II.
THE PRESERVATION.
The ash Ygdrasil - Mimer's fountain - Urd's fountain - The
norns or fates- Mimer and the Urdar-fountain - The
norns,   -                       -   --------      188
CHAPTER III.
EXEGETICAL REMARKS UPON THE CREATION AND PRESERVATION
OF THE WORLD.
Pondus iners-The supreme god--The cow Audhumbla--
Trinity - The Golden Age - Creation of man - The giants
-The gods kill or marry the giants-Elves and huldersTrolls-Nisses and necks-Merman and mermaid-Ygdrasil - Mimer's fountain - The norns,- -  -  -     - 192





IS


CONTENTS.


PART II.
THE LIFE AND EXPLOITS OF THE GODS.
CHAPTER I.
ODIN.
Section i. Odin. Section ii. Odin's names. Section iii. Odin's
outward appearance. Section iv. Odin's attributes. Section v. Odin's journeys. Section vi. Odin and Mimer.
Section vii. Hlidskjalf. Section viii. The historical Odin.
Section ix. Odin's wives. Section x. Frigg's maid-servants.
Section xi. Gefjun--Eir. Section xii. Rind. Section xiii.
Gunlad--The origin of poetry. Section xiv. Saga. Section xv. Odin as the inventor of runes. Section xvi. Valhal. Section xvii. The valkyries, -  -        -   - 215
CHAPTER II.
HERMOD, TYR, HEIMDAL, BRAGE AND IDUN.
Section i. Hermod. Section ii. Tyr. Section iii. Heimdal. Section iv. Brage and Idun. Section v. Idun and her apples, 270
CHAPTER III.
BALDER AND NANNA, HODER, VALE AND FORSETE.
Section i. Balder. Section ii. The death of Balder the Good.
Section iii. Forsete,  -  -  -   -    -   -        279
CHAPTER IV.
THOR, HIS WIFE SIF AND SON ULLER.
Section i. General synopsis--Thor, Sif and Uller. Section ii.
Thor and Hrungner. Section iii. Thor and Geirrod. Section iv. Thor and Skrymer. Section v. Thor and the Midgard-serpent (Thor and Hymer). Section vi. Thor and
Thrym,                             -----------298
CHAPTER V.


VIDAR,


- 337





CONTENTS.


19


CHAPTER VI.
THE VANS.
Section i. Njord and Skade. Section ii. AEger and Ran. Section iii. Frey. Section iv. Frey and Gerd. Section v. Worship of Frey. Section vi. Freyja. Section vii. A brief
review,-     -            -   -   -   -   -   -     341
CHAPTER VII.
THE DEVELOPMENT OF EVIL, LOKE AND HIS OFFSPRING.
Section i. Loke. Section ii. Loke's children--The Fenriswolf. Section iii. Jormungander or the Midgard-serpent.
Section iv. Hel. Section v. The Norsemen's idea of death.
Section vi. Loke's punishment. Section vii. The iron post.
Section viii. A brief review, -  -..              371
PART III.
RAGNAROK AND REGENERATION.
CHAPTER I.
RAGNAROK,    -   -   --        413
CHAPTER II.
REGENERATION,                  - 428
Vocabulary, -       -   -   -   -    -       -   -   -439
Index,        -             -   -......462










JNTBOD-UOTIOX.










INTRODUCTION.
CHAPTER I.
WHAT IS MYTHOLOGY AND WHAT IS N~ORSE
MYTHOLOGY?
The word mythology (aiu&9oort'a, from,b~~ word,
tale, fable, and Ao'roq, speech, discourse,) is of Greek origin, and our vernacular tongue has become so adulterated with Latin and Greek words; we have studied Latin
and Greek in place of English,, Anglo-Saxon, Norse and
Gothic so long that we are always in a quandary (qu'en
dirai-je?), always tongue-tied when we attempt to speak
of something outside or above the daily returning cares
of life.  Our own good old English words have been
crowded out by foreign ones; this is our besetting sin.
But, as the venerable Professor George Stephens remarks
in his elaborate work on Runic Monuments, we have
watered our mother tongue long enough with bastard
Latin; let us now brace and steel it with the life-water
of our own sweet and soft, and rich and shining and
clear-ringing and manly and world-ranging, ever-dearest
ENGLISH.
Mythology is a system of myths; a collection of
popular legends, fables, tales, or stories, relating to the
gods, heroes, demons or other beings whose names have
been preserved in popular belief.  Such tales are not
found in the traditions of the ancient Greeks, Hindoos
(23)





24     THE MYTH THE OLDEST FORM OF TRUTH.
and Egyptians, only, but every nation has had its system of mythology; and that of the ancient Norsemen
is more simple, earnest, miraculous, stupendous and
divine than any other mythological system of which
we have record.
The myth is the oldest form of truth; and mythology is the knowledge which the ancients had of the
Divine.   The object of mythology is to find God and
come to him.    Without a written revelation this may
be done in two ways: either by studying the intellect-,
ual, moral and physical nature of man, for evidence of
the existence of God may be found in the proper study
of man; or by studying nature in the outward world
in its general structure, adaptations and dependencies;
and truthfully it may be said that God manifests himself in nature.
Our Norse forefathers (for it is their religion we are
to present in this volume) had no clearly-defined knowledge of any god outside of themselves and nature.
Like the ancient Greeks, they had only a somewhat
vague idea about a supreme God, whom the rhapsodist
or skald in the Elder Edda (Hyndlulj6OS 43, 44) dare
not name, and whom few, it is said, ever look far
enough to see. In the language of the Elder Edda:
Then one is born
Greater than all;
He becomes strong
With the strengths of earth;
The mightiest king
Men call him,
Fast knit in peace
With all powers.


Then comes another
Yet more mighty;





THE UNKNOWN GOD - INGEMUND THE OLD.           25
But him dare I not
Venture to name.
Few further may look
Than to where Odin
To meet the wolf goes.
Odin goes to meet the Fenriswolf in Ragnarok (the
twilight of the gods; that is, the final conflict between
all good and evil powers); but now let the reader compare the above passage from the Elder Edda with the
following passage from the seventeenth chapter of the
Acts of the Apostles:
Then Paul stood in the midst of Mars' Hill and said: Ye
men of Athens, I perceive that in all things ye are too superstitious; for as I passed by and beheld your devotions, I found
an altar with this inscription: TO THE UNKNOWN GOD.
Whom therefore ye ignorantly worship, him declare I unto you.
It was of this same unknown God that one of the
ancient Greek poets had said, that in him we live and
move and have our being.     Thus did the Greeks find
Jehovah in the labyrinth of their heathen deities; and
when we claim that the Norse mythology is more
divine than any other system of mythology known, we
mean by this assertion, that the supreme God is mentioned and referred to oftener, and stands out in bolder
relief in the Norseman's heathen belief, than in any
other.
It is a noticeable fact that long before Christianity
was introduced or had even been heard of in Iceland,
it is recorded that Ingemund the Old, a heathen Norseman, bleeding and dying, prayed God to forgive Rolleif,
his murderer.
Another man of the heathen times, Thorkel Maane,
a supreme judge of Iceland, a man of unblemished life
and distinguished among the wisest magistrates of that





26      THORKEL MAANE - HARALD FAIRFAX.
island during the time of the republic, avowed that he
would worship no other God but him who had created
the sun; and in his dying hour he prayed the Father
of Light to illuminate his soul in the darkness of death.
Arngrim   Jonsson tells us that when Thorkel Maane
had arrived at the age of maturity and reflection, he
disdained a blind obedience to traditionary custom,
and employed much of his time in weighing the established tenets of his countrymen by the standard of
reason.  He divested his mind of all prejudice; he
pondered on the sublimity of nature, and guided himself by maxims founded on truth and reason. By these
means he soon discovered not only the fallacy of that faith
which governed his countrymen, but became a convert
to the existence of a supreme power more mighty than
Thor or Odin. In his maker he acknowledged his God,
and to him alone directed his homage from a conviction
that none other was worthy to be honored and worshiped.  On perceiving the approach of death, this
pious and sensible man requested to be conveyed into
the open air, in order that, as he said, he might in his
last moments contemplate the glories of Almighty God,
who has created the heavens and the earth and all that
in them is.
Harald Fairfax (Haarfager), the first sovereign of Norway, the king that united Norway under his scepter in
the year 872, is another remarkable example in this
respect.  He was accustomed to assist at the public
offerings made by his people in honor of their gods.
As no better or more pure religion was known in those
days, he acted with prudence in not betraying either
contempt or disregard for the prevailing worship of the
country, lest his subjects, stimulated by such example,
might become indifferent, not only to their sacred, but





EVERY CAUSE IN NATURE IS A DIVINITY.


27


also to their political, dutieg. Yet he rejected from his
heart these profane ceremonies, and believed in the
existence of a more powerful god, whom he secretly
adored.  I swear, he once said, never to make my
offerings to an idol, but to that God alone whose omnipotence has formed the world and stamped man with
his own image.   It would be an act of folly in me to
expect help from him whose power and empire arises
from  the accidental hollow  of a tree or the peculiar
form of a stone.
Such examples illustrate how near the educated and
reflecting Norse heathen was in sympathy with Christianity, and also go far toward proving that the object
of mythology is to find God and come to him.
Still we must admit that of this supreme God our
forefathers had only a somewhat vague conception; and
to many of them he was almost wholly unknown.
Their god.was a natural human god, a person. There
can be no genuine poetry without impersonation, and a
perfect system of mythology is a finished poem. Mythology is, in fact, religious truth expressed in poetical
language. It ascribes all events and phenomena in the
outward world to a personal cause. Each cause is some
divinity or other--some god or demon. In this manner, when the ancients heard the echo from the woods
or mountains, they did not think, as we now do, that
the waves of sound were reflected, but that there stood
a dwarf, a personal being, who repeated the worAs
spoken by themselves. This dwarf had to have a history, a biography, and this gave rise to a myth.  To
our poetic ancestors the forces of nature were not veiled
under scientific names. As Carlyle truthfully remarks,
they had not yet learned to reduce to their fundamental
elements and lecture learnedly about this beautiful,





28


THOR IN THE THUNDER-STORM.


green, rock-built, flowery earth, with its trees, mountains and many-sounding waters; about the great deep
sea of azure that swims over our heads, and about the
various winds that sweep through it.   When they saw
the black clouds gathering and shutting out the king
of day, and witnessed them pouring out rain and ice
and fire, and heard the thunder roll, they did not think,
as we now do, of accumulated electricity discharged from
the clouds to the earth, and show in the lecture room
how something like these powerful shafts of lightning
could be ground out of glass or silk, but they ascribed
the phenomenon to a mighty divinity- Thor- who in
his thunder-chariot rides through the clouds and strikes
with his huge hammer, Mjolner.      The theory of our
forefathers furnishes food for the imagination, for our
poetical nature, while the reflection of the waves of
sound and the discharge of electricity is merely dry
reasoning- mathematics and physics.      To our ancestors Nature presented herself in her naked, beautiful
and awful majesty; while to us in this age of Newtons, Millers, Oersteds, Berzeliuses and Tyndalls, she is
enwrapped in a multitude of profound scientific phrases.
These phrases make us flatter ourselves that we have
fathomed her mysteries and revealed her secret workings, while in point of fact we are as far from the real
bottom  as our ancestors were.    But we have robbed
ourselves to a sad extent of the poetry of nature. Well
mnight Barry Cornwall complain:
O ye delicious fables! where the wave
And the woods were peopled, and the air, with things
So lovely! Why, ah! why has science grave
Scattered afar your sweet imaginings?
The old Norsemen said: The mischief-maker Loke
cuts for mere sport the hair of the goddess Sif, but





PROMINENT FACULTIES IMPERSONATED.


29


the gods compel him to furnish her new hair. Loke
gets dwarfs to forge for her golden hair, which grows
almost spontaneously.   We, their prosaic descendants,
say: The heat (Loke) scorches the grass (Sif's hair),
but the same physical agent (heat) sets the forces of
nature to work again, and new grass with golden
(that is to say bright) color springs up again.
Thus our ancestors spoke of all the workings of
nature as though they were caused by personal agents;
and instead of saying, as we now do, that winter follows summer, and explaining how the annual revolutions of the earth produce the changes that are called
seasons of the year, they took a more poetical view of
the phenomenon, and said that the blind god Hoder
(winter) was instigated by Loke (heat) to slay Balder
(the summer god).
This idea of personifying the visible workings of
nature was so completely developed that prominent faculties or attributes of the gods also were subject to
impersonation. Odin, it was said, had two ravens, Hugin and Munin; that is, reflection and memory. They
sit upon his shoulders, and whisper into his ears.
Thor's strength was redoubled whenever he girded himself with Megingjarder, his belt of strength; his steel
gloves, with which he wielded his hammer, produced
the same effect. Nay, strength was so eminent a characteristic with Thor that it even stands out apart from
him as an independent person, and is represented by
his son Magne (strength), who accompanies him on his
journeys against the frost-giants.
In this manner a series of myths were formed and
combined into a system which we now call mythology;
a system which gave to our fathers gods whom they
worshiped, and in whom they trusted, and which gives





30       THESE GODS WORTHY OF REVERENCE.
to us a mirror in which is reflected the popular life,
the intellectual and moral characteristics of our ancestors. And these gods were indeed worthy of reverence;
they were the embodiments of the noblest thoughts and
purest feelings, but these thoughts and feelings could
not be awakened without a personified image. As soon
as the divine idea was born, it assumed a bodily form,
and, in order to give the mind a more definite comprehension of it, it was frequently drawn down from
heaven and sculptured in wood or stone.   The object
was by images to make manifest unto the senses the
attributes of the gods, and thus the more easily secure
the devotion of the people.  The heathen had to see
the image of God, the image of the infinite thought
embodied in the god, or he would not kneel down and
worship.   This idea of wanting something concrete,
something within the reach of the senses, we find deeply
rooted in human nature.    Man does not want an abstract god, but a personal, visible god, at least a visible
sign of his presence. And we who live in the broad
daylight of revealed religion and science ought not to
be so prone to blame our forefathers for paying divine
honors to images, statues and other representations or
symbols of their gods, for the images were, as the words
imply, not the gods themselves to whom the heathen
addressed his prayers and supplications, but merely the
symbols of these gods; and every religion, Christianity
included, is mythical in its development. The tendency
is to draw the divine down to earth, in order to rise
with it again to heaven. When God suffers with us, it
becomes easier for us to suffer; when he redeems us,
our salvation becomes certain.  God is in all systems
of religion seen, as it were, through a glass - never face
to face. No one can see Jehovah and live.





CHURCH CEREMONIES.


31


Even as in our present condition our immortal soul
cannot do without the visible body, and cannot without
this reveal itself to  its fellow-beings, so  our faith
requires a visible church, our religion must assume
some form in which it can be apprehended by the
senses.   Our faith is made stronger by the visible
church in the same manner as the mind gains knowledge of the things about us by means of the bodily
organs.   The outward rite or external form and ceremonial ornament, which are so conspicuous in the
Roman and Greek Catholic churches, for instance, serve
to awaken, edify and strengthen the soul and assist the
memory in recalling the religious truths and the events
in the life of Christ and of the saints more vividly and
forcibly to the mind; besides, pictures and images are
to the unlettered what books are to those educated in
the art of reading.   Did not Christ himself combine
things supersensual with things within the reach of the
senses?   The purification and sanctification of the soul
he combined with the idea of cleansing the body in
the sacrament of baptism.     The remembrance of him
and of his love, how he gave his body and blood for
the redemption of fallen man, he combined with the
eating of bread and drinking of wine in the sacrament
of the Lord's Supper. He gave his religion an outward,
visible form; and, just as the soul is mirrored in the
eyes, in the expression of the countenance, in the gestures and manners of the body, so our faith is reflected
in  the church.    This is what is meant by mythical development; and when we discover this tendency
to cling to visible signs and ceremonies manifesting
itself so extensively even in the Christian church of
our own time, it should teach us to be less severe in
judging and blaming the heathen for their idol-worship.





DIFFERENT RELIGIONS.


As long as the nations have inhabited the earth,
there have been different religions among men; and
how could this be otherwise? The countries which
they have inhabited; the skies which they have looked
upon; their laws, customs and social institutions; their
habits, language and knowledge; have differed so widely
that it would be absurd to look for uniformity in the
manner in which they have found, comprehended and
worshiped God.    Nay, this is not all.  Even among
Christians, and, if we give the subject a careful examination, even among those who confess one and the same
faith and are members of one and the same church, we
find that the religion of one man is never perfectly
like that of another. They may use the same prayers,
learn and subscribe to the same confession, hear the
same preacher and take part in the same ceremonies,
but still the prayer, faith and worship of the one will
differ from the prayer, faith and worship of the other.
Two persons are never precisely alike, and every one
will interpret the words which he hears and the ceremonies in which he takes part according to the depth
and breadth of his mind and heart--according to the
extent and kind of his knowledge and experience, and
according to other personal peculiarities and characteristics. Even this is not all. Every person changes his
religious views as he grows older, as his knowledge and
experience increase, so that the faith of the youth is
not that of the child, nor does the man with silvery
locks approach the altar with precisely the same faith
as when he knelt there a youth.    For it is not the
words and ceremonies, but the thoughts and feelings,
that we combine with these symbols, that constitute
our religion; it is not the confession which we learned
at school, but the ideas that are suggested by it in our





HINTS TO PREACHERS.


33


minds, and the emotions awakened by it in our hearts,
that constitute our faith.
If the preachers of the Christian religion realized
these truths more than they generally seem to do, they
would perhaps speak with more charity and less scorn
and contempt of people who differ from them in their
religious views.  They would recognize in the faith of
others the same connecting link between God and man
for them, as their own faith is for themselves.  They
would not hate the Jew because he, in accordance with
the Mosaic commandment, offers his prayers in the
synagogue to the God of his fathers; nor despise the
heathen because he, in want of better knowledge, in
childlike simplicity lifts his hands in prayer to an image of wood or stone; for, although this be perishable
dust, he still addresses the prayer of his inmost soul to
the supreme God, even as the child, that kisses the
picture of his absent mother, actually thinks of her.
The old mythological stories of the Norsemen abound
in poetry of the truest and most touching character.
These stories tell us in sublime and wonderful speech
of the workings of external nature, and may make us
cheerful or sad, happy or mournful, gay or grave, just
as we might feel, if from the pinnacle of Gausta Fjeld
we were to watch the passing glories of morning and
evening tide.  There is nothing in these stories that
can tend to make us less upright and simple, while
they contain many thoughts and suggestions that we
may be the better and happier for knowing.   All the
so-called disagreeable features of mythology are nothing
but distortions, brought out either by ill-will or by a
superficial knowledge of the subject; and, when these
distortions are removed, we shall find only things beautiful, lovely and of good report.  We shall find the





34       THE MYTHOLOGY OF OUR ANCESTORS.
simple thoughts of our childlike, imaginative, poetic and
prophetic forefathers upon the wonderful works of their
maker, and nothing that we may laugh at, or despise,
or pity.  These words of our fathers, if read in the
right spirit, will make us feel as we ought to feel when
we contemplate the glory and beauty of the heavens
and the earth, and observe how wonderfully all things
are adapted to each other and to the wants of man,
that the thoughts of him who stands at the helm of
this ship of the universe (Skidbladner) must be very
deep, and that we are sensible to the same joys and
sufferings, are actuated by the same fears and hopes
and passions, that were felt by the men and women
who lived in the dawn of our Gothic history. We will
begin to realize how the great and wise Creator has led
our race on-slowly, perhaps, but nevertheless surelyto the consciousness that he is a loving and righteous
Father, and that he has made the sun and moon and
stars, the earth, and all that in them is, in their season.
The Norse mythology reflects, then, the religious,
moral, intellectual and social development of our ancestors in the earliest period of their existence.  We say
our ancestors, for we must bear in mind that in its
most original form this mythology was common to all
the Teutonic nations, to the ancestors of the Americans
and the English, as well as to those of the Norsemen,
Swedes and Danes. Geographically it extended not only
over the whole of Scandinavia, including Iceland, but
also over England and a considerable portion of France
and Germany.     But it is only in Iceland, that weird
island of the icy sea, with the snow-clad volcano Mt.
Hecla for its hearth, encircled by a wall of glaciers,
and with the roaring North Sea for its grave,-it is





IN ITS OLDEST FORM IT IS TEUTONIC.


35


only in Iceland that anything like a complete record
of this ancient Teutonic mythology was put in writing and preserved; and this fact alone ought to be
quite sufficient to lead us to cultivate a better acquaintance with the literature of Scandinavia.    To use the
words of that excellent Icelandic scholar, the Englishman George Webbe Dasent: It is well known, says
he, that the Icelandic language, which has been preserved almost incorrupt in that remarkable island, has
remained for many centuries the depository of literary
treasures, the common property of all the Scandinavian
and Teutonic races, which would otherwise have perished, as they have perished in    Norway, Denmark,
Sweden, Germany and England.        There was a time
when all these countries had a common mythology,
when the royal race in each of them traced its descent
in varying genealogies up to Odin and the gods of
Asgard.   Of that mythology, which may hold its own
against any other that the world has seen, all memory,
as a systematic whole, has vanished from the medioeval
literature of Teutonic Europe.   With the introduction
of Christianity, the ancient gods had been deposed
and their places assigned to devils and witches.  Here
and there a tradition, a popular tale or a superstition
bore testimony to what had been lost; and, though
in this century the skill and wisdom of the Grimms
and their school have shown the world what power
of restoration  and  reconstruction  abides in intelligent scholarship   and   laborious  research, even  the
genius of. the great master of that school of criticism
would have lost nine-tenths of its power had not faithful Iceland preserved through the dark ages the two
Eddas, which present to us, in features that cannot be
mistaken, and in words which cannot die, the very form





36


WHAT DASENT SAYS.


and fashion of that wondrous edifice of mythology which
our forefathers in the dawn of time imagined to themselves as the temple at once of their gods and of the
worship due to them from   all mankind on this middle
earth.  For man, according to their system   of belief,
could have no existence but for those gods and stalwart
divinities, who, from their abode in Asgard, were ever
watchful to protect him and crush the common foes of
both, the earthly race of giants, or, in other words, the
chaotic natural powers. Any one, therefore, that desires
to see what manner of men his forefathers were in their
relation to the gods, how they conceived their theogony,
how they imagined and constructed their cosmogony,
must betake himself to the Eddas, as illustrated by the
Sagas, and he will there find ample details on all these
points; while the Anglo-Saxon and Teutonic literatures
only throw out vague hints and allusions. As we read
Beowulf and the Traveler's Song, for instance, we meet
at every step references to mythological stories and mythical events, which would be utterly unintelligible were
it not for the full light thrown upon them by the Icelandic literature. Thus far Dasent's opinion.
The Norse mythology, we say, then, shows what the
religion of our ancestors was; and their' religion is the
main fact that we care to know about them. Knowing
this well, we can easily account for the rest. Their re,
ligion is the soul of their history. Their religion tells
us what they felt; their feelings produced their thoughts,
and their thoughts were the parents of their acts. When
we study their religion, we discover the unseen and
spiritual fountain from which all their outward acts
welled forth, and by which the character of these was
determined.
The mythology is neither the history nor the poetry





THOMAS CARLYLE.


37


nor the natural philosophy of our ancestors; but it is
the germ and nucleus of them all. It is history, for it
treats of events; but it is not history in the ordinary
acceptance of that word, for the persons figuring therein
have never existed.   It is natural philosophy, for it investigates the origin of nature; but it is not natural
philosophy according to modern ideas, for it personifies
and deifies nature. It is metaphysics, for it studies the
science and the laws of being; but it is not metaphysics
in our sense of the word, for it rapidly overleaps all
categories. It is poetry in its very essence; but its pictures are streams that flow together.     Thus the Norse
mythology is history, but limited to neither time nor
place; poetry, but independent of arses or theses; philosophy, but without abstractions or syllogisms.
We close this chapter with the following extract from
Thomas Carlyle's essays on Heroes and Hero-worship;
an extract that undoubtedly will be read with interest
and pleasure:
In that strange island --Iceland - burst up, the geologists
say, by fire, from the bottom of the sea; a wild land of barrenness and lava; swallowed, many months of the year, in black
tempests, yet with a wild, gleaming beauty in summer-time;
towering up there, stern and grim, in the North Ocean; with
its snow-j6kuls, roaring geysers, sulphur pools and horrid volcanic chasms, like the waste, chaotic battle-field of frost and fire
-where of all places we least looked for literature or written
memorials; the record of these things was written down. On
the seaboard of this wild land is a rim of grassy country, where
cattle can subsist, and men, by means of them and of what the
sea yields; and it seems they were poetic men, these--men who
had deep thoughts in them, and uttered musically their thoughts.
Much would be lost had Iceland not been burst up from the
sea--not been discovered by the Northmen!    The old Norse
poets were many of them natives of Iceland.
Saemund, one of the early Christian priests there, who perhaps had a lingering fondness for paganism, collected certain of





38


THOMAS CARLYLE.


their old pagan songs, just about becoming obsolete then--
poems or chants, of a mythic, prophetic, mostly all of a religious, character: this is what Norse critics call the Elder or
Poetic Edda.   Edda, a word of uncertain etymology, is thought
to signify Ancestress.  Snorre Sturleson, an Iceland gentleman,
an extremely notable personage, educated by this Semund's
grandson, took in hand next, near a century afterwards, to put
together, among several other books he wrote, a kind of prose
synopsis of the whole mythology, elucidated by new fragments
of traditionary verse; a work constructed really with great
ingenuity, native talent, what one might call unconscious art;
altogether a perspicuous, clear work-pleasant reading still.
This is the Younger or Prose Edda.   By these and the numerous other Sagas, mostly Icelandic, with the commentaries, Icelandic
or not, which go on zealously in the North to this day, it is
possible to gain some direct insight even yet, and see that old
system of belief, as it were, face to face. Let us forget that it
is erroneous religion: let us look at it as old thought, and try
if we cannot sympathize with it somewhat.
The primary characteristic of this old Northland mythology
I find to be impersonation of the visible workings of nature--
earnest, simple recognition of the workings of physical nature,
as a thing wholly miraculous, stupendous and divine. What we
now lecture of as science, they wondered at, and fell down in
awe before, as religion.  The dark, hostile powers of nature
they figured to themselves as Jituns (giants), huge, shaggy
beings, of a demoniac character. Frost, Fire, Sea, Tempest, these
are Jituns.  The friendly powers, again, as Summer-heat, the
Sun, are gods. The Empire of this Universe is divided between
these two; they dwell apart in perennial internecine feud. The
gods dwell above in Asgard, the Garden of the Asas, or Divinities; Jotunheim, a distant, dark, chaotic land, is the home of
the Jotuns.
Curious, all this; and not idle or inane if we will look at
the foundation of it. The power of Fire or Flame, for instance,
which we designate by some trivial chemical name, thereby hiding from ourselves the essential character of wonder that dwells
in it, as in all things, is, with these old Northmen, Loge, a most
swift, subtle demon, of the brood of the Jituns.  The savages
of the Ladrones Islands, too (say some Spanish voyagers), thought
Fire, which they had never seen before, was a devil, or god,





THOMAS CARLYLE.


39


that bit you sharply when you touched it, and lived there upon
dry wood. From us, too, no chemistry, if it had not stupidity
to help it, would hide that flame is a wonder.  What is flame?
Frost the old Norse seer discerns to be a monstrous, hoary
Jitun, the giant Tirym, Hrym, or Rime, the old word, now nearly
obsolete here, but still used in Scotland to signify hoar-frost.
Rime was not then, as now, a dead chemical thing, but a living
J6tun, or Devil; the monstrous J6tun Rime drove home his
horses at night, sat combing their manes;--which horses were
Hail-clouds, or fleet Frost-winds.  His cows--no, not his, but a
kinsman's, the giant Hymer's cows--are Icebergs.  This Hymer
looks at the rocks with his devil-eye, and they split in the
glance of it.
Thunder was then not mere electricity, vitreous or resinous; it was the god Donner (Thunder), or Thor,-god, also, of
the beneficent Summer-heat. The thunder was his wrath; the
gathering of the black clouds is the drawing down of Thor's
angry brows; the fire-bolt bursting out of heaven is the allrending hammer flung from the hand of Thor.    He urges his
loud chariot over the mountain tops--that is the peal; wrathful he blows in his red beard-that is the rustling stormblast before the thunder begins.   Balder, again, the White
God, the beautiful, the just and benignant, (whom  the early
Christian missionaries found to resemble Christ,) is the sunbeautifulest of visible things: wondrous, too, and divine still,
after all our astronomies and almanacs! But perhaps the notablest god we hear tell of is one of whom Grimm, the German
etymologist, finds trace: the god Wiinsch, or Wish. The god
Wish, who could give us all that we wished!  Is not this the
sincerest and yet the rudest voice of the spirit of man?  The
rudest ideal that man ever formed, which still shows itself in
the latest forms of our spiritual culture. Higher considerations
have to teach us that the god Wish is not the true God.
Of the other gods or Jituns, I will mention, only for etymology's sake, that Sea-tempest is the J6tun zEgir, a very dangerous J6tun; and now to this day, on our river Trent, as I
learn, the Nottingham bargemen, when the river is in a certain
flooded state (a kind of back-water or eddying swirl it has, very
dangerous to them), call it Eager. They cry out, Have a care!
there is the Eager coming! Curious, that word surviving, like
the peak of a submerged world! The oldest Nottingham barge




40


THOMAS CARLYLE.


men had believed in the god ZEgir. Indeed, our English blood,
too, in good part, is Danish, Norse,--or rather, at the bottom,
Danish and Norse and Saxon have no distinction, except a
superficial one--as of Heathen and Christian, or the like. But
all over our island we are mingled largely with Danes proper
- from the incessant invasions there were; and this, of course,
in a greater proportion along the east coast; and greatest of all,
as I find, in the north country. From the Humber upward, all
over Scotland, the speech of the common people is still in a
singular degree Icelandic; its Germanism has still a peculiar
Norse tinge.  They, too, are Normans, Northmen-if that be
any great beauty!
Of the chief god, Odin, we shall speak by-and-by.  Mark,
at present, so much: what the essence of Scandinavian, and,
indeed, of all paganism, is: a recognition of the forces of nature
as godlike, stupendous, personal agencies -as gods and demons.
Not inconceivable to us.  It is the infant thought of man opening itself with awe and wonder on this ever stupendous universe.  It is strange, after our beautiful Apollo statues and
clear smiling mythuses, to come down upon the Norse gods
brewing ale to hold their feast with Aegir, the Sea-JOtun;
sending out Thor to get the caldron for them in the Jdtun
country; Thor, after many adventures, clapping the pot on his
head, like a huge hat, and walking off with it-quite lost in it,
the ears of the pot reaching down to his heels!   A kind of
vacant hugeness, large, awkward gianthood, characterizes that
Norse system; enormous force, as yet altogether untutored,
stalking helpless, with large, uncertain strides.  Consider only
their primary mythus of the Creation. The gods having got the
giant Ymer slain--a giant made by warm winds and much
confused work out of the conflict of Frost and Fire-determined
on constructing a world with him.  His blood made the sea;
his flesh was the Land; the Rocks, his bones; of his eyebrows
they formed Asgard, their gods' dwelling; his skull was the
great blue vault of Immensity, and the brains of it became the
Clouds.   What a Hyper-Brobdignagian    business!  Untamed
thought; great, giantlike, enormous; to be tamed, in due time,
into the compact greatness, not giantlike, but godlike, and
stronger than gianthood of the Shakespeares, the Goethest
Spiritually, as well as bodily, these men are our progenitors.





CHAPTER II.


WHY CALL THIS MYTHOLOGY NORSE? OUGHT IT NOT
RATHER TO BE CALLED GOTHIC OR TEUTONIC?
IN    its original form, the mythology, which is to be
presented in this volume, was common to all the Teutonic nations; and it spread itself geographically over
England, the most of France and Germany, as well as
over Denmark, Sweden, Norway, and Iceland.       But
when the Teutonic nations parted, took possession of
their respective countries, and began to differ one nation
from  the other, in language, customs and social and
political institutions, and were influenced by the peculiar features of the countries which they respectively
inhabited, then the germ of mythology which each nation brought with it into its changed conditions of life,
would also be subject to changes and developments in
harmony and keeping with the various conditions of
climate, language, customs, social and political institutions, and other influences that nourished it, while the
fundamental myths remained common to all the Teutonic nations.  Hence we might in one sense speak of
a Teutonic mythology.    That would then be the mythology of the Teutonic peoples, as it was known to
them while they all lived together, some four or five
hundred years 'before the birth of Christ, in the southeastern part of Russia, without any of the peculiar features that have been added later by any of the several
(41)





42


INTRODUCTION OF CHRISTIANITY.


branches of that race. But from this time we have no
Teutonic literature.  In another sense, we must recognize a distinct German mythology, a distinct English
mythology, and even make distinction between the mythologies of Denmark, Sweden, and Norway.
That it is only of the Norse mythology we have
anything like a complete record, was alluded to in the
first chapter; but we will now make a more thorough
examination of this fact.
The different branches of the Teutonic mythology
died out and disappeared    as Christianity gradually
became introduced, first in France, about five hundred
years after the birth of Christ; then in England, one
or two hundred years later; still later, in Germany,
where the Saxons, Christianized by Charlemagne about
A.D. 800, were the last heathen people.
But in Norway, Sweden, Denmark and Iceland, the
original Gothic heathenism lived longer and more independently than elsewhere, and had more favorable opportunities to grow and mature. The ancient mythological
or pagan religion flourished here until about the middle
of the elevienth century; or, to speak more accurately,
Christianity was not completely introduced in Iceland
before the beginning of the eleventh century; in Denmark and Norway, some twenty to thirty years later;
while in Sweden, paganism was not wholly eradicated
before 1150.
Yet neither Norway, Sweden nor Denmark give us
any mythological literature.  This is furnished us only
by the Norsemen, who had settled in Iceland. Shortly
after the introduction of Christianity, which gave the
Norsemen   the so-called  Roman   alphabetical system
instead of their famous Runic futhorc, there was put
in writing in Iceland a colossal mythological and his




THE CATHOLIC PRIESTS.


43


torical literature, which is the full-blown flower of
Gothic paganism.    In  the other countries inhabited
by Gothic (Scandinavian, Low Dutch and English) and
Germanic (High German) races, scarcely any mythological literature was produced.  The German Niebelungen-Lied and the Anglo-Saxon Beowulf's Drapa are
at best only semi-mythological. The overthrow of heathendom was too abrupt and violent. Its eradication
was so complete that the heathen religion was almost
wholly obliterated from the memory of the people.
Occasionally there are found authors who refer to it,
but their allusions are very vague and defective, besides
giving unmistakable evidence of being written with prejudice and contempt. Nor do we find among the early
Germans that spirit of veneration for the memories of
the past, and desire to perpetuate them in a vernacular
literature; or if they did exist, they were smothered by
the Catholic priesthood.   When    the Catholic priests
gained the ascendancy, they adopted the Latin language
and used that exclusively for recording events, and they
pronounced it a sin even to mention by name the old pagan gods oftener than necessity compelled the~n to do so.
Among the Norsemen, on the other hand, and to a
considerable extent among the English, too, the old
religion flourished longer; the people cherished their
traditions; they loved to recite the songs and Sagas,
in which were recorded the religious faith and brave
deeds of their ancestors, and cultivated their native
speech in spite of the priests. In Iceland at least, the
priests did not succeed in rooting out paganism, if you
please, before it had developed sufficiently to produce
those beautiful blossoms, the Elder and Younger Eddas.
The chief reason of this was, that the people continued
to use their mother-tongue, in writing as well as in speak




44


THE EDDAS.


ing, so that Latin, the language of the church, never
got a foothold. It was useless for the monks to try to
tell Sagas in Latin, for they found but few readers in
that tongue.   An important result of this was, that
the Saga became the property of the people, and not of
the favored few.  In the next place, our Norse Icelandic
ancestors took a profound delight in poetry and song.
The skald sung in the mother-speech, and taking the
most of the material for his songs and poems from the
old mythological tales, it was necessary to study and
become familiar with these, in order that he might be
able, on the one hand, to understand the productions
of others, and, on the other, to compose songs himself.
Among the numerous examples which illustrate how
tenaciously the Norsemen clung to their ancient divinities, we may mention the skald Hallfred, who, when
he was baptized by the king 01af Tryggvesson, declared
bravely to the king, that he would neither speak ill of
the old gods, nor refrain from mentioning them in his
songs.
The reason, then, why we cannot present a complete
and thoroughly systematic Teutonic or German or English or Danish or Swedish Mythology, is not that these
did not at some time exist, but because their records
are so defective.   Outside of Norway and      Iceland,
Christianity, together with disregard of past memories,
has swept most of the resources, with which to construct
them, away from the surface, and there remain only
deeply buried ruins, which it is difficult to dig up and
still more difficult to polish and adjust into their original symmetrical and comprehensive form after they
have been brought to the surface. It is difficult to
gather all the scattered and partially decayed bones of
the mythological system, and with the breath of human





MYTHOLOGY IN ITS GERMANIC FORM.


45


intellect reproduce a living vocal organism. Few have
attempted to do this with greater success than the
brothers Grimm.
For the elucidation of our mythology in its Germanic form, for instance, the materials, although they
are not wholly wanting, are yet difficult to make use
of, since they are widely scattered, and must be sought
partly in quite corrupted popular legends, partly in
writings of the middle ages, where they are sometimes
found interpolated, and where we often least should
expect to find them. But in its Norse form   we have
ample material for studying the Asa-mythology. Here
we have as our guide not only a large number of
skaldic lays, composed while the mythology still flourished, but even a complete religious system, written
down, it is true, after Christianity had been introduced
in Iceland, still, according to all evidence, without the
Christian ideas having had any special influence upon
its delineation, or having materially corrupted it. These
lays, manuscripts, etc., which form the source of Norse
mythology, will be more fully discussed in another
chapter of this Introduction.
We may add further, that if we had, in a complete
system, the mythology of the Germans, the English,
etc., we should find, in comparing them with the Norse,
the same correspondence and identity as we find existing between the different branches of the Teutonic
family of languages. We should find in its essence the
same mythology in all the Teutonic countries, we should
find this again dividing itself into two groups, the Germanic and the Gothic, and the latter group, that is, the
Gothic, would include the ancient religion of the Scandinavians, English, and Low Dutch. If we had sufficient
means for making a comparison, we should find that





46 THOR NOT THE SAME IN NORWAY AND DENMARK.
any single myth may have become more prominent,
may have become more perfectly developed by one branch
of the race than by another; one branch of the great
Tentonic family may have become more attached to a
certain myth than another, while the myth itself
would remain identical everywhere.  Local myths, that
is, myths produced by the contemplation of the visible
workings of external natnre, are colored by the atmosphere of the people and conntry where they are fostered.
The god Frey received especial attention by the Asaworshipers in Sweden, but the Norse and Danish Frey
are still in reality the same god. Thnnder prodnces not
the same effect upon the people among the towering
and precipitous mountains of Norway and the level
plains of Denmark, but the Thor of Norway and of
Denmark are still the same god; although in Norway
he is tall as a mountain, his beard is briers, and he
rushes upon his heroic deeds with the strength and
frenzy of a berserk, while in Denmark he-wanders along
the sea-shore, a yonth, with golden locks and downy
beard.
It is the Asa-mythology, as it was conceived and
cherished by the Norsemeni of Norway and Iceland,
which the Old Norse literature properly presents to us,
and hence the myths will in this -volume be presented
in their Norse dress, and hence its name, Norse Mythology. From what has already been said, there is no
reason to doubt that the Swedes and Danes professed
in the main the same faith, followed the same religious
customs, and had the same religious institutions; and
upon this supposition other English writers upon this
subject, as for instance Benjamin Thorpe, have entitled
their books Scandinavian Mythology. But we do not
know the details of the religious faith, customs and





NORSE MYTHOLOGY.


47


institutions of Sweden and Denmark, for all reliable
inland sources of information are wanting, and all the.
highest authorities on this subject of investigation, such
as Rudolph Keyser, P. A. Munch, Ernst Sars, N. M.
Petersen and others, unanimously declare, that although
the ancient Norse-Icelandic writings not unfrequently
treat of heathen religious affairs in Sweden and Denmark, yet, when they do, it is always in such a manner
that the conception is clearly Norse, and the delineation
is throughout adapted to institutions as they existed in
Norway. We are aware that there are those who will
feel inclined to criticise us for not calling this mythology Scandinavian or Northern (a more elastic term),
but we would earnestly recommend them to examine
carefully the writings of the above named writers before
waxing too zealous on the subject.
As we closed the previous chapter, with an extract
from Thomas Carlyle, so we will close this chapter with
a brief quotation from    an equally eminent scholar, the
author of Chips from      a  German    Workshop.   In  the
second volume of that work Max Miiller says:*
There is, after Anglo-Saxon, no language, no literature, no
mythology so full of interest for the elucidation of the earliest
history of the race which now inhabits these British isles as the
Icelandic. Nay, in one respect Icelandic beats every other dialect of the great Teutonic family of speech, not excepting AngloSaxon and Old High German and Gothic. It is in Icelandic alone
that we find complete remains of genuine Teutonic heathendom.
Gothic, as a language, is more ancient than Icelandic; but the
only literary work which we possess in Gothic is a translation
of the Bible. The Anglo-Saxon literature, with the exception of
the Beowulf, is Christian. The old heroes of the Niebelunge,
such as we find them represented in the Suabian epic, have been
converted into church-going knights; whereas, in the ballads of
* Max Miiller's Review of Dr. Dasent's The Norseman in Iceland.





48


MAX MULLER.


the Elder Edda, Sigurd and Brynhild appear before us in their
full pagan grandeur, holding nothing sacred but their love, and
defying all laws, human and divine, in the name of that one
almighty passion. The Icelandic contains the key to many a
riddle in the English language and to many a mystery in the
English character. Though the Old Norse is but a dialect of
the same language which the Angles and Saxons brought to
Britain, though the Norman blood is the same blood that floods
and ebbs in every German heart, yet there is an accent of defiance in that rugged northern speech, and a spring of daring
madness in that throbbing northern heart, which marks the
Northman wherever he appears, whether in Iceland or in Sicily,
whether on the Seine or on the Thames. At the beginning of the
ninth century, when the great northern exodus began, Europe, as
Dr. Dasent remarks, was in danger of becoming too comfortable.
The two nations destined to run neck-and-neck in the great race
of civilization, Frank and Anglo-Saxon, had a tendency to become
dull and lazy, and neither could arrive at perfection till it had
been chastised by the Norsemen, and finally forced to admit an
infusion of northern blood into its sluggish veins. The vigor of
the various branches of the Teutonic stock may be measured by
the proportion of Norman blood which they received; and the
national character of England owes more to the descendants of
Hrolf Ganger* than to the followers of Hengist and Horsa.
But what is known of the early history of the Norsemen?
Theirs was the life of reckless freebooters, and they had no time
to dream and ponder on the past, which they had left behind in
Norway. Where they settled as colonists or as rulers, their own
traditions, their very language, were soon forgotten. Their language has nowhere struck root on foreign ground, even where,
as in Normandy, they became earls of Rouen, or, ds in these isles,
kings of England. There is but one exception--Iceland. Iceland was discovered, peopled and civilized by Norsemen in the
ninth century; and in the nineteenth century the language
spoken there is still the dialect of Harald Fairhair, and the
stories told there are still the stories of the Edda, or the Venerable Grandmother. Dr. Dasent gives us a rapid sketch of the
first landings of the Norse refugees on the fells and forths of
Iceland. He describes how love of freedom drove the subjects
* The founder of Normandy in France.





MAX MULLER.


49


of Harald Fairhair forth from their home; how the Teutonic
tribes, though they loved their kings, the sons of Odin, and
sovereigns by the grace of God, detested the dictatorship of
Harald. He was a mighty warrior, so says the ancient Saga, and
laid Norway under him, and put oat of the way some of those
who held districts, and some of them he drove out of the land;
and besides, many men escaped out of Norway because of the
overbearing of Harald Fairhair, for they would not stay to be
subjects to him. These early emigrants were pagans, and it was
not till the end of the tenth century that Christianity reached
the Ultima Thule of Europe. The missionaries, however, who
converted the freemen of Iceland, were freemen themselves.
They did not come with the pomp and the pretensions of the
church of Rome. They preached Christ rather than the Pope;
they taught religion rather than theology. Nor were they afraid
of the old heathen gods, or angry with every custom that was
not of Christian growth. Sometimes this tolerance may have
been carried too far, for we read of kings, like Helge, who
mixed in their faith, who trusted in Christ, but at the same time
invoked Thor's aid whenever they went to sea or got into any
difficulty. But on the whole, the kindly feeling of the Icelandic
priesthood toward the national traditions and customs and prejudices of their converts must have been beneficial. Sons and
daughters were not forced to call the gods whom their fathers
and mothers had worshiped, devils; and they were allowed to
use the name of Allfadir, whom they had invoked in the prayers
of their childhood, when praying to Him who is our Father in
Heaven.
The Icelandic missionaries had peculiar advantages in their
relation to the system of paganism which they came to combat.
Nowhere else, perhaps, in the whole history of Christianity, has
the missionary been brought face to face with a race of gods
who were believed by their own worshipers to be doomed to
death.  The missionaries had only to proclaim that Balder was
dead, that the mighty Odin and Thor were dead.   The people
knew that these gods were to die, and the message of the One
Everliving God must have touched their ears and their hearts
with comfort and joy.   Thus, while in Germany the priests
were occupied for a long time in destroying every trace of heathenism, in condemning every ancient lay as the work of the





50                     MAX MULLER.
devil, in felling sacred trees and abolishing national customs,
the missionaries of Iceland were able to take a more charitable
view of the past, and they became the keepers of those very
poems and laws and proverbs and Runic inscriptions which on
the continent had to be put down with inquisitorial cruelty.
The men to whom the collection of the ancient pagan poetry of
Iceland is commonly ascribed were men of Christian learning:
the one,* the founder of a public school; the othert famous as
the author of a history of the North, the Heimskringla (the
Home-Circle- the World). It is owing to their labors that we
know anything of the ancient religion, the traditions, the maxims, the habits of the Norsemen. Dr. Dasent dwells most fully
on the religious system of Iceland, which is the same, at least
in its general outline, as that believed in by all the members of
the Teutonic family, and may truly be called one of the various
dialects of the primitive religious and mythological language of
the Aryan race.  There is nothing more interesting than religion in the whole history of man. By its side, poetry and art,
science and law, sink into comparative insignificance.
* Samund the Wise.  t Snorre Sturleson.





CHAPTER III.


NORSE MYTHOLOGY COMPARED WITH THE GREEK.
D R. DASENT says the Norse mythology may hold
its own against any other in the world. The fact
that it is the religion of our forefathers ought to be
enough to commend it to our attention; but it may be
pardonable in us to harbor even a sense of pride, if we
find, for instance, that the mythology of our Gothic
ancestors suffers nothing, but rather is the gainer in
many respects by a comparison with that world-famed
paganism of the ancient Greeks.  We would therefore
invite the attention of the reader to a brief comparison
between the Norse and Greek systems of mythology.
A comparison between the two systems is both interesting and important. They are the two grandest systems of cosmogony and theogony of which we have
record, but the reader will generously pardon the writer
if he ventures the statement already at the outset, that
of the two the Norse system is the grander. These two,
the Greek and the Norse, have, to a greater extent than
all other systems of mythology combined, influenced the
civilization, determined the destinies, socially and politically, of the European nations, and shaped their polite
literature. In literature it might indeed seem that the
Greek mythology has played a more important part.
We admit that it has acted a more conspicuous part, but
we imagine that there exists a wonderful blindness,
(51)





5    W NORSE AND GREEK MYTHOLOGY WIDELY DIFFER.
among many writers, to the transcendent influence of
the blood and spirit of ancient Norseland on North
European, including English and American, character,
which character has in turn stamped itself upon our
literature (as, for instance, in the case of Shakespeare,
the Thor among all Teutonic writers); and, furthermore,
we rejoice in the absolute certainty to which we have
arrived by studying the signs of the times, that the comparative ignorance, which has prevailed in this country
and in England, of the history, literature, ancient religion
and institutions of a people so closely allied to us by
race, national characteristics, and tone of mind as the
Norsemen, will sooner or later be removed; that a school
of Norse philology and antiquities will ere long flourish
on the soil of the Vinland of our ancestors, and that there
is a grand future, not far hence, when Norse mythology
will be copiously reflected in our elegant literature, and
in our fine arts, painting, sculpturing and music.
The Norse mythology differs widely from the Greek.
They are the same in essence; that is to say, both are a
recognition of the forces and phenomena of nature as
gods and demons; but all mythologies are the same in
this respect, and the differences, between the various
mythological systems, consist in the different ways in
which nature has impressed different peoples, and in the
different manner in which they have comprehended the
universe, and personified or deified the various forces
and phenomena of nature. In other words, it is in the
ethical clothing and elaboration of the myths, that the
different systems of mythology differ one from the other.
In the Vedic and Homeric poets the germs of mythology
are the same as in the Eddas of Norseland, but this
common stock of materials, that is, the forces and phenomena of nature, has been moulded into an infinite





BALDER AND ADONIS.


53


variety of shapes by the story-tellers of the Hindoos,
Greeks and Norsemen.
Memory among the Greeks is Mnemosyne, the mother
of the muses, while among the Norsemen it is represented by Munin, one of the ravens perched upon Odin's
shoulders. The masculine Heimdal, god of the rainbow
among the Norsemen, we find in Greece as the feminine
Iris, who charged the clouds with water from the lakes
and rivers, in order that it might fall again upon the
earth in gentle fertilizing showers. She was daughter
of Thaumas and Elektra, granddaughter of Okeanos,
and the swift-footed gold-winged messenger of the gods.
The Norse Balder is the Greek Adonis. Frigg, the
mother of Balder, mourns the death of her son, while
Aphrodite sorrows for her special favorite, the young
rosy shepherd, Adonis. Her grief at his death, which
was caused by a wild boar, was so great that she would
not allow the lifeless body to be taken from her arms
until the gods consoled her by decreeing that her lover
might continue to live half the year, during the spring
and summer, on the earth, while she might spend the
other half with him in the lower world. Thus Balder and
Adonis are both summer gods, and Frigg and Aphrodite
are goddesses of gardens and flowers. The Norse god
of Thunder, Thor (Thursday), who, among the Norsemen, is only the protector of heaven and earth, is the
Greek Zeus, the father of gods and men. The gods of
the Greeks are essentially free from decay and death.
They live forever on Olympos, eating ambrosial food and
drinking the nectar of immortality, while in their veins
flows not immortal blood, but the imperishable ichor.
In the Norse mythology, on the other hand, Odin himself dies, and is swallowed by the Fenriswolf; Thor conquers the Midgard-serpent, but retreats only nine paces





54,GREEK GODS FREE FROM DECAY.


and falls poisoned by the serpent's breath; and the body
of the good and beautiful Balder is consumed in the
flames of his funeral pile. The Greek dwelt in bright
and sunny lands, where the change from summer to
winter brought with it no feelings of overpowering
gloom. The outward nature exercised a cheering influence upon him, making him happy, and this happiness
he exhibited in his mythology. The Greek cared less to
commune with the silent mountains, moaning winds,
and heaving sea; he spent his life to a great extent in
the cities, where his mind would become more interested
in human affairs, and where he could share his joys and
sorrows with his kinsmen. While the Greek thus was
brought up to the artificial society of the town, the
hardy Norseman was inured to the rugged independence
of the country. While the life and the nature surrounding it, in the South, would naturally have a tendency to
make the Greek more human, or rather to deify that
which is human, the popular life and nature in the
North would have a tendency to form in the minds of
the Norsemen a sublimer and profounder conception of
the universe. The Greek clings with tenacity to the
beautiful earth; the earth is his mother. Zeus, surrounded by his gods and goddesses, sits on his golden
throne, on Olympos, on the top of the mountain, in the
cloud. But that is not lofty enough for the spirit of
the Norsemen. Odin's Valhal is in heaven; nay, Odin
himself is not the highest god; Muspelheim is situated
above Asaheim, and in Muspelheim is Gimle, where
reigns a god, who is mightier than Odin, the god whom
Hyndla ventures not to name.
In Heroes and Hero Worship, Thomas Carlyle makes
the following striking comparison between Norse and
Greek mythology: To me, he says, there is in the





THE DELUGE.


55


Norse system something very genuine, very great and
manlike.   A broad simplicity, rusticity, so very different
from the light gracefulness of the old Greek paganism,
distinguishes this Norse system. It is tthought, the genuine thought of deep, rude, earnest minds, fairly opened
to the things about them, a face-to-face and heart-tohieart inspection of things - the first characteristic of all
good thought in all times. Not graceful lightness, half
sport, as in the Greek paganism; a certain homely
truthfulness and rustic strength, a great rude sincerity,
discloses itself here. Thus Carlyle.
As the visible workings of nature are in the great
and main features the same everywhere; in all climes
we find the vaulted sky with its sun, moon, myriad
stars and flitting clouds; the sea with its surging billows; the land with its manifold species of plants and
animals, its elevations and depressions; we find cold,
heat, rain, winds, etc., although all these may vary widely
in color, brilliancy, depth, height, degree, and other qualities; and as the minds and hearts of men cherish hope,
fear, anxiety, passion, etc., although they may be influenced and actuated by them in various ways and to
various extents; and as mythology is the impersonation
of nature's forces and phenomena as contemplated by the
human mind and heart, so all mythologies, no matter
in what clime they originated and were fostered, must
of necessity have their stock of materials, their groundwork or foundation and frame in common, while they
may differ widely from each other in respect to peculiar
characteristics, both in. the ethical elaboration of the
myth and in the architectural effect of the tout ensemble.
Thus we have a tradition about a deluge, for instance,
in nearly every country on the globe, but no two nations
tell it alike. In Genesis we read of Noah and his ark,





56    NOT THE SAME BUT A SIMILAR TRADITION.
and how the waters increased greatly upon the earth,
destroying all flesh that moved upon the earth excepting those who were with him in the ark. In Greece,
Deukalion and his wife Pyrrha become the founders of
a new race of men. According to the Greek story, a great
flood had swept away the whole human race, except
one pair, Deakalion and Pyrrha, who, as the flood
abated, landed on Mt. Parnassos, and thence descending, picked up stones and cast them round about, as
Zeus had commanded. From these stones sprung a new
race-- men from those cast by Deukalion, and women
from those cast by his wife. In Norseland, Odin and
his two brothers, Vile and Ve, slew the giant Ymer, and
when he fell, so much blood flowed from his wounds,
that the whole race of frost-giants was drowned, except
a single giant, who saved himself with his household
in a skiff (ark), and from him descended a new race of
frost-giants. Now this is not a tradition carried from
one place to the other; it is a natural expression of the
same thought; it is a similar effort to account for the
origin of the land and the race of man. A people develops its mythology in the same manner as it develops its
language. The Norse mythology is related to the Greek
mythology to the same extent that the Norse language
is related to the Greek language, and no more; and
comparative mythology, when the scholar wields the
pen, is as interesting as comparative philology.
The Greeks have their chaos, the all-embracing space,
the Norsemen have Ginungagap, the yawning abyss
between Niflheim (the nebulous world) and Muspelheim
(the world of fire). The Greeks have their titans, corresponding in many respects to the Norse giants. The
Greeks tell of the Melian nymphs; the Norsemen of
the elves, etc.; but these comparisons are chiefly inter




THE HARD STONE WEEPS TEARS.


57


esting for the purpose of studying the differences between
the Norse and Greek mind, which reflects itself in the
expression of the thought.
The hard stone weeps tears, both in Greece and in
Norseland; but let us notice        how  differently  it is
expressed.   In  Greece, Niobe, robbed   of her children,
was transformed into a rugged rock, down which tears
trickled silently. She becomes a stone and still continues her weeping -
Et lacrymas etiamnum marmora manant,
as the poet somewhere has it. In Norseland all nature
laments the sad death of Balder, even the stones weep
for him  (grata Baldr).
Let us take another idea, and notice how differently
the words symbolize the same truth or thought in
the Bible, in Greece, and in Norseland. In the Bible:
And Jesus sat over against the treasury, and beheld how
people cast money into the treasury: and many that were rich
cast in much. And there came a certain poor widow, and she
threw in two mites, which make a farthing. And he called unto
him his disciples and said unto them, Verily I say unto you,
that this poor widow hath cast more in, than all they which
have cast into the treasury: for all they did cast in of their
abundance; but she of her want did cast in all that she had,
even all her living.
In Greece:
A rich Thessalian offered to the temple at Delphi one
hundred oxen with golden horns. A poor citizen from Hermion
took as much meal from his sack as he could hold between two
fingers, and he threw it into the fire that burned on the altar.
Pythia said, that the gift of the poor man was more pleasing to
the gods than that of the rich Thessalian.
In Norseland the Elder Edda has it:





58          THE SEPARATE GROUP EXQUISITE.
Knowest thou how to pray?
Knowest thou how to offer?
Better not pray at all
Than to offer too much,
Better is nothing sent
Than too much consumed.
In these few and simple words are couched the
same thought as in the Jewish and Greek accounts just
given.   It is this identity in thought, with diversity
of depth, breadth, beauty, simplicity, etc., in the expression or symbol that characterizes the differences between
all mythological systems.    Each has its own peculiarities stamped upon it, and in these peculiarities the
spirit of the people, their tendency to thorough investigation or superficiality, their strength or weakness, their
profoundness or frivolity, are reflected as in a mirror.
The beauty of the Greek mythology consists not so
much in the system, considered as a whole, as in the
separate single groups of myths.      Each group has its
own center around which it revolves, each group moves
in its own sphere, and there develops its own charming
perfection, without regard to the effect upon the system
of mythology considered as a whole.       Each group is
exquisite, and furnishes an inexhaustible fountain of
legendary narrative, but the central thought that should
bind all these beautiful groups into one grand whole is
weak.    Nay, the complex multiplicity into which it
constantly kept developing, as long as the Greek mind
was in vigorous activity, was the cause that finally shattered it.   Is not this same spirit, which we find so
distinctly developed in the Greek mythology, this want,of t --centralizing thought, most wonderfully and perfectly reflected in the social and political characteristics
of the Greek states, and in all the more recent Romance nations?      Each Greek state developed a pecu




GREEK MYTHOLOGY AN EPIC POEM.


59


liar beauty and perfection of its own; but between the
different states (Sparta, Athens, etc.,) there was no
strong bond of union which could keep them together,
and hence all the feuds and civil wars and final dissolution.  In the. Norse mythology, on the other hand,
the_centralizing idea or thought is its peculiar feature;
in it lies_ itsstrength and beauty.  In the Norse mythology, the one myth and the one divinity is inextricably in communion with the other; and thus, also,
the idea of unity, centralization, is a prominent feature,
and one of the chief characteristics of the Teutonic
nations. While the Greek mythology foreshadowed all
the petty states of Greece, as well as those of South
Europe and South America, the Norse mythology foreshadowed the political and social destinies of united
Scandinavia, united Great Britain, united Germany, and
the United States of North America. When the Greeks
unite, they fall. We Northerners live only to be united.
As we would be led to suppose, from a study of the
physical and   climatical peculiarities of  Greece and
Norseland, we find that the Greek mythology forms an
epic poem, and that the Norse is a tragedy. Not only
the mythology, considered as a whole, but even the
character of its speech, and of its very words and
phrases, must necessarily be suggested and modified by
the external features of the country.   Thus in Greece,
where the sun's rays never scorch, and where the northern winds never pierce, we naturally find in the speech
of the people, brilliancy rather than gloom, life rather
than decay, and constant renovation rather than prolonged lethargy.    But in the frozen-bound regions of
the North, where the long arms of the glaciers clutch
the valleys in their cold embrace, and the death-portending avalanches cut their way down the mountain-sides,





60


THEOKTONY.


the tongue of the people would, with a peculiar intensity of feeling, dwell upon the tragedy of nature.
The Danish poet Grundtvig expressed a similar idea
more than sixty years ago, when he said that the AsaFaith unfolds in five acts the most glorious drama of
victory that ever has been composed, or ever could be
composed, by any mortal poet.      And Hauch defines
these five acts as follows:
Act 1. The Creation.
Act II. The time preceding the death of Balder.
Act III. The death of Balder.
Act IV. The time immediately succeeding the death of Balder.
Act V. Ragnarok, the Twilight of the gods, that is, the decline
and fall immediately followed by the regeneration of the world.
It is an inestimable peculiarity of the Norse mythology, that it, in addition to beginning with a theogony
(birth of the gods), also ends with a theoktony (death
of the gods).    In the Greek    mythology, the drama
lacks the fifth or final act, and we have only a prosaic
account of how the people at length grew tired of their
gods, and left them when they became old and feeble.
But the Eddas have a theoktonic myth, in which the
heroic death of the gods is sung with the same poetic
spirit as their youthful exploits and victories.  As the
shades of night flee before the morning dawn, thus
Valhal's gods had to sink into the earth, when the
idea, that an idol is of no consequence in this world,
first burst upon the minds of the idol-worshipers. This
idea spontaneously created the myth of Ragnarok. All
the elements of its mythical form were foreshadowed in
the older group of Norse conceptions.      The idea of
Ragnarok was suggested already in the Creation; for
the gods are there represented as proceeding from giants,
that is, from an evil, chaotic source, and, moreover, that





THE NORSE YIELDS THE PRIZE TO THE GREEK.       61
which can be born must die.      The Greeks did not
release the titans from their prisons in Tartaros and
bring them up to enter the last struggle with the gods.
Signs of such a contest flitted about like clouds in the
deep-blue southern sky, but they did not gather into a
deluging thunder-storm.   The ideas were too broken
and scattered to be united into one grand picture.
The Greek was so much allured by the pleasures of
life, that he could find no time to fathom its depths
or rise above it.  And hence, when the glories of this
life had vanished, there remained nothing but a vain
shadow, a lower world, where the pale ghosts of the
dead knew no greater happiness than to receive tidings
from this busy world.
The Norseman willingly yields the prize to the Greek
when the question is of precision in details and external
adornment of the figures; but when we speak of deep
significance and intrinsic power, the Norseman points
quietly at Ragnarok, the Twilight of the gods, and
the Greek is silent.
The Goth, as has before been indicated, concentrated
life; the Greek divided it into parcels.    Thus the
Greek mythology is frivolous, the Norse is profound.
The frivolous mind lives but to enjoy the passing moment; the profound mind reflects, considers the past
and the future.   The Greek abandoned himself wholly
to the, pleasures of this life, regardless of the past
or future.   The Norseman accepted life as a good
gift, but he knew that he was merely its transient possesso.:,  Over every moment of life hangs a threatening
sword, which may in the next moment prove fatal.
Life possesses no hour of the future.  And this is the
peculiar characteristic of the heroic life in the North,
that our ancestors were powerfully impressed with the





62    DEPTH OF NORSE AND CHRISTIAN THOUGHT.
uncertainty of life.   They constantly witnessed the
interchange of life and death, and this nourished in
them the thought that life is not worth keeping, for
no one knows how soon it may end.       Life itself has
no value, but the object constantly to be held in view
is to die an honorable death. While we are permitted
to live, let us strive to die with honor, it is said in
Bjarkemaal; and in the lay of Hamder of the Elder
Edda we read:
Well have we fought;
On slaughtered Goths we stand,
On those fallen by the sword,
Like eagles on a branch.
Great glory we have gained;
Though now or to-morrow we shall die,No one lives till eve
Against the norns' decree.
It is this same conception of the problem of life
that in the Christian religion has assumed a diviner
form. Though his ideas were clothed in a ruder form,
the Norseman still reached the same depth of thought
as when the Christian says: I am ready to lay down
my life, if I may but die happy, die a child of God;
for what is a man profited if he shall gain the whole
world, and lose his own soul?
The Norseman always concentrated his ideas as much
as possible. For this reason he knew but three Pins--
perjury, murder, and adultery; that is, sin against God,
sin against the state, and sin against fellow-man; and
all these are in fact but one sin-deceitfulness.   In
the same manner the Norseman concentrated his ideas
in regard to the punishment of sin.  When the Ed(,s
tell us about the punishment of the wicked, they su.n
it all up in Naastrand (the strand of corpses), that place





NAASTRAND.


63


far from the sun, that large and terrible cave, the doors
of which   open   to the north.    This cave is built of
serpents wattled together, and the heads of all the serpents turn into the cave, filling it with streams of
poison, in which perjurers, murderers and adulterers
have to wade.     The suffering is terrible; gory hearts
hang outside of their breasts; their faces are dyed in
blood; strong venom-dragons fiercely run through their
hearts; their hands are riveted together with everburning stones; their clothes are wrapped in flames;
remorseless ravens tear their eyes from their heads:
But all the horrors
You cannot know,
That Hel's condemned endure;
Sweet sins there
Bitterly are punished,
False pleasures
Reap true pain.
The point to be observed is, that all the punishment here described is the same for all the wicked.
But with this, the versatile Greek is not content.
He multiplies the sins and the punishments. Tartaros
is full of despair and tears, and the wicked there suffer
a variety of tortures. Enormous vultures continually
gnaw the liver of Tityos, but it always grows again.
Ixion is lashed with serpents to a wheel, which a
strong wind drives continually round and round. Tantalos suffers from an unceasing dread of being crushed
by a great rock that hangs over his head; he stands in
a stream of water that flows up to his throat, and he
almost perishes from thirst; whenever he bends his
head to drink the water recedes; delicious fruits hang
over his head, whenever he stretches out his hand they
evade his grasp.    Thus it is to be tantalized.      The





64   OUTWARD NATURE INFLUENCES THE MYTHOLOGY.
Danaides must fill a cistern that has holes in the bottom; all the water they pour in runs out equally fast.
Sisyphos, sweating and all out of breath, rolls his huge
stone up the mountain side; when he reaches the summit, the stone rolls down again.
The fundamental idea is always the same. It is
always punishment for sin; but it is expressed and
illustrated  in so many different ways.   The variety
enhances the beauty.   The Greek mythology is rich,
for profuseness of illustration is wealth. The Norse
mythology is poor, because it is so strong; it consumes
all its strength in the profoundness of its thought.
The Norse mythology excels in the concentratedness
and strength of the whole system; the Greek excels in
the beauty of the separate groups of myths. The one
is a religion of strength, the other of beauty.
The influence that the outward features of a country exercise upon the thoughts and feelings of men,
especially during the vigorous, imaginative, poetic and
prophetic childhood of a nation, can hardly be overestimated. Necessarily, therefore, do we find this influence affecting and modifying a nation's mythology,
which is a child-like people's thoughts and feelings,
contemplating nature reflected in a system of religion.
Hence, it is eminently fitting, in comparing the Norse
mythology with the Greek, to take a look at the home
of the Norsemen. We, therefore, cordially invite the
traveler from the smooth-beaten tracks of southern Europe to the mountains, lakes, valleys and fjords of
Norseland. You may come in midsummer, when Balder (the summer sunlight) rules supreme, when the
radiant dawn and glowing sunset kiss each other and
go hand in hand on the mountain tops; but we would
also invite you to tarry until Balder is slain, when the





VISIT NORSELAND.


65


wintry gloom, with its long nights, sits brooding over
the country, and Loke (Thok, fire) weeps his arid tears
(sparks) over the desolation he has wrought.
Norway is dark, cloudy, severe, grand, and majestic.
Greece is light, variegated, mild, and beautiful. No one
can long more deeply for the light of summer, with its
mild and gentle breezes from the south, than the Norseman. When he has pondered on his own thoughts during the long winter, when the sun entirely or nearly
disappeared from  above the horizon, and nothing but
northern lights flickered and painted the colors of the
rainbow over his head, he welcomes the spring sun with
enthusiastic delight. It was this deep longing for Balder
that drove swarms of Norsemen on viking expeditions
to France, Spain, and England; through the pillars of
Hercules to Italy, Greece, Constantinople and Palestine,
and over the surging main to Iceland, Greenland and
Vinland. It is this deep longing for Balder that every
year brings thousands of Norsemen to alight upon our
shores and scatter themselves to their numberless settlements in these United States. Still every Norse emigrant, if he has aught in him    worthy of his race,
thinks he shall once more see those weird, gigantic,
snow-capped mountains, that stretched their tall heads
far above the clouds and seemed to look half anxiously,
half angrily after him  as his bark was floating across
the deep sea.
There is something in the natural scenery of Norway - a peculiar blending of the grand, the picturesque,
the gigantic, bewildering and majestic. There is something that leaves you in bewildering amazement, when
you have seen it, and makes you ask yourself, Was it
real or was it only a dream? Norway is in fact one
huge imposing rock, and its valleys are but great clefts





66


NORSE SCENERY.


in it. Through these clefts the rivers, fed by vast glaciers upon the mountains, find their way to the sea.
They come from the distance, now musically and chattingly meandering their way beneath the willows, now
tumbling down the slopes, reeking and distorted by the
rocks that oppose them, until they reach some awful
precipice and tumble down some eight hundred to a
thousand feet in a single leap into the depths below,
where no human being ever yet set his foot. We are
not overdrawing the picture. You cannot get to the
foot of such falls as the Voring Force or Rjukan Force,
but you may look over the precipice from above and see
the waters pouring like fine and fleecy wool into the
seething caldron, where you can discern through the
vapory mists shoots of foam at the bottom, like rockets
of water, radiating in every direction. You hear a low
rumbling sound around you, and the very rock vibrates
beneath your feet; and as you hang half giddy over
the cliff, clasping your arms around some young birchtree that tremblingly leans over the brink of the steep,
and turn your eyes to the huge mountain mass that
breasts you,- its black, melancholy sides seemingly
within a stone's throw, and its snow-white head far in
the clouds above,- your thoughts involuntarily turn to
him, the God, whom the skald dare not name, to him
at whose bidding Gausta Fjeld and Reeking Force
sprang from Ginungagap, from the body of the giant
Ymer, from chaos. You look longer upon this wonderful scene, and you begin to think of Ragnarok, of
the Twilight of the gods. Once seen, and the grand
picture, which defies the brush of the painter, will forever afterwards float before your mind like a dream.
Make a journey by steamer on some of those noble
and magnificent fjords on the west coast of Norseland.





NORSE SCENERY.


67


The whole scenery looks like a moving panorama of
the finest description. The dark mountains rise almost
perpendicularly from the water's edge to an enormous
height; their summits, crowned with ice and snow, stand
out sharp and clear against the bright blue sky; and
the ravines on the mountain tops are filled with huge
glaciers, that clasp their frosty arms around the valley,
and send down, like streams of tears along the weatherbeaten cheeks of the mountains, numerous waterfalls and
cascades, falling in an endless variety of graceful shapes
from various altitudes into the fjord below. Sometimes
a solitary peak lifts its lordly head a thousand feet
clear above the surrounding mountains, and towering
like a monarch over all, it defiantly refuses to hold communion with any living thing save the eagle. Here and
there a force appears, like a strip of silvery fleecy cloud,
suspended from the brow of the mountain, and dashing
down more than two thousand feet in one leap; and all
this marvelously grand scenery, from base to peak,
stands reflected, as deep as it is lofty, in the calm, clear,
sea-green water of the fjord, perfect as in a mirror.
There is no storm; the deep water of the fjord is
silent and at rest. Not even the flight of a single bird
ruffles its glassy surface. As the steamer glides gently
along between the rocky walls, you hear no sound save
the monotonous throbbing of the screw and the consequent splashing of the water. All else is still as death.
The forces hang in silence all around, occasionally
overarched by rainbows suspended in the rising mist.
The naked mountains have a sombre look, that would
make you melancholy were it not for the overpowering
grandeur. Sunshine reaches the water only when the
sun's rays fall nearly vertically, in consequence of the
immense height of the mountains' sides, whose enor




68


SIMPLE AND MARTIAL RELIGION.


mous shadows almost perpetually overshade the narrow
fjord.  The noonday sun paints a streak of delicate
palish green on one side, forming a striking contrast
to the other dark overshadowed side of the profound
fjord. It is awe-inspiring. It is stupendous. It is solemnly grand. You can but fancy yourself in a fairy
land, with elves and sprites and neckens and trolls
dancing in sportive glee all around you.
Words can paint no adequate picture of the stupendousness, majesty and grandeur of Norse scenery;
but can the reader wonder any longer that this country has given to the world such marvelous productions
in poetry, music and the fine arts? Nay, what is more
to our purpose at present, would you not look for a grand
and marvelous mythological system from the poetic and
imaginative childhood of the nation that inhabits this
land? Knock, and it shall be opened unto you! and
entering the solemn halls and palaces of the gods,
where all is cordiality and purity, you will find there
perfectly reflected the wild and tumultuous conflict of
the elements, strong rustic pictures, full of earnest and
deep thought, awe-inspiring and wonderful. You will
find that simple and martial religion which inspired
the early Norsemen and developed them like a tree full
of vigor extending long branches over all Europe. You
will find that simple and martial religion which gave
the Norsemen that restless unconquerable spirit, apt to
take fire at the very mention of subjection and constraint; that religion which forged the instruments
that broke the fetters manufactured by the Roman
emperors, destroyed tyrants and   slaves, and taught
men that nature having made all free and equal, no
other reason but their mutual happiness could be
assigned for making them dependent. You will find





SINCERITY AND GRACE.


69


that simple and martial religion which was cherished
by those vast multitudes which, as Milton says, the
populous North
Ipoured from her frozen loins to pass
Rhene or the Danaw, when her barbarous sons
Came like a deluge on the South and spread
Beneath Gibraltar and the Libyan sands.
But it may be necessary for the reader to refresh himself with a few draughts of that excellent beverage kept
in Mimer's gushing fountain, and drink with his glittering horn, before he will be willing to accept these
and many more such statements that we will make in
the course of this introduction.
To return to our theme. The gods of Norseland
are stern and awe-inspiring; those of Greece are gentle
and lovely. In the Norse mythology we find deep devotion, but seldom tears. In the Greek, there are violent
emotions and the tears flow copiously. In Norseland,
there is plenty of imagination; but it is not of that
light, variegated, butterfly, soap-bubble nature as in
Greece. In the Norse mythology there is plenty of cordiality and sincerity, and the gods treat you hospitably
to flesh of the boar, Svehrimner; and the valkyries will
give you deep draughts from bowls flowing with ale.
In Greece there is gracefulness, a perfect etiquette, and
you dine on ambrosia and nectar; there Eros and Psyche,
the graces and muses, hover about you like heavenly
cherubs. Graces and muses are wanting in Norseland,
The Norse mythology is characterized throughout by a
deep and genuine sincerity; the Greek, on the other
hand, by a sublime gracefulness; but, with Carlyle, we
think that sincerity is better than grace.
But   the  comparison   between   Norse and     Greek
mythology is too vast a field for us to attempt to do





70         NORSE AND GREEK MYTHOLOGY.
justice to it in this volume. It would be an interesting work to show how Norse and Greek mythologies
respectively have colored the religious, social, political
and literary character of Greek and Romance peoples
on the one hand, and Norsemen and Teutons on the
other.  Somebody will nndoubtedly in due time be
inspired to nndertake such a task.   We must study
both, and when they are harmoniously blended in our
nature, we must let them together shape our political,
social and literary destinies, and, tempered by the
Mosaic-Christian religion, they may be entitled to some
consideration even in our religious life.





C [AP T ER IV.


ROMAN MYTHOLOGY.
IN all that has been said up to this time Roman
mythology has not once been mentioned.       Why
not?  Properly speaking, there is no such thing.   It
is an historical fact, that nearly the whole Roman
literature, especially that part of it which may be called
belles-lettres, is scarcely anything  but imitation.  It
did not, like the Greek and Old Norse, spring from the
popular mind, by which it was cherished through
centuries; but at least a large portion of it was
produced for pay and for ornament, mostly in the time
of the tyrant Augustus, to tickle his ear and gild those
chains that were artfully forged to fetter the peoples of
southern Europe.   This is a dry but stubborn truth,
and it is wonderful with what tenacity the schools in
all civilized lands have clung to the Roman or Latin
language, after it had become nothing but a mere
corpse; as though it conld be expected that any
genuine culture could be derived from this dead
monster.
It is, however, an encouraging fact that the Teutonic
races are indicating a tendency to emancipate themselves from the fetters of Roman bondage, and happy
should we be if our English words were emancipated
therefrom. We should then use neither emzancipate, nor
tendency, nor indicate, but would have enough of
Gothic words to use in place of them.    Ay, the signs
(71)





OXFORD AND CAMBRIDGE.


of the times are encouraging.   Look at what is being
done at Oxford and     Cambridge, in London and in
Edinburgh.    Behold what has been done during these
later years by Dasent, Samuel Laing, Thorpe, Carlyle,
Max Miller, Cleasby, Vigfusson, Magnuisson, Morris,
Hjaltalin, and others.  And look at the publications of
the Clarendon press, which is now publishing Icelandic
Sagas in the original text.    This is right.    Every
scrap of Icelandic and Anglo-Saxon literature must
be published, for we must see what those old heroes,
who crushed Rome and instituted       a new   order of
things, thought in every direction.  We must find out
what their aspirations were.    To the credit of the
Scandinavians it must here be said, that they began to
appreciate their old Icelandic literature much sooner
than the rich Englishman realized the value of the
Anglo-Saxon, and   that the English are indebted    to
Rasmus Rask, the Danish scholar, for the most valuable
contribution to Anglo-Saxon studies; but it must also
be admitted, in the first place, that the Scandinavians
have done far too little for. Icelandic, and, in the next
place, that without a preparation in Icelandic, but little
progress could be made in the study of Anglo-Saxon.
But England, with its usual liberality in      literary
matters, is now  rapidly making amends for the past.
And well she might.       In  the  publication  of the
Icelandic and Anglo-Saxon literature she is the greatest
gainer, for it is nothing less than a bridge, that will
unite  her present and    past history.   Maurer and
Mhbius are watching with Argos eyes the interests of
Teutonic studies in Germany.
Greek should be studied, for that is no imitation.
It is indigenous.  It is a crystal clear stream flowing
unadulterated from the Castalian fountain of Parnassos.





THE ROMANS WERE ROBBERS.


73


Our warfare, therefore, is not against Greek, but against
Latin. We have suffered long enough with our necks
under the ponderous Roman yoke in all its various
forms; take it as fetters forged by the Roman emperors,
as crosiers in the hands of the Roman popes, or as
rods in the hands of the Roman school-masters.     The
Goths severed   the fetters of the Roman     emperors,
Luther and the Germans broke the crosiers of the
Roman popes, but all the Te.utons have submissively
kissed the rod of the Roman school-master, although
this was the most dangerous of the three: it was the
deadly weapon concealed in the hand of the assassin.
The Romans were a people of robbers both in a
political and in a literary sense. Nay, the Roman writers themselves tell us that the divine founder of the
city, Romulus, was a captain of robbers; that Mars,
the god of war, was his father; and that a wolf (rapacity), descending from the mountains to drink, ran at
the cry of the child and fed him under a fig-tree,
caressing and licking him as if he had been her own
son, the infant hanging on to her as if she had been
his mother. This Romulus began his great exploits by
killing his own brother.   When the new city seemed
to want women, to insure its duration, he proclaimed
a magnificent feast throughout all the neighboring villages, at which feast were presented, among other things,
the terrible shows of gladiators.  While the strangers
were most intent upon the spectacle, a number of Roman youths rushed in among the Sabines, seized the
youngest and fairest of their wives and daughters, and
carried them off by violence.  In vain the parents and
husbands protested against this breach of hospitality.
This same Romulus ended his heroic career by being
assassinated by his friends, or, as others say, torn in





74 WE MUST NOT THROW LATIN WHOLLY OVERBOARD.
pieces in the senate-house.  Certain it is that the Romans murdered him, and then declared him the guardian spirit of the city; thus worshiping as a god, by
name Quirinus, him whom they could not bear as a
king.  Such falsehoods as the one the senate invented,
when they said that Romulus, whom they had murdered, had been taken up into heaven, the Roman
writers tell us were constantly taught to the Romans
by Numa Pompilius, and by other Sabine and Etrurian
priests; and such instruction laid the foundation of
their myths.  The history of Romulus is, in fact, in
miniature, the history of Rome.
But in spite of this, and much else that can in justice
be said against Rome and Latin, we cannot afford to
throw the language and literature of the Romans entirely overboard.  Their history was too remarkable for
that; besides, many scribbled in Latin down through
the middle ages, and the Latin language has played so
conspicuous a part in English literature, and in the
sciences, that no educated man can very well do without it.  What we respectfully object to is making it
the foundation of all education, this bringing tlhe scholar
up, so to speak, on Latin language, history and literature; this nourishing and moulding the tender heart
and mind on Roman thought,--thus making the man,
intellectually and morally, a slave bound in Roman
chains, while we free-born Goths, the descendants of
Odin and Thor, ought to begin our education and
receive our first impressions from our own ancestors.
The tree should draw its nourishment from its own
roots; and we Americans are the youngest and most
vigorous branch of that glorious Gothic tree, the beautiful and noble Ygdrasil in the Norse cosmogony, whose
three grand roots strike down among the Anglo-Saxons,





WE MUST STUDY ENGLISH AND ANGLO-SAXON.       75
Scandinavians, and Germans.    In order fully to comprehend the man, we must study the life of the child;
and in order to comprehend ourselves as a people, we
must study our own ancient history and literature and
make ourselves thoroughly acquainted with the imaginative and prophetic childhood of the Teutonic race.
We must give far more attention than we do, first, to
English and Anglo-Saxon, and we must, as we have
heard Dr. S. H. Carpenter, of the University of Wisconsin, most truthfully remark, begin with the most
modern English, and then follow it step by step, century by century, back to the most ancient Anglo-Saxon.
A living language can be learned ten times as fast as a
dead one, and we would apply Dr. Carpenter's* principle still further.  We would make one of the living
Romanic languages (French, Italian, or Spanish,) a key
to the Latin; and above all, we would make modern
Greek a preparation for old classic Greek.  It cannot
be controverted that children learn to read and write a
language much sooner and easier if they first learn to
speak it, even though the book-speech may differ considerably from the dialect which the child learned from
his mother; ample evidence of which fact may be found
in the different counties of England and Scotland and
throughout the European countries.
In the next place, that is, next after English and
Anglo-Saxon, we must study German, Measo-Gothic and
the Scandinavian languages, and especially Icelandic,
which is the only living key to the history of the middle ages, and to the Old Norse literature. It is the only
language now in use in an almost unchanged form,
through a knowledge of which we can read the litera* Author of Englich of the Fourteenth Century and of An Introduction to
the Study of the Anglo-Saxon Language.





76     ENGLISH     MORE TERSE THAN LATIN.
ture of the middle ages. We must by no means forget
that -we have Teutonic antiquities to which we stand
in an entirely different and far closer relation than we
do to Greece or Rome. And the Norsemen have an old
literature, which the scholar must of necessity be familiar with in order to comprehend the history of the
middle ages.
When we have thus done justice to our own Teutonic race we may turn our attention to the ancient
peoples around the Mediterranean Sea, the most imnportant of which in literary and historical respects are the
Hebrews, Greeks and iRomans. The antiquities of these
people's will always form important departments in our
colleges and universities, and it is our duty to study
them; but they should not, as they still to a great
extent do, constitute the all-absorbing subject of our
attention, the summac summarum, the foundation and
superstructure of our education and culture.
It has been argued by some that the Latin is
more terse than English; but did the reader ever reflect
that it takes about sixty syllables in Latin to express
all that we can say in English with forty syllables?
The large number of inflectional endings have also been
landed as a point of superior excellence in the Latin;
but as a language grows and makes progress, it gradually emancipates itself from the thraldom of inflection
and contents itself with the abstract, spiritual chain
that links the words together into sentences; and
did the reader ever run across this significant truth,
expressed by George P. Marsh, who says that in
Latin you have to be able to analyse and parse a
sentence before you can comprehend it, while in English you must comprehend the sentence before you
can analyse or parse? Forward has been and will





GREEK PREFERABLE TO HEBREW OR LATIN.         77
forever be the watchword of languages. They must
either progress or die.
When the que-stion is asked, whether Hebrew, Greek
or Latin should be preferred by the student, we
answer that the choice is not a difficult one to make,
and our opinion has in fact already been given. Latin
is the language of a race of robbers; most of it is
nothing but imitation, and besides it is a mere corpse,
while Greek   is the only one of the three that is
still living, and modern Greek -for that is what we
must begin with -is the key to the old Greek literature with its rich, beautiful and original store of mythology, poetry, history, oratory, and philosophy. As
Icelandic in the extreme north of Europe is the living
key to the middle ages and to the celebrated Old
Norse Eddas and Sagas, so modern Greek in the far
south is the living language, that introduces ns to the
spirit of Homer, Herodotus, Demnosthenes, and Plato;
and thus the norns or fates, who preside over the
destinies of men and nations, have in a most wonderful manner knit, or rather woven, us together with
the Greeks, and the more we investigate the development and progress of nations and civilization, the
more vividly the truth will flash upon our minds,
that the Greek and the Icelandic are two silver-haired
veterans, who hold in their hands two golden keys,the one to unlock the treasures of ancient times, the
other those of the middle ages; the one the treasures
of the south and the other those of the north of
Europe. But we must free ourselves from the bondage
of Rome!
When we get away from Rome, where slaves were
employed as teachers, and pay more attention to the
antiquities of Greece, where it was the highest honor





78


SHAKESPEARE.


that the greatest, noblest and most eloquent men could
attain to, to be listened to by youths eager to learn
and to be taught, then the present slavery both of the
teacher and of the student will cease, but scarcely before
then.
The case of Shakespeare is an eminent example to us
of what the Goth is able to accomplish, when he breaks
the Roman chains. His works are not an imitation of
Seneca or AEschylus, nor are they the fruit of a careful
study of the Ars Poetica or Gradus ad Parnassum. No,
he knew but little Latin and less Greek, but what made
him the undisputed Hercules in English literature was
the heroic spirit of Gothdom which flowed in his veins,
and which drove him away from the Latin school before
his emotional nature had been flogged and tortured out
of him. Shakespeare, and not Roman literature and
scholasticism, is the lever that has raised English literature and given it the first rank among all the Teutons.
It is not, we repeat, the deluge of Latin words that flood
it, that has given this preeminence to English, but it is
the genuine Gothic strength that everywhere has tried to
break down the Roman walls. The slaves of Latin will
find it difficult enough to explain how Shakespeare, who
was not for an age, but for all time,- he whose Latin was
small and whose Greek was less,- how he, the star of
poets, the sweet swan of Avon, was made as well as born.
Ay, he was made. He was also one of those who, to cast
a living line had to sweat, and strike the second heat upon
the Muses' anvil.  It is true that Shakespeare did not
arrive at a full appreciation of the Gothic spirit, for he
did not have an opportunity to acquaint himself thoroughly with the Gothic myths; but then they ever
haunted him like the ghost of Hamlet, accusing their





HE WHO IS NOT A SON OF THOR.


79


murderer, without finding any avenger. We therefore
count Shakespeare on our side of this great question.
May the time speedily come, nay, the time must come,
when Greek and Anglo-Saxon and Old Norse and Gothic
and German will shake hands over the bloody chasm of
Roman vandalism!
We fancy we see more than one who reads this chapter, and does not remember that he is a son of Thor,
stretch out his hand for Mjolner, that huge and mighty
hammer of Thor, to swing it at us for what we have said
and have not said about Rome, Roman mythology, and
the Latin language and literature; but, alas! for him,
and fortunately for us, the Roman school-master took
Thor's hammer away from him and whipped the strength
wherewith to wield it out of him. We only repeat that
we know nothing of Roman mythology, but the Greek
and Norse are twin sisters, and with the assistance of the
Mosaic-Christian religion they have a grand mission in
the Gothic-Greek development of the world.





CHAPTER V.


INTERPRETATION OF NORSE MYTHOLOGY.
CONSIDERABLE has been said on this subject in
the preceding pages, and the interpretation which
will be adhered to in this volume has been clearly indicated.  We propose now to give a general synopsis of
the more prominent methods of interpreting Norse mythology.
In one thing all undoubtedly agree, namely, that
all mythologies embody religious faith.  As we, even
to this day, each in his own way, seek to find God by
philosophical speculation (natural theology), by our emotions, by good deeds, or by all these at one time; and
as we, when we have found him, rest upon his breast,
although we do not fully agree as to our conception of
him, each one of us having his own God as each has
his own rainbow; thus our forefathers sought God everywhere - in the rocks, in the babbling stream, in the
heavy ear of grain, in the star-strewn sky of night, and
in the splendor of the sun.     It was revelations of
divinity that they looked for.  The fundamental element
in their mythology was a religious one, and this fact
must never be lost sight of.    To interpret a myth,
then, is not only to give its source, but also its aim
and object, together with the thoughts and feelings
that it awakens in the human breast.
Some writers (William and Mary Howitt and others)
maintain that the Norse mythology is a degradation of,
(80)





ABERRATION FROM THE TRUE RELIGION.


81


or aberration from, the true religion, which was revealed
to man in the earliest period of the history of the human
race and is found pure and undefiled in the Bible;
that it presents sparkling waters from the original fountain of tradition. They point with seriousness to it as
something that bears us on toward the primal period
of one tongue and one religion.    In reference to the
Elder Edda, they say that it descended through vast
ages, growing, like all traditions, continually darker,
and accumulating lower matter and more divergent and
more pagan doctrines, as the walls of old castles become
covered with mosses and lichens, till it finally assumed
the form  in which it was collected from  the mouths
of the people, and put in a permanent written form.
These interpreters claim that through all mythologies
there run certain great lines, which converge toward
one common center and point to an original source of
a religious faith, which has grown dimmer and more
disfigured, the further it has gone.  The geographical
center, they say, from which all these systems of heathen
belief have proceeded is the same--Central Asia; they
point to the eastern origin of the Norseman; they assert,
with full confidence, that the religious creed of the Norseman is the faith of Persia, India, Greece, and every other
country, transferred to the snow-capped mountains of
Norway and jokuls of Iceland, having only been modified
there, so as to give it an air of originality without destroying its primeval features. They argue that Loke
of the Norsemen, Pluto of the Greeks, Ahriman of the
Persians, Siva of the Hindoos, etc., are all originally the
devil of the Bible, who has changed his name and more
or less his personal form    and characteristics.  The
biblical Trinity is degenerated into the threefold trinity
of Odin, Vile, and Ve; Odin, Hcener, and Loder; and





82


HISTORICAL INTERPRETATION.


Odin, Thor, and Balder.    They find in the Norse cosmogony, in a somewhat mutilated and interpolated condition, the Scripture theory of the creation, preservation,
destruction and regeneration of the world.      Ygdrasil
is the tree of life in the garden of Eden; Ask and
Embla, the first human pair, are Adam     and Eve; the
blood of the slain giant Ymer, in which the whole race
of frost-giants was drowned, (excepting one pair, who
were saved, and from whom a new giant race descended,)
is the flood of Noah, the deluge; the citadel called Midgard is the tower of Babel; in the death of Balder, by
Hoder, who was instigated by Loke, they find the crucifixion of Christ by Judas, instigated by the devil, etc.;
displaying a vast amount of erudition, profoundness and
ingenuity, that might have been applied to some good
purpose.   We refrain from   giving more of the results
of their learned and erudite investigations, from   fear
of seducing ourselves or our readers into the adoption
of their absurdities.
Other scholars (Snorre Sturleson, Saxo Grammaticus,
Suhm, Rask, and others,) give us what is called an historical interpretation, asserting that Odin, Thor, Balder,
and the other deities that figure in the Norse mythology,
are veritable ancestors of the Norsemen,-men        and
women who have lived in the remote past; and as distance lends enchantment to the view, so the ordinary
kings and priests of pre-historic times have been magnified
into gods. Odin and the other divinities are in Snorre
Sturleson's -Ieimskringla represented as having come to
Norseland from the great Svithiod, a country lying between the Black Sea and the Caspian Sea. According to
the historical interpretation the mythical worlds are real
countries that can be pointed out on the map. This was
the prevailing view taken during the last two centuries,





HISTORICAL INTERPh.._.


Sd even that sagacious scholar of the earlier part of thL,
century, Professor Rasmus Rask, adheres almost exclusively to the historical interpretation.
It is curious to read these old authors and observe
how sincerely they have looked upon Odin as an extraordinary and enterprising person who formerly ruled in
the North and inaugurated great changes in the government, customs and religion of Norway, Sweden, and
Denmark. They speak of the great authority which he
enjoyed, and how he even had divine honors paid to him.
They ingeniously connect Odin with the Roman Commonwealth, with Mithridates and Pompey (see p. 232).
This historical sketch of Odin will be given in connection with the Odinic myth; suffice it here to say that the
king of Pontus and all his barbarian allies were obliged
to yield to the genius of Pompey. And here it is said
that Odin was one of the number defeated by Pompey.
lie was obliged to withdraw himself by flight from the
vengeance of the Romans! Odin came to Norway by way
of Holstein and Jutland. On his way through Denmark
he founded the city Odinse, and placed his son Skjold
upon the Danish throne. How profound! What erudition!  How much like the enthusiastic work of the
Swede Rudbeck, who makes out the Atlantis of Plato to
be Sweden, and shows that Japhet, son of Noah, came
there and settled with his family! What profound learning (gelahrtheit) these men must have possessed! We are
amazed and confounded at the vast amount of mental
force that has been brought into activity, at the untiring
zeal and the marvelous ingenuity, with which these theories have been set up; but we cannot witness all this
without a feeling of deep regret that so much erudition
and ingenuity, so much mental strength, was so fruitlessly thrown away. They were generally profound Latin





- INTERPRETATION...cnolars, and wrote the most of their books in Latin; but
those ponderous tomes make their authors fools in folios
in the light of modern historical knowledge. They studied
by that kind of lamp that illuminates a small spot on the
table, but leaves the whole room dark. A more careful
and enlightened study of our early literature has of course
given the death-blow to so prosaic an interpretation of the
Norse mythology as the purely historical one is.
Then we are met by the so-called ethical interpretation
of mythology, seeking its origin in man's peculiar nature,
especially in a moral point of view. The advocates of
this theory claim that mythology is a mere fiction created
to satisfy man's spiritual, moral, and emotional nature.
The gods according to this interpretation represent man's
virtues and vices, emotions, faculties of mind and muscle,
etc., personified. Odin, they say, is wisdom; Balder is
goodness; Thor is strength; Heimdal is grace, etc.
Again: Thor is the impersonation of strength and courage; the giants represent impotent sloth and arrogance;
the conflicts between Thor and the giants are a struggle
going on in the human breast. And again: the mischiefmaker Loke instigated the blind Hoder to kill the good
Balder; Nanna, Balder's wife, took her husband's death
so much to heart, that she died of grief; Hoder is afterwards slain by Odin's son Vale; all nature weeps for Balder, but still he is not released from Hel (hell). That is,
physical strength with its blind earthly desires (Hoder),
guided by sin (Loke), unconsciously kills innocence,
(Balder). Love (Nanna) dies broken-hearted; reflection
(Vale) is aroused and subdues physical strength (Hoder);
but innocence (Balder) has vanished from the world to
remain in Hel's regions until the earth is regenerated,
after Ragnarok. The ethical interpretation makes the
gods the faculties of the spirit, and the giants the facul




PHYSICAL i1,.


ties of the body, in man; and between the two, o,.
body, there is a constant struggle for supremacy. This
interpretation is very good, because it is very poetic, but
it has more to do with the application of the myths than
with their primary source.
Finally, an interpretation, that has frequently been
alluded to in the preceding pages of this introduction, is
the physical, or interpretation from nature,- impersonation of the visible workings of nature. The divinities
are the forces and phenomena of nature personified; and
evidence of the correctness of this view can be abundantly
presented by defining etymologically the names of the
several divinities, their attributes, dwellings and achievements, and by showing how faithfully the works of
the gods correspond with the events and scenes of the
outward world. There is no doubt that this is the
true interpretation of all mythologies; and that it is,
so to speak, the key to the Norse mythology, it is
hoped will be sufficiently demonstrated in the second
part of this book in connection with the myths themselves; but the ethical, or perhaps better the spiritual,
interpretation must by all means be added. The spiritual or ethical and the physical interpretation must
be combined. In other words, we can scarcely make
the interpretation too anthropomorphic. The phenomena
and forces of nature have been personified by our forefathers into deities, but the myths have been elaborated to suit and correspond with the moral, intellectual and emotional nature,-the inner life of man.
The deities have been conceived in a human form,
with  human   attributes and affections.  The ancient
Norsemen have made their mythology reflect human
nature, and have clothed    the gods with their own
faculties of mind and body in respect to good and





..-..~~ETATION..,ae and     vice, right and wrong.      As Rudolf
Aeyser beautifully expresses himself:
The gods are the ordaining powers of nature clothed in
personality. They direct the world, which they created; but
beside them stand the mighty goddesses of fate and time, the
great norns, who sustain the world-structure, the all-embracing
tree of the world (Ygdrasil). The life of the world is a struggle between the good and light gods on the one side, and the
offspring of chaotic matter, the giants, nature's disturbing forces,
on the other. This struggle extends also into man's being:
the spirit proceeds from the gods, the body belongs to the world of
the giants; they struggle with each other for the supremacy. If
the spirit conquers by virtue and bravery, man goes to heaven
after death, to fight in concert with the gods against the evil
powers; but if the body conquers and links the spirit to itself
by weakness and low desires, then man sinks after death to
the world of the giants in the lower regions, and joins himself with the evil powers in the warfare against the gods.
Nature is the mother at whose breast we all are
nourished.   In   ancient times she    was the object of
childlike  contemplation, nay, adoration.     Nature and
men were in close communion with each other, much
closer than we now      are. They had a more delicate
perception of, and more sympathy for, suffering nature;
and it were well if some of the purity of this thought
could be breathed down to us, their prosaic descendants, who have abandoned the offerings to give place
to avarice (die Habsucht nahm      zu, als die Opfer aufhirten.- Grimm).
It was a beautiful custom, which is still preserved
in some parts of Norway, to fasten a bundle of grain
to a long pole, which on Christmas eve was erected
somewhere in the yard, or on the top of the house or
barn, for the wild birds to feed upon early on Christmas-day morning,- (our heathen ancestors also had the
Christmas or Yule-tide festival).     In  our degenerate





ODIIN, THORi, Al      GOtS, 10.


87


times we think of chickens and geese and      turkeys,
but who thinks of the innocent and suffering little
birds?  Nay, our ancestors lay   nearer to   nature's
breast. Have we had our hearts hardened by the iron
yoke of civilized government?   We certainly need to
ask ourselves that question.
The contemplation of the heavens produced the
myth about Odin, and     the thunder-storm  suggested
Thor, as in the Greek     mythology  Argos with   his
hundred eyes represents the starry heavens, and the
wandering Io, whom Hera had set him to watch, is
the wandering   moon. But stopping    here would be
too prosaic; it would be leaving out the better half;
it would   be  giving  the  empty  shell and   throwing  away the kernel; it would be giving the skull
of the slain warrior without any ale in it; it would
be doing great injustice to our forefathers and robbing ourselves of more than half of the intellectual
pleasure that a proper study of their myths afford.
The old Frisians contemplated the world as a huge
ship, by name Mannigfual (a counterpart of our ashtree Ygdrasil); the mountains were its masts; the
captain  must go from   one place to another of the
ship, giving his orders, on horseback; the sailors go
aloft as young men    to make sail, and when     they
come down    again their hair and    beard are white.
Ay, we are all sailors on board this great ship, and
we all have enough to do, each in his own way, to
climb its rope ladders and make and reef its sails, and
ere we are aware of it our hairs are gray; but take
the anthropomorphic element out of this myth, and
what is there left of it?
Our ancestors were not prosaic. They were poetic
in the truest sense of that word. Our life is divided





88


OUR ANCESTORS NOT PROSAIC.


between the child, the vigorous man, and old age,the imaginative and prophetic child, the emotional and
active man, and   the reflecting elder. So a nation,
which like the ancient Greek and Norse, for instance,
has had a natural growth and development, has first
its childhood of imagination and prophecy, producing
poetry (Homer and the Eddas); then its manhood
of emotion and activity, producing history (Herodotus
and the Sagas); and then its old age of mature reflection, producing philosophy (Socrates). Dividing the
three periods in Greek history more definitely, we will
find that imagination and poetry predominated during
the whole time before Solon; emotion, activity and
history during the time between Solon and Alexander
the Great; and then reflection and philosophy, such as
they were, from Alexander to the collapse of the Greek
states.
Even among the Romans, the most prosaic of all
peoples, that nation of subduers, enslavers and robbers,
traces of this growth from poetic childhood through
historic manhood to philosophic old age can be found,
which proves moreover that this is a law of human
development that cannot be eradicated, although it may
be perverted.  That of the Romans is a most distorted
growth, showing that as the twig is bent the tree is
inclined. Ut sementem feceris, ita metes -as you sow,
so will you reap,- to quote the Romans' own words
against them.  The Romans had their poetic and prophetic age during the reign of the seven kings; their
emotional and historical age during the most prosperous
and glorious epoch of the republic; and finally, their
age of reflection and philosophy began with the time
of the elder Cato.   Rome took a distorted, misanthropic course from the beginning, so that her pro




THE ROMANS AGAIN.


89


foundest and most poetic myth is that of the warlike
Mars and the rapacious wolf, the father and nurse of
the fratricide Romulus.    This myth is prophetic, and
in it the whole history of Rome is reflected as in
a mirror.    The Romans themselves claim      that their
Sibylline books (prophecy) belong to the time of their
kings.   When, during the transition period from     the
emotional to the philosophic age, Rome was to have
dramatic writers, she produced in comedy the clumsy
Plautus, whom the Romans employed in turning a
hand-mill; and in tragedy the flat Ennius, whose works
were lost; so that her only really poetical tragedy is
the fate of her dramatic poets.      Her other poetical
works, of which the world has boasted so much, came
later, after the death of Cicero, their most famous orator,
during the life of the crowned Augustus; they came like
an Iliad after Homer, and the most of them was a poor
imitation of Greek literature, just as this book is a
poor imitation   of  Scandinavian  literature.  Ex ipso
fonte dulcius bibuntur aquce-go        to  the  fountain
itself if, you want to drink the pure and sparkling
water.   The Roman literature is eminently worthy of
the consideration of the historical philosopher, but it
ought not to be canonized and used to torture the life
out of students with.
The Hebrews have their imaginative, poetic and
prophetic age from Genesis to Moses; their emotional
and historical age from Moses to Solomon, and then
begins their age of reflection and philosophy.
Taking a grand, colossal, general view of the history
of the world, we would say that the ancients belong
chiefly to the poetic age, the middle ages to the emotional
age, and modern times to the reflecting age, of the
human race.     Thus the life of the individual is, in





90     PHYSICAL INTERPRETATION INSUFFICIENT.
miniature, the life of a people or of the whole human
family.
This was a digression, and we confess that it is not
the first one we have made; but in the world of thought,
as in the world of music, monotony is tedious; and
the reader having perhaps refreshed his mind by the
interlude, we will proceed to discuss further the union
of the ethical with the physical interpretation     of
mythology.   Physical interpretation alone is the shell
without the kernel.   Nature gives us only the source
of the myth; but we want its value in the minds
and hearts of a people in their childhood. The touching
gracefulness of Nanna, and of Idun reclining on Brage's
breast, was not suggested by nature alone, but the
pictures of these reflect corresponding natures in our
ancestors.  To explain   a myth   simply by the phenomenon in external nature (be it remembered, however, that man also constitutes a part of nature) that
suggested it to the ancients, would be reducing mythology to a natural science; and it is sad to witness
how  the beautiful and poetical Eddas, in the hands
of some, have dwindled down into the dry chemistry,
chronology, electro-magnetism, mathematics, astronomy,
or, if you please, the almanacs, of our forefathers,
instead  of being presented   as the grand, prophetic
drama which foreshadowed the heroic and enterprising
destiny of the Teutonic nations. The twelve dwellings
of the gods, they say, represent the twelve signs of
the zodiac; Balder they make the constellation of the
lion; Odin's twelve names, they say, are the twelve
months of the year; his fifty-two names, which he
himself enumerates in Grimnismaal, are the fifty-two
weeks in the year; the thirteen valkyries are the thirteen new moons in the year.     How profound!     How





NITCURAL SCIENCE.


91


perfectly everything adapts itself to the theory!  This
invaluable discovery was made on the seventh of December, 1827.   It ought to be a legal holiday!   The
one ox, three measures of mead and eight salmon which
Thor, according to the Elder Edda, consumed, when
he had come to Jotunheim to fetch his hammer, they
claim  also represent the  year's twelve months, for
1+3+8=12.     Furthermore, the three gods, Haar, Jafnhaar, and Thride, are the three fundamental elements,
sulphur, mercury, and salt; Odin, Vile, and Ve, are the
three laws of the universe, gravity, motion, and affinity.
Thor is electricity; his belt is an electric condenser,
his gloves an electric conductor.  Hrungner, with whom
he contends, is petrifaction; the Mokkerkalfe, whom
Thjalfe slew, is the magnetic needle.  Gunlad is oxygen,
Kvaser is sugar, etc. But this will do. Are not these
golden keys, with which to unlock the secret chambers
of the Eddas!
All the deities do not represent phenomena and forces
of nature, and this fact gives if possible still more importance to the anthropomorphic interpretation. Some
myths are mere creations of the imagination, to give
symmetry and poetical finish to the system, or we might
say to the drama-to complete the delineations of the
characters that appear on the stage of action. Hermod,
for instance, is no phenomenon in physical nature: he
is the servant of Odin in the character of the latter
as the god of war. Odin is the god of the heavens,
but it is not in this capacity he sends out the valkyries
to pick up the fallen heroes on the field of battle.
In rejecting the historical interpretation, we do by
no means mean to deny the inifluence of the mythology
upon the social, religious, political and literary life of
the Norsemen. But this is not an explanation of the





92


HISTORICAL PROPHECY.


mythology itself, but of its influence upon the minds
of the people.  If we mean it in a prophetic sense, the
Norse mythology has also an historical interpretation.
In it was mirrored the grand future of the Norse spirit;
by it the Norsemen were taught to make those daring
expeditions to every part of the civilized world, making
conquests and planting colonies; to cross the briny deep
and open the way to Iceland, Greenland and America;
to take possession of Normandy in France, subdue England and make inroads into Spain and Italy; to pass
between the pillars of Hercules, devastate the classic
fields of Greece, and carve their mysterious runes on
the marble lion in Athens; to lay the foundations of
the Russian Empire, penetrate the walls of Constantinople and swing their two-edged battle-axes in its streets;
to sail up the rivers Rhine, the Scheldt, the Seine, and
the Loire, conquering Cologne and Aachen and besieging
Paris; to lead the van of the chivalry of Europe in rescuing the holy sepulchre and rule over Antioch and Tiberias under Harald; to sever the fetters forged by the
Roman emperors, break the crosiers in the hands of the
Roman popes and infuse a nobler and freer spirit into
the nations of the earth; and by their mythology they
were taught to give to the world that germ of liberty
that struck root in the earliest literature of France, budded in the Magna Charta of England, and developed its
full-blown flowers in the American Declaration of Independence.
The principal object of the second part of this volume is to give a faithful, accurate and complete presentation of the myths; but interpretations and reflections
will be freely indulged in.  The basis of the interpretation will be the physical and ethical combined, the
two taken as a unit.   The reflections will consist in





A COMPLETE MYTHOLOGY.              93
pointing out occasionally the fulfilment of the prophecies historically, or rather the application of the myths
to historical philosophy. When only the physical source
of the myth is given, its anthropomorphic element must
be supplied in the mind of the reader. When Thor is
given as the impersonation of thunder, and lleimdal as
the rainbow., clothed with personality, then the reader
must consider what sensations would be awakened in his
own breast by these phenomena if he had been taught
to regard them as persons. Alid when he has given
them stature, gait, clothing, bearing, expression of the
eye and countenance, and personal character corresponding with their lofty positions in the management of the
affairs of the world, then he can form some idea of these
deities as contemplated by the ancient Norsemen.





CHAPTER VI.


THE NORSE MYTHOLOGY FURNISHES ABUNDANT AND EXCELLENT -MATERIAL FOR THE USE OF POETS, SCULPTORS AND PAINTERS.
N a previous chapter it was claimed that the time
must come when Norse mythology will be copiously
reflected in our elegant literature and in our fine arts;
and we insist that we who are Goths, and branches of
the noble ash Ygdrasil, ought to develop some fibre,
leaves, buds and flowers with nourishment drawn from
the roots of our own tree of existence, and not be constantly borrowing from  our neighbors.  If our poets
would but study Norse mythology, they would find in
it ample material for the most sublime poetry.  The
Norse mythology is itself a finished poem, and has been
most beautifully presented in the Elder Edda, but it
furnishes at the same time a variety of themes that can
be combined and elaborated into new poems with all
the advantages of modern art, modern civilization and
enlightenment. With the spirit of Christianity, a touch
of beauty and grandeur can be unconsciously thrown
over the loftiness of stature, the growth of muscle, the
bold masses of intellectual masonry, the tempestuous
strength of passions, those gods and heroes of impetuous natures and gigantic proportions, those overwhelming tragedies of primitive vigor, which are.) be found
in the Eddas. If our American poet wov d but pay
(94)





HOW TO EDUCATE THE CHILD.


95


a visit to Urd's fountain, to Time's morning in our
Gothic history, and tarry there until the dawn tinges
the horizon with crimson and scarlet and the sun breaks
through the clouds and sends its inspiring rays into his
soul,- then his poetry and compositions would reflect
those auroral rays with intensified effulgence; it would
shine upon and enlighten and gladden a whole nation.
We need poets who can tell us, in words that burn,
about our Gothic ancestors, in order that we may be
better able to comprehend ourselves. It has heretofore
been explained how the history of nations divides itself
into three periods-the imaginative, the emotional, and
reflective; poetry, history, and philosophy; and how
these have their miniature counterparts in the life of
any single person - childhood, manhood, and old age;
and now we are prepared to present this claim, that the
poetic, imaginative and prophetic period of our race
should be compressed into the soul of the child. The
poetic period of hzs own race should be melted and
moulded into poetry, touched by a spark of Christian
refinement and love, and then poured, so to speak, into
the soul of the child.  The child's mind should feed
upon the mythological stories and the primitive folklore of his race.  It should be nourished with milk
from its own mother's breast. Does any one doubt this?
Let him ask the Scandinavian poets: ask what kindled
the imaginative fancy of Welhaven; ask what inspired
the force and simplicity of phrase in Oelenschloeger's
poetry; ask what produced the unadorned loveliness
with which Bjbrnstjerne Bjbrnson expresses himself, and
the mountain torrent that rushes onward with impetuous speed in Wergeland; ask what produced the refinement of phrase of Tegner, and the wild melodious
abandon of Ibsen;- and they will tell him that in the





96


OLE BULL.


deep defiles of that sea-girt and rock-bound land called
Norseland, where the snow-crowned mountains tower like
castle-walls, they found in a leafy summer bower a Sagabook full of magic words and beautiful pictures, and,
like Alexander of old, they made this wonderful book
their pillow.  They may tell you that the Scandinavian
schools, like the American, are pretty thoroughly Latinized, but that they stole out of the school-room, studied
this Saga-book, and from it they drew their inspiration.
The writer once asked the famous Norse violinist, Ole
Bull, what had inspired his musical talent and given his
music that weird, original, inexplicable expression and
style. He said, that from childhood he had taken a profound delight in the picturesque and harmonious combination of grandeur, majesty, and gracefulness of the
flower-clad valleys, the silver-crested mountains, the singing brooks, babbling streams, thundering rivers, sylvan
shores and smiling lakes of his native land.   He had
eagerly devoured all the folk-lore, all the stories about
trolls, elves and sprites that came within his reach; he
had especially reveled in all the mythological tales about
Odin, Thor, Balder, Ymer, the Midgard-serpent, Ragnarok,
etc.; and these things, he said, have made my music.
Truthfully has our own poet Longfellow, who has himself taken more than one draft from Mimer's fountain,
and communed more than once with Brage -said of
Ole Bull:
He lived in that ideal world
Whose language is not speech, but song;
Around him evermore the throng
Of elves and sprites their dances whirled;
The Stroimkarl sang, the cataract hurled
Its headlong waters from the height,
And mingled in the wild delight
The scream of sea-birds in their flight,





MEN FREQUENTLY ACT LIKE ANTS.


97


The rumor of the forest trees,
The plunge of the implacable seas,
The tumult of the wind at night,
Voices of eld, like trumpets blowing
Old ballads and wild melodies
Through mist and darkness pouring forth
Like Elivagar's rivers flowing
Out of the glaciers of the North.
These are the things that make poets, and musicians
are poets. Then continues the same author:
And when he played, the atmosphere
Was filled with music, and the ear
Caught echo of that harp of gold
Whose music had so weird a sound,
The hunted stag forgot to bound,
The leaping. rivulet backward rolled,
The bird came down from bush and tree,
The dead came from beneath the sea,
The maiden to the harper's knee.
Only these few lines make it clear that Longfellow has
not only communed with Brage, but has also refreshed
himself at the Castalian fountain; that he has not only
penetrated the mysteries of the Greek mythology, but has
also visited the deities of the North.
If you do not believe that the Norse mythology furnishes suitable themes for poetry, then do not echo the
voice of the multitude and cry the idea down because it
seems new. Men frequently act like ants. When a red ant
appears among the black ones, they all attack it, for they
have once for all made up their minds that all ants must
necessarily be black; they have themselves been black all
their lives, and all their ancestors were black, so far as
they know anything about them. Thus it has become a
fixed opinion with many, that mythology necessarily
means Greek or Roman. We said to one of our friends:





OELENSCHL2EGER.


We are writing a book on Norse mythology. Says our
learned friend: Are not those old stories about Jupiter
and Mars pretty well written up by this time?     We
said we thought they were, too much so; but we are
writing about Odin and Thor. Then our learned friend
shook his head in surprise and said that he never heard
of those gentlemen before.  If our reader's case is the
same as that of our learned friend, then let him examine
the subject for himself. Let him read the Norse mythology through carefully. Let him then tell us what themes
suggestive of sublime poetry he found in the upper, the
middle and the lower worlds of the Odinic mythology;
how he was impressed with the regions of the gods, of the
giants, and of the dwarfs; what he thought of the various
exploits of the gods; how he was impressed with the great
and wise Odin, the good and shining Balder, the mighty
Thor, the subtle and malicious Loke, the queenly Frigg,
the genial Frey, the lovely Idun reclining on the eloquent
Brage's breast, and the gentle Nanna. Let him read and
see whether or not he will be delighted with all the magnificent scenery of Gladsheim, Valhal, Midgard, Niflheim,
Muspelheim, and Ginungagap; with the norns Urd,
Verdande, and Skuld; with the glorious ash Ygdrasil;
with the fountain of Mimer (let him take a deep drink,
while he is there);. with the heavenly bridge Bifrost (the
rainbow), upon which the gods daily descend to the Urdarfountain; and with the wild tempest-traversed regions of
Ran (the goddess of the sea, wife of ZEger). The celebrated poet Oelenschleger found in all these things inexhaustible scope for poetic embellishments, and he availed
himself of it in his work, entitled Gods of the North, with
the zeal and power of a genuine poet. He revived the
memories of the past. He bade the gods come forward
out of the mists of the centuries, and he accomplished in





THOR'S FISHING.


99


less than fifty years what Latin versions of the Eddas had
not been able to accomplish in three centuries. Two of
Oelenschlager's poems are given translated in Poets and
Poetry of Europe, and Mr. Longfellow has given us permission to present them here. We will now avail ourselves of his kindness and not discuss this portion of the
subject of this chapter any further, knowing that the
reader will find   the poems Thor's Fishing and       The
Dwarfs far more pleasing and convincing than any
additional arguments we might be able to produce.
Here they are:
THOR'S FISHING.
On the dark bottom of the great salt lake
Imprisoned lay the giant snake,
With naught his sullen sleep to break.
Huge whales disported amorous o'er his neck;
Little their sports the worm did reck,
Nor his dark, vengeful thoughts would check.
To move his iron fins he has no power,
Nor yet to harm the trembling shore,
With scaly rings he is covered o'er.
His head he seeks 'mid coral rocks to hide,
Nor e'er hath man his eye espied,
Nor could its deadly glare abide.
His eye-lids half in drowsy stupor close,
But short and troubled his repose,
As his quick heavy breathing shows.
Muscles and crabs, and all the shelly race,
In spacious banks still crowd for place
A grisly beard, around his face.
When Midgard's worm his fetters strives to break,
Riseth the sea, the mountains quake;
The fiends in Naastrand merry make





100


THOR'S FISHING.


Rejoicing flames from Hecla's caldron flash,
Huge molten stones with deafening crash
Fly out,-its scathed sides fire-streams wash.
The affrighted sons of Ask do feel the shock,
As the worm doth lie and rock,
And sullen waiteth Ragnarok.
To his foul craving maw naught e'er came ill;
It never he doth cease to fill;
Nath' more his hungry pain can still.
Upward by chance he turns his sleepy eye,
And, over him suspended nigh,
The gory head he doth espy.
The serpent taken with his own deceit,
Suspecting naught the daring cheat,
Ravenous gulps down the bait.
His leathern jaws the barbed steel compress,
His ponderous head must leave the abyss;
Dire was Jormungander's hiss.
In giant coils he writhes his length about,
Poisonous streams he speweth out,
But his struggles help him naught.
The mighty Thor knoweth no peer in fight,
The loathsome worm, his strength despite,
Now o'ermatched must yield the fight.
His grisly head Thor heaveth o'er the tide,
No mortal eye the sight may bide,
The scared waves haste i' th' sands to hide.
As when accursed Naastrand yawns and burns,
His impious throat 'gainst heaven he turns
And with his tail the ocean spurns.
The parched sky droops, darkness enwraps the sun;
Now the matchless strength is shown
Of the god whom warriors own.





THOR'S FISHING.


101


Around his loins he draws his girdle tight,
His eye with triumph flashes bright,
The frail boat splits aneath his weight;
The frail boat splits,-but on the ocean's ground
Thor again hath footing found;
Within his arms the worm is bound.
Hymer, who in the strife no part had took,
But like a trembling aspen shook,
Rouseth him to avert the stroke.
In the last night, the vala hath decreed
Thor, in Odin's utmost need,
Tc the worm shall bow the head.
Thus, in sunk voice, the craven giant spoke,
Whilst from his belt a knife he took,
Forged by dwarfs aneath the rock.
Upon the magic belt straight 'gan to file;
Thor in bitter scorn to smile;
Mjolner swang in air the while.
In the worm's front full two-score leagues it fell;
From Gimle to the realms of hell
Echoed Jormungander's yell.
The ocean yawned; Thor's lightnings rent the sky;
Through the storm, the great sun's eye
Looked out on the fight from high.
Bifrost i' th' east shone forth in brightest green;
On its top, in snow-white sheen,
Heimdal at his post was seen.
On the charmed belt the dagger hath no power;
The star of Jotunheim 'gan to lour;
But now, in Asgard's evil hour,
When all his efforts foiled tall Hymer saw,
Wading to the serpent's maw,
On the kedge he 'gan to saw.





102


THE DWARFS.


The Sun, dismayed, hastened in clouds to hide,
Heimdal turned his head aside;
Thor was humbled in his pride.
The knife prevails, far down beneath the main,
The serpent, spent with toil and pain,
To the bottom sank again.
The giant fled, his head 'mid rocks to save,
Fearfully the god did rave,
With his lightnings tore the wave.
To madness stung, to think his conquest vain,
His ire no longer could contain,
Dared the worm to rise again.
His radiant form to its full height he drew,
And Mjolner through the billows blue
Swifter than the fire-bolt flew.
Hoped, yet, the worm had fallen beneath the stroke;
But the wily child of Loke
Waits her turn at Ragnarok.
His hammer lost, back wends the giant-bane,
Wasted his strength, his prowess vain;
And Mjolner must with Ran remain.
THE DWARFS.
Loke sat and thought, till his dark eyes gleam
With joy at the deed he'd done;
When Sif looked into the crystal stream,
Her courage was well-nigh gone.
For never again her soft amber hair
Shall she braid with her hands of snow;
From the hateful image she turned in despair,
And hot tears began to flow.
In a cavern's mouth, like a crafty fox,
Loke sat 'neath the tall pine's shade,
When sudden a thundering was heard in the rocks,
And fearfully trembled the glade.





THE DWARFS.


103


Then he knew that the noise good boded him naught,
He knew that 't was Thor who was coming;
He changed himself straight to a salmon-trout,
And leaped in a fright in the Glommen.*
But Thor changed, too, to a huge sea-gull,
And the salmon-trout seized in his beak;
He cried: Thor, traitor, I know thee well,
And dear shalt thou pay thy freak!
Thy caitiff's bones to a meal I'll pound,
As a mill-stone crusheth the grain.
When Loke that naught booted his magic found,
He took straight his own form again.
And what if thou scatter'st my limbs in air?
He spake, will it mend thy case?
Will it gain back for Sif a single hair?
Thou'lt still a bald spouse embrace.
But if now thou'lt pardon my heedless joke,For malice sure meant I none,I swear to thee here, by root, billow and rock,
By the moss on the Bauta-stone,~
By Mimer's well, and by Odin's eye,
And by Mjolner, greatest of all,
That straight to the secret caves I'll hie,
To the dwarfs, my kinsmen small;
And thence for Sif new tresses I'll bring
Of gold ere the daylight's gone,
So that she will liken a field in spring,
With its yellow-flowered garment on.
Him answered Thor: Why, thou brazen knave,
To my face to mock me dost dare?
Thou know'st well that Mjolner is now 'neath the wave
With Ran, and wilt still by it swear?


* A river in Norway.


S A stone raised over a grave.





104


THIE DWARFS.


0 a better hammer for thee I'll obtain;
And he shook like an aspen-tree,
For whose stroke shield, buckler and greave shall be vain,
And the giants with terror shall flee!
Not so! cried Thor, and his eyes flashed fire;
Thy base treason calls loud for blood,
And hither I'm come with my sworn brother Frey,
To make thee of ravens the food.
I'll take hold of thy arms and thy coal-black hair,
And Frey of thy heels behind,
And thy lustful body to atoms we'll tear,
And scatter thy limbs to the wind.
0 spare me, Frey, thou great-souled king!
And, weeping, he kissed his feet;
0 mercy, and thee I'll a courser bring,
No match in the wide world shall meet.
Without whip or spur round the earth you shall ride;
He'll ne'er weary by day nor by night;
He shall carry you safe o'er the raging tide,
And his golden hair furnish you light.
Loke promised as well with his glozing tongue
That the asas at length let him go,
And he sank in the earth, the dark rocks among,
Near the cold-fountain, far below.
He crept on his belly, as supple as eel,
The cracks in the hard granite through,.
Till he came where the dwarfs stood hammering steel,
By the light of a furnace blue.
I trow 't was a goodly sight to see
The dwarfs, with their aprons on,
A-hammering and smelting so busily
Pure gold from the rough brown stone.
Rock crystals from sand and hard flint they made,
Which, tinged with the rosebud's dye,
They cast into rubies and carbuncles red,
And hid them in cracks hard by.





THE DWARFS.


105


They took them fresh violets all dripping with dew,
Dwarf-women had plucked them, the morn,And stained with their juice the clear sapphires blue,
King Dan in his crown since hath worn.
Then for emeralds they searched out the brightest green
Which the young spring meadow wears,
And dropped round pearls, without flaw or stain,
From widows' and maidens' tears.
And all around the cavern might plainly be shown
Where giants had once been at play;
For the ground was with heaps of huge muscle-shells strewn,
And strange fish were marked in the clay.
Here an ichthyosaurus stood out from the wall,
There monsters ne'er told of in story,
Whilst hard by the Nix in the waterfall
Sang wildly the days of their glory.
Here bones of the mammoth and mastodon,
And serpents with wings and with claws;
The elephant's tusks from the burning zone
Are small to the teeth in their jaws.
When Loke to the dwarfs had his errand made known,
In a trice for the work they were ready;
Quoth Dvalin: 0 Lopter, it now shall be shown
That dwarfs in their friendship are steady.
We both trace our line from the selfsame stock;
What you ask shall be furnished with speed,
For it ne'er shall be said that the sons of the rock
Turned their backs on a kinsman in need.
They took them the skin of a large wild-boar,
The largest that they could find,
And the bellows they blew till the furnace 'gan roar,
And the fire flamed on high for the wind.
And they struck with their sledge-hammers stroke on stroke,
That the sparks from the skin flew on high,
But never a word good or bad spake Loke,
Though foul malice lurked in his eye.





106


THE DWARFS.


The thunderer far distant, with sorrow he thought
On all he'd engaged to obtain,
And, as summer-breeze fickle, now anxiously sought
To render the dwarfs' labor vain.
Whilst the bellows plied Brok, and Sindre the hammer,
And Thor, that the sparks flew on high,
And the sides of the vaulted cave rang with the clamor,
Loke changed to a huge forest-fly.
And he sat him all swelling with venom and spite,
On Brok, the wrist just below;
But the dwarf's skin was thick, and he recked not the bite,
Nor once ceased the bellows to blow.
And now, strange to say, from the roaring fire
Came the golden-haired Gullinburste,
To serve as a charger the sun-god Frey,
Sure, of all wild-boars this the first.
They took them pure gold from their secret store,
The piece 't was but small in size,
But ere 't had been long in the furnace roar,
'T was a jewel beyond all prize.
A broad red ring all of wroughten gold,
As a snake with its tail in its head,
And a garland of gems did the rim enfold,
Together with rare art laid.
T was solid and heavy, and wrought with care,
Thrice it passed through the white flames' glow;
A ring to produce, fit for Odin to wear,
No labor they spared, I trow.
They worked it and turned it with wondrous skill,
Till they gave it the virtue rare,
That each thrice third night from its rim there fell
Eight rings, as their parent fair.
'T was the same with which Odin sanctified
God Balder's and Nanna's faith;
On his gentle bosom was Draupner laid,
When their eyes were closed in death.





THE DWARFS.


107


Next they laid on the anvil a steel-bar cold,
They needed nor fire nor file;
But their sledge-hammers, following, like thunder rolled,
And Sindre sang runes the while.
When Loke now marked how the steel gat power,
And how warily out 't was beat
('T was to make a new hammer for Ake-Thor),
He'd recourse once more to deceit.
In a trice, of a hornet the semblance he took,
Whilst in cadence fell blow on blow,
In the leading dwarf's forehead his barbed sting he stuck,
That the blood in a stream down did flow.
Then the dwarf raised his hand to his brow for the smart,
Ere the iron well out was beat,
And they found that the haft by an inch was too short,
But to alter it then 't was too late.
Now a small elf came running with gold on his head,
Which he gave a dwarf woman to spin,
Who the metal like flax on her spinning wheel laid,
Nor tarried her task to begin.
So she span and span, and the gold thread ran
Into hair, though Loke thought it a pity;
She span and sang to the sledge-hammer's clang
This strange, wild spinning-wheel ditty:
Henceforward her hair shall the tall Sif wear,
Hanging loose down her white neck behind;
By no envious braid shall it captive be made,
But in native grace float in the wind.
No swain shall it view in the clear heaven's blue,
But his heart in its toils shall be lost;
No goddess, not e'en beauty's faultless queen,
Such long glossy ringlets shall boast.
Though they now seem dead, let them touch but her head,
Each hair shall the life-moisture fill;
Nor shall malice nor spell henceforward prevail
Sif's tresses to work aught of ill.





108


TEN STANZAS IN DANISH.


His object attained, Loke no longer remained
'Neath the earth, but straight hied him to Thor,
Who owned than the hair ne'er, sure, aught more fair
His eyes had e'er looked on before.
The boar Frey bestrode, and away proudly rode,
And Thor took the ringlets and hammer;
To Valhal they hied, where the asas reside,
'Mid of tilting and wassal the clamor.
At a full solemn ting, Thor gave Odin the ring,
And Loke his foul treachery pardoned;
But the pardon was vain, for his crimes soon again
Must do penance the arch-sinner hardened.
For the benefit of those who can read Danish, we
will give in the original the last ten stanzas of the
latter poem of Oehlenschloeger, beginning with the spinning of Sif's hair:
Nu kom med Guldet en Dvaergeflok
Og gave det til Dvserginden;
Hun satte, som Hir, det paa sin Rok,
Hvis Hjul hensused for Vinden.
Og spandt og spandt, mens Guldtraaden randt
Til Haar for den deilige Dise;
Hun snurred og sang, ved Kildernes Klang,
En underlig Spindevise:
Gudinden i Vaar skal bmre sit Haar
Hel frit for Vinden herefter,
Ei flette det mer, at yndig sig ter
Dets Glands med straalende Krafter.
Hver Svend, som det saa, fra Himmelens Blaa,
Hans Hjerte skal Haarene fange.
Selv Lokker vist ei paa veneste Frey
Nedb6lge saa blide, saa lange.
Skjent Guldet er didt, saasnart det har mddt
Gudindens Tinding, den hoie,
Det levende blier og efter sig gier,
Og lader, som Herren, sig biie.





THE BRUSH AND THE CHISEL.


109


Beholder sin Glands, i Vindenes Dands,
Og lader sig aldrig udrykke;
Som Middagens Skin, det sv6ber sig ind
Bag Hjelmens ludende Skygge!Saa sang hun og gik med ydmyge Blik
For Thor, og rakte ham Haaret;
Paa Lokken han saa og maatte tilstaa:
Saa fager var ingen baaret.
Fra Bjerget valt nu Frey paa sin Galt
Og Thor med Haaret og Hammer,
Til Valhal de for, hvor Haerfader bor
I Lysets salige Flammer.
Da satte paa Sif lig Tang paa et Rif,
Sig fast Guldhaaret paa stande,
Og monne sig slaa i Lokker saa smaa,
Trindt om den hvaelvede Pande.
Paa straalende Thing fik Odin sin Ring,
Man tilgav Loke sin Bride.
Men snart dog igjen Bjergtroldenes Ven
Maa for sin Trol6shed b6de.
There remains now to discuss briefly whether the
Norse mythology furnishes subjects for painting and
sculpturing. If the reader has become convinced that
there is material in it worthy of the greatest poet,
then it is not necessary to say much about painting
and sculpturing; for we know that most things that
can be said in verse can be made visible on the canvas, or be chiseled in marble. We shall therefore be
brief on this particular point, but after the presentation of a few subjects for the painter or sculptor,
we shall have something to say about nude art.
Can the brush or the chisel ask for more suggestive
subjects than   Odin, Balder, Thor, Frey, Idun, Nanna,
Loke, etc.? or groups like the norns at the Urdar




110


THE BRUSH AND THE CHISEL.


fountain? or Urd (the past) and Verdande (the present),
who stretch from   east to west a web, which is torn
to pieces by Skuld (the future); the valkyries in the
heat of the battle picking up the slain; or when they
carry the fallen Hakon Adelsten to Valhal? Cannot
a beautiful picture be made of JEger and Ran and their
daughters, the waves? of the gods holding their feast
with JEger and sending out Thor to fetch a caldron
for them  from  Jotunheim? or of Thor clapping the
pot on his head like a huge hat and walking off with
it?   What more touching      scene can   be perceived
than the death of Balder?     Only in that short poem
Hamarsheimt (fetching the hammer) there are no less
than three beautiful subjects: (1) Thor wakes up and
misses his hammer; he feels around him for it; he
is surprised and hesitates; he wrinkles his brows and
his head trembles. Loke looks down upon him       from
above; the rogue is in his eye; he would like to break
out in a roar of laughter, but dare not. (2) All the
gods are engaged in dressing Thor in Freyja's clothes;
he is a tall straight youth with golden hair and a
fine brown   beard; lightning flashes from   his eyes;
while Fulla puts on him Freyja's jewels there is a terrible conflict going on in his breast with this humiliation of his dignity, which he cannot overcome. Loke
stands half-ready near by as maid-servant; he dresses
Thor's hair and is himself half-covered by the bridalveil which   Thor is to wear.    All take   an  intense
interest in the work, for they are so anxious to have
the stratagem succeed. (3) The giants have laid the
hammer in the lap of the bride; Thor seizes it, and
as he pushes aside the veil he literally grows into his
majestic divinity, for whenever he wields his mighty
Mjolner his strength is redoubled. The disappointed





NUDE ART.


ill


desire of Thrym, the astounded giants, the amused
Loke; all furnish an endless variety of excellent material for the brush of the painter. The plastic art can
find no more exquisite group than Loke bound upon
three stones, and his loving wife, Sigyn, leaning over
him  with a dish, wherein she catches the drops of
venom that would otherwise fall into his face and intensify his agonies. A volume of themes might be presented, but it is not necessary. Suffice it then to say
that for poetry, painting and the plastic arts, there is
in the Norse mythology a fountain of delight whose
waters but few have tasted, but which no man can
drain dry.
We promised to say something about nude art. It
is this: We Goths are, and have forever been, a chaste
race. We abhor the loathsome nudity of Greek art.
We do not want nude figures, at least not unless they
embody some very sublime thought.     The people   of
southern Europe differ widely from us Northerners in
this respect; and this difference reaches far back into our
respective mythologies, adding additional proof to the
fact that the myths foreshadow the social life of a nation
or race of people. The Greek gods were generally conceived as nude, and hence Greek art would naturally be
nude also. Whether the licentiousness and lasciviousness of the Greek communities were the primary causes
of the unaesthetical features of their mythology or their
Bacchanalian revels sprang from  the mythology, it is
difficult to determine.  We undoubtedly come nearest
the truth when we say that the same primeval causes
produced both the social life and mythology of the
Greeks; that there thenceforward was an active reciprocating influence between the religion on the one side
and the popular life on the other, an influence that





112


THE GERM OF THE FAITH.


we may liken unto that which operates between the
soul and the body; and thus it may be said that the mythology and the popular life combined produced their
nude art.   To say that the popular character of the
Greeks, taken individually or collectively, was stimulated into life by their mythology; that the virtues
and the vices of the people originated in it alone;
would certainly be an incorrect and one-sided view of
the subject. The Greeks brought with them, from their
original home into Greece, the germs of that faith which
afterwards became developed in a certain direction under
the influence of the popular life and the action of
external circumstances upon that life, but which in turn
reacted upon the popular life with a power which
increased in proportion as the system of mythology
acquired by development a more decided       character.
The same is true of the Norsemen and of the Goths
in general. When it is found, for instance, that the
mythological representation of Odin as father of the
slain (Val-father), and that Valhal (the hall of the slain),
the valkyries and einherjes, contain a strong incentive
to warlike deeds, then it must not be imagined that this
martial spirit, that displayed itself so powerfully among
the Goths generally, and among the Norsemen particularly, was the offspring of the mythology of our ancestors; but we may rather conceive that the Norsemen
were from the beginning a race of remarkable physical
power, that accidental external causes, such as severe
climate, mountainous country, conflicts with neighboring peoples, etc., brought this inherent physical force
into activity and thus awakened the warlike spirit; and
then it may be said that this martial spirit stamped
itself upon their religious ideas, upon their mythology,
and finally that the mythology, when it had received





WE GOTHS ARE A CIHASTE RACE.


113


this characteristic impress from the people, again reacted
to preserve and even further inflame that martial spirit.
And there is no inconsistency between this view of the
subject and that which was presented in the third
chapter.
It was said at the outset that we Goths are a chaste
race, and abhor the loathsome nudity of Greek art.
We were a chaste people before our fathers came under
the influence of Christianity.  The Elder Edda, which
is the grand depository of the Norse mythology, may
be searched through and through, and there will not
be found a single nude myth, not an impersonation of
any kind that can be considered an outrage upon virtue
or a violation of the laws of propriety; and this feature of the Odinic religion deserves to be urged as an
important reason why our painters and sculptors should
look at home for something wherewith to employ their
talent, before they go abroad; look in our own ancient
Gothic history, before going to ancient Greece.
But the artist who is going to chisel out an Odin,
a Thor, a Balder, a Nanna, or a Loke, must not be a
mere imitator.  He must possess a creative mind.  He
must not go to work at a piece of Norse art with his
imagination full of Greek myths, much less must he
attempt to apply Greek principles to a piece of Gothic
art. IHe will find the Norse chisel a somewhat more
ponderous weapon to swing; and you cannot turn as
rapidly with a railroad car as you can with a French
fiacre or American gig. To try to chisel out the gods
of our forefathers after South European patterns would
be like attempting to write English with the mind full
of Latin syntax.   Hence we repeat, that we do not
want an imitator, but an original genius.  Greek mythology has been presented so many times, and so well,





114


DR. JOHN BASCOM.


that the imitation, the repetition, is comparatively easy.
He who would bring out Gothic art (and but little of
it has hitherto been brought out) must himself be a
poet, and what a mine of wealth there is open to him!
Would that genuine art fever would attack our artists
and that some of the treasures that lie hid in the
granite quarries of the Norse mythology might speedily
be exhumed!
In his work, entitled Science of Beauty, Dr. John
Bascom has taken decided grounds against nude figures
in art. We would recommend the eighth chapter of
that work to the careful consideration of the reader.
We are not able for want of space to give his opinion
in full, but make the following brief extract:
There is one direction in which art has indulged itself in a
most marked violation of propriety, and that too on the side of
vice. I refer to the frequent nudity of its figures.  This is a
point upon which artists have been pretty unanimous, and disposed to treat the opinions of others with hauteur and disdain,
as arising at best from a virtue more itching and sensitive than
wise, from instincts more physical than asthetical. This practice
has been more abused in painting than in sculpture, both as less
needed, and hence less justifiable, and as ever tending to become
more loose and lustful in the double symbols of color and form,
than when confined to the pure, stern use of the latter in stone
or metal. Despite alleged necessities,-despite the high-toned
claims and undisguised contempt of artists,- our convictions are
strongly against the practice, as alike injurious to taste and
morals. Indeed, if injurious to morals, it cannot be otherwise
than injurious to taste, since art has no more dangerous enemy
than a lascivious perverted fancy.
Nay, in the radiant dawn of our Gothic history
our poets and artists may, if they would but look for
them, find chaste themes to which they may consecrate
the whole ardor of their souls for the esthetical elevation and ennoblement of our race. As a people we are





WE ARE GROWING TOO PROSAIC.            115
growing too prosaic and, therefore, too ungodly; we
nourish the tender minds of our children too early and
too extensively on dry reasoning, mathematics and philosophy, instead of strengthening, stimulating and beautifying their souls with some of the poetic thoughts, some
of the mythology and folk-lore of our forefathers. These
mythological stories, these fairy tales and all this folklore, illuminated by the genial rays of the Christian
religion shining upon them, should be made available
in our families and schools, by our poets, painters and
sculptors, and then our children would in turn get their
msthetical natures developed so as to be able to beautify
their own life and that of their posterity with still
finer productions in poetry, painting, and sculpture.





CHAPTER VII.


THE SOURCES OF NORSE MYTHOLOGY AND
INFLUENCE      OF THE ASA-FAITH.
N order to thoroughly comprehend the Odinic mythology it is necessary to make a careful study of the
history, literature, languages and dialects of the Teutonic races and of their popular life in all its various
manifestations.
The chief depositories of the Norse mythology are
the Elder or Samund's Edda (poetry) and the Younger
or Snorre's Edda (prose). In Icelandic Edda means
great-grandmother, and some think this appellation refers to the ancient origin of the myths it contains.
Others connect it with the Indian Veda and the Norse
vide (Swedish veta, to know).
I. The Elder Edda.
This work was evidently collected from the mouths
of the people in the same manner as Homer's Iliad,
and there is a similar uncertainty in regard to who put it
in writing. It has generally been supposed that the songs
of the Elder Edda were collected by Saemund the Wise
(born 1056, died 1133), but Sophus Bugge and N. M.
Petersen, both eminent Icelandic scholars, have made
it seem quite probable that it was not put in writing
before the year 1240. This is not the place for a discussion of this difficult question, and the reader is referred
to Sophus Bugge's Introduction to Samundar Edda and
(116)





THE ELDER EDDA.


117


to Petersen's History of Northern Literature, if he wishes
to investigate this subject. There are thirty-nine poenms
in the Elder Edda, and we have here to look at their
contents. Like the most of the Icelandic poetry, these
poems do not distinguish themselves, as does the poetry of
Greece and Rome, by a metrical system based on quantity, but have an arrangement of their own in common
with the poetry of the other old Gothic nations, the AngloSaxons, etc. This system consists chiefly in the number of long syllables and in alliteration. The songs are
divided into strophes commonly containing eight verses
or lines. These strophes are usually divided into two
halves, and each of these halves again into two parts,
which form   a fourth part of the whole strophe, and
contain two verses belonging together and united by
alliteration.
The alliteration (letter rhyme) is the most essential
element in Icelandic versification.. It is found in all
kinds of verse and in every age, the Icelanders still
using it; and its nature is this, that in the two lines
belonging together, three words occur beginning with
the same letter, two of which must be in the first
line and the third in the beginning of the second.
The third and last of these is called the chief letter
(hifu,6stafr, head-stave), because it is regarded as ruling
over the two others which depend on it and have the
name sub-letters (studlar, supporters). All rhyme-letters must be found in accented syllables, and no more
words in the two lines should begin with the same
letter--at least no chief word, which takes the accent
on the first syllable. This principle is illustrated by
the following first half of the seventh strophe of Volusp8a, the oldest song in the Elder Edda:





118


ICELANDIC POETRY.


Tefldu i tiini,
Teitir vairu;
Var peim vettugis
Vant 6r gulli.
Free version in English:
With golden tablets in the garden
Glad they played,
Nor was there to the valiant gods
Want of gold.
The rhyme-letters here are those in italics.
The poems of the Elder Edda are in no special
connection one with the other, and they may be divided into three classes: purely mythological, mythological-didactic, and mythological-historical poems.
The Elder Edda presents the Norse cosmogony,
the doctrines of the Odinic mythology, and the lives
and  doings of the gods.     It contains also  a cycle
of poems on the demi-gods and mythic heroes and
heroines of the same period. It gives us as complete
a view of the mythological world of the North as
Homer and Hesiod do of that of Greece. But (to use
in part the language of the Howitts) it presents this
to us not as Homer does, worked up into one great
poem, but as the rhapsodists of Greece presented to
Homer's hands the materials for that great poem in
the various hymns and ballads of the fall of Troy,
which they sung all over Greece.      No  Homer ever
arose in Norseland to mould all these sublime lyrics
of the Elder Edda into one lordly epic. The story of
Siegfried and Brynhild, which occupies the latter portion of the Elder Edda, was, in later times in Germany
moulded into the great and beautiful Niebelungen-Lied;
although it was much altered by the German poet or





THE ELDER EDDA.


119


by German tradition. The poems of the Elder Edda
show us what the myths of Greece would have been
without a Homer. They remain huge, wild and fragmentary; full of strange gaps rent into their very vitals
by the strokes of rude centuries; yet like the ruin of
the Colosseum or the temples of Paostum, standing aloft
amid the daylight of the present time, magnificent testimonials of the stupendous genius of the race which
reared  them.  There is nothing    besides the Bible,
which sits in a divine tranquillity of unapproachable
nobility like a king of kings amongst all other books,
and the poem    of Homer itself, which can compare
in all the elements of greatness with the Edda. There
is a loftiness of stature, and a firmness of muscle
about it which no poets of the same race have ever
since reached. The only production    since, that can
be compared with the Elder Edda in profoundness of
thought, is that of Shakespeare, the Hercules or Thor
in English literature, that heroic mind of divine lineage which passed through the hell-gates of the Roman
school-system  unscathed.  The obscurity  which   still
hangs over some parts of the Elder Edda, like the deep
shadows crouching amid the ruins of the past, is the
result of neglect, and will in due time be removed;
but amid this stand forth the boldest masses of intellectual masonry.  We are astonished   at the wisdom
which is shaped into maxims, and at the tempestuous
strength of passions to which all modern emotions seem
puny and constrained. Amid the bright sun-light of
a far-off time, surrounded by the densest shadows of
forgotten ages, we come at once into the midst of gods
and heroes, goddesses and fair women, giants and dwarfs,
moving about in a world of wonderful construction,
unlike any other world or creation    which God has





120


THE ELDER EDDA.


founded or man has imagined, but still beautiful beyond conception.
The Elder Edda opens with Vl6uspa       (the vala's
prophecy), and this song may be regarded as one of
the oldest, if not the oldest, poetic monument of the
North. In it the mysterious vala, or prophetess, seated
somewhere unseen in the marvelous heaven, sings an
awful song of the birth of gods and men; of the great
Ygdrasil, or Tree of Existence, whose roots and branches
extend through all regions of space, and concludes her
thrilling hymn with the terrible Ragnarok, or Twilight
of the gods, when Odin and the other gods perish in
the flames that devour all creation, and the new heavens
and new earth rise beautifully green to receive the reign
of Balder and of milder natures.
The second song in the Elder Edda is Havamal (the
high-song of Odin). Odin himself is represented as its
author. It contains a pretty complete code of Odinic
morality and precepts of wisdom. The moral and social
axioms that are brought together in Halvamal will surprise the reader, who has been accustomed to regard the
Norsemen as a rude and half wild race, hunting in the
savage forests of the North, or scouring the coasts of
Europe in quest of plunder. They contain a profound
knowledge, not merely of human nature, but of human
nature in its various social and domestic relations. They
are more like the proverbs of Solomon than anything in
human literature.
The third poem in the Elder Edda is Vafthrudnismal
(that is, Vafthrudner's speech or song).  Vafthrudner is
derived from vaf, a web or weaving, and thriui, strong;
hence Vafthrudner is the powerful weaver, the one powerful in riddles, and it is the name of a giant, who in the
first part of the poem  propounds a series of intricate





THE ELDER EDDA.


121


questions or riddles. Odin tells his wife Frigg that he
desires to visit the all-wise giant Vafthrudner, to find
out from him the secrets of the past and measure strength
with him.    Frigg advises him    not to undertake this
journey, saying   that she considers Vafthrudner the
strongest of all giants. Odin reminds her of his many
perilous adventures and experiences, arguing that these
are sufficient to secure him in his curiosity to see Vafthrudner's halls.  Frigg wishes him   a prosperous journey and safe return, and also the necessary presence of
mind at his meeting with the giant. Odin then proceeds on his journey and enters the halls of Vafthrudner
in the guise of a mortal wayfarer, by name Gangraad.
He greets the lord of the house, and says he is come to
learn whether he was a wise or omniscient giant. Such
an address vexes Vafthrudner, coming as it did from a
stranger, and "he soon informs Gangraad that if he is
not wiser than himself he shall not leave the hall alive.
But the giant, finding, after he had asked the stranger
a few questions, that he really had a worthy antagonist
in his presence, invites him to take a seat, and challenges
him to enter into a disputation, that they might measure
their intellectual strength, on the condition that the vanquished party-the one unable to answer a question put
to him  by the other -should forfeit his head.     Odin
accepts this dangerous challenge. They accordingly discuss, by question and answer, the principal topics of
Norse mythology.     The pretended Gangraad asks the
giant many questions, which the latter answers correctly;
but when the former at length asks his adversary what
Odin whispered in the ear of his son Balder before he
had been placed on the funeral pile- a question by
which the astonished giant becomes aware that his antagonist is Odin himself, who was alone capable of





122


THE ELDER EDDA.


answering   it,--the giant acknowledges himself vanquished, and sees with terror that he cannot avoid the
death which he in his cruel pride had intended to inflict
upon an innocent wanderer.
The fourth song is Grimnismal (the song of Grimner). It begins with a preface in prose, in which it is
related that Odin, under the name of Grimner, visited
his foster-son Geirrod, and the latter, deceived by a false
representation by Frigg, takes him for a sorcerer, makes
him sit between two fires and pine there without nourishment for eight days, until Agnar, the king's son,
reaches him  a drinking-horn. Hereupon Grimner sings
the song which bears his name. Lamenting his confinement and blessing Agnar, he goes on to picture the
twelve abodes of the gods and the splendors of Valhal,
which he describes at length, and then speaks of the
mythological world-tree Ygdrasil, of the valkyries, of
the giant Ymer, of the ship Skidbladner, and adds
various other cosmological explanations.
The fifth song is Skirnismal, or For Skirnis (the
journey of Skirner). This gives in the form of a dialogue the story of Frey and Gerd, of his love to her,
and his wooing her through the agency of his faithful
servant Skirner, after whom the song is named.
The sixth is the Lay of Harbard. It is a dialogue
between Thor and the ferryman Harbard, who refuses
to carry him over the stream. This furnishes an occasion for each of them   to recount his exploits.   They
contrast their deeds and exploits. The contest is continued without interruption until near the end of the
poem, where Thor finally offers a compromise, again requesting to be taken over the river.   Harbard, who is
in fact Odin, again refuses in decided terms.      Then
Thor asks him to show him another way. This request





THE ELDER EDDA.


123


Harbard seems in a manner to comply with, but refers
Thor to Fjorgyn, his mother.    Thor asks how far it
is, but Harbard makes enigmatical answers.      Thor
ends the conversation with threats and Harbard with
evil wishes.
The seventh poem is the Song of Hymer. The gods
of Asgard are invited to a banquet with the sea-god
zEger. Thor goes to the giant Hymer for a large kettle, in which to brew ale for the occasion. When Thor
has arrived at the home of Hymer he persuades the
giant to take him along on a fishing expedition, in
which Thor fishes up the Midgard-serpent, which he
would have killed had it not been for Hymer, who cut
off the fish-line.  Thor succeeds in carrying off the
kettle, but has to slay Hymer and other giants who
pursue him.
The eighth is Lokasenna (or Loke's quarrel.) This
poem has a preface in prose. This is also a banquet at
~Eger's. It takes place immediately after Balder's death.
Loke was present. He slew one of iEger's servants and
had to flee to the woods, but soon returns, enters 2Eger's
hall, and immediately begins to abuse the gods in the
most shameful manner: first Brage, then Idun, Gefjun,
Odin, Frigg, Freyja, Njord, and the others, until Thor
finally appears and drives him away. There is a prose
conclusion to this poem, describing Loke's punishment.
A profound tragedy characterizes this poem. Although
Loke is abusive, he still speaks the truth, and he exposes all the faults of the gods, which foreshadow their
final fall. Peace disappeared with the death of Balder,
and the gods, conscious that Ragnarok is inevitable,
are overpowered by distraction and sorrow.
The ninth poem is the Song of Thrym. This gives
an account of the loss of Thor's hammer, and tells how





124:


THE ELDER EDDA.


Loke helped him to get it back from the giant Thrym.
The tenth is the Song of Alvis (the all-wise).  Alvis
comes for Thor's daughter as his bride. Thor cunningly
detains him all night by asking him questions concerning the various worlds he has visited. Alvis answers
and teaches him the names by which the most important things in nature are called in the respective languages of different worlds: of men, of the gods, of the
vans, of the giants, of the elves, of the dwarfs, and
finally of the realms of the dead and of the supreme
god.   The dwarf, being one of those mythical objects
which cannot endure the light of day, was detained till
dawn without accomplishing his object.
The eleventh poem is Vegtam's Lay. Odin assumes
the name Vegtam. In order to arrive at certainty concerning the portentous future of the gods, he descends
to Niflheim, goes into the abodes of Hel, and calls the
vala up from her grave-mound, asking her about the
fate of Balder. She listens to him indignantly, answers
his questions unwillingly, but at last discovers that Vegtam is the king of the gods, and angrily tells him to
ride home.
We will omit a synopsis of the remainder, and
merely give their titles, as they do not enter so completely into the system of mythology as the first eleven:
(12) Rigsmaal (Song of Rig), (13) The Lay of Hyndla,
(14) The Song of Volund, (15) The Song of Helge Hjorvardson, (16) Song of Helge Hundingsbane I, (17) Song
of Helge Huncingsbane II, (18) Song of Sigurd Fafnisbane I, (19) Song of Sigurd Fafnisbane II, (20) Song
of Fafrier, (21) Song of Sigdrifa, (22) Song of Sigurd,
(23) Song of Gudrun I, (24) Song of Gudrun III, (25)
Brynhild's Ride to Hel, (26) Song of Gudrun II, (27)
Song of Gudrun III, (28) The Weeping of Odrun, (29)





THE ELDER EDDA.


125


The Song of Atle, (30) The Speech of Atle, (31) The
Challenge of Gudrun, (32) The Song of Hamder, (33)
The Song of Grotte, (34) Extracts from the Younger
Edda, (35) Extracts from the Volsunga Saga, (36) Song
of Svipdag I, (37) Song of Svipdag II, (38) The Lay
of the Sun, (39) Odin's Raven-Cry.
The antiquity of these poems cannot be fixed, but
they certainly carry us back to the remotest period of
the settlement of Norway by the Goths.
It may be added here that many of the poems of the
Elder Edda, as well as much of the Old Norse poetry
generally, are very difficult to understand, on account
of the bold metaphorical language in which they are
written. The poet did not call an object by its usual
name, but borrowed a figure by which to present it,
either from the mythology or from some other source.
Thus he would call the sky the skull of the giant Ymer;
the rainbow he called the bridge of the gods; gold was
the tears of Freyja; poetry, the present or drink of Odin.
The earth was called indifferently the wife of Odin, the
flesh of Yner, the daughter of night, the vessel that
floats on the ages, or the foundation of the air; herbs
and plants were called   the hair or the fleece of the
earth. A battle was called a bath of blood, the hail of
Odin, the shock of bucklers; the sea was termed the
field of pirates, the girdle of the earth; ice, the greatest
of all bridges; a ship, the horse of the waves; the
tongue, the sword of words, etc.
II. The Younger Edda,
written by Snorre Sturleson, the author of the famous
Hieimskringla (born 1178, died 1241), is mostly prose, and
may be regarded as a sort of commentary upon the
Elder Edda. The prose Edda consists of two parts:





126   BEOWULF'S DRAPA AND NIEBELUNGEN-LIED.
Gylfaginning (the deluding of Gylfe), and the BragaraeSur or Skaldskaparmail (the conversations of Brage, the
god of poetry, or the treatise on poetry). Gylfaginning
tells how the Swedish king Gylfe makes a journey to
Asgard, the abode of the gods, where Odin instructs
him in the old faith, and gradually relates to him
the myths of the Norsemen.     The manner in which
the whole is told reminds us of A  Thousand and One
Nights, or of poems from a later time, as for instance
Boccaccio's Decameron.   It is a prose synopsis of the
whole Asa faith, with    here and there a quotation
from the Elder Edda by way of elucidation. It shows
a great deal of ingenuity and talent on the part of
its author, and is the most perspicuous and clear
presentation of the mythology that we possess.
But all the material for the correct presentation
of the Norse mythology is not found in the Eddas;
or rather we do not perfectly understand the Eddas,
if we confine our studies to them alone. For a full
comprehension of the myths, it is necessary to study
carefully all the semi-mythological Icelandic Sagas,
which constitute a respectable library by themselves;
and in connection with these we must read the AngloSaxon Beowulf's Drapa, and the German NiebelungenLied. In the next place, we must examine carefully
all the folk-lore of the Gothic race, and we must, in
short, study the manifestations of the Gothic mind
and spirit everywhere: in the development of the
State and of the Church, in their poetry and history,
in their various languages and numerous dialects, in
their literature, in their customs and manners, and
in their popular belief. If we neglect all these we
shall never understand the Eddas; if we neglect the
Eddas we shall never understand the other sources of





INFLUENCE OF THE NORSE MYTHOLOGY.


127


mythology.   They   mutually explain   each other, and
the Gothic race must sooner or later begin to study
its own history.
That the Odinic mythology exercised a mighty influence in forming the national character of the Norsemen, becomes evident when we compare the doctrines
of their faith with the popular life as portrayed in the
Sagas. Still we must bear in mind that this national
spirit was not created by this faith.   The harsh climate of the North modified not only the Norse mythology, but also moulded     indefinitely the national
character, and then the two, the mythology and the
national character, acted and reacted upon each other.
Thus bred up    to fight with   nature in   a constant
battle for existence, and witnessing the same struggle
in the life of his gods, the Norseman became fearless,
honest and truthful, ready to smite and ready to forgive, shrinking not from pain himself and careless
about inflicting it on others.   Beholding in external
nature and in his mythology the struggle of conflicting forces, he naturally looked on life as a field for
warfare.  The ice-bound fjords and desolate fells, the
mournful wail of the waving pine-branches, the stern
strife of frost and fire, the annual death of the shortlived  summer, made the Norseman       sombre, if not
gloomy, in his thoughts, and inured him to the rugged
independence of the country. The sternness of the land
in which he lived was reflected in his character; the
latter was in  turn  reflected  in  the tales which he
told of his gods and heroes, and thus the Norseman
and his mythology mutually influenced each other.
The influence of the Asa faith, says Prof. Keyser,
upon the popular spirit of the Norsemen, must be regarded from quite another point of view than that





128


INFLUENCE OF THE ASA FAITH.


of Christianity at a later period. The Asa faith was,
so to speak, inborn with the Norsemen, as it had developed itself from  certain germs and assumed form
with the popular life almost unconsciously to the latter.
Christianity, on the other hand, was given to the people
as a religious system complete in itself, intended for
all the nations of the earth; one which by its own
divine power opened for itself a way to conviction, and
through that conviction operated on the popular spirit
in a direction previously pointed out by the fundamental principles of the religion itself. As the system
of the Asa faith arose without any conscious object of
affecting the morals, therefore it did not embrace any
actual code of morals in the higher sense of this term.
The Asa doctrine does not pronounce by positive expression what is virtue and what is vice; it presupposes
a consciousness thereof in its votaries. It only represents virtue as reaping its own rewards and vice its
own   punishment, if not here upon the earth, then
with certainty beyond the grave. Thus Keyser.
The Norse system of mythology embodied the doctrine of an imperishable soul in man; it had Valhal
and Gimle set apart for and awaiting the brave and
virtuous, and Helheim  and Naastrand for the wicked,
The moral and social maxims of the Norsemen are
represented as being uttered by Odin himself in the
Havamal (high song of Odin), the second song of the
Elder Edda, and by the valkyrie Sigdrifa in the Sigrdrifumal (the lay of Sigdrifa), the twenty-first poem of
the same work.    Read. these poems and maxims, and
judge whether they will warrant the position repeatedly
taken in this work, that the electric sparl that has
made England and America great and free came not
from  the aboriginal Britons, not from     the Roman





SAMUEL LAING.


129


enslavers, but must be sought in the prophetic, imaginative and poetic childhood of the Gothic race. Read
these poems and judge whether the eminent English
writer, Samuel Laing, is right when he says:
All that men hope for of good government and future improvement in their physical and moral condition,- all that
civilized men enjoy at this day of civil, religious and political
liberty,- the British constitution, representative legislation, the
trial by jury, security of property, freedom of mind and person,
the influence of public opinion over the conduct of public affairs,
the Reformation, the liberty of the press, the spirit of the age,
--all that is or has been of value to man in modern times as a
member of society, either in Europe or in the New World, may
be traced to the spark left burning upon our shores by these
northern barbarians.
Read these poems and find truth in the words of
Baron Montesquieu, the admirable author of The Spirit
of Laws (L'Esprit des Lois), when he says: The great
prerogative of Scandinavia, and what ought to recommend its inhabitants beyond every people upon earth,
is, that they afforded the great resource to the liberty
of Europe, that is, to almost all the liberty that is
among men; and when he calls the NSorth the forge
of those instruments which broke the fetters manufactured in the South.
In the old Gothic religion were embodied principles
and elements which had a tendency to make its votaries
brave, independent, honest, earnest, just, charitable, prudent, temperate, liberty-loving, etc.; principles and morals
that in due course of time and under favorable circumstances evolved the Republic of Iceland, the Magna
Charta of England, and the Declaration of Independence.
The rules of life as indicated by the High Song of
Odin and in Sigrdrifumlil, in which the valkyrie gives





130


ODINIC RULES OF LIFE.


counsel to Sigurd Fafnisbane, are briefly summed up
by Professor Keyser as follows:
1. The recognition of the depravity of human nature, which
calls for a struggle against our natural desires and forbearance
toward the weakness of others.
2. Courage and faith both to bear the hard decrees of the
norns and to fight against enemies.
3. The struggle for independence in life with regard to
knowledge as well as to fortune; an independence which should,
therefore, be earned by a love of learning and industry.
4. A strict adherence to oaths and promises.
5. Candor and fidelity as well as foresight in love, devotion
to the tried friend, but dissimulation toward the false and war
to the death against the implacable enemy.
6. Respect for old age.
7. Hospitality, liberality, and charity to the poor.
8. A prudent foresight in word and deed.
9. Temperance, not only in the gratification of the senses, but
also in the exercise of power.
10. Contentment and cheerfulness.
11. Modesty and politeness in intercourse.
12. A desire to win the good will of our fellow men, especially to surround ourselves with a steadfast circle of devoted
kinsmen and faithful friends.
13. A careful treatment of the bodies of the dead.
Listen now to Odin himself, as he gives precepts of
wisdom to mankind in
HXVAMXL:
1. All door-ways
Before going forward,
Should be looked to;
For difficult it is to know
Where foes may sit
Within a dwelling
2. Givers, hail!
A guest is come in:





HAVAMAL.


131


Where shall he sit?
In much haste is he,
Who on his ways has
To try his luck.
3. Fire is needful
To him who is come in,
And whose knees are frozen;
Food and raiment
A man requires,
Who o'er the fell has traveled.
4. Water to him is needful,
Who for refection comes,
A towel and hospitable invitation,
A good reception;
If he can get it,
Discourse and answer.
5. Wit is needful
To him who travels far:
At home all is easy.
A laughing-stock is he
Who nothing knows,
And with the instructed sits.*
6. Of his understanding
No one should be proud,
But rather in conduct cautious.
When the prudent and taciturn
Come to a dwelling,
Harm seldom befalls the cautious;
For a firmer friend
No man ever gets
Than great sagacity.
7. A wary guest
Who to refection comes
Keeps a cautious silence;
With his ears listens,
And with his eyes observes:
So explores every prudent man.
* Beowulf, 1839.





132


HAVAMAL.


8. He is happy
Who for himself obtains
Fame and kind words:
Less sure is that
Which a man must have
In another's breast.
9. He is happy
Who in himself possesses
Fame and wit while living;
For bad counsels
Have oft been received
From another's breast.
10. A better burthen
No man bears on the way
Than much good sense;
That is thought better than riches
In a strange place;
Such is the recourse of the indigent.
11. A worse prbvision
On the way he cannot carry
Than too much beer-bibbing;
So good is not,
As it is said,
Beer for the sons of men.
12. A worse provision
No man can take from table
Than too much beer-bibbing,
For the more he drinks
The less control he has
Of his own mind.
13. Oblivion's heron 'tis called
That over potations hovers;
He steals the minds of men.
With this bird's pinions
I was fettered
In Gunlad's dwelling.





HAVAMAL.


133


14. Drunk I was,
I was over-drunk,
At that cunning Fjalar's.
It's the best drunkenness
When every one after it
Regains his reason.
15. Taciturn and prudent,
And in war daring
Should a king's children be;
Joyous and liberal
Everyone should be
Until his hour of death.
16. A cowardly man
Thinks he will ever live
If warfare he avoids;
But old age will
Give him no peace.
Though spears may spare him.
17. A fool gapes
When to a house he comes,
To himself mutters or is silent;
But all at once,
If he gets drink,
Then is the man's mind displayed.
18. He alone knows,
Who wanders wide
And has much experienced,
By what disposition
Each man is ruled,
Who common sense possesses.
19. Let a man hold the cup,
Yet of the mead drink moderately,
Speak sensibly or be silent.
As of a fault
No man will admonish thee,
If thou goest betimes to sleep.





134


HAVAMAL.


20. A greedy man,
If he be not moderate,
Eats to his mortal sorrow.
Oftentimes his belly
Draws laughter on a silly man
Who among the prudent comes.
21. Cattle know
When to go home
And then from grazing cease;
But a foolish man
Never knows
His stomach's measure.
22. A miserable man,
And ill-conditioned,
Sneers at everything:
One thing he knows not,
Which he ought to know,
That he is not free from faults.
23. A foolish man
Is all night awake,
Pondering over everything;
He then grows tired,
And when morning comes
All is lament as before.
24. A foolish man
Thinks all who on him smile
To be his friends;
He feels it not,
Although they speak ill of him,
When he sits among the clever.
25. A foolish man
Thinks all who speak him fair
To be his friends;
But he will find,
If into court he comes,
That he has few advocates.





HAVAMAL.


135


26. A foolish man
Thinks he knows everything
If placed in unexpected difficulty;
But he knows not
What to answer
If to the test he is put.
27. A foolish man,
Who among people comes,
Had best be silent;
For no one knows
That he knows nothing
Unless he talks too much.
He who previously knew nothing
Will still know nothing,
Talk he ever so much.
28. He thinks himself wise
Who can ask questions
And converse also;
Conceal his ignorance
No one can,
Because it circulates among men.
29. He utters too many
Futile words
Who is never silent;
A garrulous tongue,
If it be not checked,
Sings often to its own harm.
30. For a gazing-stock
No man shall have another,
Although he come a stranger to his house.
Many a one thinks himself wise,
If he is not questioned,
And can sit in a dry habit.
31. Clever thinks himself
The guest who jeers a guest,
If he takes to flight.
Knows it not certainly
He who prates at meat,
Whether he babbles among foes.





136


6HAVAMAL.


32. Many men are mutually
Well-disposed,
Yet at table will torment each other.
That strife will ever be;
Guest will guest irritate.
33. Early meals
A man should often take,
Unless to a friend's house he goes;
Else he will sit and mope,
Will seem half famished,
And can of few things inquire.
34. Long is and indirect the way
To a bad friend's,
Though by the road he dwell;
But to a good friend's
The paths lie direct,
Though he be far away.
35. A guest should depart,
Not always stay
In one place:
The welcome becomes unweicome
If he too long continues
In another's house.
36. One's own house is best,
Small though it be;
At home is every one his own master.
Though he but two goats possess,
And a straw-thatched cot,
Even that is better than begging.
87. One's own house is best,
Small though it be;
At home is every one his own master.
Bleeding at heart is he
Who has to ask
For food at every meal-tide.





HAVAMAL.


137


38. Leaving in the field his arms,
Let no man go
A foot's length forward;
For it is hard to know
When on his way
A man may need his weapon.
39. I have never found a man so bountiful
Or so hospitable
That he refused a present;
Or of his property
So liberal
That he scorned a recompense.
40. Of the property
Which he has gained,
No man should suffer need;
For the hated oft is spared
What for the dear was destined:
Much goes worse than is expected.
41. With arms and vestments
Friends should each other gladden,
Those which are in themselves most sightly.
Givers and requiters
Are longest friends,
If all else goes well.
42.   To his friend
A man should be a friend,
And gifts with gifts requite;
Laughter with laughter
Men should receive,
But leasing with lying.
43.   To his friend
A man should be a friend,
To him and to his friend;
But of his foe
No man shall
His friend's friend be.





138


HAVAMAL.


44. Know if thou hast a friend
Whom thou fully trustest,
And from whom thou would'st good derive;
Thou should'st blend thy mind with his,
And gifts exchange,
And often go to see him.
45. If thou hast another
Whom thou little trustest,
Yet would'st good from him derive,
Thou should'st speak him fair,
But think craftily,
And leasing pay with lying.
46. But of him yet further
Whom thou little trustest,
And thou suspectest his affection,
Before him thou should'st laugh,
And contrary to thy thoughts speak;
Requital should the gift resemble.
47. I once was young,
I was journeying alone
And lost my way;
Rich I thought myself
When I met another:
Man is the joy of man.
48. Liberal and brave
Men live best,
They seldom cherish sorrow;
But a bare-minded man
Dreads everything;
The niggardly is uneasy even at gifts.
49. My garments in a field
I gave away
To two wooden men:
Heroes they seemed to be
When they got cloaks: *
Exposed to insult is a naked man.
* The tailor makes the man.





HAVAMAL.


139


50. A tree withers
That on a hill-top stands;
Protects it neither bark nor leaves:
Such is the man
Whom no one favors:
Why should he live long?
51. Hotter than fire
Love for five days burns
Between false friends;
But is quenched
When the sixth day comes,
And friendship is all impaired
52. Something great
Is not always to be given,
Praise is often for a trifle bought
With half a loaf
And a tilted vessel
I got myself a comrade.
53. Little are the sand grains,
Little the wits,
Little the minds of men;
For all men
Are not wise alike:
Men are everywhere by halves
54. Moderately wise
Should each one be,
But never over-wise;
For a wise man's heart
Is seldom glad,
If he is all-wise who owns it
55. Moderately wise
Should each one be,
But never over-wise:
Of those men
The lives are fairest
Who know much well.





140


1HAVAMAL.


56. Moderately wise
Should each one be,
But never over-wise:
His destiny let know
No man beforehand;
His mind will be freest from care.
57. Brand burns from brand
Until it is burnt out,
Fire is from fire quickened:
Man to man
Becomes known by speech:,
But a fool by his bashful silence.
58. He should rise early
Who another's property or life
Desires to have:
Seldom a sluggish wolf
Gets prey,
Or a sleeping man victory.
59. Early should rise
He who has few workers,
And go his work to see to;
Greatly is he retarded
Who sleeps the morn away:
Wealth half depends on energy.
60. Of dry planks
And roof shingles
A man knows the measure;
Of the firewood
That may suffice
Both measure and time.
61. Washed and refected
Let a man ride to Tlhing,*
Although his garments be not too good;
Of his shoes and breeches
Let no one be ashamed,
Nor of his horse,
Although he have not a good one.
* The public assembly.





HAVAMAL.


141


62. Inquire and impart
Should every man of sense,
Who will be accounted sage.
Let one only know,
A second may not;
If three, all the world knows.
63. Gasps and gapes,
When to the sea he comes,
The eagle over old ocean;
So is a man
Who among many comes,
And has few advocates.
64. His power should
Every sagacious man
Use with discretion,
For he will find,
When among the bold he comes,
That no one alone is doughtiest.
65. Circumspect and reserved
Every man should be,
And wary in trusting friends;
Of the words
That a man says to another
He often pays the penalty.
66. Much too early
I came to many places,
But too late to others;
The beer was drunk,
Or not ready:
The disliked seldom hits the moment.
67. Here and there I should
Have been invited
If I a meal had needed;
Or two hams had hung
At that true friend's
Where of one I had eaten.





142


HAVAMAL.


68. Fire is best
Among the sons of men,
And the sight of the sun,
If his health
A man can have,
With a life free from vice.
69. No man lacks everything,
Although his health be bad:
One in his sons is happy,
One in his kin,
One in abundant wealth,
One in his good works.
70. It is better to live,
Even to live miserably;
A living man can always get a cow.
I saw fire consume
The rich man's property,
And death stood without his door.
71. The halt can ride on horseback,
The one-handed drive cattle;
The deaf, fight and be useful:
To be blind is better
Than to be burnt:*
No one gets good from a corpse.
72. A son is better
Even if born late,
After his father's departure.
Gravestones seldom
Stand by the way-side
Unless raised by a kinsman to a kinsman.
73. Two are adversaries:
The tongue is the bane of the head:
Under every cloak
I expect a hand.
*That is, dead on the funeral pile.





HAVAMAL.


143


74. At night is joyful
He who is sure of traveling entertainment;
A ship's yards are short;
Variable is an autumn night.
Many are the weather's changes
In five days,
But more in a month.
75. He knows not,
Who knows nothing,
That many a one apes another.
One man is rich,,Another poor:
Let him not be thought blameworthy.
76. Cattle die,
Kindred die,
We ourselves also die;
But the fair fame
Never dies
Of him who has earned it.
77. Cattle die,
Kindred die,
We ourselves also die;
But I know one thing
That never dies,Judgment on each one dead.
78. Full storehouses I saw
At Dives' sons':
Now bear they the beggar's staff.
Such are riches,
As is the twinkling of an eye:
Of friends they are most fickle.
79. A foolish man,
If he acquires
Wealth or woman's love,
Pride grows within him,
But wisdom never:
He goes on more and more arrogant.





144


4  HAVAMAL.


80. Thus 't is made manifest,
If of runes thou questionest him,
Those to the high ones known,
Which the great powers invented,
And the great talker " painted,
That he had best hold silence.
81. At eve the day is to be praised,
A woman after she is burnt,f
A sword after it is proved,
A maid after she is married,
Ice after it has been crossed,
Beer after it is drunk.
82. In the wind one should hew wood,
In a breeze row out to sea,
In the dark talk with a lass,
Many are the eyes of day.
In a ship voyages are to be made,
But a shield is for protection,
A sword for striking,
But a damsel for a kiss.
83. By the fire one should drink beer,
On the ice slide;
Buy a horse that is lean,
A sword that is rusty;
Feed a horse at home,
But a dog at the farm.
84. In a maiden's words
No one should place faith,
Nor in what a woman says;
For on a turning wheel
Have their hearts been formed,
And guile in their breasts been laid.
85. In a creaking bow,
A burning flame,
A yawning wolf,
A chattering crow,


* Odin.


t Dead.





HAVAMAL.


145


A grunting swine,
A rootless tree,
A waxing wave,
A boiling kettle,
86. A flying dart,
A falling billow,
A one night's ice,
A coiled serpent,
A woman's bed-talk
Or a broken sword,
A bear's play
Or a royal child,
87. A sick calf,
A self-willed thrall,
A flattering prophetess,
A corpse newly slain,
A serene sky,
A laughing lord,
A barking dog
And a harlot's grief,
88. An early-sown field,
Let no one trust,
Nor prematurely in a son:
Weather rules the field,
And wit the son,
Each of which is doubtful.
89. A brother's murderer,
Though on the high-road met,
A half-burnt house,
An over-swift horse
(A horse is useless
If a leg be broken):
No man is so confiding
As to trust any of these.
90. Such is the love of women,
Who falsehood meditate,
As if one drove not rough-shod
On slippery ice,





146


HAVAMAL.


A spirited two-year-old
And unbroken horse;
Or as in a raging storm
A helmless ship is beaten;
Or as if the halt were set to catch
A reindeer in the thawing fell.*
91. Openly I now speak,
Because I both sexes know:
Unstable are men's minds toward women;
'Tis then we speak most fair,
When we most falsely think:
That deceives even the cautious.
92. Fair shall speak,
And money offer,
Who would obtain a woman's love
Praise the form
Of a fair damsel;
He gets, who courts her.
93. At love should no one
Ever wonder
In another:
A beauteous countenance
Oft captivates the wise,
Which captivates not the foolish.
94. Let no one wonder at
Another's folly,
It is the lot of many.
All-powerful desire
Makes of the sons of men
Fools even of the wise.
95. The mind only knows
What lies near the heart;
That alone is conscious of our affections
No disease is worse
To a sensible man
Than not to be content with himself.
* Such lines as this show the Norse origin of the Edda.





HAVAMAL.


147


96. That I experienced
When in the reeds I sat
Awaiting my delight.
Body and soul to me
Was that discreet maiden:
Nevertheless I possess her not.
97. Billing's lass
On her couch 1 found,
Sun-bright, sleeping.
A prince's joy
To me seemed naught,
If not with that form to live.
98. Yet nearer eve
Must thou, Odin, come, she said,
If thou wilt talk the maiden over;
All will be disastrous
Unless we alone
Are privy to such misdeed.
99. I returned,
Thinking to love
At her wise desire;
I thought
I should obtain
Her whole heart and love.
100. When next I came,
The bold warriors were
All awake,
With lights burning,
And bearing torches:
101. But at the approach of morn,
When again I came,
The household all was sleeping;
The good damsel's dog
Alone I found
Tied to the bed.





148


IIHAVAMAL.


102. Many a fair maiden,
When rightly known,
Toward men is fickle:
That I experienced
When that discreet maiden
I decoyed into danger:
Contumely of every kind
That wily girl
Heaped upon me;
Nor of that damsel gained I aught.
103. At home let a man be cheerful,
And toward a guest liberal;
Of wise conduct he should be,
Of good memory and ready speech;
If much knowledge he desires,
He must often talk on what is good.
Fimbulfambi he is called
Who little has to say:
Such is the nature of the simple.
104. The old giant I sought;
Now I am come back:
Little got I there by silence;
In many words
I spoke to my advantage
In Suttung's halls.*
105. Gunlad gave me,
On her golden seat,
A draught of the precious mead;
A bad recompense I afterwards made her
For her whole soul,
Her fervent love.
106. Rate's mouth I caused
To make a space,
And to gnaw the rock;
Over and under me
* For the story of Suttung and Gunlad, see second part, pp. 246-253.





HAYVAMAL.


149


Were the giant's ways:
Thus I my head did peril.
107. Of a well assumed form
I made good use:
Few things fail the wise,
For Odraerer is now come up
To men's earthly dwellings.
108. 'Tis to me doubtful,
That I could have come
From the giant's courts,
Had not Gunlad aided me,That good damsel
Over whom I laid my arm.
109. On the day following
Came the frost-giants
To learn something of the High One
In the High One's hall;
After Bolverk they inquired,
Whether he with the gods were come,
Or Suttung had destroyed him.
110. Odin I believe
A ring-oath* gave.
Who in his faith will trust?
Suttung defrauded,
Of his drink bereft,
And Gunlad made to weep!
111. Time 't is to discourse
From the speaker's chair.
By the well of Urd
I silent sat,
I saw and meditated,
I listened to men's words.
* In the North a holy oath was taken on a ring kept in the temple for
that purpose.





150


HAVAMAL.


112. Of runes I heard discourse,
And of things divine,
Nor of risting* them were they silent,
Nor of sage counsels,
At the High One's hall.
In the High One's hall
I thus heard say:
113. I counsel thee, Lodfafner,
To take advice;
Thou wilt profit, if thou takest it.
Rise not at night,
Unless to explore,
Or art compelled to go out.
114. I counsel thee, Lodfafner,
To take advice;
Thou wilt profit, if thou takest it.
In an enchantress' embrace
Thou mayest not sleep,
So that in her arms she clasp thee.
115. She will be the cause
That thou carest not
For Thing or prince's words;
Food thou wilt shun
And human joys;
Sorrowful wilt thou go to sleep.
116. I counsel thee, Lodfafner,
To take advice;
Thou wilt profit, if thou takest it.
Another's wife
Entice thou never
To secret converse.
117. I counsel thee, Lodfafner,
To take advice;
Thou wilt profit, if thou takest it.
By fell or firth
If thou have to travel,
Provide thee well with food.
* Carving: runes are risted = runes are carved.





HAVAMAL.


151


118. I counsel thee, Lodfafner,
To take advice;
Thou wilt profit, if thou takest it.
A bad man
Let thou never
Know thy misfortunes;
For from a bad man
Thou never wilt obtain
A return for thy good will.
119. I saw mortally
Wound a man
A wicked woman's words;
A false tongue
Caused his death,
And most unrighteously.
120. I counsel thee, Lodfafner,
To take advice;
Thou wilt profit, if thou takest it.
If thou knowest thou hast a friend,
Whom thou well canst trust,
Go oft to visit him;
For with brushwood overgrown
And with high grass
Is the way that no one treads.
121. I counsel thee, Lodfafner,
To take advice;
Thou wilt profit, if thou takest it.
A good man attract to thee
In pleasant converse,
And salutary speech learn, while thou livest.
122. I counsel thee, Lodfafner,
To take advice;
Thou wilt profit, if thou takest it.
With thy friend
Be thou never
First to quarrel.
Care gnaws the heart,





152


HAVAMAL.


If thou to no one canst
Thy whole mind disclose.
123. I counsel thee, Lodfafner,
To take advice;
Thou wilt profit, if thou takest it.
Words thou never
Shouldst exchange
With a witless fool.
124. For from an ill-conditioned man
Thou wilt never get
A return for good;
But a good man will
Bring thee favor
By his praise.
125. There is a mingling of affection,
Where one can tell
Another all his mind.
Everything is better
Than being with the deceitful.
He is not another's friend
Who ever says as he says.
126. I counsel thee, Lodfafner,
To take advice;
Thou wilt profit, if thou take-st it.
Even in three words
Quarrel not with a worse man:
Often the better yields,
When the worse strikes.
127. I counsel thee, Lodfafner,
To take advice;
Thou wilt profit, if thou takest it.
Be not a shoemaker,
Nor a shaftmaker,
Unless for thyself it be;
For a shoe, if ill made,
Or a shaft if crooked,
Will call down evil on thee.





HAVAMAL.


153


128. I counsel thee, Lodfafner,
To take advice;
Thou wilt profit, if thou takest it.
Wherever of injury thou knowest,
Regard that injury as thy own;
And give to thy foes no peace.
129. I counsel thee, Lodfafner,
To take advice;
Thou wilt profit, if thou takest it.
Rejoiced at evil
Be thou never,
But let good give thee pleasure.
130. I counsel thee, Lodfafner,
To take advice;
Thou wilt profit, if thou takest it.
In a battle
Look not up,*
(Like swine f
The sons of men then become),
That men may not fascinate thee.
131. If thou wilt induce a good woman
To pleasant converse,
Thou must promise fair,
And hold to it:
No one turns from good, if it can be got.
132. I enjoin thee to be wary,
But not over-wary;
At drinking be thou most wary,
And with another's wife;
And thirdly,
That thieves delude thee not.
133. With insult or derision
Treat thou never
A guest or wayfarer;
They often little know,
* In a battle we must not look up, but forward.
t To become panic-stricken, which the Norsemen called to become swine.





154


H AVAMAL.


Who sit within,
Of what race they are who come.
134. Vices and virtues
The sons of mortals bear
In their breasts mingled;
No one is so good
That no failing attends him,
Nor so bad as to be good for nothing.
135. At a hoary speaker
Laugh thou never,
Often is good that which the aged utter;
Oft from a shriveled hide
Discreet words issue,
From those whose skin is pendent
And decked with scars,
And who go loitering among the vile.
136. I counsel thee, Lodfafner,
To take advice;
Thou wilt profit, if thou takest it.
Rail not at a guest,
Nor from thy gate thrust him;
Treat well the indigent,
They will speak well of thee.
137. Strong is the bar
That must be raised
To admit all.*
Do thou give a penny,
Or they will call down on thee
Every ill on thy limbs.
138. I counsel thee, Lodfafner,
To take advice;
Thou will profit, if thou takest it.
Wherever thou beer drinkest,
* The meaning is, it is difficult to show hospitality to everybody. A door
would have to be strong to stand so much opening and shutting.





HAVAMAL.


155


Invoke to thee the power of earth;
For earth is good against drink,
Fire for distempers,
The oak for constipation,
A corn-ear for sorcery,
A hall for domestic strife.
In bitter hates invoke the moon;
The bitter for bite-injuries is good,
But runes against calamity;
Fluid let earth absorb.
This is all of the famous Havamal of the Elder
Edda except the so-called Runic Chapter, which will
be given in the second part in connection with the
myth of Odin. Hear now what the valkyrie has to say
to Sigurd Fafnisbane in
SIGRDRIFUMAL (the Lay of Sigdrifa).
Sigurd rode up the Hindarfiall, and directed his
course southward toward      Frankland.    In the fell he
saw  a great light, as if a fire    were burning, which
blazed up to the sky. On approaching it, there stood a
skialdborg, and over it a banner.    Sigurd went into the
skialdborg, and saw a warrior lying within it asleep,
completely armed. He first took the helmet off the
warrior's head, and saw that it was a woman. Her
corselet was as fast as if it had grown to her body.
With his sword, Gram, he ripped the corselet from       the
upper opening     downwards, and      then  through    both
sleeves.  He then took the corselet off from     her, when
she awoke, sat up, and, on seeing Sigurd, said:
1. What has my corselet cut?
Why from my sleep have I started?
Who has cast from me
The fallow bands?





156


THE LAY OF SIGDRIFA.


SIGURD:
Sigmund's son
(Recently did the raven
Feed on carrion)*
And Sigurd's sword.
SHE:
2. Long have I slept,
Long been with sleep oppressed,
Long are mortals' sufferings!
Odin is the cause
That I have been unable
To cast off torpor.
Sigurd sat down and asked her name. She then took
a horn filled with mead, and gave him     the minnis-cup
(cup of memory).
SHE:
3. Hail to Day!
Hail to the sons of Day!
To Night and her daughter, hail!
With placid eyes
Behold us here,
And here sitting give us victory.
4. Hail to the gods!
Hail to the goddesses!
Hail to the bounteous earth!
Words and wisdom
Give to us noble twain,
And healing hands while we live.
She was named Sigdrifa, and was a valkyrie. She
said that two kings had made war on each other, one
of whom was named Hialmgunnar; he was old and a
great warrior, and Odin had promised him victory. The
other was Agnar, a brother of Aud, whom no divinity
would patronize.    Sigdrifa  overcame Hialmgunnar in
battle; in revenge for which Odin pricked her with a
* The parenthesis refers to Fafner's death





THE LAY OF SIGDRIFA.


157


sleep-thorn, and declared that thenceforth she should
never have victory in battle, and should be given in
marriage. But, said she, I said to him that I had
bound myself by a vow not to espouse any man who
could be made to fear. Sigurd answers, and implores
her to teach him wisdom, as she had intelligence from
all worlds:
SIGDRIFA:
5. Beer I bear to thee,
Column of battle!
With might mingled,
And with bright glory:
'T is full of song,
And salutary saws,
Of potent incantations,
And joyous discourses.
6. Sig-runes thou must know,
If victory (sigr) thou wilt have,
And on thy sword's hilt rist them;
Some on the chapes,
Some on the guard,
And twice name the name of Tyr.
7. il-(ale-)runes thou must know,
If thou wilt not that another's wife
Thy trust betray, if thou
In her confide.
On the horn must they be risted,
And on the hand's back,
And Naud* on the nail be scored.
8. A cup must be blessed,
And against peril guarded,
And garlick in the liquor cast;
Then I know
Thou wilt never have
Mead with treachery mingled.
* The name of a rune; our N.





158


THE LAY OF SIGDRIFA.


9. Biarg-(help-)runes thou must know,
If thou wilt help
And loose the child from women;
In the palm they must be graven,
And round the joints be clasped,
And the dises prayed for aid.
10. Brim-(sea-)runes thou must know,
If thou wilt have secure
Afloat thy sailing steeds.
On the prow they must be risted,
And on the helm-blade,
And with fire to the oar applied.
No surge shall be so towering,
Nor waves so dark,
But from the ocean thou safe shalt come.
11. Lim-(branch-)runes thou must know,
If thou a leech would be,
And wounds know how to heal.
On the bark they must be risted,
And on the leaves of trees,
Of those whose boughs bend eastward.
12. Mail-(speech-)runes thou must know,
If thou wilt that no one
For injury with hate requite thee.
Those thou must wind,
Those thou must wrap round,
Those thou must altogether place
In the assembly,
Where people have
Into full court to go.
13. Hug-(thought-)runes thou must know,
If thou a wiser man wilt be
Than every other.
Those interpreted,
Those risted,
Those devised Hropt,*
From the fluid
Which had leaked
* Odin.





THE LAY OF SIGDRIFA.


159


From Heiddraupner's * head,
And from Hoddropner's * horn.
14. On a rock he stood,
With edged sword,
A helm on his head he bore.
Then spake Mimer's head
Its first wise word,
And true sayings uttered.
15. They are, it is said,
On the shield risted
Which stands before the shining god,
On Aarvak's f ear,
And on Alsvinn's  hoof,
On the wheel which rolls
Under Rogner's: car,
On Sleipner's teeth,
And on the sledge's bands.
16. On the bear's paw,
And on Brage's tongue,
On the wolf's claws,
And the eagle's beak,
On bloody wings,
And on the bridge's end,
On the releasing hand,
And on healing's track.
17. On glass and on gold,
On amulets of men,
In wine and in ale,
And in the welcome seat,
On Gungner's point,
And on Grane's breast,
On the norn's nail,
And the owl's neb.
18. All were erased
That were inscribed,
And mingled with the sacred mead,
And sent on distant ways;


* Mimer.      t The horses of the sun.


t Odin.





160


THE LAY OF SIGDRIFA.


They are with the gods,
They are with the elves;
Some with the wise vans,
Some human beings have.
19. Those are bok-runes
Those are biarg-runes,
And all 61-(ale-)runes,
And precious megin-(power-)runes
For those who can,
Without confusion or corruption,
Turn them to his welfare.
Use, if thou hast understood them,
Until the powers perish.
20. Now thou shalt choose,
Since a choice is offered thee,
Keen armed warrior!
My speech or silence:
Think over it in thy mind.
All evils have their measure.
SIGURD:
21. I will not flee,
Though thou shouldst know me doomed:
I am not born a craven.
Thy friendly councils all
I will receive,
As long as life is in me.
SIGDRIFA:
22. This I thee counsel first:
That toward thy kin
Thou bear thee blameless.
Take not hasty vengeance,
Although they raise up strife:
That, it is said, benefits the dead.
23. This I thee counsel secondly:
That no oath thou swear,
If it not be true.
Cruel bonds





THE LAY OF SIGDRIFA.


161


Follow broken faith:
Accursed is the faith-breaker.
24. This I thee counsel thirdly:
That in the assembly thou
Contend not with a fool;
For an unwise man
Oft utters words
Worse than he kno*s of.
25. All is vain,
If thou holdest silence;
Then wilt thou seem a craven born,
Or else truly accused.
Doubtful is a servant's testimony,
Unless a good one thou gettest.
On the next day
Let his life go forth,
And so men's lies reward.
26. This I counsel thee fourthly:
If a wicked sorceress
Dwell by the way,
To go on is better
Than there to lodge,
Though night may overtake thee.
27. Of searching eyes
The sons of men have need,
When fiercely they have to fight:
Oft pernicious women
By the wayside sit,
Who swords and valor deaden.
28. This I thee counsel fifthly:
Although thou see fair women
On the benches sitting,
Let not their kindred's silver*
Over thy sleep have power.
To kiss thee entice no woman.
* Which thou mightest get by marriage.





162


THE LAY OF SIGDRIFA.


29. This I thee counsel sixthly:
Although among men pass
Offensive tipsy talk,
Never, while drunken, quarrel
With men of warWine steals the wits of many.
30. Brawls and drink
To many men have been
A heart-felt sorrow;
To some their death,
To some calamity:
Many are the griefs of men I
31. This I thee counsel seventhly:
If thou hast disputes
With a daring man,
Better it is for men
To fight than to be burnt
Within their dwelling.
32. This I thee counsel eighthly:
That thou guard thee against evil,
And eschew deceit.
Entice no maiden,
Nor wife of man,
Nor to wantonness incite.
33. This I thee counsel ninthly:
That thou corpses bury,
Wherever on the earth thou findest them;
Whether from sickness they have died,
Or from the sea,
Or are from weapons dead.
34. Let a mound be raised
For those departed;
Let their hands and head be washed,
Combed, and wiped dry,
Ere in the coffin they are laid;
And pray for their happy sleep.





THE LAY OP SIGDRIFA.


163


35. This I thee counsel tenthly:
That thou never trust
A foe's kinsman's promises,
Whose brother thou hast slain,
Or sire laid low:
There is a wolf
In a young son,
Though he with gold be gladdened.
36. Strifes and fierce enmities
Think not to be lulled,
No more than deadly injury.
Wisdom and fame in arms
A prince not easily acquires,
Who shall of men be foremost.
37. This I counsel thee eleventhly:
That thou at evil look,
What course it may take.
A long life, it seems to me,
The prince may [not] enjoy;
Fierce disputes will arise.
Sigurd said: A wiser mortal exists not, and I swear
that I will possess thee, for thou art after my heart.
She answered: Thee I will have before all others,
though I have to choose among all men. And this
they confirmed with oaths to each other.
Here ends the lay of Sigdrifa.
The reader may find some of these rules of Hdvamdl
and Sigrdrifumdl somewhat inconsistent with our ideas
of a supreme deity; but are not many of these principles laid down in the Odinic morality worthy of a
Christian age and of a Christian people, and do they
not all reveal a profound knowledge of human nature
in all its various phases?
These rules of life, says Professor Keyser, were variously understood, and as variously carried out into





164


RUDOLPH KEYSER.


practice. But on the whole we find them reflected in
the popular character of the Norsemen, such as history
teaches it to us during heathendom. Bravery, prudence,
and a love of independence are its brightest features,
although bravery often degenerated into warrior fierceness, prudence into dissimulation, and the love of independence into self-will. If on the one hand we find a
noble self-command, devoted faithfulness in friendship
and love, noble-hearted hospitality and generosity, a love
of right and of legal order, we also see, on the other
hand, unyielding stubbornness, a fierce spirit of revenge,
a repulsive arrogance, a far-reaching self-interest, and an
excessive dependence upon the formalities of the law.
A cold and unmoved exterior often concealed a soul
torn by the bitterest grief, or stirred up by the wildest
passions. A passionate outburst of joy or of grief was
considered undignified. Few words, but energetic action,
was esteemed in conduct, and complaint was silenced in
order that vengeance could strike the more surely and
heavily. Under a tranquil, indifferent mien were concealed the boldest and most deep-laid plans, and the
real intention first came to light in the decisive moment.
On the whole, there was certainly an impress of rigidity,
insensibility and self-goodness stamped upon the popular
character, but this stamp was more upon the outside
than in its innermost character, more the result of
inordinate prudence than of an evil disposition; and
through all its failings there shines forth a dignity of
soul which ennobled power and held up glory in this
life and in after ages as the highest object of human
undertakings.*
The part assigned to the Norsemen in the grand
drama of European history was to free the human mind
* Religion of the Northmen, chap. xvii.





THE DAYS OF THIE WEEK.


165


from the Caesarian thraldom of Rome, in which it had
so long been chained; to show what marvels self-government and free institutions can accomplish, and thus
hand down to us, their descendants, a glorious heritage
of imperishable principles, which we must study and in
a great measure be guided by.
We retain in the days of the week the remembrance
of this religion, which was brought to England more
than fourteen hundred years ago by the Goths, who
came to give that country a new name and a new fate
in the world. The Goths taught the people of Britain
to divide the week into their Sun-day, Moon-day, Tysday, Odin's-day, Thor's-day, and Frey's or Freyja's-day.
The name of Saturday the English owe to the Roman
god Saturnus; but the last day of the week was known
among the early Norsemen, and is still known among
them, as Laugar-dag, hLr-dag, that is Washing-day. It
is possible, as E. C. Otte quaintly remarks, that our
Anglo-Saxon forefathers may have wished to change
this name when, in later times, they had ceased to have
only one washing-day out of the seven, like their
northern ancestors.
We are now prepared to present the Norse mythology, and we shall divide it into three divisions: THE
CREATION AND PRESERVATION, THE LIFE AND EXPLOITS OF THE GODS, and RAGNAROK AND REGENERATION.  These three divisions we dedicate respectively
to URD, VERDANDE, and SKULD, the three norns, WAS,
Is, and SHALL BE, which uphold the world's structure
and preside over the destinies of gods and men.










NORSE MYTHOLOGY.
Urbar orbi
kve-6r engi matr.
Vafin er Verbandi reyk.
Liti-6 sjaum aptr,
en ekki fram;
sk~yggir Skuld fyrir sjo'n.
MATTHIAS JOCH1JMSONT.










PART I.
THE CREATION AND PRESERVATION OF
THE WORLD.
UI R{D.
Urbar orbi
kve6r engi mabr.










CHAPTER I.


THE CREATION.
SECTION I.   THE ORIGINAL CONDITION OF THE WORLD.
THE condition of things before the creation of the
world is expressed negatively. There was nothing
of that which sprang into existence. This transition
from empty space into being demands the attention of
the whole human race. Therefore the vala, or wandering prophetess, begins her mysterious song, the grand
and ancient Vbluspa, the first lay in the Elder Edda,
as follows:
Give ear
All ye divine races,
Great and small,
Sons of Heimdal!
I am about to relate
The wonderful works of Valfather,
The oldest sayings of men,
The first I remember.
It was Time's morning
When Ymer lived:
There was no sand, no sea,
No cooling billows;
Earth there was none,
No lofty heaven,
Only Ginungagap,
But no grass.
The beginning was this: Many ages, ere the earth
was made, there existed two worlds. Far to the north
(171)





172


GINUNGAGAP.


was Niflheim (the nebulous world), and far to the south
was Muspelheim (the fire world). Between them was
Ginungagap (the yawning gap).      In the middle of
Niflheim lay the spring called Hvergelmer, and from it
flowed twelve ice-cold streams, the rivers Elivagar, of
which Gjol was situated nearest Hel-gate. Muspelheim
was so bright and hot that it burned and blazed and
could not be trodden by those who did not have their
home and heritage there. In the midst of this intense
light and burning heat sat Surt, guarding its borders
with a flaming sword in his hand.
SECTION II. THE ORIGIN OF THE GIANTS (RHIMTHURSAR).
The first beings came into existence in the following
manner: When those rivers that are called Elivagar,
and which flowed from    the spring Hvergelmer, had
flowed far from their spring-head the venom which
flowed with them hardened, as does dross that runs
from a furnace, and became ice. And when the ice
stood still, and ran not, the vapor arising from the
venom gathered over it and froze to rime, and in this
manner were formed in the yawning gap many layers
of congealed vapor piled one over the other. That part
of Ginungagap that lay toward the north was thus
filled with thick and heavy ice and rime, and everywhere within were fogs and gusts; but the south side
of Ginungagap was lightened by the sparks and flakes
that flew out of Muspelheim.     Thus while freezing
cold and gathering gloom    proceeded from   Niflheim,
that part of Ginungagap which looked toward Muspelheim was hot and bright; but Ginungagap was as
light as windless air; and when the heated blast met
the frozen vapor it melted into drops, and by the might





YMER.


173


of him who sent the heat,* these drops quickened into
life and were shaped into the likeness of a man. His
name was Ymer, but the frost-giants called him Aurgelmer. Ymer was not a god; he was bad (evil, illr),
as were all his kind. When he slept, he fell into a
sweat, and from the pit of his left arm waxed a man
and a woman, and one of his feet begat with the other
a son, from whom descend the frost-giants, and therefore Ymer is called the old frost-giant (Rhimthurs).
Thus the Elder Edda, in the lay of Vafthrudner:
Countless winters
Ere earth was formed,
Was born Bergelmer;
Thrudgelmer
Was his sire,
His grandsire Aurgelmer.
From Elivagar
Sprang venom drops,
Which grew till they became a giant;
But sparks flew
From the south-world:
To the ice the fire gave way.
Under the armpit grew,
'Tis said, of Rhimthurs,
A girl and boy together;
Foot with foot begat,
Of that wise giant,
A six-headed son.
SECTION   III. THE ORIGIN    OF THE COW     AUDHUMBLA
AND THE BIRTH OF THE GODS.
On what did the giant Ymer live, is a pertinent
question. Here is the answer: The next thing, when
the rime had been resolved into drops, was that the
* The supreme god.





174


ODIN, VILE AND VE.


cow, which is called Audhumbla, was made of it. Four
milk-rivers ran out of her teats, and thus she fed Ymer.
On what did the cow feed? She licked rime-stones,
which were salt; and the first day that she licked the
stones there came at evening out of the stones a man's
hair, the second day a man's head, and the third day
all the man was there.  His name was Bure. He was
fair of face, great and mighty. He begat a son by name
Bor. Bor took for his wife a woman whose name was
Bestla, a daughter of the giant Bolthorn, and they had
three sons, Odin, Vile and Ve, the rulers of heaven and
earth; and Odin, adds the Younger Edda, is the greatest
and lordliest of all the gods.
The frost-giants were, then, the first race or the
first dynasty of gods. The Elder Edda makes this dynasty embrace three beings, for Aurgelmer in the passage
quoted is the same as Ymer.
Odin descended from the frost-giants, which is also
proved by a passage in the Younger Edda, where Ganglere asks where Odin kept himself ere heaven and earth
were yet made. Then he was, answered Haar, with the
frost-giants (Rhimthursar).
SECTION IV. THE NORSE DELUGE AND THE ORIGIN OF
HEAVEN AND EARTH.
Bor's sons, Odin, Vile and Ve, slew the giant Ymer,
but when he fell there ran so much blood out of his
wounds, that with that they drowned all the race of
the frost-giants, save one, who got away with his household; him the giants call Bergelmer. He went on board
his boat, and with him went his wife, and from them
came a new race of frost-giants. Thus the Elder Edda:





ORIGIN OF HEAVEN AND EARTH.


175


Winters past counting,
Ere earth was yet made,
Was born Bergelmer:
Full well I remember
How this crafty giant
Was stowed safe in his skiff.
Odin, Vile and Ve dragged the body of Ymer into
the middle of Ginungagap, and of it they formed the
earth.  From Ymer's blood they made the seas and
waters; from his flesh the land; from his bones the
mountains; from his hair the forests, and from his
teeth and jaws, together with some bits of broken bones,
they made the stones and pebbles. From the blood that
ran from his wounds they made the vast ocean, in the
midst of which they fixed the earth, the ocean encircling it as a ring; and hardy, says the Younger Edda, will
he be who attempts to cross those waters.   Then they
took his skull and formed thereof the vaulted heavens,
which they placed over the earth, and set a dwarf at
the corner of each of the four quarters. These dwarfs
are called East, West, North, and South. The wandering sparks and red-hot flakes that had been cast out
from Muspelheim they placed in the heavens, both above
and below Ginungagap, to give light unto the world.
The earth was round without and encircled by the deep
ocean, the outward shores of which were assigned as a
dwelling for the race of giants.    But within, round
about the earth, the sons of Bor raised a bulwark
against turbulent giants, employing for this structure
Ymer's eye-brows. To this bulwark they gave the name
Midgard.*   They afterwards threw    and scattered the
brains of Ymer in the air, and made of them the melancholy clouds. Thus the Elder Edda, in the lay of
Vafthrudner:
* The Tower of Babel.





176


THE HEAVENLY BODIES.


From Ymer's flesh
The earth was formed,
And from his bones the hills,
The heaven from the skull
Of that ice-cold giant,
And from his blood the sea.
And in Grimner's lay:
Of Ymer's flesh
Was earth created,
Of his blood the sea,
Of his bones the hills,
Of his hair trees and plants,
Of his skull the heavens,
And of his brows
The gentle powers
Formed Midgard for the sons of men;
But of his brain
The heavy clouds are
All created.
SECTION V.    THE HEAVENLY BODIES, TIME, THE WIND,
THE RAINBOW.
The heavenly bodies were formed of the sparks from
Muspelheim. The gods did not create them, but only
placed them in the heavens to give light unto the world,
and assigned them a prescribed locality and motion. By
them days and nights and seasons were marked. Thus
the Elder Edda, in V6luspa:
The sun knew not
His proper sphere;
The stars knew not
Their proper place;
The moon knew not
Where her position was.
There was nowhere grass
Until Bor's sons





THE SUN AND MOON.


The expanse did raise,
By whom the great
Midgard was made.
From the south the sun
Shone on the walls;
Then did the earth
Green herbs produce.
The moon went ahead
The sun followed,
His right hand held
The steeds of heaven.
Mundilfare was the father of the sun and moon. It
is stated in the Younger Edda that Mundilfare had two
children, a son and a daughter, so lovely and graceful
that he called the boy Maane* (moon) and the girl Sol*
(sun), and the latter he gave in marriage to Glener (the
shining one).
But the gods, being incensed at Mundilfare's presumption, took his children and placed them in the heavens,
and let Sol drive the horses that draw the car of the
sun. These horses are called Aarvak (the ever-wakeful)
and Alsvinn(the rapid one); they are gentle and beautiful,
and under their withers the gods placed two skins filled
with air to cool and refresh them, or, according to
another ancient tradition, an iron refrigerant substance
called isarnkol.   A shield, by name Svalin (cool), stands
before the Sun, the shining god.       The mountains and
the ocean would burn up if this shield should fall away.
Maane was set to guide the moon in her course, and
regulate her increasing and waning aspect.
A giant, by name Norve, who dwelt in Jotunheim,
had a daughter called Night (n6tt), who, like all her
race, was of a dark and swarthy complexion. She was
* In the Norse language, as also in the Anglo-Saxon, the sun is of the
feminine and the moon of the masculine gender.





178


HRIMFAXE AND SKINFAXE.


first wedded to a man called Naglfare, and had by him
a son named Aud, and afterward to another man called
Annar, by whom    she had a daughter called Earth (jird).
She  finally  espoused Delling   (day-break), of asa-race,
and their son was Day (dagr), a child light and fair like
his father.  Allfather gave Night and Day two horses
and two cars, and set them up in the heavens that they
might drive successively one after the other, each in
twenty-four hours' time, round the world. Night rides
first with her steed Hrimfaxe (rime-fax),* that every
morn, as he ends his course, bedews the earth with the
foam from his bit. The steed driven by Day is called
Skinfaxe (shining-fax), and all the sky and earth glistens
from his mane. Thus the Elder Edda, in the lay of
Vafthrudner:
Mundilfare hight he
Who the moon's father is,
And also the sun's:
Round heaven journey
Each day they must,
To count years for men.
In the lay of Grimner:
Aarvak and Alsvinn,
Theirs it is up hence
Tired the sun to draw
Under their shoulder
These gentle powers, the gods,
Have concealed an iron-coolness.
Svalin the shield is called
Which stands before the sun,
The refulgent deity;
Rocks and ocean must, I ween,
Be burnt,
Fell it from its place.
* Fax = mane.





THE SUN.


179


In the lay of Vafthrudner:
Delling called is he
Who the Day's father is,
But Night was of Norve born;
The new and waning moons
The beneficent powers created
To count years for men.
Skinfaxe he is named
That the bright day draws
Forth over human kind;
Of coursers he is best accounted
Among faring men;
Ever sheds light that horse's mane.
Hrimfaxe he is called
That each night draws forth
Over the beneficent powers;
He from his bit lets fall
Drops every morn
Whence in the dells comes dew.
The sun speeds at such a rate as if she feared that
some one was pursuing her for her destruction. And
well she may; for he that seeks her is not far behind,
and she has no other way to escape than to run before
him.   But who    is he that causes her this anxiety?
There are two wolves; the one, whose name is Skol,
pursues the sun, and it is he that she fears, for he shall
one day overtake and devour her. The other, whose
name is Hate Hrodvitneson, runs before her and as
eagerly pursues the moon, that will one day be caught
by him.    Whence come these wolves?        Answer: A
giantess dwells in a wood called Jarnved (ironwood).
It is situated east of Midgard, and is the abode of a
race of witches. This old hag is the mother of many
gigantic sons, who are all of them shaped like wolves,
two of whom are Skol and Hate. There is one of that





180


THE SEASONS.


race who is the most formidable of all.      His name is
Maanagarm (moon-swallower): he is filled with the lifeblood of men who draw near their end, and he will
swallow  up the moon, and stain the heavens and the
earth with blood. As it is said in the VYluspai, of the
Elder Edda:
Eastward in the Ironwood
The old one sitteth,
And there bringeth forth
Fenrer's fell kindred.
Of these, one, the mightiest,
The moon's devourer,
In form most fiend-like,
And filled with the life-blood
Of the dead and the dying,
Reddens with ruddy gore
The seats of the high gods.
Then shall the sunshine
Of summer be darkened,
And fickle the weather.
Conceive ye this or not?
The gods set Evening and Midnight, Morning and
Noon, Forenoon and Afternoon, to count out the year.
There were only two seasons, summer and winter; hence
spring and fall must be included in these two. The
father of summer is called Svasud (the mild), who is
such a gentle and delicate being, that what is mild is
from him called sweet (svdslegt). The father of winter
has two names, Vindlone and Vindsval (the wind-cool);
he is the son of Vasud (sleet-bringing), and, like all his
race, has an icy breath and is of grim and gloomy
aspect.
Whence come the winds, that are so strong that
they move the ocean and fan fire to flame, and still are
so airy that no mortal eye can discern them? Answer:
In the northern extremity of the heavens sits a giant





THE ELDER EDDA.


181


called Hroesvelger (corpse-swallower), clad with eagles'
plumes. When he spreads out his wings for flight, the
winds arise from under them.
Which is the path leading from earth to heaven?
The gods made a bridge from earth to heaven and called
it Bifrost (the vibrating way). We have all seen it and
call it the rainbow.  It is of three hues and constructed
with more art than any other work. But though strong
it be, it will be broken to pieces when the sons of Muspel, after having traversed great rivers, shall ride over
it. There is nothing in nature that can hope to make
resistance when the sons of Muspel sally forth to the
great combat.   Now listen to the Elder Edda on some
of these subjects.
In the lay of Grimner:
Skol the wolf is named
That the fair-faced goddess
To the ocean chases;
Another Hate is called,
He is Hrodvitner's son:
He the bright maid of heaven shall precede.
In the ViluspA:
Then went the powers all
To their judgment seats,
The all-holy gods,
And thereon held council:
To night and to the waning moon
Gave names;
Morn they named
And mid-day,
Afternoon and eve,
Whereby to reckon years.
In the lay of Vafthrudner:
Vindsval is his name
Who winter's father is,





182


BIL AND HJUKE.


And Svasud summer's father is:
Yearly they both
Shall ever journey,
Until the powers perish.
Hraesvelger is his name
Who at the end of heaven sits,
A giant in an eagle's plumage:
From his wings comes,
It is said, the wind
That over all men passes.
In reference to Maane, it should be added, that the
Younger Edda tells us, that he once took children from
earth. Their names were Bil and Hjuke. They went
from the spring called Byrger, and bore on their shoulders the bucket called Seeger with the pole called Simul.
Their father's name was Vidfin. These children follow
Maane, as may be seen, from    the earth.
SECTION VI.   THE GOLDEN AGE.       THE ORIGIN OF THE
DWARFS.    THE CREATION OF THE 'FIRST MAN        AND
WOMAN.
In the beginning Allfather (Odin) appointed rulers
and bade them    judge with him    the fate of men and
regulate the government of the celestial city. They met
for this purpose in a place called Idavold (the plains of
Ida), which is the center of the divine abode (Asgard,
the abode of the asas).    Their first work was to erect
a court or hall, where there are twelve seats for themselves, besides the throne which is occupied by Allfather.  This hall is the largest and most magnificent
in the universe, being resplendent on all sides both
within and without with the finest gold.     Its name is
Gladsheim (home of gladness). They also erected another hall for the sanctuary of the goddesses. It is a





THE DWARFS.


183


fair structure and is called Vingolf (friends'-floor).
Thereupon they built a smithy and furnished it with
hammers, tongs and anvils, and with these made all
other requisite instruments with which they worked in
metals, stone and wood, and composed so large a quantity of the metal called gold, that they made all their
house-furniture of it.  Hence that age was called the
Golden Age.   This was the age that lasted until the
arrival of the women out of Jotunheim, who corrupted it.
Then the gods seating themselves upon their thrones
distributed justice, and remembered how the dwarfs had
been bred in the mould of the earth, just as worms in
a dead body. The dwarfs were quickened as maggots
in the flesh of the old giant Ymer, but by the command of the gods they received the form and understanding of men; their abode was, however, in the
earth and rocks.   Four dwarfs, Austre (east), Vestre
(west), Nordre (north), and Sudre (south), were appointed by the gods to bear up the sky.  Of the race
of dwarfs Modsogner and Durin are the principal ones.
There were not yet any human beings upon the earth,
when one day, as the sons of Bor (Odin, Hoener and
Loder) were walking along the sea-beach, they found two
trees and created from them the first human pair, man
and woman. Odin gave them life and spirit, Hoener
endowed them with reason and the power of motion,
and Loder gave them blood, hearing, vision and a fair
complexion. The man they called Ask, and the woman
Embla. The newly created pair received from the gods
Midgard as their abode; and from Ask and Embla is
descended the whole human family. Thus the Elder
Edda, in Vl6uspa.





184


THE ELDER EDDA.


The asas met
On Ida's plains;
They altars raised
And temples built;
Furnaces they established,
Precious things forged,
Their strength they tried
In many ways
When making tongs
And forming tools.
On the green they played
In joyful mood,
Nor knew at all
The want of gold,
Until there came
Three giant maids
Exceeding strong
From Jotunheim.
Then all the powers
Went to the throne,
The holy gods,
And held consult
Who should of dwarfs
The race then fashion
From the livid bones
And blood of the giant.
Modsogner, chief
Of the dwarfish race,
And Durin, too,
Were then created;
And like to men
Dwarfs in the earth
Were formed in numbers
As Durin ordered.
And then there came
Out of the ranks,
Powerful and fair,
Three asas home,





THE GODS AND THEIR ABODES.


185


And found on shore,
In helpless plight,
Ask and Embla,*
Without their fate.
They had not yet
Spirit or mind,
Blood or beauty
Or lovely hue.
Odin gave spirit,
Hcener gave mind,
Loder gave blood
And lovely hue.
SECTION VII. THE GODS AND THEIR ABODES.
In the Old Norse language a god is called dss (pl.
cesir) and a goddess isynja. The gods dwell in Asgard.
In its midst are the plains of Ida (Idav6llr, the assembling-place of the gods), and Odin's high-seat Hlidskjalf, from where he looks out upon all the worlds.
But above the heaven of the asas are higher heavens,
and in the highest stands the imperishable gold-roofed
hall Gimle, which is brighter than the sun.
The gods, to whom divine honors must be rendered,
are twelve in number, and their names are Odin, Thor,
Balder, Tyr, Brage, Heimdal, Hoder, Vidar, Vale, Uller,
Forsete, Loke. In this list Njord and Frey are not
mentioned, for they originally belonged to the vans or
sea-gods, and were received among the asas by virtue
of a treaty in which Njord was given as a hostage, and
Frey is his son.
Of goddesses we find the number twenty-six, and
Vingolf is their hall. Odin's hall is the great Valhal.
Spears support its ceiling; it is roofed with shields, and
coats of mail adorn its benches. Thither and to Vin* Ash and Elm.





186


THE GODS AND THEIR ABODES.


golf Odin invites all men wounded by arms or fallen
in battle.  Therefore he is called Valfather (father of
the slain), and his invited guests are called einherjes.
They are waited upon by valkyries.
The dwelling of Thor is Thrudvang or Thrudheim.
His hall, the immense Bilskirner. Uller, Thor's son,
lives in Ydaler. Balder lives in Breidablik, where nothing impure is found. Njord, one of the vans, dwells
in Noatun by the sea. Heimdal inhabits Himinbjorg,
which stands where Bifrost's bridge approaches heaven.
Forsete has Glitner for his dwelling, whose roof of silver
rests on golden columns. The chief goddess Frigg, wife
of Odin, has her dwelling-place in Fensal, and Freyja,
the goddess of love, dwells in Folkvang; her hall is Sessrymner. Saga dwells in the great Sokvabek under the
cool waves; there she drinks with Odin every day from
golden vessels.
We have so far mentioned the following classes of
deities: giants, gods, goddesses, vans (sea-deities), and
dwarfs. In addition to these the Younger Edda mentions two kinds of elves: elves of light and elves of
darkness. The elves of light dwell in Alfheim (home
of the elves), but the elves of darkness live under the
earth, and differ from  the others still more in their actions than in their appearance. The elves of light are
fairer than the sun, but the elves of darkness blacker
than pitch.
Then we have a lot of inferior spirits, such as trolls,
hulder, witches (vcettr), nisses, necks, etc., all of which
figure extensively in the Norse folk-lore, but an extensive description of them will not be attempted in this
work.





DIVISIONS OF THE WORLD.


187


SECTION VIII. THE DIVISIONS OF THE WORLD.
Nine worlds are mentioned: Muspelheim, Asaheim,
Ljosalfaheim, Vanaheim, Mannaheim, Jotunheim, Svartalfaheim, Helheim, Niflheim. The highest is Muspelheim (the tire-world), the realm of Surt, and in its
highest regions it appears that Gimle (heaven) was
thought to be situated. The lowest is Nifheim   (the
mist-world), the realm of cold and darkness, and in its
midst is the fountain Hvergelmer, where the dragon
Nidhug dwells. Between the two is Mannaheim (the
world of man) or Midgard, the round disk of the
earth, surrounded by the great ocean. The gods gave
Ask and Embla, the first human pair, and their descendants, this world to dwell in.  Far above Mannaheim is Asaheim (the world of the gods), forming a
vault above the earth. In the midst of this world is
Idavold, the assembling-place of the gods, and here is
also Odin's lofty throne Hlidskjalf.  Beyond the ocean
is Jotunheim (the world of,the giants). This world is
separated from Asaheim by the river Ifing, which never
freezes over. Nearest above the earth is Ljosalfaheim
(the world of the light elves), and between it and Asaheim is Vanaheim (the world of the vans). Proceeding
downward, we come first to Svartalfaheim (world of
the dark elves), below Mannaheim, and between Svartalfaheim and Niflheim we have Helheim (the world of
the dead, hell). Thither the way from the upper worlds
led down by the north through Jotunheim over the
stream Gjol, the bridge over which, called Gjallar-bridge,
was roofed over with shining gold.





CHAPTER II.


THE     PRESERVATION.
THE ASH YGDRASIL.     MIMER'S FOUNTAIN.     URD'S
FOUNTAIN. THE NORNS OR FATES.
Y    GDRASIL    is one of the noblest conceptions that
ever entered into any scheme of cosmogony or
human existence.   It is in fact the great tree of life,
wonderfully elaborated and extended through the whole
system of the universe. It furnishes bodies for mankind
from its branches; it strikes its roots through all worlds,
and spreads its life-giving arms through the heavens.
All life is cherished by it, even that of serpents, which
devour its roots and seek to destroy it.  It has three
grand roots far apart.  One of them    extends to the
asas, another to the giants in that very place where
was formerly Ginungagap, and the third stands over
Niflheim, and under this root, which is constantly
gnawed by the serpent Nidhug and all his reptile
brood, is the fountain Hvergelmer.    Under the root
that stretches out toward the giants is Mimer's fountain, in which wisdom and wit lie hid. The owner of
this fountain is called Mimer.  He is full of wisdom,
because he drinks the waters of the fountain every
morning with the Gjallarhorn.   Once Odin came and
begged a draught of this water, which he received, but
he had to leave one of his eyes in pawn for it. Thus
it is recorded in the Elder Edda:
(188)





MIMER AND THE URKDAR-FOUNTAIN.


189


Full well I know,
Great Odin, where
Thine eye thou lost;
In Mimer's well,
The fountain pure,
Mead Mimer drinks
Each morning new,
With Odin's pledge.
Conceive ye this?
Under the root of Ygdrasil, which extends to the
asas in heaven, is the holy Urdar-fountain. Here the
gods sit in judgment. Every day they ride up hither
on horseback over Bifrost (the rainbow), which is called
the bridge of the gods (dsbri).    Odin rides his gray
eight-footed Sleipner, Heimdal on Goldtop.     The other
horses are Glad    (bright), Gyller (gilder), Gler (the
shining one), Skeidbrimer (fleet-foot), Silfrintop (silver
top), Siner (sinews), Gisl (the sunbeam), Falhofner (pale
hoof), Letfet (light-foot).  It has been    stated before
that the gods worthy of divine honors were twelve, and
here we have ten horses named. Balder's and Thor's
are wanting. Balder's horse was burnt with his master's body, and as for Thor, he has to go on foot. He
cannot pass the Asabridge, for the thunder, which he is,
would destroy it; therefore he daily wades through the
rivers Kormt, Ormt, and two others called Kerlaug, to
get to the council of the gods.
The giants cannot pass the Asabridge, for the red in
it is burning fire and the waters of heaven roar around
it.  If it were easy for every one to walk over it, the
giants would go up to heaven by that bridge, and
perhaps succeed in bringing ruin upon the gods.
At the Urdar-fountain dwell also three maidens,
named Urd, Verdande and Skuld (Present, Past and
Future). These maidens fix the lifetime of all men,





190


THE NORNS.


and are called norns.. They guard the fountain, which
takes its name from the first and highest of the three,
Urd (Urdar-fount). Besides these there are other norns,
some of which are of heavenly origin, but others belong to the races of elves and dwarfs. The norns
who are of good origin are good themselves, and dispense  good   destinies.  Those   men   to whom     misfortunes happen   ought to ascribe them     to the evil
norns. Thus it is that some men are fortunate and
wealthy, while others acquire neither riches nor honors;
some live to a good old age, while others are cut off in
their prime.
Furthermore it must be stated of the ash Ygdrasil,
that on its topmost bough sits an eagle who knows
many things, and between the eagle's eyes sits a hawk
by name Vedfolner. A squirrel, whose name is Ratatosk,
runs up and down the tree, and seeks to cause strife
between the eagle and the serpent Nidhug. Four stags
leap about beneath its branches and feed on its buds.
They are called Daain, Dvalin, Duneyr, and Durathror.
But there are so many snakes with Nidhug in the fountain Hvergelmer, that no tongue can count them. Thus
the Elder Edda:
The tree Ygdrasil
Bears a sorer burden
Than men imagine.
Above the stags bite it,
On its sides age rots it,
Nidhug gnaws below.
More serpents lie
Under Ygdrasil's ash
Than simpletons think of;
Goin and Moin,
The sons of Grafvitner,





THE NORNS.


191


Graabak and Grafvollud,
Ofner and Svafner,
Must for aye, methinks,
Gnaw the roots of that tree.
The norns, who dwell by the Urdar-fount, every day
draw water from    this spring, and with it, and the clay
that lies around the fount, they sprinkle the ash, in
order that the boughs may continue green, and not rot
and wither away. This water is so holy that everything
placed in the spring becomes as white as the film within
an egg-shell. Thus the Elder Edda:
An ash know I standing
Named Ygdrasil,
A stately tree sprinkled
With water, the purest;
Thence come the dewdrops
That fall in the dales;
Ever blooming it stands
O'er the Urdar-fountain.
The dew that falls from    the tree on the earth men
call honey-dew, and it is the food of the bees. Finally,
two swans swim in the Urdar-fountain, and they are the
parents of the race of swans. * Thus all the tribes of
nature partake of the universal tree.





CHIAPTER III.


EXEGETICAL REMARKS UPOiN' THE CREATION AND
PRESERVATION OF THE WORLD.
IN the Norse as in all mythologies, the beginning
of creation is a cosmogony presenting many questions difficult of solution. The natural desire of knowledge asks for the origin of all things; and as the
beginning always remains inexplicable, the mind tries
to satisfy itself by penetrating as far into the primeval
forms of matter and means of sustaining life as possible. We follow the development of the tree back to the
seed and then to the embryo of the seed, but still we
are unable to explain how a miniature oak can exist in
scarcely more than a mere point in the acorn. We even
inspect the first development of the plant with the
microscope, but we acquire knowledge not of the force,
but only of its manifestations or phenomena. Such was
also the experience of our ancestors, when they inquired
into the origin of this world. They had the same desire
to know, but were not so well provided with means of
finding out, as we are with our microscopic, telescopic,
and spectrum analysis instruments.
The first effort of the speculative man is to solve the
mystery of existence. The first question is: How has
this world begun to be?  What was in the beginning,
or what was there before there yet was anything?  In
the Greek mythology many forms seem to arise out of
night, which seems to shroud them  all.  Thus in the
(192)





POND US INERJS.


193


Norse mythology the negative is the first, a conditio
sine qua non, space we might say, which we must conceive of as existing, before anything can be conceived as
existing in it. Our ancestors imagined in the beginning
only a yawning gap in which there was absolutely nothing.  Wonderfully enough they said that the one side
of this immense gulf extended to the north and the
other to the south, as though there could be such things
as north and south before the creation of the world.
The north side was cold, the south warm; and thus we
find by closer inspection that this nothing still was
something, that contained in itself opposite forces, cold
and heat, force of contraction and force of expansion,
but these forces were in a state of absolute inertia.
Thus also the Greek chaos:......      rudis indigestaque moles,
Nec quidquam nisi pondus iners, congestaque eodem
Non bene junctarum discordia semina rerum.
We cannot conceive how      a body containing     two
forces can be a pondus iners, for every force is infinite
and cannot rest unless it is prisoned by its opposite
force, and this is then strife. The Norse view is, philosophically speaking, more correct. Here the opposite
forces are separated by a gulf, and as they cannot penetrate the empty space, they remain inert.
It has before been stated that the Norsemen believed
in a great and almighty god, who was greater than Odin.
This god appears in the creation of the world, where
he sends the heated blasts from Muspelheim and imparts
life to the melted drops of rime. He will appear again
as the just and mighty one, who is to reign with Balder in the regenerated earth. He is the true Allfather.
When the thought was directed to inquire into the





194


THE SUPREME GOD.


origin of the world, one question would naturally suggest another, thus:
Question: What produced the world? Answer: The
giant Ymer.
Question: But on what did the giant Ymer live?
Answer: On the milk of a cow.
Question: What did the cow live on?   Answer: On
salt.
Question: Where did the salt come from? Answer:
From the rime.
Question: Whence came the rime? Answer: From
ice-cold streams.
Question: Whence came the cold?     Answer: From
Niflheim.
Question: But what gave life to the rime? Answer:
The heat.
Question: Whence came the heat?    Answer: From
him who sent it.
Here inquiry could go no further.     This process
brought the inquirer to the god whom he dared not
name, the author and ruler of all things. This unknown
god thus appears only before the creation and after
the fall of the world. He is not a god of time but of
eternity. He is from everlasting to everlasting.
The Elder Edda calls Ymer, Aurgelmer, father of
Thrudgelmer and grandfather of Bergelmer (Berggelmer.) The first syllables of these words express the
gradual hardening of matter from aur (loose clay) to
thrud (packed, compressed, strong clay), and finally to
berg (rock).  Ymer, that is, the first chaotic worldmass, is produced by the union of frost and fire. The
dead cold matter is quickened by the heat into a huge
shapeless giant, which has to be slain; that is, the crude
matter had to be broken to pieces before it could be





THE COW AUDHUMBLA.


195


remodeled into the various forms which nature since has
assumed. This living mass, Ymer, produces many beings
like himself, frost-cold, stone-like, shapeless frost-giants
and mountain giants (icebergs and mountains). In these
forms evil is still predominant. All are allied to the
world of cold and darkness. It is only the lower, the
physical, world-life which moves in them.
But a better being, although of animal nature,- the
cow Audhumbla - came into existence from the frozen
vapor, as the nurse of Ymer.       This power nourishes
the chaotic world, and at the same time calls forth by
its refining agency - by licking the rime-clumps - a
higher spiritual life, which unfolds itself through several
links-through Bure, the bearing (father), and        Bor,
the born (son) - until it has gained power sufficient to
overcome chaotic matter - to kill Ymer and his offspring. This conquering power is divinity itself, which
now in the form of a trinity goes forth as a creative
power - as spirit, will and holiness, in the brothers Odin,
Vile and Ve. The spirit quickens, the will arranges,
and holiness banishes the impure and evil.     It is however only in the creation of the world that these three
brothers are represented as cooperating.     Vile and Ve
are not mentioned again in the whole mythology. They
are blended together in the all-embracing, all-pervading
world-spirit Odin, who is the essence of the world, the
almighty god.
This idea of a trinity appears twice more in the
Norse mythology. In the gylfaginning of the Younger
Edda, Ganglere sees three thrones, raised one above the
other, and a man sitting on each of them. Upon his
asking what the names of these lords might be, his guide
answered: He who sitteth on the lowest throne is a
king, and his name is Haar (the high or lofty one);





TRINITY.


the second is Jafnhaar (equally high); but he who
sitteth on  the -highest throne is called   Thride (the
third). Then in the creation of man the divinity appears in the form of a trinity. The three gods, Odin,
Hcener, and Loder, create the first human pair, each
one imparting   to them   a gift corresponding    to his
own nature. Odin (and, spirit) gives them spirit, the
spiritual life; he is himself the spirit of the world,
of which man's is a reflection. Hoener (light) illuminates the soul with understanding (odr). Loder (fire,
Germ. lodern, to flame) gives the warm       blood  and
the blushing color, together with the burning keenness
of the senses. It is evident that Odin's brothers on
these occasions are mere emanations of his being, they
proceed from him, and only represent different phases
of the same divine power.       Loder is probably the
same person as afterwards steps forward as an independent divinity by name Loke. When he was united
with Odin in the trinity he sends a quiet, gentle and
invisible flame of light through the veins of Ask and
Embla, that is of mankind. Afterwards, assuming the
name of Loke, he becomes the consuming fire of the
earth.  Loder produces and develops life; Loke corrupts and destroys life.
By the creation the elements are separated. Ymer's
body is parceled out; organic life begins.      But the
chaotic powers, though conquered, are not destroyed;
a giant escapes in his ark with his family, and from
them comes a new race of giants. Disturbing and
deadly influences are perceptible everywhere in nature,
and  these influences are represented    by  the hostile
dispositions of the giants toward     the asas and    of
their struggles to destroy the work of the latter. The
giants have been forced to fly to Jotunheim, to Ut




THE GOLDEN AGE.


197


gard, to the outermost deserts beyond the sea; but
still they manage to get within Midgard, the abode of
man, and here they dwell in the rugged mountains,
in  the ice-clad jokuls and in the barren deserts, in
short, everywhere where any barrenness prevails. Their
agency is perceptible in the devastating storms caused
by the wind-strokes of Hraesvelger, the giant eagle in
the North; it is felt in winter's cold, snow     and ice,
and in all the powers of nature which are unfriendly
to fruitfulness and life.
The golden age of the gods, when
On the green they played
In joyful mood,
Nor knew at all
The want of gold,
Until there came
Three giant maids
From Jotunheim,
represents the golden age of the child and the childhood
of the human race. The life of the gods in its different stages of development resembles the life of men.
Childhood   is innocent and    happy, manhood      brings
with  it cares and    troubles.  The gods were happy
and  played   on the green so long as their development had not yet taken any decided outward         direction; but this freedom     from  care ended when they
had to make dwarfs and men, and through them          got
a whole world full of troubles and anxieties to provide
for and protect,-just as the golden age ends for the
child when it enters upon the activities of life, and
for the race, when it enters into the many complications
and cares of organized society. The gods played with
pieces of gold. The pure gold symbolizes innocence.
These pieces of gold (gullnar t1flur) were lost, but





198


CREATION OF MAN.


were found again in the green grass of the regenerated earth. From   the above it must be clear that
the three giant maids, who came from       Jotunheim
and put an end to the golden age, must be the norns,
the all-pervading necessity that develops the child into
manhood.    It does not follow, therefore, that these
maids were giantesses, for the gods themselves descended
from the giants. Nor did the norns introduce evil into
the world, but they marked out for the gods a career
which could not be changed; and immediately after
the appearance of the maids from  Jotunheim the gods
must create manl, whose fate those same norns would
afterwards determihe.
The gods did not create the dwarfs, but only determined that they were to have the form     and understanding of men.
Man was made of trees -of the ash and the elm.
There is something graceful in this idea.  The Norse
conception certainly is of a higher order than those
which produce man from earth or stones.    It is more
natural and more noble to regard man as having been
made of trees, which as they grow from     the earth
heavenward   show  an  unconscious attraction  to that
which is divine, than, as the Greeks do, to make men
stand forth out of cold clay and hard stones. We confess that the Norse myth looks Greek and the Greek
looks Norse; yet there may be a good reason for it.
The plastic Greek regarded man as a statue, which
generally was formed of clay or stone, but to which a
divine spark of art gave life. The Norsemen knew not
the plastic arts, and therefore had to go to nature, and
not to art, for their symbols. The manner in which
Odin breathes spirit and life into the trees reminds us
very forcibly of the Mosaic narrative.  It is interesting





THE GIANTS.


199


to study the various mythological theories in regard to
the origin of man. The inhabitants of Thibet have a
theory that undoubtedly is of interest to the followers
of Darwin. In Thibet the three gods held counsel as
to how Thibet might be peopled. The first one showed
in a speech that the propagation of the human race
could not be secured unless one of them changed himself into an ape.   The last one of the three gods did
this, and the goddess Kadroma was persuaded to change
herself into a female ape. The plan succeeded, and they
have left a numerous offspring.*
Various classes of beings are mentioned in the mythology. Life is a conflict between these beings, for the
spiritual everywhere seeks to penetrate and govern the
physical; but it also everywhere meets resistance. The
asas rule over heaven and earth, and unite themselves
with the vans, the water divinities.     The giants war
with the asas and vans. The elves most properly belong to the asas, while the dwarfs are more closely
allied to the giants, but they serve the asas. The most
decided struggle, then, is between the asas.and giants.
The spiritual and physical character of the giants is
clearly brought out in the myths. They constitute a
race by themselves, divided into different groups, but
have a common      king or ruler.    Their bodies are of
superhuman    size, having    several hands   and   heads.
Sterkodder had six arms; Hymer had many heads, and
they were hard    as stones; Hrungner's forehead was
harder than any kettle. The giantesses are either horribly ugly or charmingly beautiful. As the offspring
of darkness, the giants prefer to be out at night. The
sunlight, and especially lightning, terrifies them.    On
land and sea they inhabit large caves, rocks and mount* Wagner, p. 192.





200    THE GODS KILL OR MARRY TIHE GIANTS.
ains. Their very nature is closely allied to stones and
mountains. When Brynhild drove in a chariot on the
way to Hel, and passed through a place in which a
giantess dwelt, the giantess said:
Thou shalt not
Pass through
My stone-supported
Dwelling-place.
The weapons of the giants, as the following myths will
show, were stones and rocks; they had clubs and shields
of stone.  Hrungner's weapons were flint-stones.   The
giants also  have   domesticated animals.   The giant
Thrym sat on a mound plaiting gold bands for his
greyhounds and smoothing the manes of his horses.
He had gold-horned cows and all-black oxen. They
possess abundance of wealth and treasures.
The giant is old, strong and powerful, very knowing and wise, but also severe, proud and boasting. The
giantess is violent, passionate and impertinent. In their
lazy rest the giants are good-natured; they may be as
happy as children; but they must not be teased.
The giants representing the wild, disturbing, chaotic
forces in nature, the beneficent gods can subdue or control them in two ways: The one is to kill them and use
their remains for promoting the fruitfulness of the earth,
the other is to unite with them, in other words, to marry
them.   This forms the subject of a large number of
myths, which, when we have formed a correct general
conception of the giants, need no further explanation.
Odin kills Sokmimer, the destructive maelstrom of the
ocean. Thor crushes Hrungner, the barren mountain.
Odin marries Gunlad, Njord marries Skade, Frey marries
Gerd, etc.
When the Odinic mythology was superseded by the





ELVES AND IIULDERS.


201


Christian religion it left a numerous offspring of elves,
trolls (dwarfs), nisses, necks, mermaids, princes, princesses, etc., all of which still live in the memory and
traditions of Scandinavia. They may be said to belong
to the fairy mythology of these countries. We give a
brief sketch of these objects of popular belief, chiefly
from the excellent work of Thomas Keightley. A general
knowledge of them is necessary in order to appreciate
the rich folk-lore literature of Norseland.
The elves still retain their distinction into white and
black. The white or good elves dwell in the air, dance
on the grass, or sit in the leaves of trees; the black or
evil elves are regarded as an underground people, who
frequently inflict sickness or injury on mankind, for
which there is a particular kind of doctors and doctresses in most parts of Scandinavia.     The elves are
believed to have their kings, and     +-1 p2brate their
weddings and banquets, just the same as the dwellers
above ground. There is an interesting intermediate class
of them  called in popular tradition hill-people (haugafolk), who are believed   to dwell in caves and small
hills. When they show themselves they have a handsome human form. The common people seem          to connect with them a deep feeling of melancholy, as if
bewailing  a half-quenched hope of salvation.      Their
sweet singing may occasionally be heard on summer
nights out of their hills, when one stands still and
listens, or, as it is expressed in the ballads, lays his ear
to the elf-hill; but no one must be so cruel as by the
slightest word to destroy their hopes of salvation, for
then the spritely music will be turned into weeping
and lamentation. The Norsemen usually call the elves
hulder or huldrefolk, and their music huldreslaat. It
is in the minor key, and of a dull and mournful sound.





202


TROLLS.


Norse fiddlers sometimes play it, being thought to have
learned it by listening to the underground people among
the hills and rocks. There is also a tune called the elfkings' tune, which several of the good fiddlers know
right well, but never venture to play, for as soon as it
begins both old and young, and even inanimate objects,
are compelled to dance, and the player cannot stop unless
he can play the air backwards, or that some one comes
behind him and cuts the strings of his fiddle. Ole Bull
and Thorgeir Andunson, the people think, learned to
play the fiddle from the hill-people. The little underground elves, who are thought to dwell under the houses
of mankind, are described as sportive and mischievous,
and as imitating all the actions of men. They are said
to love cleanliness about the house and place, and to
reward such servants as are near and cleanly.
The dwarfs have become trolls. They are not generally regarded as malignant. They are thought to live
inside of hills, mounds and mountains; sometimes in
single families, sometimes in    societies.  They figure
extensively in the folk-lore.  They are thought to be
extremely rich, for when on great occasions of festivity
they have their hills raised up on red pillars, people
that have chanced to be passing by have seen them
shoving large chests full of money to and fro, and
opening and clapping down the lids of them.        Their
dwellings are very magnificent inside, being decorated
with gold and crystal. They are obliging and neighborly,
freely lending and borrowing and otherwise keeping up
a friendly intercourse with mankind. But they have a
sad propensity to stealing, not only provisions, but also
women and children.      Trolls have a great dislike to
noise, probably from the recollection of the time when
Thor used to be flinging his hammer after them, while





NISSES AND NECKS.


203


this would indicate that the giants are their true ancestors. The hanging of bells in the churches has for this
reason driven the most of them out of the country.
The nisse is the German kobold and the Scotch
brownie. He seems to be of the dwarf family, as he
resembles them in appearance, and like them has plenty
of money and a dislike to noise and tumult. He is of
the size of a year-old child, but has the face of an old
man. Hiis usual dress is gray, with a pointed red cap,
but on Michaelmas day he wears a round hat like those
of the peasants.  No farm-house goes on well unless
there is a nisse in it, and well it is for the maids and
the men when they are in favor with him. They may
go to their beds and give themselves no trouble about
their work, and yet in the morning the maids will find
the kitchen swept and water brought in, and the men
will find the horses in the stable well cleaned and curried, and perhaps a supply of corn cribbed for them
from the neighbor's barns.  But he punishes them for
any irregularity that takes place.
The neck is the river-spirit. Sometimes he is represented as sitting during the summer nights on the
surface of the water, like a pretty little boy with golden
hair hanging in ringlets, and a red cap on his head;
sometimes as above the water, like a handsome young
man, but beneath like a horse; at other times as an
old man with a long beard, out of which he wrings the
water as he sits on the cliffs. The neck is very severe
against any haughty maiden who makes an ill return
to the love of her wooer; but should he himself fall in
love with a maid of human kind, he is the most polite
and attentive suitor in the world. The neck is also a
great musician; he sits on the water and plays on his
gold harp, the harmony of which operates on all nature.





204


MERMAN AND MERMAID.


To learn music of him, a person must present him with
a black lamb and also promise him resurrection and
redemption.
The stromkarl, called in Norway grim or fosse-grim
(force-grim), is a musical genius like the neck.     He
who has learned from him can play in such a masterly
manner that the trees dance and waterfalls stop at his
music.
The merman is described as of a handsome form
with green or black hair and beard. He dwells either
in the bottom of the sea or in cliffs near the sea-shore,
and is regarded as rather a good and beneficent kind
of being.
The mermaid (haffrue) is represented in the popular
tradition sometimes as good, at other times as evil and
treacherous.  Her appearance is beautiful.    Fishermen
sometimes see her in the bright summer's sun, when a
thin mist hangs over the sea, sitting on the surface of
the water, and combing her long golden hair with a
golden comb, or driving up her snow-white cattle to
feed on the strands or small islands.    At other times
she comes as a beautiful maiden, chilled and shivering
with the cold of the night, to the fires the fishermen
have kindled, hoping by this means to entice them to
her love. Her appearance prognosticates both storm and
ill success in their fishing. People that are drowned,
and whose bodies are not found, are believed to be taken
into the dwellings of the mermaids.
It is the prevalent opinion among the common people
of the North that all these various beings were once
worsted in a conflict with superior powers, and condemned to remain until doomsday in certain assigned
abodes. The rocks were given to the dwarfs; the groves
and leafy trees to the elves; the caves and caverns to the





Y GDIASIL.


205


hill-people; the sea, lakes and rivers to the merman,
mermaids and necks; and the small forces (waterfalls)
to the fossegrims.   Both the Catholic and Protestant
priests have tried to excite an aversion to these beings,
but in vain. They still live and fill the fairy-tales and
folk-lore with their strange characters, and are capable
of furnishing   a series of unrivaled   subjects for the
painter and   sculptor.  These weird stories are excellently adapted to adorn our epic and dramatic poetry as
well as our historic novels. But they must be thoroughly
understood first, not only by the poet, but also by his
reader. Thomas Keightley, from whom we have given
a short abstract, has given us an excellent work in
English   on  Gothic fairy mythology, and      we would
recommend our readers to read his work in connection
with Dr. Dasent's Tales from     the Fjeld.  We have to
present the original mythology, not its offspring.
Ygdrasil is a most sublime and finished myth. It is
a symbol uniting all the elements of mythology into a
poetical system.   The tree symbolizes, and extends its
roots and branches into, the whole universe. Its roots
are gnawed by serpents, and stags bite its branches, but
the immortal tree still stands firm  and flourishes from
age to age. The Norsemen's whole experience of life is
here presented in a picture that either in regard to beauty
or depth of thought finds no equal in all the other systems of mythology. Thomas Carlyle says: I like too that
representation they (the Norsemen) have of the tree
Ygdrasil: all life is figured by them as a tree. Ygdrasil,
the Ash-tree of Existence, has its roots deep down in the
kingdom of Hela, or Death; its trunk reaches up heavenhigh, spreads its boughs over the whole universe.. It
is the Tree of Existence. At the foot of it, in the Deathkingdom, sit three Nornas (fates),- the Past, Present,





206


YGDRASIL.


Future,- watering its roots from the Sacred Well. Its
boughs, with their buddings and disleafings -events,
things  suffered, things   done, catastrophes,- stretch
through all lands and times. Is not every leaf of it a
biography, every fiber there an act or word? Its boughs
are histories of nations; the rustle of it is the noise of
human existence, onwards from of old. It grows there,
the breath of human passion rustling through it; or
storm-tost, the storm-wind howling through it like the
voice of all the gods. It is Ygdrasil, the Tree of Existence. It is the past, the present, and the future; what
was done, what is doing, what will be done; the infinite
conjugation of the verb to do. Considering how human
things circulate, each inextricably in communion with
all,-how the word I speak to you to-day is borrowed,
not from Ulfila, the Maeso-Goth only, but from   all men
since the first man began to speak,--I find no similitude
so true as this of a tree. Beautiful altogether, beautiful
and great. The machine of the universe! Alas, do but
think of that in contrast!
The name Ygdrasil is derived from       Odin's name,
Yggr (the deep thinker), and drasill (carrier, horse).
Ygdrasil, therefore, means the Bearer of God, a phrase
which finds a literal explanation when Odin hangs nine
nights on this tree before he discovered      the runes.
Thus the Elder Edda:
I know that I hung
Nine whole nights,
And to Odin offered,
On that tree,
From what root it springs.
On a wind-rocked tree,
With a spear wounded,
Myself to myself,
Of which no one knows.
* Heroes and Hero-worship.





YGDRASIL.


207


All the tribes of nature partake of this universal tree,
from the eagle who sits on the topmost bough down
through the different stages of animal life; the hawk in
the lower strata of air, the squirrel who busily leaps
about in the branches, the stags by the fountain, to the
serpents beneath the surface of the earth.
The peculiar feature of this myth is its comprehensiveness. How beautiful the sight of a large tree! Its
far-extending branches, its moss-covered stem, its high
crown and deep roots, remind us of the infinity of time;
it has seen ages roll by before we were born.    In the
evening, when our day's work is done, we lie down in its
broad shade and think of the rest that awaits us when
all our troubles are ended.    Its leaves rustle in the
breezes and the sunshine; they speak to us of that which
is going on above this sorrow-stricken earth. But the
tree is not the whole symbol. It is connected with the
great waters, with the clear fountain with its egg-white
waves, and with the turbulentistreams that flow in the
bowels of the earth. While the calm firmness of the tr,ee
and the monotonous rustling of the wind through its
leaves invites the soul to rest, the ceaseless activity of the
various tribes of animals that feed upon its roots and
branches remind us of nature never at rest and never
tiring. The tree sighs and groans beneath its burden;
the animals move about in it and around it; every species
of animals has its place and destination; the eagle soars
on his broad wings over its top; the serpent winds his
slimy coils in the deep; the swan swims in the fountain;
and while all the tribes of animated life are busily
engaged, the dew-drops fall to refresh and cool the earth
and the heart of man. Nay, this is not all. There is
one who has planted the tree, and there are many who
watch and care for it; higher beings protect it. Gods





208


YGDRIASUL.


and men, all that possesses life and consciousness, has its
home in this tree and its work to do. The norns constantly refresh it with water from  the Urdar-fountain;
the elves hover about it; Heimdal suspends his tricolored arch beneath it; the glory of Balder shines upon
it; Mimer lifts his head in the distance, and the pale
Hel watches the shades of men who have departed this
earth and journey through the nine worlds over Gjallarbro
to their final rewards. The picture is so grand that
nothing but an infinite soul can comprehend it; no brush
can paint it, no colors can represent it. Nothing is quiet,
nothing at rest; all is activity. It is the whole world,
and it can be comprehended only by the mind of man,
by the soul of the poet, and be symbolized by the ceaseless flow of language. It is not a theme for the painter
or sculptor, but for the poet.  Ygdrasil is the tree of
experience of the Gothic race.    It is the symbol of a
great race, sprung originally from   the same root but
divided into many brai~hes, Norsemen, Englishmen,
Americans, etc. It has three roots, and experience has
taught the Goths that there are in reality but three kinds
of people in the world: some that work energetically for
noble and eternal purposes, and their root is in Asaheim;
some that work equally energetically, but for evil and
temporal ends, and their root is in Jotunheim; and many
who distinguished themselves only by sloth and impotence, and their root is in Niflheim with the goddess Hel
or death, in Hvergelmer, where the serpent Nidhug, with
all his reptile brood, gnaws at their lives. Thus the
Gothic race is reflected in Ygdrasil, and if our poets will
study it they will find that this grand myth is itself in
fact a root in the Urdar-fountain, and from it may spring
an Ygdrasil of poetry, extending long branches through




MIMER'S FOUNTAIN.


209


out the poetical world and delighting the nations of the
earth.
Beneath that root of Ygdrasil, which shoots down
to Jotunheim, there is a fountain called after its watcher
Miimer's Fountain, in which wisdom and knowledge are
concealed. The name Mimer means the knowing. The
giants, being older than the asas, looked deeper than
the latter into the darkness of the past. They had
witnessed the birth of the gods and the beginning of
the world, and they foresaw their downfall. Concerning
both these events, the gods had to go to them for knowledge, an idea which is most forcibly expressed in the
VWluspai, the first song in the Elder Edda, where a vala,
or prophetess, from Jotunheim is represented as rising
up from the deep and unveiling the past and future to
gods and men. It is this wisdom that Mimer keeps in
his fountain. Odin himself must have it. In the night,
when the sun has set behind the borders of the earth,
he goes to Jotunheim. Odin penetrates the mysteries
of the deep, but he must leave his eye in pawn for the
drink which he receives from the fountain of knowledge.
But in the glory of morning dawn, when the sun rises
again from Jotunheim, Mimer drinks from his golden
horn the clear mead which flows over Odin's pawn.
Heaven   and this lower world mutually impart their
wisdom to each other.
The norns watch     over man through    life.  They
spin his thread of fate at his birth and mark out with
it the limits of his sphere of action in life. Their decrees are inviolable destiny, their dispensations inevitable necessity. The gods themselves must bow before
the laws of the norns; they are limited by time; they
are born and must die. Urd and Verdande, the Past
and Present, are represented as stretching a web from





210


THE NORNS.


east to west, from the radiant dawn of life to the glowing sunset, and   Skuld, the Future, tears it to pieces.
There is a deeply-laid plan in the universe, a close
union between spirit and matter. There is no such
thing as independent life or action. The ends of the
threads wherewith our life is woven lie deeply hid in
the abyss of the beginning. Self-consciousness is merely
an abstraction. The self-conscious individual is, merely
a leaf, which imagines itself to be something, but is in
fact only a bud that unfolds itself and falls off from
the tree of the universe. The self-contradiction between
absolute necessity and free will was an unsolved riddle
with our heathen ancestors, and puzzles the minds of
many of our most profound thinkers still. Thus, says
the Elder Edda, the norns came to decide the destiny
of Helge Hundingsbane:
It was in times of yore,
When the eagles screamed,
Holy waters fell
From the heavenly hills;
Then to Helge,
The great of soul,
Berghild gave birth
In Braalund.
In the mansion it was night:
The norns came,
Who should the prince's
Life determine;
They him decreed
A prince most famed to be,
And of leaders
Accounted best.
With all their might they span
The fatal threads,
When that he burghs should overthrow
In Braalund.





THE N0RNS.                      211
They stretched out
The golden cord,
And beneath the middle
Of the moon's mansion fixed it.
East and west
They hid the ends,
Where the prince had
Lands between;
Toward the north
Nere's sister
Cast a chain.,
Which she bade last forever.
Nay, in the Norseman's faith, man and all things
about him were sustained by divine power. The norns
decreed by rigid fate each man's career, which not even
the gods could alter.   Man was free to act, but all the
consequences of his actions were settled beforehand.










PART II.
THE LIFE AND EXPLOITS OF THE GODS.
VE RD ANDE.
Vafin er Verbandi reyk.










CHAPTER I.


ODIN.
SECTION I. ODIN.
T   HE first and eldest of the asas is Odin. His name
is derived from  the verb vada (imperfect 6d), to
walk, (compare watan, wuot, wuth, wiithen, wuothan,
wodan).   He is the all-pervading spirit of the world,
and produces life and spirit (and, aand). He does not
create the world, but arranges and governs it.   With
Vile and Ve he makes heaven and earth from Ymer's
body; with Hoener and Loder he makes the first man
and woman, and he gives them spirit. All enterprise in
peace and in war proceeds from him. He is the author
of war and the inventor of poetry.      All knowledge
comes from him and he is the inventor of the runes.
As the spirit of life he permeates all animate and inanimate matter, the whole universe; he is the infinite
wanderer.   He governs all things, and although    the
other deities are powerful they all serve and obey him
as children do their father. He confers many favors
on gods and men. As it is said in the Elder Edda, in
the lay of Hyndla:
FREYJA.
Wake maid of maids!
Wake, my friend!
Hyndla! Sister,
Who in the cavern dwellest.
(215)





216


ODIN'S NAMES.


Now there is dark of darks;
We will both to Valhal ride
And to the holy fane.
Let us Odin pray
Into our minds to enter;
He gives and grants
Gold to the deserving.
He gave Hermod
A helm and corselet,
And from him Sigmund
A sword received.
Victory to his sons he gives,
But to some riches;
Eloquence to the great
And to men wit;
Fair wind he gives to traders,
But visions to skalds;
Valor he gives
To many a warrior.
Especially are the heroes constantly the object of
his care. He guides and protects the brave hero through
his whole life; he watches over his birth and over his
whole development;     gives   him   wonderful weapons,
teaches him new arts of war; assists him in critical
emergencies, accompanies him     in war, and takes the
impetus out of the enemy's javelins; and when the
warrior has at last grown old, he provides that he may
not die upon his bed, but fall in honorable combat.
Finally, he protects the social organization and influences the human mind. He revenges murder, protects
the sanctity of the oath, subdues hatred, and dispels
anxieties and sorrows.
SECTION II. ODIN'S NAMES.
Odin is called Allfather, because he is the father of
all the gods, and Valfather (father of the slain), because





ODIN'S OUTWARD APPEARANCE.


217


he chooses for his sons all who fall in combat. For
their abode he has prepared Valhal and Vingolf, where
they are called einherjes (heroes).  In Asgard, Odin
has twelve names, but in the Younger Edda forty-nine
names are enumerated, and if to these are added all the
names by which the poets have called him, the number
will reach nearly two hundred.    The reason for his
many names, says the Younger Edda, is the great variety of languages. For the various nations were obliged
to translate his name into their respective tongues in
order that they might supplicate and worship him.
Some of his names, however, are owing to adventures
that have happened to him on his journeys and which
are related in old stories.  No one can pass for a wise
man who is not able to give an account of these wonderful adventures.
SECTION III. ODIN'S OUTWARD APPEARANCE.
In appearance, Odin is an old, tall, one-eyed man,
with a long beard, a broad-brimmed hat, a striped cloak
of many colors, and a spear in his hand. On his arm
he wears the gold ring Draupner, two ravens sit on his
shoulders, two wolves lie at his feet, and a huge chariot
rolls above his head. He sits upon a high throne and
looks out upon the world, or he rides on the winds
upon his horse Sleipner. There is a deep speculative
expression on his countenance.  In the Volsung Saga,
Odin is revealed as follows: King Volsung had made
preparations for an entertainment. Blazing fires burned
along the hall, and in the middle of the hall stood a
large tree, whose green and fair foliage covered the roof.
(This reminds us of Ygdrasil.) King Volsung had
placed it there, and it was called Odin's tree. Now as
the guests sat around the fire in the evening, a man





218


ODIN'S OUTWARD APPEARANCE.


entered the hall whose countenance they did not know.
He wore a variegated cloak, was bare-footed, his breeches
were of linen, and a wide-brimmed hat hung down
over his face. He was very tall, looked old, and was
one-eyed. He had a sword in his hand. The man
went to the tree, struck his sword into it with so powerful a blow that it sunk into it even to the hilt. No
one dared greet this man. Then said #he: He who
draws this sword out of the trunk of the tree shall
have it as a gift from me, and shall find it true that
he never wielded a better sword. Then went the old
man out of the hall again, and no one knew who he
was or whither he went. Now all tried to draw the
sword out, but it would not move, before Volsung's son,
Sigmund, came; for him it seemed to be quite loose.
Farther on in the Saga Sigmund had become king,
and had already grown old when he waged war with
King Lynge. The norns protected him so that he could
not be wounded. In a battle with Lynge there came a
man to Sigmund, wearing a large hat and blue cloak.
He had but one eye, and had a spear in his hand.
The man swung his spear against Sigmund. Sigmund's
sword broke in two, luck had left him, and he fell. The
same Saga afterwards tells us that Sigmund's son, Sigurd, sailed against the sons of Hunding, on a large
dragon. A storm arose, but Sigurd commanded that
the sails should not be taken down, even though the
wind should split them, but rather be hoisted higher.
As they passed a rocky point, a man cried to the ship
and asked who was the commander of the ships and
men. They answered that it was Sigurd Sigmundson,
the bravest of all young men. The man said, all agree
in praising him; take in the sails and take me on
board! They asked him for his name. He answered:





ODIN'S ATTRIBUTES.


219


Hnikar they called me, when I gladdened the raven
after the battle; call me now Karl, from the mountain,
Fengr or Fjolner, but take me on board! They laid
to and took him on board. The storm ceased and they
sailed until they came to the sons of Hunding; then
Fjolner (Odin) disappeared. In the same Saga he also
comes to Sigurd in the garb of an old man with long
flowing beard, and teaches him how to dig ditches by
which to capture Fafner.
SECTION IV.   ODIN'S ATTRIBUTES.
Odin's hat represents the arched vault of heaven,
and his blue or variegated cloak is the blue sky or
atmosphere, and both these symbolize protection.
Odin's ravens, Hugin (reflection) and Munin (memory), have been mentioned before.   They are perched
upon his shoulders and whisper into his ears what they
see and hear.  He sends them   out at daybreak to fly
over the world, and they come back at eve toward mealtime. Hence it is that Odin knows so much and is
called Rafnagud (raven-god). Most beautifully does Odin
express himself about these ravens in Grimner's lay,
in the Elder Edda:
Hugin and Munin
Fly each day
Over the spacious earth.
I fear for Hugin
That he come not back,
Yet more anxious am I for Munin.
And in Odin's Raven-song, Hug (Hugin) goes forth to
explore the heavens.  Odin's mind, then, is the flying
raven; he is the spiritual ruler.
Odin has two wolves, Gere and Freke (the greedy
one and the voracious one). Odin gives the meat that





220


ODIN'S ATTRIBUTES.


is set on his table to these two wolves; for he himself
stands in no need of food. Wine is for him both meat
and drink. Thus the Elder Edda, in Grimner's lay:
Gere and Freke
Feeds the war-faring,
Triumphant father of hosts;
For 't is with wine only
That Odin in arms renowned
Is nourished forever.
To meet a wolf is a good omen. Odin amusing himself with his wolves is an exquisite theme for the sculptor.
Odin had a ring called Draupner. We find its history in the conversations of Brage, the second part of
the Younger Edda. Loke had once out of malice cut
all the hair off Sif, the wife of Thor. But when Thor
found this out he seized Loke and would have crushed
every bone in him if he had not sworn to get the elves
of darkness to make golden hair for Sif, that would grow
like other hair. Then went Loke to the dwarfs, that are
called Ivald's sons, and they made the hair, and Skidbladner (Frey's ship), and the spear that Odin owned and
is called Gungner. Then Loke wagered his head with
the dwarf, whose name is Brok, that his brother, Sindre,
would not be able to make three more treasures as good
as those three just named.   The brothers went to the
smithy. Sindre put a pig-skin in the furnace and bade
Brok blow the bellows and not stop before Sindre took
that out of the furnace which he had put into it. A fly
set itself on Brok's hand and stung him, but still he
continued blowing the bellows, and that which Sindre
took out was a boar with golden bristles. Then Sindre
put gold into the furnace. This time the fly set itself
on Brok's neck, and stung him worse, but he continued
blowing the bellows, and that which the smith took out





ODIN'S ATTRIBUTES.


221


was the gold ring Draupner (from the verb meaning to
drop). The third time Sindre put iron in the furnace,
and bade his brother be sure to continue blowing or
all would be spoiled.  Now the fly set itself between
his eyes and stung his eye-lids. The blood ran down
into his eyes, so that he could not see;. then Brok let
go of the bellows just for a moment to drive the fly
away. That which the smith now took out was a hammer. Sindre gave his brother these treasures and bade
him  go to Asgard to fetch the wager.  As now Loke
and Brok came each with his treasures, the asas seated
themselves upon their thrones and held consult, and
Odin, Thor and Frey were appointed judges who should
render a final decision.  Then Loke gave Odin the
spear, which never would miss its mark; Thor he gave
the hair, which immediately grew fast upon Sif's head;
and to Frey he gave the ship, which always got fair
wind as soon as the sails were hoisted, no matter where
its captain was going, and it could also be folded as a
napkin and put into the pocket, if this were desirable.
Thereupon Brok came forward and gave Odin the ring,
and said that every ninth night a ring equally heavy
would drop from it. To Frey he gave the boar, and said
that it could run in the air and on the sea, night and
day, faster than any horse, and the night never was so
dark, nor the other worlds so gloomy, but that it would
be light where this boar was present, so bright shone
its bristles. To Thor he gave the hammer, and said
that with it he might strike as large an object as he
pleased; it would never fail, and when he threw it he
should not be afraid of losing it, for no matter how
far it flew it would always return into his hand, and
at his wish it would become so small that he might
conceal it in his bosom, but it had one fault, and that





222


ODIN'S ATTRIBUTES.


was that the handle was rather short. According to the
decision of the gods, the hammer was the best of all
the treasures, and especially as a protection against the
frost-giants; they accordingly decided that the dwarf
had won the wager. The latter now wanted Loke's head.
Loke offered to redeem it in some way, but the dwarf
would accept no alternatives. Well take me then, said
Loke, and in a moment he was far away, for he had
shoes with which he could run through the air and over
the sea.   Then the dwarf asked Thor to seize him,
which was done; but when the dwarf wanted to cut his
head off, Loke said: The head is yours, but not the neck.*
Then took the dwarf thread and knife and wanted to
pierce Loke's lips, so as to sew his lips together, but the
knife was not sharp enough.       Now it were well, if I
had my brother's awl, said he, and instantaneously the
awl was there, and it was sharp.         Then   the dwarf
sewed Loke's lips together.     (The dwarfs are here represented as smiths of the gods.)
The ring Draupner is a symbol of fertility. Odin
placed this ring on Balder's funeral pile and it was
burnt with Balder (the summer), and when Balder sent
this ring back to Odin, his wife, the flower-goddess
Nanna, sent Frigg, the wife of Odin, a carpet (of
grass), which represents the return of vegetation and
fruitfulness. Balder sends the ring back as a memento
of the fair time when he and his father (Odin) worked
together, and reminds the father of all, that he must
continue to bless the earth and make it fruitful. But
this is not all; this ring also symbolizes the fertility of
the mind, the creative power of the poet, the evolution
* Compare Shakespeare- Shylock and the pound of flesh:... No jot of blood;
The words expressly are "a pound of flesh."





ODIN'S ATTRIBUTES.


223


of one thought from the other, the wonderful chain of
thought.  The rings fell from Draupner as drop falls
from drop. Ideas do not cling fast to their parent, but
live an independent life when they are born; and the
idea or thought, when once awakened, does not slumber,
but continues to grow and develop in man after man, in
generation after generation, evolving constantly new
ideas until it has grown into a unique system of
thought. If we, as our fathers undoubtedly did, make
this gold ring typify the historical connection between
times and events, a ring constantly multiplying and
increasing with ring interlinked with ring in time's
onward march, what a beautiful golden chain there has
been formed from time's morning until now!
Odin had a spear called Gungner. The word means
producing a violent shaking or trembling, and it most
thoroughly shook whomsoever was hit by it. As has
been seen above, it was made by the sons of Ivald (the
dwarfs), and was presented to Odin by Loke. Odin
speeds forth to the field of battle with golden helmet,
resplendent armor, and his spear Gungner. Oath was
taken on the point of Gungner. This spear is frequently
referred to in the semi-mythological Sagas, where spears
are seen flying over the heads of the enemy; they are
panic-stricken and defeated. Spears are sometimes seen
as meteorical phenomena, showing that war is impend
ing. The spear symbolizes Odin's strength and power.
When Odin's spear was thrown over anybody, Odin
thereby marked him as his own. Did not Odin wound
himself with a spear, and thereby consecrate himself to
heaven?   (See pp. 254-261.) When Odin puts the spear
into the hands of the warrior, it means that he awakens
and directs his deeds of valor. When Odin is the god
of poetry and eloquence (Anglo-Saxon wod), then the





224


ODIN'S ATTRIBUTES.


spear Gungner is the keen, stinging satire that can be
expressed in poetry and oratory.
Odin's horse Sleipner (slippery) was the most excellent horse. Runes were carved on his teeth. The following myth gives us an account of his birth: When
the gods were constructing their abodes, and had already
finished Midgard and Valhal, a certain artificer came
and offered to build them, in the space of three half
years, a residence so well fortified that they should be
perfectly safe from the incursions of the frost-giants and
the giants of the mountains, even though they should
have penetrated within Midgard. But he demanded for
his reward the goddess Freyja, together with the sun and
moon.   After long deliberation the gods agreed to his
terms, provided he would finish the whole work himself without any one's assistance, and all within the
space of one winter; but if anything remained unfinished on the first day of summer, he should forfeit the
recompense agreed on. On being told these terms, the
artificer stipulated that he should be allowed the use
of his horse, called Svadilfare (slippery-farer), and this
by the advice of Loke was granted to him. He accordingly set to work on the first day of winter, and during
the night let his horse draw stone for the building.
The enormous size of the stones struck the gods with
astonishment, and they saw clearly that the horse did
one half more of the toilsome work than his master.
Their bargain, however, had been concluded in the presence of witnesses and confirmed by solemn oaths, for
without these precautions a giant would      not have
thought himself safe among the gods, especially when
Thor returned from an expedition he had then undertaken toward the east against evil demons.
As the winter drew to a close, the building was far





ODIN'S ATTRIBUTES.


225


advanced, and the bulwarks were sufficiently high and
massive to render this residence impregnable. In short,
when it wanted but three days to summer, the only
part that remained to be finished was the gateway.
Then sat the gods on their seats of justice and entered
into consultation, inquiring of one another who among
them could have advised to give Freyja away to Jotunheim or to plunge the heavens in darkness by permitting the giant to carry away the sun and the moon.
They all agreed that none but Loke Laufeyarson and
the author of so many evil deeds could have given
such bad counsel, and that he should be put to a cruel
death if he did not contrive some way or other to prevent the artificer from completing his task and obtaining
the stipulated recompense. They immediately proceeded
to lay hands on Loke, who in his fright promised upon
oath, that let it cost him what it would he would so
manage matters that the man should lose his reward.
That very night, when the artificer went with Svadilfare for building-stone, a mare suddenly ran out of a
forest and began   to neigh.   The horse being thus
excited, broke loose and ran after the mare into the
forest, which obliged the man also to run after his
horse, and thus between one and the other the whole
night was lost, so that at dawn the work had not made
the usual progress.  The man, seeing that he had no
other means of completing his task, resumed his own
gigantic stature, and the gods now clearly perceived
that it was in reality a mountain giant who had come
amongst them. No longer regarding their oaths, they
therefore called on Thor, who immediately ran to their
assistance, and lifting up his mallet Mjolner (the crusher)
that the dwarfs had made, he paid the workman his
wages, not with the sun and moon, and not even by





226


ODIN'S ATTRIBUTES.


sending him back to Jotunheim, for with the first blow
he shattered the giant's skull to pieces, and hurled him
headlong into Niflheim. But Loke had run such a race
with Svadilfare, that shortly after the mischief-maker
(Loke) bore a gray foal with eight legs.      This is the
horse Sleipner, which excels all horses ever possessed by
gods or men.     The gods perjured themselves, and in
reference to this says the Elder Edda:
Then went the rulers there,
All gods most holy,
To their seats aloft,
And counsel together took;
Who all the winsome air
With guile had blended,
Or to the giant's race
Oder's maiden given.*
Then Thor, who was there,
Arose in wrathful mood,
For seldom sits he still
When such things he hears.
Annulled were now all oaths,
And words of promise fair,
And faith not long before
In council plighted.
This riddle is propounded. Who are the two who
ride to the Thing? Three eyes have they together, ten
feet and one tail; and thus they travel through the
lands. The answer is Odin, who rides on Sleipner; he
has one eye, the horse two; the horse runs on eight
feet, Odin has two; only the horse has a tail.
Odin's horse, Sleipner, symbolizes the     winds   of
heaven, that blow from eight quarters. In Skaane and
Bleking, in Sweden, it was customary to leave a sheaf
of grain in the field for Odin's horse, to keep him from
* Freyja, whom the gods had promised the giant, was Oder's wife.





ODIN'S JOURNEYS.


227


treading down the grain.     Wednesday is named after
Odin (Odinsday), and on this day his horse was most
apt to visit the fields. But in a higher sense Sleipner
is a Pegasos. Pegasos flew from the earth to the abodes
of the gods; Sleipner comes from heaven, carries the
hero unharmed through the dangers of life, and lifts
the poet, who believes in the spirit, up to his heavenly
home. Grundtvig calls Sleipner the courser of the poet's
soul; that is to say, of the Icelandic or Old Norse
strophe in poetry, which consisted of eight verses, or four
octometers.   The most poetic is the most truthful
interpretation of the myths.
SECTION V. ODIN S JOURNEYS.
A whole chapter might be written about the wanderings of Odin, his visits to the giants, to men, to battles,
etc.; but as these records are very voluminous, and are
found to a great extent in the semi-mythological Sagas,
in which it is difficult to separate the mythical and historical elements, we will make but a few remarks on this
subject. All his wanderings of course describe him as
the all-pervading spirit of the universe. They have the
same significance as his horse Sleipner, his ravens Hugin
and Munin, etc. He descends to the bottom of the sea
for wisdom, he descends to earth to try the minds of
men. In the Elder Edda journeys of Odin form the
subjects of the lays of Vafthrudner, Grimner, Vegtam,
etc. (See pp. 120-124.)  In the lay of Vafthrudner Odin
visits the giant Vafthrudner for the purpose of proving
his knowledge. They propose questions relating to the
cosmogony of the Norse mythology, on the condition
that the baffled party forfeit his head. The giant incurs
the penalty. Odin calls himself Gangraad, but by the last
question the giant recognizes him and is stricken with





228


ODIN'S JOURNEYS.


awe and fear. The giant must perish since he has ventured into combat with Odin. The mind subdues physical nature. When the giant recognizes Odin he realizes his own depressed nature and must die. No rogue
can look an honest man in the eye. In Grimnersmal
Odin assumes the name of Grimner, and goes to try the
mind of his foster-son Geirrod. Geirrod tortures him and
places him between two fires. And here begins the lay,
in which Odin glorifies himself and the power of the
gods and pities his fallen foster-son, but finally discloses
himself and declares death to Geirrod for his want of
hospitality. Thus Odin closes his address to Geirrod in
the lay of Grimner:
Many things I told thee,
But thou hast few remembered:
Thy friends mislead thee.
My friend's sword
Lying I see
With blood all dripping.
The fallen by the sword
Ygg shall now have;
Thy life is now run out:
Wrath with thee are the dises,
Odin thou now shalt see:
Draw near to me, if thou canst.
Odin I am named,
Ygg I was called before,
Before that Thund,
Vaker and Skilfing,
Vafud and Hroptatyr;
With the gods Gaut and Jalk,*
Ofner and Svafner;
All which I believe to be
Names of me alone.


* Jack the Giant-killer.





ODIN AND MIMEER.


229


SECTION VI. ODIN AND MIMER.
In the lay of Vegtar, Odin goes to Hel, and wakes
the prophetess to learn the fate of his son Balder. He
also takes counsel from the utmost sources of the ocean,
and listens to the voice from    the deep.   Some myths
refer to Odin's pawning his eye with Mimer, others to
his talking with Mimer's head.
The Younger Edda, having stated that Mimer's well
is situated under that root of the world-ash Ygdrasil
that extends to Jotunheim, adds that wisdom and wit
lie concealed in it, and that Odin came to Mimer one
day and asked for a drink of water from the fountain.
He obtained the drink, but was obliged to leave one of
his eyes in pawn for it. To this myth refers the following passage from the Vbluspa in the Elder Edda:
Alone she* sat without,
When came that ancient
Dreaded princef of the gods,
And in his eye she gazed.
The vala to Odin:
Of what wouldst thou ask me?
Odin! I know all,
Where thou thine eye didst sink
In the pure well of Mimer.
Mimer drinks mead each morn
From Valfather's pledge.
Understand ye yet, or what?
This myth was given in connection with Ygdrasil,
but it is repeated here to shed a ray of light upon the
character of Odin, and in this wise Mimer is brought
into a clearer sunlight also.
* The vala, or prophetess.  t Odin.





230


ODIN AND MIMER.


In regard to Odin's speaking with Mimer's head, we
have the following passage in the lay of Sigdrifa:
On the rock he* stood
With edged sword,
A helm on his head he bore.
Then spake Mimer's head
Its first wise word,
And true sayings uttered.
And in Viluspa~, when Ragnarok is impending:
Mimer's sons dance,
But the central tree takes fire
At the resounding
Gjallarhorn,
Loud blows Heimdal,
His horn is raised;
Odin speaks
With Mimer's head.
Odin's eye is the sun.      Mimer's fountain    is the
utmost sources of the ocean.     Into it, Odin's eye, the
sun sinks every evening to search the secrets of the deep,
and every morning Mimer drinks the gold-brown mead
(aurora). When the dawn colors the sea with crimson
and scarlet, then Mimer's white fountain is changed to
golden mead; it is then Mimer, the watcher of the
fountain of knowledge, drinks with his golden horn the
clear mead which flows over Odin's pledge. But Mimer
means memory     (Anglo-Saxon meomor), and as we know
that our ancestors paid deep reverence to the memories
of the past, and that the fallen heroes, who enjoyed the
happiness of Valhal with Odin, reveled in the memory
of their deeds done on earth, it is proper,to add that
Mimer is an     impersonation of memory.       Our spirit
(Odin, od, aand) sinks down into the depths of the
* Odin.    t See Vocabulary under the word Mimer.





HLIDSKJALF.


231


past (memory, the sea, Odin's fountain), and brings
back golden thoughts, which are developed by the
knowledge which we obtained from the depths beneath
the sea of past history and experience.    What a vast
ocean is the history and experience of our race!
SECTION VII. HLIDSKJALF.
Hlidskjalf is Odin's throne. The accounts of it are
very meagre. The Younger Edda speaks of a stately
mansion belonging to Odin called Valaskjalf, which was
built by the gods and roofed with pure silver, and in
which is the throne called Hlidskjalf.    When Odin is
seated on this throne he can see over the whole world.
But he not only looks, he also listens.
Odin listened
In Hlidskjalf,
it is said in Odin's Raven-song; in Grimner's lay it
is stated that Odin and Frigg, his wife, were sitting in
Hlidskjalf, looking over all the world; and in the lay
of Skirner we read that Frey, son of Njord, had one
day seated himself in Hlidskjalf. As Odin every morning
sends out his ravens, it seems to be his first business,
as a good father, to look out upon the world that he
has made, and see how his children are doing, and
whether they need his providential care in any respect.
Hlidskjalf and Valhal must not be confounded. Valhal
will be explained hereafter. It is situated in Gladsheim,
where Odin sat with his chosen heroes and drahk wine.
But Valaskjalf is a place apart from Gladsheim, and on
its highest pinnacle above the highest arches of heaven
is Odin's throne, Hlidskjalf.





232


THE HISTORICAL ODIN.


SECTION VIII. THE HISTORICAL ODIN.
We have now presented the mythological Odin as
based on the inscrutable phenomena of nature, and have
given some hints in regard to the ethical or anthropomorphic element contained in each myth.     Our next
subject will be Odin's wives, their maid-servants, his sons,
etc.; but before we proceed to them we will give a short
outline of the historical Odin, as he is presented in the
Heimskringla of Snorre Sturleson by Saxo Grammaticus
and others. Mr. Mallet, the French writer on Northern
Antiquities, has given a synoptical view of all that these
writers have said about the wanderings and exploits of
this famous person, and we will make an abstract from
him.
The Roman Empire had arrived at its highest point of
power, and saw all the then known world subject to its
laws, when an unforeseen event raised up enemies against
it from the very bosom of the forests of Scythia and on
the banks of the Tanais.    Mithridates by flying had
drawn Pompey after him into those deserts. The king
of Pontus sought there for refuge and new means of
vengeance. He hoped to arm against the ambition of
Rome all the barbarous nations, his neighbors, whose
liberty she threatened. He succeeded in this at first, but
all those peoples, ill united as allies, poorly armed as
soldiers, and still worse disciplined, were forced to yield
to the genius of Pompey. Odin is said to have been of
this number. He was obliged to flee from the vengeance
of the Romans and to seek, in countries unknown to his
enemies, that safety which he could no longer find in
his own.
Odin commanded the Asas, whose country was situated between the Pontus Euxinus and the Caspian Sea.





THE HISTORICAL ODIN.


233


Their principal city was Asgard. Odin having united
under his banners the youth of the neighboring nations,
marched toward the west and north of Europe, subduing
all the peoples he met on his way and giving them to
one or other of his sons for subjects.  Many sovereign
families of the North are said to be descended from these
princes. Thus Hengist and Horsa, the Saxon chiefs who
conquered Britain in the fifth century, counted Odin in
the number of their ancestors. So did also the other
Anglo-Saxon princes, as well as the greater part of the
princes of Lower Germany and the North.
After having disposed of so many countries and confirmed and settled his new governments, Odin directed
his course toward Scandinavia, passing through Holstein and Jutland. These provinces made him no resistance. Then he passed into Funen (Denmark), which
submitted as soon as he appeared. In this island he
remained for a long time and built the city of Odense
(Odins-ve, Odin's sanctuary), which still preserves in its
name the memory of its founder.    Hence he extended
his authority over all the North. He subdued the rest
of Denmark and placed his son Skjold upon its throne.
The descendants of Skjold continued for many generations to rule Denmark, and were called Skjoldungs.
Odin, who seems to have been better pleased to give
crowns to his children than to wear them himself, afterwards passed over into Sweden,.where at that time ruled
a prince by name Gylfe, who paid him great honors and
even worshiped him as a divinity. Odin quickly acquired
in Sweden the same authority as he had obtained in
Denmark. The Swedes came in crowds to do him homage, and by common consent bestowed the title of king
upon his son Yngve and his posterity. Hence sprung
the Ynglings, a name by which the kings of Sweden





234


THE HISTORICAL ODIN.


were for a long time distinguished. Gylfe died and was
forgotten; Odin acquired lasting fame by his distinguished rule. He enacted new laws, introduced the
customs of his own country, and established at Sigtuna,
an ancient city in the same province as Stockholm, a
supreme council or tribunal, composed of twelve judges.
Their business was to watch over the public weal, to
distribute justice to the people, to preside over the new
worship, which Odin had brought with him into the
North, and to preserve faithfully the religious and magical secrets which that prince deposited with them. He
levied a tax on every man throughout the country, but
engaged on his part to defend the inhabitants against
all their enemies and to defray the expense of the worship rendered to the gods at Sigtuna.
These great acquisitions seem not, however, to have
satisfied his ambition. The desire of extending further
his religion, his authority, and his glory, caused him to
undertake the conquest of Norway. His good fortune
followed him thither, and this kingdom  quickly obeyed
a son of Odin named Saeming, who became the head of
a family the different branches of which reigned for a
long time in Norway.
After Odin had finished these glorious achievements
he retired into Sweden, where, perceiving his end to
draw near, he would not wait for a lingering disease to
put an end to that life which he had so often and so
valiantly hazarded in the battle-field, but gathering round
him the friends and companions of his fortune, he gave
himself nine wounds in the form of a circle with the
point of a lance, and many other cuts in his skin with
his sword. As he was dying he declared he was going
back to Asgard to take his seat among the gods at an
eternal banquet, where he would receive with    great





THE HISTORICAL ODIN.


235


honors all who should expose themselves intrepidly in
battle and die bravely with their swords in their hands.
As goon as he had breathed his last they carried his
body to Sigtuna, where, in accordance with a custom
introduced by him into the North, his body was burned
with much pomp and magnificence.
Such was the end of this man, whose death was
as extraordinary as his life. It has been contended by
many learned men that a desire of being revenged on
the Romans was the ruling principle of his whole conduct. Driven by those enemies of universal liberty from
his former home, his resentment was the more violent,
since the Goths considered it a sacred duty to revenge
all injuries, especially those offered to their relations or
country. He had no other view, it is said, in traversing
so many distant kingdoms, and in establishing with so
much zeal his doctrines of valor, but to arouse all
nations against so formidable and odious a nation as
that of Rome.     This leaven which Odin left in the
bosoms of the worshipers of the gods, fermented a long
time in secret; but in the fullness of time, the signal
given, they fell upon this unhappy empire, and, after
many repeated shocks, entirely overturned it, thus revenging the insult offered so many ages before to their
founder.
The Sagas paint Odin as the most persuasive of men.
Nothing could resist the force of his words. He sometimes enlivened his harangues with verses, which he composed extemporaneously, and he was not only a great
poet, but it was he who taught the art of poetry to the
Norsemen. He was the inventor of the runic characters,
which so long were used in the North. This marking
down the unseen thought that is in man with written
characters is the most wonderful invention ever made;





236


ODIN'S WIVES.


it is almost as miraculous as speech itself, and well
may it be called a sort of second speech. But what
most contributed to make Odin pass for a god was his
skill in magic. He could run over the world in the
twinkling of an eye; he had the command of the air
and the tempests, he could transform  himself into all
sorts of shapes, could raise the dead, could foretell
things to come, could by enchantments deprive his
enemies of health and strength and discover all the
treasures concealed in the earth.  He knew    how  to
sing airs so tender and melodious, that the very plains
and mountains would open and expand with delight;
the ghosts, attracted by the sweetness of his songs,
would leave their infernal caverns and stand motionless
around him.
But while his eloquence, together with his august
and venerable deportment, procured him love and respect in a calm and peaceable assembly, he was no less
dreadful and furious in battle. He inspired his enemies
with such terror that they thought they could not describe it better than by saying he rendered them blind
and deaf. He would appear like a wolf all desperate and
biting his very shield for rage, he would throw himself
amidst the opposing ranks, making around him the
most horrible carnage, without receiving any wound
himself.  Such is the historical Odin of the North,
such was, in other words, the great example that the
Norsemen had to imitate in war and in peace.
SECTION IX. ODIN'S WIVES.
Odin's wives are Jord (Fjorgyn, Hlodyn), Rind and
Frigg.  Heaven is married to earth.   This we find in
all mythologies (UTranos and Gaia, Zeus and Demeter,
etc.)  Among the Norsemen also the ruler of heaven





ODIN'S WIVES.


237


and earth (Odin) enters into marriage relations with his
own handiwork.     This relation is expressed in three
ways: Odin is married to Jord, to Frigg, and to Rind.
Jord is the original, uninhabited earth, or the earth
without reference to man; Frigg is the inhabited, cultivated earth, the abode of man, and Rind is the earth
when it has again become unfruitful, when the white
flakes of winter have covered its crust; it is in this
latter condition that she long resists the loving embraces
of her husband. These three relations are expressed still
more clearly by their children. With Jord Odin begets
Thor, with Frigg Balder, and with Rind Vale.       Jord
is the Greek Gaia, Frigg is Demeter, but the fortunate
Greeks had no goddess corresponding to Rind; they
knew not the severe Norse winter.
Jord is sometimes called Fjorgyn and Hlodyn, but
neither of these names occur many times in the Eddas.
There are only found occasional allusions to her, such
as the flesh of Ymer, the daughter of Annar, sister of
Dag, mother of Thor, etc.
Frigg is the daughter of Fjorgyn and the first among
the goddesses, the queen of the asas and asynjes.  Odin
is her dearly beloved husband.    She sits with him in
Hlidskjalf and looks out upon all the worlds, and for
the death of their son, the light Balder, they mourn together with all nature. Frigg knows the fate of men,
but she never says or prophesies anything about it herself. She possesses a falcon-disguise, which Loke once
borrowed of her. She possesses a magnificent mansion
Fensal, where she sat weeping over Valhal's misfortune
after the death of Balder.    It is not certain whether
Friday is named after Frigg or Freyja or after Frey, but
the probabilities are that it is Freyja's day (dies Veneris).
While Frigg and Freyja are by many authors confounded,





238


FRIGG S MAID-SERVANTS.


they are nevertheless wholly different characters. Frigg
is asaqueen, Freyja is vanadis. Frigg is a mother's love;
Freyja is the love of the youth or maiden.      The asas
are land deities, the vans are divinities of the water.
The vana-goddess Freyja represents the surging, billowy,
unsettled love; the asynje Frigg represents love in its
nobler and more constant form.
SECTION X. FRIGG'S MAID-SERVANTS.
Fulla, Hlyn, Gnaa, Snotra, Var, Lofn (Sjofn), and
Syn, are enumerated as maid-servants of Frigg.
Fulla goes about with her hair flowing over her
shoulders and her head adorned with a golden ribbon.
She is intrusted with the toilette and slippers of Frigg
and admitted into the most important secrets of that
goddess. The word Fulla means full, fulness, and as
the servant of Frigg she represents the fulness of the
earth, which is beautifully suggested by her waving hair
and golden iibbon (harvest), and when Balder sent the
ring Draupner from   Hel, his wife Nanna sent Frigg a
carpet, and Fulla a gold ring.
Hlyn has the care of those whom Frigg intends to
deliver from peril.
Gnaa is the messenger that Frigg sends into the
various worlds on her errands.    She has a horse that
can run through air and water, called Hofvarpner (the
hoof-thrower). Once, as she drove out, certain vans
saw her car in the air, when one of them exclaimed:
What flies there?
What goes there?
In the air aloft what glides?
She answered:
I fly not, though I go,
And glide through the air





GEFJUN - EIR.


239


On Hofvarpner,
Whose sire's Hamskerper*
And dame Gardrofa.t
Gnaa is interpreted to mean the mild breezes, that
Frigg sends out to produce good weather.
Var listens to the oaths that men take, and particularly the troth plighted between man and woman,
and punishes those who keep not their promises. She
is wise and prudent, and so penetrating that nothing
remains hidden from her. Her name Var means wary,
careful.
Lofn (lofa, loben, love) is so mild and gracious to those
who invoke her, that by a peculiar privilege which either
Odin himself or Frigg has given her, she can remove
every obstacle that may prevent the union of lovers
sincerely attached to each other. Hence her name is
applied to denote love, and whatever is beloved by
men.
Sjofn delights in turning men's hearts and thoughts
to love; hence love is called from her name sjafni.
Syn keeps the door in the hall and shuts it against
those who ought not to enter.     She presides at trials,
when anything is to be denied on oath; whence the
proverb, Syn (negation) is set against it, when anything
is denied.
SECTION XI. GEFJUN, EIR.
The norns or destinies have been previously explained
(see p. 190); Nanna will be discussed in connection
with Balder, and Freyja, the goddess of love, in connection with Njord and Frey; but there are besides
these a few other goddesses, who demand our attention
here.
* He who hardens the hide.  t Fence-breaker.





240


GEFJUN.


Gefjun is a maid, and all those who die maids become
her hand-maidens. Of her there is the following anecdote in the Younger Edda. King Gylfe ruled over the
land which is now called Sweden. It is related of him
that he once gave a wayfaring woman, as a recompense
for her having diverted him, as much land in his realm
as she could plow with four oxen in a day and a night.*
This woman was however of the race of the asas, and
was called Gefjun.  She took four oxen from the North,
out of Jotunheim, (but they were the sons she had had
with a giant,) and set them before a plow.    Now the
plow made such deep furrows that it tore up the land,
which the oxen drew westward out to the sea until they
came to a sound. There Gefjun fixed the land and called
it Zealand. And the place where the land had stood
became water, and formed a lake which is now called
Logrinn (the sea) in Sweden, and the inlets of this lake
correspond exactly with the headlands of Zealand in
Denmark. Thus saith the Skald, Brage:
Gefjun drew from Gylfe,
Rich in stored up treasure,
The land she joined to Denmark.
Four heads and eight eyes bearing,
While hot sweat trickled down them,
The oxen dragged the reft mass
That formed this winsome island.
The etymology of Gefjun is uncertain. Some explain it as being a combination of the Greek r7 and
Norse fjon, separation (terrce separatio).  Grimm compares it with the Old Saxon geban, Anglo-Saxon geofon,
gifan, the ocean.   Grundtvig derives it from   AngloSaxon gefean, gladness. He says it is the same word as
Funen (Fyn), and that the meaning of the myth is that
* Compare with this myth Dido and the founding of Carthage.





RIND.


241


Funen and Jutland with united strength tore Zealand
from  Sweden.   This would then be a historical interpretation.
The derivation from gefa, to give, has also been suggested, and there is no doubt that the plowing Gefjun is
the goddess of agriculture. She unites herself with the
giants (the barren and unfruitful fields or deserts) and
subdues them, thus preparing the land for cultivation.
In this sense she is Frigg's maid-servant. Gefjun, the
plowed land, develops into Frigg, the fruit-bearing earth;
hence she is a maid, not a woman. The maid is not,
but shall become fruitful.
Eir is the goddess of the healing art, and this is
about all that we know of her; but that is a great deal.
A healer for our frail body and for the sick mind!
what a beneficent divinity!
SECTION XII. RIND.
This goddess was mentioned in Section IX. It is
the third form of earth in its relation to Odin. Thus
the lay of Vegtam, in the Elder Edda:
Rind a son shall bear
In the wintry halls,
He shall slay Odin's son
When one night old.
He a hand will not wash,
Nor his hair comb,
Ere he to the pile has borne
Balder's adversary.
Odin's repeated wooing of this maid is expressed in
HavamAl, of the Elder Edda, as follows:
The mind only knows
What lies near the heart;





242


RIND.


That alone is conscious of our affections.
No disease is worse
To a sensible man
Than not to be content with himself.
That I experienced
When in the reeds I sat
Awaiting my delight.
Body and soul to me
Was that discreet maiden:
Nevertheless I possess her not.
Billing's lass*
On her couch I found,
Sun-bright, sleeping.
A prince's joy
To me seemed naught,
If not with that form to live.
Yet nearer night, she said,
Must thou, Odin, come,
If thou wilt talk the maiden over;
All will be disastrous
Unless we alone
Are privy to such misdeed.
I returned,
Thinking to love
At her wise desire;
I thought
I should obtain
Her whole heart and love.
When next I came,
The bold warriors were
All awake,
With lights burning,
And bearing torches:
Thus was the way to pleasure closed.


Rind was daughter of Billing.





RIND.


243


But at the approach of morn,
When again I came,
The household all was sleeping;
The good damsel's dog
Alone I found
Tied to the bed.
Many a fair maiden,
When rightly known,
Toward men is fickle:
That I experienced
When that discreet maiden I
Strove to win:
Contumely of every kind
That wily girl
Heaped upon me;
Nor of that damsel gained I aught.
This is clearly the same story as is related by Saxo
Grammaticus, as follows:    Odin loves a maiden, whose
name is Rind, and who has a stubborn disposition.
Odin tried to revenge the death of his son Balder. Then
he was told by Rosthiof that he with Rind, the daughter of the king of the Ruthenians, would beget another
son, who would revenge his brother's death. Odin put
on his broad-brimmed hat and went into the service of
the king, and won the friendship of the king, for as
commander he put a whole army to flight. He revealed
his love to the king, but when he asked the maiden
for a kiss, she struck his ear. The next year he came
as a smith, called himself Rosterus, and offered the
maiden a magnificent bracelet and beautiful rings; but
she gave his ear another blow. The third time he came
as a young warrior, but she thrust him away from her
so violently that he fell head first to the ground.
Finally he came as a woman, called himself Vecha, and
said he was a doctress. As Rind's servant-maid, he





244


RIND.


washed her feet in the evening, and when she became
sick he promised to cure her, but the remedy was so
bitter that she must first be bound. He represented to
her father that it, even against her wish, must operate
with all its dissolving power, and permeate all her limbs
before she could be restored to health. Thus he won
the maiden, as some think, with the secret consent of
her father. But the gods banished Odin from Byzantium, and accepted in his place a certain Oller, whom
they even gave Odin's name. This 011er had a bone,
which he had so charmed by incantations that he could
traverse the ocean with it as in a ship. Oiler was banished again by the gods, and betook himself to Sweden;
but Odin returned in his divine dignity and requested
his son Bous, whom Rind had borne, and who showed
a great proclivity for war, to revenge the death of his
brother. Saxo Grammaticus relates this as confidently
as if it were the most genuine history, not having the
faintest suspicion as to its mythical character.
Saxo's Rosthiof is mentioned in the Elder Edda as
Hross-thiofr (horse-thief), of Hrimner's (the frost's rime's)
race. Saxo's Vecha is Odin, who in the Elder Edda is
called Vak. The latter portion of the myth is not given
in Havamal, and were it not for faithful Saxo we should
scarcely understand that portion of the Elder Edda which
was quoted above.   But with the light that he sheds
upon it there is no longer any doubt. Rind is the earth,
not generally speaking, but the earth who after the death
of Balder is consigned to the power of winter. Does not
the English word rind remind us of the hard-frozen
crust of the earth? Defiantly and long she resists the
love of Odin; in vain he proffers her the ornaments of
summer; in vain he reminds her of his warlike deeds,
the Norseman's most cherished enterprise in the summer




RIND.


245


season. By his all-powerful witchcraft he must dissolve
and as it were melt her stubborn mind.      Finally she
gives birth to Vale, the strong warrior.
In the incantation of Groa, in the Elder Edda, this
is the first song that the mother sings to her son:
I will sing to thee first
One that is thought most useful,
Which Rind sang to Ran; *
That from thy shoulders thou shouldst cast
What to thee seems irksome:
Let thyself thyself direct. (Be independent!)
What is it that seems so irksome to Rind and Ran,
and that both cast frobn their shoulders in order to
become independent?    It is the ice.  When Rind had
thrown it off she requested the sea-goddess Ran to do
likewise.
The Greeks have a myth corresponding somewhat to
this. The god of the heavens, Zeus, comes down in the
rain into Hera's lap; but when she resisted his entreaties
Zeus let fall a shower of rain, while she was sitting on
the top of a mountain, and he changed himself to a
nightingale (a symbol of spring-time). Then Hera compassionately took the wet and dripping bird into her lap.
But look at the difference!   Hera soon gives way and
pities, but our Norse Rind makes a desperate resistance.
It repeatedly looks as if Odin had conquered, but the
maid reassumes her stubborn disposition. How true this
is of the climate in the northern latitudes! Rind is not
inapplicable to our Wisconsin winters.
Such is the physical interpretation of Odin's relation
to Frigg   and  Rind.   Heaven and earth are wedded
together; and upon this marriage earth presents itself in
two forms: fruitful and blest, unfruitful and imprisoned
* The goddess of the sea.





246


GUNLAD- THE ORIGIN OF POETRY.


in the chains of cold and frost. As the king of the year
Odin embraces both of them. But Odin is also the
spiritual (aand) king, who unites himself with the human
earthly mind. He finds it crude and uncultured, but
susceptible of impressions.  Pure thoughts and noble
feelings are developed, which grow into blooming activities. But then comes back again the unfeeling coldness
and defiant stubbornness which take possession of the
mind, shutting out the influence of truth upon the mind.
It is a sad time when doubt and skepticism and despair
every night lay their leaden weight upon the poor man's
soul. However to the honest seeker of truth it is only
a transitory state of trial. A wise Providence takes him
with tender and patient hands again to his bosom. He
sends down showers of blessings or misfortunes upon
him. With his mild breath he melts the frozen heart,
and it at once clothes itself with garlands of divinest
hues. With all his charms he touches the wintry rind
that encases us, and the mind stands forth unmanacled
and free. What to the year is light summer and dark
winter is to us bright and gloomy periods of our existence, that succeed each other in their turn, advancing
or impeding our spiritual development, which must continue forever. This is also contained in the myth about
Odin and Rind, nay, it is the better half.
SECTION XIII. GUNLAD. THE ORIGIN OF POETRY.
Poetry is represented as an inspiring drink. He who
partakes of it is skdld, poet. This drink was kept with
the giants, where Gunlad protected it. Odin goes d(own
to the giants, conquers all obstacles, wins Gunlad's affection, and gets permission to partake of the drink. He
brings it to the upper world and gives it to men. Thus





GUNLAD -- THE ORIGIN OF POETRY.


247


poetry originated and developed. Thus it is related in
the Younger Edda:
LEger having expressed a wish to know how poetry
originated, Brage, the god of poetry, informed him that
the asas and vans having met to put an end to the war
which had long been carried on between them, a treaty
of peace was agreed to and ratified by each party spitting
into a jar. As a lasting sign of the amity which was
thenceforward to subsist between the contending parties,
the gods formed out of this spittle a being, to whom
they gave the name of Kvaser, and whom they endowed
with such a high degree of intelligence that no one
could ask him a question that he was unable to answer.
Kvaser then traversed the whole world to teach men
wisdom, but the dwarfs, Fjalar and Galar, having invited
him to a feast, treacherously murdered him. They let
his blood run into two cups and a kettle. The name
of the kettle is Odrcerer, and the names of the cups are
Son and Bodn. By mixing, up his blood with honey
they composed a drink of such surpassing excellence
that whoever partakes of it acquires the gift of song
(becomes a poet or man of knowledge, skald, e6a
freamanwr). When the gods inquired what had become
of Kvaser, the dwarfs told them that he had been suffocated with his own wisdom, not being able to find
anyone who, by proposing to him a sufficient number
of learned questions, might relieve him of its superabundance.
The dwarfs invited a giant, by name Gilling, and his
wife.  They proposed to the giant to take a boat-ride
with them out on the sea, but they rowed on to a rock
and capsized. Gilling could not swim, and perished, but
the dwarfs rowed ashore, and told his wife of his death,
which made her burst forth in a flood of tears. Then





248


GUNLAD -THE ORIGIN OF POETRY.


Fjalar asked her whether it would not be some consolation to her to look out upon the water, where her
husband had perished; and when she consented to this,
Fjalar said to his brother Galar that he should get up
above the door, and, as she passed out through it, he
should let fall a mill-stone upon her head, for he was
sick and disgusted with her crying.    The brother did
so, and thus she perished also. A son of Gilling, a
giant by name Suttung, avenged these treacherous deeds.
He took the dwarfs out to sea and placed them on a
shoal, which was flooded at high water. In this critical
position they implored Suttung to spare their lives, and
accept the verse-inspiring beverage, which they possessed,
as an atonement for their having killed his parents.
Suttung, having agreed to these conditions, released the
dwarfs, and, carrying the mead home with him, committed it to the care of his daughter Gunlad.     Hence
poetry is indifferently called Kvaser's blood, Suttung's
mead, the dwarfs' ransom, etc.
How did the gods get possession of this valuable
mead of Suttung?     Odin being fully determined to acquire it, set out for Jotunheim, and after journeying
for some time he came to a meadow, in which nine
thralls were mowing. Entering into conversation with
them, Odin offered to whet their scythes, an offer which
they gladly accepted.   He took a whetstone from     his
belt and whetted their scythes, and finding that it had
given their scythes an extraordinarily keen edge the
thralls asked him whether he was willing to dispose of it;
but Odin threw the whetstone up into the air, and as all
the thralls attempted to catch it as it fell, each brought
his scythe to bear on the neck of one of his comrades,
so that they were all killed in the scramble. Odin took
up his night's lodging at the house of Suttung's brother





GUNLAD -THE ORIGIN OF POETRY.


249


Bauge, who told him he was sadly at a loss for laborers, his nine thralls having slain each other. Odin who
here called himself Bolverk (one who can perform the
most difficult work), said that for a draught of Suttung's
mead he would do the work of nine men for him. Bauge
answered that he had no control over it. Suttung wanted
it alone, but he would go with Bolverk and try to get
it. These terms were agreed on, and Odin worked for
Bauge the whole summer, doing the work of nine men;
but when winter set in he wanted his reward. Bauge
and Odin set out together, and Bauge explained to
Suttung the agreement between him and Bolverk, but
Suttung was deaf to his brother's entreaties and would
not part with a drop of the precious drink, which was
carefully preserved in a cavern under his daughter's custody. Into this cavern Odin was resolved to penetrate.
We must invent some stratagem, said he to Bauge. He
then gave Bauge the augur, which is called Rate, and
said to him that he should bore a hole through the rock,
if the edge of the augur was sharp enough. Bauge did
so, and said that he now had bored through. But Odin,
or Bolverk as he is here called, blew into the augurhole and the chips flew into his face.  He then perceived that Bauge intended to deceive him and commanded him to bore clear through. Bauge bored again,
and, when Bolverk blew a second time, the chips flew
the other way. Then Odin transformed himself into a
worm, crept through the hole, and resuming his natural
shape won the heart of Gunlad. Bauge put the augur
down after him, but missed him. After having passed
three nights with the fair maiden, he had no great difficulty in inducing her to let him take a draught out
of each of the three jars called Odroerer, Bodn, and
Son, in which the mead was kept. But wishing to





250


GUNLAD---THE ORIGIN OF POETRY.


make the most of his advantage, he drank so deep that
not a drop was left in the vessels. Transforming himself
into an eagle, he then flew off as fast as his wings could
carry him, but Suttung becoming aware of the stratagem, also took upon himself an eagle's guise and flew
after him. The gods, on seeing him approach Asgard,
set out in the yard all the jars they could lay their hands
on, which Odin filled by disgorging through his beak
the wonder-working liquor he had drunk. He was however so near being caught by Suttung, that he sent some
of the mead after him backwards, and as no care was
taken of this it fell to the share of poetasters.  It is
called the drink of silly poets. But the mead discharged
into the jars was kept for the gods and for those men
who have sufficient wit to make a right use of it. Hence
poetry is called Odin's booty, Odin's gift, the beverage
of the gods, etc.
But let us look at this myth in its older and purer
form. Thus the Elder Edda, in Halvamal:
Oblivion's heron 't is called
That over potations hovers;
He steals the minds of men.
With this bird's pinions
I was fettered
In Gunlad's dwelling.
Drunk I was,
I was over-drunk
At that cunning Fjalar's.
It's the best drunkenness
When every one after it
Regains his reason.
This passage then refers to the effects of the strong
drink of poetry, and Odin recommends us to use it with
moderation. Would it not be well for some of our poets
to heed the advice?





GUNLA)- THE ORIGIN OF POETRY.
Thus Havamal again:
The old giant* I sought;
Now I am come back;
Little got I there by silence;
In many words
I spoke to my advantage
In Suttung's halls.
Gunlad gave me,
On her golden seat,
A draught of the precious mead;
A bad recompense
I afterwards made her,
For her whole soul,
Her fervent love.
Rate's mouth I caused
To make a space,
And to gnaw the rock;
Over and under me
Were the giant's ways:
Thus I my head did peril.
Of a well-assumed form
I made good use:
Few things fail the wise;
For Odroerer
Is now come up
To men's earthly dwellings.
'T is to me doubtful
That I could have come
From the giant's courts
Had not Gunlad aided me
That good damsel
Over whom I laid my arm.
On the day following
Came the frost-giants
* Suttung.





252


GUNLAD--THE ORIGIN OF POETRY.


To learn something of the High One.
In theHigh One's hall:
After Bolverk they inquired
Whether he with the gods were come,
Or Suttung had destroyed him.
Odin, I believe,
A ring-oath gave.
Who in his faith will trust?
Suttung defrauded,
Of his drink bereft,
And Gunlad made to weep.
It is a beautiful idea that Odin creeps into Suttung's
hall as a serpent, but when he has drunk the mead of
poetry, when he has become inspired, he soars away on
eagles' pinions.
Odin's name, Bolverk, may mean the one working evil,
which might be said of him in relation to the giants,
or the one who accomplishes difficult things, which then
would impersonate the difficulty in mastering the art of
poetry. Without a severe struggle no one can gain a
victory in the art of poetry, and least of all in the Old
Norse language.     Gunlad (from    gunnr, struggle, and
la"a, to invite) invites Odin to this struggle. She sits
well fortified  in the abode of the giant.    She is surrounded by stone walls. The cup in which was the mead
is called Odroerer (od-rcerer, that which moves the spirit);
that is, the cup of inspiration; and the myth is as clear
as these names. Kvaser is the fruit of which the juice
is pressed and mixed with honey; it produces the inspiring drink.   It is also pertinently said that Kvaser
perishes in his own wisdom. Does not the fruit burst
from its superabundance of juice? But do not take only
the outside skin of this myth; press the ethical juice
out of it.





SAGA.


253


It should be noticed here that Kvaser (the spit, the
ripe fruit) is produced by a union of asas and vans, an
intimate union of the solid and liquid elements.
This myth also illustrates the wide difference between
the Elder and the Younger Edda. How much purer and
poetic in the former than in the latter! Ex ipso fonte
dulcius bibuntur aquca. In the Elder Edda is water in
which it is worth our while to fish.
SECTION XIV. SAGA.
Odin is not only the inventor of poetry, he also
favors and protects history, Saga. The Elder Edda:
Sokvabek hight the fourth dwelling,
Over it flow the cool-billows;
Glad drink there Odin and Saga
Every day from golden cups.
The charming influence of history could not be more
beautifully described.
Sokvabek is the brook of the deep. From the deep
arise the thoughts and roll as cool refreshing waves
through golden words. Saga can tell, Odin can think,
about it. Thus they sit together day after day and night
after night and refresh their minds from the fountain of
history. Saga is the second of the goddesses. She dwells
at Sokvabek, a very large and     stately  abode.  The
stream of history is large, it is broad and deep. Saga is
from the word meaning to say. In Greece Klio was one
of the muses, but in Norseland Saga is alone, united
with Odin, the father of heroic deeds. Her favor is the
hope of the youth and the delight of the old man.





254


ODIN AS THE INVENTOR OF RUNES.


SECTION XV. ODIN AS THE INVENTOR OF RUNES.
The original meaning of the word rune is secret,
and it was used to signify a mysterious song, mysterious doctrine, mysterious speech, and mysterious writing.
Our ancestors had an alphabet called runes, before they
learned the so-called Roman characters. The runic staverow  was a futhorc (f, u, th, o, r, k), not an alphabet
(A, B) as in Greek or Latin. But what does it mean
mythologically, that Odin is the inventor of the runes?
Odin himself says in his famous Rune-song in the Elder
Edda:
I know that I hung
On a wind-rocked tree*
Nine whole nights,
With a spear wounded
And to Odin offered,
Myself to myself;
On that tree
Of which no one knows
From what root it springs.
Bread no one gave me
Nor a horn of drink,
Downward I peered,
To runes applied myself
Wailing learnt them,
Then fell down thence.
Potent songs nine
From the famed son I learned
Of Bolthorn, Bestla's father,
And a draught obtained
Of the precious mead,
Drawn from Odroerer.
Then I began to bear fruit
And to know many things,
*Ygdrasil.





ODIN AS THE INVENTOR OF RUNES.
To grow and well thrive:
Word by word
I sought out words,
Fact by fact
I sought out facts.
Runes thou wilt find
And explained characters,
Very large characters,
Very potent characters,
Which the great speaker depicted
And the high powers formed
And the powers' prince graved.
Odin among the asas,
But among the elves, Daain;
Odin as inventor of runes
And Dvalin for the dwarfs;
Aasvid for the giants runes risted,
Some I myself risted.
Knowest thou how to rist them?
Knowest thou how to expound them?
Knowest thou how to depict them?
Knowest thou how to prove them?
Knowest thou how to pray?
Knowest thou how to offer?
Knowest thou how to send?
Knowest thou how to consume?
'T is better not to pray
Than too much offer;
A gift ever looks to a return.
'T is better not to send
Than too much consume.
So Thund risted
Before the origin of men,
There he ascended
Where he afterwards came.
Those songs I know
Which the king's wife knows not,


255





256


ODIN AS THE INVENTOR OF RUNES.


Nor son of man.
Help the first is called,
For that will help thee
Against strifes and cares.
For the second I know,
What the sons of men require
Who will as leeches live.
For the third I know,
If I have great need
To restrain my foes,
The weapon's edge I deaden:
Of my adversaries
Nor arms nor wiles harm aught.
For the fourth I know,
If men place
Bonds on my limbs,
I so sing
That I can walk;
The fetter starts from my feet
And the manacle from my hands.
For the fifth I know,
I see a shot from a hostile hand,
A shaft flying amid the host,
So swift it cannot fly,
That I cannot arrest it,
If only I get sight of it.
For the sixth I know,
If one wounds me
With a green tree's root,*
Also if a man
Declares hatred to me,
Harm shall consume them sooner than me.
For the seventh I know,
If a lofty house I see
* Roots of trees were especially fitted for hurtful trolldom (witchcraft).
They produced mortal wounds.





ODIN AS THE INVENTOR OF RUNES.
Blaze o'er its inmates,
So furiously it shall not burn
That. I cannot save it;
That song I can sing.
For the eighth I know,
What to all is
Useful to learn;
Where hatred grows
Among the sons of men -
That I can quickly assuage.
For thle ninth I know,
If I stand in need
My bark on the water to save,
I can the wind
On the waves allay,
And the sea lull.
For the tenth I know,
If I see troll-wives
Sporting in air,
I can so operate
That they will forsake
Their own forms
And their own minds.
For the eleventh I know,
If I have to lead
My ancient friends to battle,
Under their shields I sing,
And with power they go
Safe to the fight,
Safe from the fight;
Safe on every side they go.
For the twelfth I know,
If on a tree I see
A corpse swinging from a halter,
I can so rist
And in runes depict,
That the man shall walk,
And with me converse.


257





258


ODIN AS THE INVENTOR OF RUNES.


For the thirteenth I know,
If on a young man
I sprinkle water,*
He shall not fall,
Though he into battle come:
That man shall not sink before swords.
For the fourteenth I know,
If in the society of men
I have to enumerate the gods,
Asas and elves,
I know the distinctions of all.
This few unskilled can do.
For the fifteenth I know.
What the dwarf of Thodroerer sang
Before Delling's doors.
Strength he sang to the asas,
And to the elves prosperity,
Wisdom to Hroptatyr (Odin).
For the sixteenth I know,
If a modest maiden's favor and affection
I desire to possess,
The soul I change
Of the white-armed damsel,
And wholly turn her mind.
For the seventeenth I know,
That that young maiden will
Reluctantly avoid me.
These songs, Lodfafner,
Thou wilt long have lacked;
Yet it may be good, if thou understandest them,
Profitable if thou learnest them.
For the eighteenth I know,
That which I never teach
To maid or wife of man,
* The old heathen Norsemen sprinkled their children with water when
they named them.
t The waker of the people.





ODIN AS THE INVENTOR OF RUNES.


259


(All is better
What one only knows:
This is the closing of the songs)
Save her alone
Who clasps me in her arms,
Or is my sister.
Now are sung the
High One's songs
In the High One's hall,
To the sons of men all useful,
But useless to the giants' sons.
Hail to him who has sung them!
Hail to him who knows them!
May he profit who has learnt them!
Hail to those who have listened to them I
Odin's sister or wife is, as we have seen, Frigg, the
earth, and there is much between heaven and earth of
which the wisest men do not even dream, much that the
profoundest philosophy is unable to unravel, and this is
what Odin never teaches to maid or wife of man.
The runes of Odin were risted on the shield which
stands before the shining god, on the ear of Aarvak (the
ever-wakeful), and on the hoof of Alsvin; on the wheels
that roll under Rogner's chariot, on Sleipner's reins, on
the paw of the bear and on the tongue of Brage; on the
claws of the wolf, on the beak of the eagle, on bloody
wings and on the end of the bridge (the rainbow); on
glass, on gold, on wine and on herb; on Vile's heart, on
the point of Gungner (Odin's spear), on Grane's breast,
on the nails of the norn and on the beak of the owl.
All, that were carved, were afterwards scraped off, mixed
with the holy mead and sent out into all parts of the
world. Some are with the asas, some with the elves,
and some are with the sons of men.
All this and even more that is omitted we find in the





ODIN AS THE INVENTOR OF RUNES.


Elder Edda. What are Odin's runes?     What but a new
expression of his being? Odin's runes represent the
might and wisdom with which he rules all nature, even
its most secret phenomena. Odin, as master of runes, is
the spirit that subdues and controls physical nature. He
governs inanimate nature, the wind, the sea, the fire, and
the mind of man, the hate of the enemy and the love of
woman. Everything submits to his mighty sway, and
thus the runes were risted on all possible things in heaven
and on earth. He is the spirit of the world, that pervades everything, the almighty creator of heaven and
earth, or, to use a more mythological expression, the
father of gods and men.
Odin hung nine days on the tree (Ygdrasil) and sacrificed himself to himself, and wounded himself with his
own spear. This has been interpreted to mean the nine
months in which the child is developed in its mother's
womb. Turn back and read the first strophes carefully,
and it will be found that there is some sense in this interpretation; but, kind reader, did you ever try to subdue
and penetrate into the secrets of matter with your mind?
Do you know that knowledge cannot be acquired without labor, without struggle, without sacrifice, without
solemn consecration of one's self to an idea? Do you
remember that Odin gave his eye in pawn for a drink
from Mimer's fountain?   The spear with which he now
wounds himself shows how solemnly he consecrates
himself. For the sake of this struggle to acquire knowledge, the spirit offers itself to itself. It knows what hardships and sufferings must be encountered on the road to
knowledge, but it bravely faces these obstacles, it wants
to wrestle with them; that is its greatness, its glory, its
power. Nine nights Odin hangs on the tree. Rome was
not built in a day. Tantce molis erat Romanas condere





VALHAL.


261


gentes!   Neither is knowledge acquired in a day. The
mind is developed by a slow process. He neither eats
nor drinks, he fasts. You must also curb your bodily
appetites, and, like Odin, look down into the depths and
penetrate the mysteries of nature with your mind. Then
will you learn all those wonderful songs that Odin
learned crying before he fell from the tree.
Odin is the author of the runic incantations that
played so conspicuous a part in the social and religious
life of the Norseman. The belief in sorcery (galdr and
seitr) was universal among the heathen Norsemen, and
it had its origin in the mythology, which represents the
magic arts as an invention of Odin.
SECTION XVI. VALHAL.
Thus the Elder Edda, in the lay of Grimner:
Gladsheim is named the fifth dwelling;
There the golden-bright
Valhal stands spacious;
There Hropt* selects
Each day those men
Who die by weapons.
Easily to be known is,
By those who to Odin come,
The mansion by its aspect.
Its roof with spears is laid,
Its hall with shields is decked,
With corselets are its benches strewed.
Easily to be known is,
By those who to Odin come,
The mansion by its aspect.
A wolf hangs
Before the western door,
Over it an eagle hovers.
* Odin.





262 -

VALHAL.


Odin was preeminently the god of war. He who
fell in battle came after death to Odin in Valhal. There
he began the battle anew, fell and arose again. Glorious
was the life in Valhal.
The hall was called Valhal, that is, the hall of the
slain; Odin was called Valfather (father of the slain),
and the maids he sent out to choose the fallen heroes
on the field of battle were called valkyries.      Valhal
must not, as before stated, be confused with the silverroofed valaskjalf.
The heroes who came to Valhal were called einherjes,
from  ein and herja, which together mean the excellent
warrior, and we find that Odin was also called Herjafather (father of heroes).
Valhal is situated  in  Gladsheim. It is large    and
resplendent with gold; spears support its ceiling, it is
roofed with shields, and coats of mail adorn its benches.
Swords serve the purpose of fire, and of its immense size
we can form some idea when we read in the Elder Edda
that
Five hundred doors
And forty more
Methinks are in Valhal;
Eight hundred heroes through each door
Shall issue forth
Against the wolf to combat.
Outside of Valhal stands the shining grove Glaser.
All its leaves are red gold, whence gold is frequently
called Glaser's leaves.
What does Odin give all his guests to eat?       If all
the men who have fallen in fight since the beginning of
the world are gone to Odin in Valhal, there must be a
great crowd there. Yes, the crowd there is indeed great,
but great though it be, it will still be thought too little





VALHAL.


263


when the wolf comes (the end of the world).      But
however great the band of men in Valhal may be, the
flesh of the boar Svehrimner will more than suffice for
their sustenance.  This boar is cooked every morning,
but becomes whole again every night. The cook is called
Andhrimner and the kettle Eldhrimner. Thus the Elder
Edda:
Andhrimner cooks
In Eldhrimner
Saehrimner;
'T is the best of flesh;
But few know
What the einherjes eat.
What do the guests of Odin drink?  Do you imagine
that Allfather would invite kings and jarls and other
great men and give them nothing but water to drink?
In that case many of those, who had endured the
greatest hardships and received deadly wounds in order
to obtain access to Valhal, would find that they had paid
too great a price for their water drink, and would indeed
have reason to complain were they there to meet with
no better entertainment. But we shall see that the case
is quite otherwise; for the she-goat Heidrun (the clear
stream) stands above Valhal and feeds on the leaves of
a very famous tree. This tree is called Lerad (affording
protection), and from the teats of the she-goat flows
mead in such great abundance that every day a bowl,
large enough to hold more than would suffice for all
the heroes, is filled with it. And still more wonderful
is what is told of the stag, Eikthyrner (the oak-thorned,
having knotty horns), which also stands over Valhal and
feeds upon the leaves of the same tree, and while he is
feeding so many drops fall from his antlers down into
Hvergelmer that they furnish sufficient water for the





264


VALHAL.


thirty-six rivers that issuing thence flow twelve to the
abodes of the gods, twelve to the abodes of men, and
twelve to Niflheim.
Ah! our ancestors were uncultivated barbarians, and
that is proved by the life in Valhal, where the heroes
ate pork and drank mead! But what are we, then, who
do the same thing? Let us look a little more carefully
at the words they used. Food they called flesh, and
drink, mead,--expressions taken from     life; but they
connected an infinitely higher idea with the heavenly
nourishment. Although but few know what the einherjes eat, we ought to know it. When we hear the
word ambrosia, we think of a very fine nourishment,
although we do not know what it was. In the Iliad
(14, 170), it is used of pure water. The words used in
the Norse mythology in reference to the food and drink
of the gods are very simple, And-hrimner, Eld-hrimner,
and Soe-hrimner. Hrim (rime) is the first and most
delicate transition from a liquid to a solid; hrimner is
the one producing this transition. The food was formed,
as the words clearly show, by air (and, and, aande,
breath), by fire (eld), and by water (soe, sea). We have
here the most delicate formation of the most delicate
elements. There is nothing earthly in it. The fundamental element is water boiled by the fire, which is
nourished by the air; and the drink is the clear stream,
which flows from the highest abodes of heaven, the pure
ethereal current, which comes from   the distant regions
where the winds are silent. Nay, we cannot even call it
a drink, but it is the purest and most delicate breath of
the air, that fills the lungs of the immortal heroes in
Valhal.
A mighty band of men there is in Valhal, and Odin
must indeed be a great chieftain to command such a





THE VALKYRIES.


265


numerous host; but how do the heroes pass their time
when they are not drinking? Answer: Every day, as
soon as they have dressed themselves, they ride out into
the court, and there fight until they cut each other into
pieces. This is their pastime.    But when meal-time approaches, they remount their steeds and return to drink
mead from the skulls of their enemies* in Valhal. Thus
the Elder Edda:
The einherjes all
On Odin's plain
Hew daily each other,
While chosen the slain are.
From the battle-field they ride
And sit in peace with each other.
SECTION XVII. THE VALKYRIES (VALKYRJUR).
As the god of war, Odin sends out his maids to choose
the fallen heroes (kjosa val).   They are called valkyries
and valmaids (valmeyar). The valkyries serve in Valhal,
where they bear in the drink, take care of the drinkinghorns, and wait upon the table. Odin sends them to
every field of battle, to make choice of those who are to
be slain and to sway the victory. The youngest of the
norns, Skuld, also rides forth to choose the slain and
turn  the   combat.    More than    a dozen valkyries are
named in the Elder Edda, and all these have reference
to the activities of war.
This myth about Odin as the god of war, about Valhal and the valkyries, exercised a great influence upon
* If the North American Review, or anybody else, thinks this is proof of
barbarism, we can refer them to the monks in Trier, who preserved the skull
of Saint Theodulf and gave sick people drink from it; and we know several
other such instances. Our Norse ancestors were not, then, in this respect any
more savage than the Christian bishops and monks. See North American
Review, January, 1875, p. 195.





266


THE VALKYRIES.


the mind and character of our ancestors. The dying
hero knows that the valkyries have been sent after him
to invite him home to Odin's hall, and he receives their
message with joy and gladness.     That the brave were
to be taken after death to Valhal was one of the fundamental points, if not the soul, of the Norse religion.*
The Norsemen felt in their hearts that it was absolutely
necessary to be brave. Odin would not care for them,
but despise and thrust them away from him, if they were
not brave. And is there not some truth in this doctrine?
Is it not still a preeminent duty to be brave? Is it not
the first duty of man to subdue fear? What can we
accomplish until we have got rid of fear? A man is
a slave, a coward, his very thoughts are false, until he
has got fear under his feet.    Thus we find that the
Odinic doctrine, if we disentangle the real kernel and
essence of it, is true even in our times. A man must
be valiant-he must march forward and acquit himself
like a man. How much of a man he is will be determined in most cases by the completeness of his victory
over fear. Their views of Odin, Valhal and the valkyries made the Norsemen think it a shame and misery
not to die in battle; and if natural death seemed to be
coming   on, they would    cut wounds in     their flesh,
that Odin might receive them    as warriors slain.   Old
kings, about to die, had their bodies laid in a ship;
the ship was sent forth with sails set, and a slow fire
burning it, so that once out at sea it might blaze up
in flame, and in such manner bury worthily the hero
both in the sky and in the ocean. The Norse viking
fought with an indomitable, rugged energy. He stood
in the prow of his ship, silent, with closed lips, defying
the wild ocean with its monsters, and all men and
* See Thomas Carlyle's Heroes and Hero-worship.





THE VALKYRIES.


267


things. No Homer sang of these Norse warriors and
sea-kings, but their heroic deeds and wild deaths are
the ever-recurring theme of the skalds.
The death of the Norse viking is beautifully described in the following strophe from   Professor Hjalmar
Hjorth Boyesen's poem, entitled Odin's Ravens:
In the prow with head uplifted
Stood the chief like wrathful Thor;
Through his locks the snow-flakes drifted
Bleached their hue from gold to hoar.
Mid the crash of mast and rafter
Norsemen leaped through death with laughter
Up through Valhal's wide-flung door.
Regner Lodbrok thus ends his famous song, the
Krakumal:
Cease, my strain! I hear a voice
From realms where martial souls rejoice;
I hear the maids of slaughter call,
Who bid me hence to Odin's hall:
High-seated in their blest abodes
I soon shall quaff the drink of gods.
The hours of life have glided by,
I fall, but smiling shall I die.
And in the death-song of Hakon (Hdconarmdl) we find
the valkyries Gondul and Skogul in the heat of battle:
The god Tyr sent
Gondul and Skogul
To choose a king
Of the race of Ingve,
To dwell with Odin
In roomy Valhal.
The battle being described, the skald continues:
When lo! Gondul,
Pointing with her spear,
Said to her sister,





268


THE VALKYRIES.


Soon shall increase
The band of the gods:
To Odin's feast
Hakon is bidden.
The king beheld
The beautiful maids
Sitting on their horses
In shining armor,
Their shields before them,
Solemnly thoughtful.
The king heard
The words of their lips,
Saw them beckon
With pale hands,
And thus bespake them:
Mighty goddesses,
Were we not worthy
You should choose us
A better doom?
Skogul answered:
Thy foes have fallen,
Thy land is free,
Thy fame is pure;
Now we must ride
To greener worlds,
To tell Odin
That Hakon comes.
An interpretation of the valkyries is not necessary.
The god of war sends his thoughts and his will to the
carnage of the battle-field in the form of mighty armed
women, in the same manner as he sends his ravens over
all the earth.
Ethically  considered, then, Odin      symbolizes   the
matchless hope of victory that inspired the Norsemen,
and from which their daring exploits sprang; and we
know that this hope of victory did not leave the hero





THE VALKYRIES.                 269
when he fell bleeding on the field of battle, but followed
him borne in valkyrian arms to Valhal, and thence he
soared on eagle pinions to Gimle on the everlasting
hights.





CHAPTER II.


HERMOD, TYR, HEIMDAL, BRAGE, AND IDUN.
SECTION I. HERMOD.
O   DIN'S sons are emanations of his own being. As
the god of war, warlike valor is one of his servants,
and honor another. He invents the art of poetry, but the
execution of it he leaves to his son Brage. He does not
meddle with thunder, having left this work of a lower
order to his son Thor. He is the father of light and
darkness, and he leaves the beneficent light to diffuse
itself and struggle with darkness independently (Balder
and Hoder). Nor does he himself watch the rainbow,
but lets the watchful Heimdal take care of it.
Hermod (the valiant in combat) was the son of Odin
and the messenger of the gods. Odin himself gave him
helmet and corselet, the means by which to display his
warlike character, and he is sent on all dangerous missions. Of his many exploits the most important one is
when he was sent on Sleipner to Hel to bring Balder
back. It was Hermod and Brage who were sent to bid
Hakon, the king, welcome, when he arrived at Valhal.
SECTION II. TYR.
Tyr's name is preserved in Tuesday. He is the god
of martial honor (compare the German Zier). Tyr is
the most daring and intrepid of all the gods. It is he
who dispenses valor in war; hence warriors do well to
(270)





HEIMDAL.


271


invoke him. It has become proverbial to say of a man
who surpasses all others in valor, that he is Tyr-strong,
or valiant as Tyr. A man noted for his wisdom is also
said to be wise as Tyr. He gives a splendid proof of
his intrepidity when the gods try to persuade the wolf
Fenrer, as we shall see hereafter, to let himself be
bound up with the chain Gleipner. The wolf fearing
that the gods would never afterwards unloose him, consented to be bound only on the condition that while
they were chaining him he should keep Tyr's hand
between his jaws. Tyr did not hesitate to put his hand
in the monster's mouth, but when the Fenriswolf perceived that the gods had no intention to unchain him,
he bit the hand off at that point which has ever since
been called the wolf's joint (ilfliTr), the wrist. From
that time Tyr has but one hand.
Tyr is the son of Odin, and it is through him the
latter, as the god of war, "awakens wild courage. Thus
he is the god of honor, and when the noble gods desire
to tame the raging flames he naturally has to arouse all
his courage and even sacrifice a part of himself, just as
we frequently have to sacrifice some of our comforts to
keep clear of rogues and scoundrels.
SECTION III. HEIMDAL (HEIMDALLR).
Heimdal is the son of Odin, and is called the white
god (hviti dss, the pure, innocent god). He is the son
of nine virgins, who were sisters, and is a very sacred
and powerful deity. Thus he says in the Elder Edda:
Born was I of mothers nine,
Son I am of sisters nine.
He also bears the appellation of the gold-toothed, for his
teeth were of pure gold, and the appellation Hallinskide





272


HEIMDAL.


(hallinslckii, the owner of the vaulted arch). His horse
is called Gulltop (goldtop), and he dwells in Himminbjorg,
the mountains of heaven, at the end of Bifrost, the rainbow.   He is the warder of the gods, and is therefore
placed on the borders of heaven to prevent the giants
from forcing their way over the bridge. He requires less
sleep than a bird and sees by night as well as by day a
hundred miles around him. So acute is his ear that no
sound escapes him, for he can even hear the grass growing on the earth and the wool on a sheep's back. He
has a horn called Gjallar-horn, which is heard throughout the universe. Thus the Elder Edda, in the lay of
Grimner:
'T is Himminbjorg called
Where Heimdal they say
Hath dwelling and rule.
There the gods' warder drinks
In peaceful old halls
Gladsome the good mead.
Heimdal has a sword called Hofud (head); he figures
at the death of Balder and appears in Ragnarok. Physically interpreted, Heimdal is the god of the rainbow,
but the brilliant rainbow most beautifully symbolizes
the favoring grace of the gods. The rainbow itself is
called dsbri (asabridge) or Bifrost (the trembling way),
and he who has seen a perfect rainbow can appreciate
how this resplendent arch among all races has served
as a symbol of peace, the bridge between heaven and
earth, the bridge connecting the races of the earth with
the gods. Did not God in Genesis set his bow in the
cloud that it should be for a token of a covenant between
him  and   the earth?    And when     our poor laboring
masses get their taste cultivated for poetry, art, and
mythological lore,- when they have learned to appre




BRAGE AND IDUN.


273


ciate our common inheritance,- they will find that our
Gothic history, folk-lore and mythology together form
A link
That binds us to the skies,
A bridge of rainbows thrown across
The gulf of tears and sighs.*
In Greece we find the goddess Iris as the impersonation of the rainbow; while in the Bible the rainbow
is not personified, and in no mythological system does
the graceful divinity of the rainbow enter so prominently
into the affairs of men as does our Heimdal. In the first
verse of Vluspa, all mankind is called the sons of Heimdal, and this thought is developed in a separate lay in
the Elder Edda, called Rigsmil, the lay of Rig (Heimdal), to which the reader is referred.
SECTION IV. BRAGE AND IDUN.
Brage is the son of Odin, and Idun is Brage's wife.
Brage is celebrated for his wisdom, but more especially for his eloquence and correct forms of speech. He
is not only eminently skilled in poetry, but the art itself
is from his name called Brage, which epithet is also used
to denote a distinguished poet or poetess.     Runes are
risted on his tongue. He wears a long flowing beard,
and persons with heavy beard are called after him, beardbrage (skeggbragi). His wife Idun (I~unn) keeps in a
box the apples which the gods, when they feel old age
approaching, have only to taste of to become young again.
It is in this manner they will be kept in renovated youth
until Ragnarok. This is a great treasure committed to
the guardianship and good faith of Idun, and it shall be
related how great a risk the gods once ran.
* Barry Cornwall.





274


IDUN AND HER APPLES.


At the feast after the death of a king or jarl, it was
customary among the Norsemen for the heir to occupy
a lower bench in front of the chief seat, until Brage's
bowl was brought in. Then he arose, made a pledge,
and drank the cup of Brage.    After that he was conducted into the seat of his father.
At the sacrificial feasts of the Norsemen, the conductor of the sacrifice consecrated the drinking-horns as
well as the sacrificed food. The guests first drank Odin's
horn, for the victory and rule of the king; next they
drank Njord's and Frey's horns, for prosperous seasons
and for peace; and then many were accustomed to drink
a horn to Brage, the god of poetry. A characteristic
ceremony in connection with this horn was, that when
the bowl was raised, the promise of performing some
great deed was made, which might furnish material for
the songs of the skalds. This makes the character of
Brage perfectly clear.
Idun's name is derived from the root ib, and expresses a constant activity and renovation, which idea
becomes more firmly established by the following myth.
SECTION V. IDUN AND HER APPLES.
zEger, the god of the sea, who was well skilled in
magic, once went to Asgard, where the gods gave him a
very good reception.   Supper-time having come, the
twelve mighty gods, together with the goddesses Frigg,
Freyja, Gefjun, Idun, Gerd, Sigun, Fulla, and Nanna,
seated themselves on their lofty doom seats, in a hall
around which were arranged swords of such surpassing
brilliancy that no other light was necessary. While they
were emptying their capacious drinking-horns, AEger,
who sat next to Brage, requested him to relate something
concerning the asas. Brage instantly complied with his





IDUN AND HER APPLES.


275


request by informing him of what had happened to
Idun.
Once, he said, when Odin, Loke and Hoener went
on a journey, they came to a valley where a herd of
oxen were grazing, and, being sadly in want of provisions, did not scruple to kill one for their supper.
Vain, however, were their efforts to boil the flesh;
they found it, every time they took the lid off the kettle,
as raw as when first put in. While they were endeavoring to account for this singular circumstance a noise
was heard above them, and on looking up they beheld
an enormous eagle perched on the branch of an oak
tree. If you are willing to let me have my share of the
flesh, said the eagle, it shall soon be boiled. And on
assenting to this proposal it flew down and snatched up
a leg and two shoulders of the ox-a proceeding which
so incensed Loke that he picked up a large pole and
made it fall pretty heavily on the eagle's back. It was,
however, not an eagle that Loke struck, but the renowned
giant Thjasse, clad in his eagle-plumage. Loke soon
found this out to his sorrow, for while one end of the
pole stuck fast to the eagle's back, he was unable to let
go his hold of the other end, and was consequently trailed
by the eagle-clad giant over rocks and forests until he was
almost torn to pieces, and he thought his arms would
be pulled off at the shoulders.   Loke in this predicament began to sue for peace, but Thjasse told him that
he should never be released from his hold until lihe
bound himself by a solemn oath to bring Idun and her
apples out of Asgard. Loke very willingly gave his
oath to bring about this, and went back in a piteous
plight to his companions.
On his return to Asgard, Loke told Idun that in a
forest not very far from the celestial residence he had





276


IDUN AND HER APPLES.


found apples growing, which he thought were of a much
better quality than her own, and that at all events it
was worth while to make a comparison between them.
Idun, deceived by his words, took her apples and went
with him into the forest, but they had no sooner entered
it than Thjasse, clad in his eagle-plumage, flew rapidly
toward them, and, catching up Idun, carried her and
her treasure off with him to Jotunheim. The gods
being thus deprived of their renovating apples, soon
became wrinkled and gray, old age was creeping fast
upon them when they discovered that Loke had been,
as usual, the contriver of all the mischief that had
befallen them.  Inquiry was made about Idun in the
assembly which was called, and the last anybody knew
about her was that she had been seen going out of
Asgard in company with Loke. They therefore threatened him with torture and death if he did not instantly
hit upon some expedient for bringing back Idun and
her apples to Asgard.  This threat terrified Loke, and
he promised to bring her back from Jotunheim if
Freyja would lend him her falcon-plumage. He got the
falcon-plumage of Freyja, flew in it to Jotunheim, and
finding that Thjasse was out at sea fishing, he lost no
time in transforming Idun into a nut and flying off
with her in his claws. But when Thjasse returned and
became aware of what had happened, he put on his
eagle-plumage and flew after them. When the gods saw
Loke approach, holding Idun changed into a nut between
his claws, and Thjasse with his outspread eagle-wings
ready to overtake him, they placed on the walls of Asgard
bundles of chips, which they set fire to the instant Loke
had flown over them; and as Thjasse could not stop
his flight, the fire caught his plumage, and he thus fell
into the power of the gods, who slew him within the
portals of the celestial residence.





IDUX AND HER APPLES.


When these tidings came to Thjasse's daughter, Skade
(Scka6i, German Schade, harm), she put on her armor and
went to Asgard, fully determined to avenge her father's
death; but the gods having declared their willingness to
atone for the deed, an amicable arrangement was entered
into.  Skade was to choose a husband in Asgard, and
the gods were to make her laugh, a feat which she flattered herself it would be impossible for any one to accomplish. Her choice of a husband was to be determined
by a mere inspection of the feet of the gods, it being
stipulated that the feet should be the only part of their
persons visible until she had made known her determination. In inspecting the row of feet placed before her,
Skade took a fancy to a pair which from their fine proportions she thought certainly must be those of Balder.
I choose these, she said, for on Balder there is nothing
unseemly.    The feet were however Njord's, and Njord
was given her for a husband; and as Loke managed to
make her laugh by playing some diverting antics with
a goat, the atonement was fully effected. It is even said
that Odin did more than had been stipulated, by taking
out Thjasse's eyes and placing them to shine as stars in
the firmament.
This myth, interpreted by the visible workings of
nature, means that Idun (the ever-renovating spring)
being in the possession of Thjasse (the desolating winter), all the gods - that is, all nature - languishes until
she is delivered  from   her captivity.  On this being
effected, her presence again diffuses joy and gladness,
and all things revive; while her pursuer, winter, with
his icy breath, dissolves in the solar rays indicated by
the fires lighted on the walls of Asgard.    The wintry
blasts rage so fearfully in the flames, that the flesh cannot
be boiled, and the wind even carries a burning (Loke)





278             IDUN AND HER APPLES.
stick with it.  The ethical interpretation will suggest
itself to every reader, and Idun is to Brage, who sings
among the trees and by the musical brooks of spring,
what a poetical contemplation of the busy forces of
nature in producing blossoms and ripening fruit must
always be to every son of Brage.





CHAPTER III.


BALDER AND NANNA, HODER, VALE AND
FORSETE.
SECTION I. BALDER.
BALDER is the favorite of all nature, of all the gods
and of men. He is son of Odin and Frigg, and
it may be truly said of him that he is the best god, and
that all mankind are loud in his praise. So fair and
dazzling is he in form and features, that rays of light
seem to issue from him; and we may form some idea
of the beauty of his hair when we know that the whitest
of all plants is called Balder's brow.*   Balder is the
mildest, the wisest and the most eloquent of all the gods,
yet such is his nature that the judgment he has pronounced can never be altered. He dwells in the heavenly
mansion called Breidablik (the broad-shining splendor),
into which nothing unclean can enter. Thus the Elder
Edda, in the lay of Grimner:
Breidablik is the seventh,
Where Balder has
Built for himself a hall,
In that land
In which I know exists
The fewest crimes.
* The anthemis cotula is generally called Baldersbraa in the North.
(279)





280


DEATH OF BALDER.


SECTION II. THE DEATH OF BALDER THE GOOD.
This was an event which the asas deemed of great
importance. Balder the Good having been tormented by
terrible dreams, indicating that his life was in great peril,
communicated them to the assembled gods, who, sorrowstricken, resolved to conjure all things to avert from him
the threatened danger.  Then Frigg exacted an oath
from fire and water, from iron and all other metals, as
well as from stones, earths, diseases, beasts, birds, poisons,
and creeping things, that none of them would do any
harm to Balder. Still Odin feared that the prosperity of
the gods had vanished. He saddled his Sleipner and
rode down to Nifheim, where the dog from Hel met
him; it was bloody on the breast and barked a long time
at Odin. Odin advanced; the earth trembled beneath
him, and he came to the high dwelling of Hel. East of
the door he knew the grave of the vala was situated;
thither he rode and sang magic songs (kvat galdra),
until she unwillingly stood up and asked who disturbed
her peace, after she had been lying so long covered with
snow and wet with dew. Odin called himself Vegtam, a
son of Valtam, and asked for whom the benches were
strewn with rings and the couches were swimming in gold.
She replied that the mead was brewed for Balder, but all
the gods would despair. When Odin asked further who
should be Balder's bane, she answered that Hoder would
hurl the famous branch and become the bane of Odin's
son; but Rind should give birth to a son who, only one
night old, should wield a sword, and would neither wash
his hands nor comb his hair before he had avenged his
brother. But recognizing Odin by an enigmatical question, she said: You are not Vegtam, as I believed, but
you are Odin, the old ruler. Odin replied: You are no





DEATH OF BALDER.


281


vala, but the mother of three giants. Then the vala
told Odin to ride home and boast of his journey, but
assured him that no one should again visit her thus before Loke should be loosed from his chains and the ruin
of the gods had come. Thus the lay of Vegtam in the
Elder Edda:
Together were the gods
All in council,
And the goddesses
All in conference;
And they consulted
The mighty gods,
Why Balder had
Oppressive dreams.
To that god his slumber
Was most afflicting;
His auspicious dreams
Seemed departed.
They the giants questioned,
Wise seers of the future,
Whether this might not
Forebode calamity.
The responses said
That to death destined was
Uller's kinsman,
Of all the dearest:
That caused grief
To Frigg and Svafner,
And to the other powers,On a course they resolved:
That they would send
To every being,
Assurance to solicit,
Balder not to harm.
All species swore
Oaths to spare him:
Frigg received all
Their vows and compacts.





282


DEATH OF BALDER.


Valfather fears
Something defective;
He thinks the haminjes*
May have departed;
The gods he convenes,
Their counsel craves:
At the deliberation
Much is devised.
Up stood Odin,
Lord of men,
And on Sleipner he
The saddle laid;
Rode he thence down
To Niflheim.
A dog he met,
From Hel coming.
It was blood-stained
On its breast,
On its slaughter-craving throat,
And nether jaw.
It barked
And widely gaped
At the father of magic song:
Long it howled.
Forth rode OdinThe ground thundered -
Till to Hel's lofty
House he came;
Then rode Ygg (Odin)
To the eastern gate,
Where he knew there was
A vala's grave.
To the prophetess he began
A magic song to chant,
Toward the north looked,
Potent runes applied,
Guardian spirits.





DEATH OF BALDER.


283


A spell pronounced,
An answer demanded,
Until compelled she rose
And with death-like voice she said:
THE VALA:
What man is this,
To me unknown,
Who has for me increased
An irksome course?
I have with snow been decked,
By rain beaten,
And with dew moistened,Long have I been dead.
VEGTAM:
Vegtam is my name,
I am Valtam's son.
Tell thou me of Hel;
From earth I call on thee.
For whom are these benches
Strewed o'er with rings,Those costly couches
O'erlaid with gold?
THE VALA:
Here stands mead
For Balder brewed,
Over the bright drink
A shield is laid;
But the race of gods
Is in despair.
By compulsion I have spoken,
Now will I be silent.
VEGTAM:
Be not silent, vala!
I will question thee
Until all I know:
I will yet know
Who will Balder's
Slayer be,





284


DEATH OF BALDER.


And Odin's son
Of life bereave.
THE VALA:
Hoder will hither
His glorious brother send;
He of Balder will
The slayer be,
And Odin's son
Of life bereave.
By compulsion I have spoken,
Now will I be silent.
VEGTAM:
Be not silent, vala!
I will question thee
Until all I know:
I will yet know
Who on Hoder vengeance
Will inflict,
Or Balder's slayer
Raise on the pile.
THE VALA:
Rind a son shall bear
In the wintry halls;
He shall slay Odin's son,
When one night old.
He a hand will not wash,
Nor his hair comb,
Ere to the pile he has borne
Balder's adversary.
By compulsion I have spoken,
Now will I be silent.
VEGTAM:
Be not silent, vala!
I will question thee
Until all I know:
I will yet know
Who are the maids
That weep at will





DEATH OF BALDER.


285


And heavenward cast
Their neck-veils.
Tell me that;
Till then thou sleepest not.
THE VALA:
Not Vegtam art thou,
As I before believed;
Rather art thou Odin,
Lord of men.
ODIN.
Thou art no vala,
Nor wise woman;
Rather art thou the mother
Of three thurses (giants).
THE VALA:
Home ride thou, Odin!
And exult.
Thus shall never more
Man again visit me
Until Loke free
From his bonds escapes,
And Ragnarok
All-destroying comes.
When it had been made known that nothing in the
world would harm    Balder, it became a favorite pastime
of the gods, at their meetings, to get Balder to stand up
and serve them as a mark, some hurling darts at him,
some stones, while others hewed at him with their swords
and battle-axes; for whatever they did none of them
could harm him, and this was regarded by all as a great
honor shown to Balder. But when Loke Laufeyarson
beheld the scene he was sorely vexed that Balder was
not hurt. Assuming, therefore, the guise of a woman
he went to Fensal, the mansion of Frigg. That goddess,
seeing the pretended woman, inquired of her whether
she knew what the gods were doing at their meetings.





286


DEATH OF BALDER.


The woman (Loke) replied that they were throwing
darts and stones at Balder, without being able to hurt
him.
Ay, said Frigg, neither metal nor wood can hurt
Balder, for I have exacted an oath from all of them.
What! exclaimed the woman, have all things sworn
to spare Balder?
All things, replied Frigg, except one little shrub that
grows on the eastern side of Valhal, and is called mistletoe, and which I thought too young and feeble to crave
an oath from.
As soon as Loke heard this he went away, and,
resuming his natural form, pulled up the mistletoe and
repaired to the place where the gods were assembled.
There he found Hoder standing far to one side without
engaging in the sport, on account of his blindness.
Loke going up to him said: Why do not you also throw
something at Balder?
Because I am blind, answered HIoder, and cannot see
where Balder is, and besides I have nothing to throw
with.
Come then, said Loke, do like the rest, and show
honor to Balder by throwing this twig at him, and I will
direct your arm toward the place where he stands.
Hoder then took the mistletoe, and under the guidance of Loke darted it at Balder, who, pierced through
and through, fell down lifeless. Surely never was there
witnessed, either among gods or men, a more atrocious
deed than this! When Balder fell the gods were struck
speechless with horror, and then they looked at each
other; and all were of one mind to lay hands on him
who had done the deed, but they were obliged to delay
their vengeance out of respect for the sacred place (place
of peace) where they were assembled. They at length





DEATH OF BALDER.


287


gave vent to their grief by such loud lamentations that
they were not able to express their grief to one another.
Odin, however, felt this misfortune most severely, because
he knew best how great was the mischief and the loss
which the gods had sustained by the death of Balder.
When the gods were a little composed, Frigg asked who
among them wished to gain all her love and favor by
riding to the lower world to try and find Balder, and
offer a ransom to Hel if she will permit Balder to return
to Asgard; whereupon Hermod, surnamed the Nimble,
offered to undertake the journey. Odin's horse, Sleipner,
was then led forth and prepared for the journey; Hermod
mounted him and galloped hastily away.
The gods then took the dead body of Balder and
carried it to the sea, where lay Balder's ship, Ringhorn,
which was the largest of all ships. But when they
wanted to launch this ship, in order to make Balder's
funeral pile on it, they were unable to move it from the
place. In this predicament they sent a messenger to
Jotunheim for a certain giantess named Hyrroken (the
smoking fire), who came riding on    a wolf and had
twisted serpents for her reins. As soon as she alighted
Odin ordered four berserks to hold her steed, but they
were obliged to throw the animal down on the ground
before they could manage it.  Hyrroken then went to
the prow of the ship, and with a single push set it
afloat; but the motion was so violent that fire sparkled
from the underlaid rollers and the whole earth shook.
Thor, enraged at the sight, grasped his mallet and would
have broken the woman's skull, had not the gods interceded for her.  Balder's body was then carried to the
funeral pile on board the ship, and this ceremony had
such an effect upon Balder's wife, Nanna, daughter of





288


DEATH OF BALDER.


Nep, that her heart broke with grief, and her body was
laid upon the same pile and burned with that of her
husband. Thor stood beside the pile and consecrated it
with his hammer Mjolner. Before his feet sprang up a
dwarf called Lit. Thor kicked him with his foot into
the fire, so that he also was burned. There was a vast
concourse of various kinds of people at Balder's funeral
procession.  First of all came Odin, accompanied by
Frigg, the valkyries, and his ravens. Then came Frey
in his chariot, drawn by the boar Gullinburste (goldbrush), or Slidrugtanne (the sharp-toothed).    Heimdal
rode his horse Goldtop, and Freyja drove in her chariot
drawn by cats.    There were also a great number of
frost-giants and mountain-giants present.     Odin  cast
upon the funeral pile the famous ring Draupner, which
had been made for him by the dwarfs, and possessed the
property of producing every ninth night eight rings of
equal weight.   Balder's horse, fully caparisoned, was
also laid upon the pile, and consumed in the same flames
with the body of his master.
Meanwhile Hermod was proceeding on his mission.
Of him it is to be related that he rode nine days and as
many nights through dark and deep valleys, so dark
that he could not discern anything, until he came to the
river Gjol and passed over the Gjallar bridge (bridge
over the river GJol), which is covered with glittering
gold. Modgud, the maiden who kept the bridge, asked
him his name and parentage, and added that the day
before five fylkes (kingdoms, bands) of dead men had
ridden over the bridge; but, she said, it did not shake
as much beneath all of them together as it does under
you alone, and you have not the complexion of the dead;
why then do you ride here on your way to Hel? I ride
to Hel, answered Hermod, to seek for Balder; have you





DEATH OF BALDER.


What said Odin
In his son's ear,
Ere he on the pile was laid?
This is the question that Vafthrudner was unable tc
answer, and hence he had to forfeit his head. N. M.
Petersen thinks that Odin whispered into Balder's ear
the name of the supreme god.
This myth about the death of Balder finds an apt
explanation in the seasons of the year, in the change
from light to darkness, in Norseland. Balder represents
the bright and clear summer, when twilight and daybreak kiss each other and go hand in hand in these
northern latitudes. His death by Hoder is the victory
of darkness over light, the darkness of winter over the
light of summer, and the revenge by Vale is the breaking forth of new light after the wintry darkness.
In this connection it is also worthy of notice that
there used to be a custom, which is now nearly forgotten,
of celebrating the banishment of death or darkness, the
strife between winter and summer, together with the arrival of the May-king and election of the May-queen.
Forgotten! yes, well may we ask how it could come to
pass that we through long centuries have worried and
tortured ourselves with every scrap of Greek and Latin
we could find, without caring the least for our own
beautiful and profound memories of the past. Death
was carried out in the image of a tree and thrown in
the water or burned. In the spring two men represent
summer and winter, the one clad in wintergreen or
leaves, the other in straw. They have a large company
of attendants with them, armed with staves, and they
fight with each other until winter (or death) is subdued.
They prick his eyes out or throw him into the water.
These customs, which prevailed throughout the middle





92


DEATH OF BALDER.,ges, had their root and origin in the ancient myth
riven above.
No myth can be clearer than this one of Balder.
The Younger Edda says distinctly that he is so fair
and dazzling in form and features that rays of light
seem to issue from him. Balder, then, is the god of
light, the light of the world. Light is the best thing
we have in the world; it is white and pure; it cannot be wounded; no shock can disturb it; nothing in
the world can kill it excepting its own negative, darkness (Hoder). Loke (fire) is jealous of it; the pure
light of heaven and the blaze of fire are each other's
eternal enemies. Balder does not fight, the mythology
gives no exploits by him; he only shines and dazzles,
conferring blessings upon all, and this he continues to
do steadfast and unchangeable, until darkness steals
upon him, darkness that does not itself know what
harm it is doing; and when Balder is dead, cries of
lamentation are heard throughout all nature. All nature seeks light. Does not the eye of the child seek
the light of the morning, and does not the child weep
when light vanishes, when night sets in?     Does not
this myth of Balder repeat itself in the old man, who
like Goethe, when death darkened his eyes, cried out:
mehr licht (more light)?  Does not the eagle from  the
loftiest pinnacle of the mountain seek light?     The
lark soars on his lofty pinions and greets in warbling
notes the king of day welcome back into his kingdom.
The tree firmly rooted in the ground strains toward the
light, spreading upward in search of it. The bird of
passage on his free wing flies after and follows the light.
Is it not the longing after light that draws the bird
southward in the fall when the days shorten in the
north, and draws the little wanderer back again as





DEATH OF BALDER.


293


soon as the long northern days set in with all their
luminous and long-drawn hours? As Runeberg epigrammatically has it:
The bird of passage is of noble birth;
He bears a motto, and his motto is,
Lux mea dux, Light is my leader.
Nay all living things, even the shells in the sea,
every leaf of the oak and every blade of grass seeks
light, and the blind poet sings:
Hail, holy light! offspring of heaven first born!
He that hath light within his own clear breast
May sit in the center and enjoy bright day;
But he that hides a dark soul and foul thoughts
Benighted walks under the midday sun.*
And another bard:
Light down from heaven descends,
Ether pure in flowing bowls;
Light up to heaven ascends,
A mediator for our souls.
Ay, it would be resting satisfied with the shell to interpret Balder as the mere impersonation of the natural
light of heaven. He represents and symbolizes in the
profoundest sense the heavenly light of the soul and of
the mind, purity, innocence, piety. There can be no
doubt that our ancestors combined the ethical with the
physical in this myth. All light comes from heave1,.
The natural light shines into and illuminates the eye,
the spiritual shines into and illuminates     the  heart.
Innocence cannot be wounded. Arrogance and jealousy
throw their pointed arrows of slander at it, but they fall
harmless to the ground.     But there is one inclination,
one unguarded spot among our other strong guarded
passions. The mischief-maker knows how to find this
and innocence is pierced. When Balder dies, a dark veil
* Milton.





294


DEATH OF BALDER.


enshrouds all nature, and thus history clothes herself in
mourning, not because the hero dies, but because the
innocent Lincoln is pierced by the bullet of the foul
assassin, who turns to the night and flees. Every time
light is slain by darkness it is the beautiful and good
that is stricken down, but it is never stricken down
except to return    and shine with    increased splendor.
Balder dies in nature when the woods are stripped of
their foliage, when the flowers fade and the storms of
winter howl. Balder dies in the spiritual world when
the good are led away from the paths of virtue, when the
soul becomes dark and gloomy, forgetting its heavenly
origin. Balder returns in nature when the gentle winds
of spring stir the air, when the nightingale's high note
is heard in the heavens, and the flowers are unlocked to
paint the laughing soil, when light takes the place of
gloom and darkness; Balder returns in the spiritual
world when the lost soul finds itself again, throws off
the mantle of darkness, and like a shining spirit soars
on wings of light to heaven, to God, who gave it.
The flower which is sacred to Balder, the Balder's
brow, is the anthemis cotula.    If is a complete flower
with a yellow disc and white rays, a symbol of the sun
with its beaming light, a sunflower. What a poetical
thought! The light pouring down upon the earth from
beneath Balder's eye-brows, and the hairs of his eye-lids
are the beams. What a theme for a Correggio, who
succeeded so well in painting the innocence of woman
beaming from her half-closed eyes!
Balder's wife is Nanna. She dies broken-hearted at
his death. She is the floral goddess who always turns
her smiling face toward the sun. Her father was Nep
(nepr, a bud), son of Odin. Nanna's and Balder's sending the ring Draupner to Odin, a carpet to Prigg, and





DEATH OF BALDER.


295


a ring to Fulla, has been explained here+ofore, and how
beautifully it symbolizes the return o. earth's flowery
carpet, with fruitfulness and abundance, will be evident
to every thoughtful reader.
The sorrow of all nature we easily understand when
we know that Loke represents fire and Balder is gone to
Hel. All things weep, become damp, when brought from
the cold to the warm air, excepting fire, and we remember
that Thok, that is, Loke in disguise, wept dry tears
(sparks); but all genuine tears are caused by a change
of the heart from coldness to warmth. It is a common
expression in Iceland yet to say that the stones, when
covered with dew, weep for Balder (grita Baldr). Balder's ship, Ringhorn, is rightly called the largest of all
ships. Ringhorn is the whole world, and the whole earth
is Balder's funeral pile. The tops of the mountains are
the masts of this ship, which is round (ring) as the
whirling world.
It is time we ceased talking about our barbarous
ancestors, for, if we rightly comprehend this myth of
Balder, we know that they appreciated, nay, profoundly
and poetically appreciated, the light that fills the eye
and blesses the heart, and were sensitive to the pain that
cuts through the bosom of man even into its finest and
most delicate fibers. In this myth of Balder is interwoven the most delicate feelings with the sublimest
sentiments. Read it and comprehend it. Let the ear
and heart and soul be open to the voiceless music that
breathes through it. And when you have thus read
this myth, in connection with the other myths and in
connection with the best Sagas, then do not say another
word about the North not having any literature! Thanks
be to the norns, that the monks and priests, whose most
zealous work it was to root out the memories of the





296


FORSETE.


past and reduce the gods of our fathers to commonplace demons, dil not succeed in their devastating mission in faithful Iceland! Thanks be to Shakespeare, that
he did not forget the stern, majestic, impartial and
beautiful norns, even though he did change them into
the wrinkled witches that figure in Macbeth! Nay, that
this our ancient mythology, in spite of the wintry blasts
that have swept over it, in spite of the piercing cold
to which it has been exposed at the hand of those who
thought they came with healing for the nations, in
spite of all the persecution it has suffered from monks
and bishops, professors and kings; that it, in spite of all
these, has been able to bud and blossom in our Teutonic
folk-lore, our May-queens, and popular life, is proof of
the strong vital force it contained, and proof, too, of the
vigorous thought of our forefathers who preserved it.
And nowhere is this more evident than in Norway.
These stories which have their root in the Norse mythology have been handed down by word of mouth from
generation to generation with remarkable fidelity. Look
at those long and narrow and deep valleys of Norway!
Those great clefts are deep furrows plowed in the mountain mass in order that it might yield a bountiful crop
of folk-lore, the seed of which is the Edda mythology.
Let us give our children a share in the harvest!
SECTION III. FORSETE.
Forsete is the son of Balder and Nanna. He possesses
the heavenly mansion called Glitner, and all disputants
at law who bring their cases before him go away perfectly
reconciled. His tribunal is the best that is to be found
among gods and men. Thus the Elder Edda, in the
lay of Grimner:





FORSETE.                      297
Glitner is the tenth mansion;
It is on gold sustained,
And also with silver decked.
There Forsete dwells
Throughout all time,
And every strife allays.
Forsete means simply president.      The island Helgoland was formerly called Forseteland. Justice was
dealt out in Norseland during the bright season of the
year, and only while the sun was up, in the open air,
in the flowering lap of nature. The sanctity of the
assembly and    purity  of justice is expressed    by the
golden columns and the silver roof of Glitner. The
splendor of Balder shone upon his son.





CHAPTER IV.
THOR, HIS WIFE SIF AND SON ULLER.
SECTION I. GENERAL SYNOPSIS.
T   HOR    (p6rr, punarr, Anglo-Saxon punor, German
donner, thunder), after whom Thursday is named
(Thor's-day), is the chief god next after Odin. He is
a spring god, subduing the frost-giants.
Thor wears a red beard, his nature is fire, he is
girded with the belt of strength, swings a hammer in
his hand, rides in a chariot drawn by two goats, from
whose hoofs and teeth sparks of fire flash, and the
scarlet cloud reflects his fiery eyes, over his head he
wears a crown of stars, under his feet rests the earth,
and it shows the footprints of his mighty steps. He
is called Asathor and also Akethor (from aka, to ride),
and is the strongest of gods and men. He is enormously strong and terrible when angry, but, as is so
frequently the case with very strong men, his great
strength is coupled with a thoroughly inoffensive goodnature. His realm is named Thrudvang and his mansion Bilskirner, in which are five hundred and forty
halls.  It is the largest house ever built.  Thus the
Elder Edda, in the lay of Grimner:
Five hundred halls
And forty more
Methinks has
Bowed Bilskirner;
(298)





THOE.


299


Of houses roofed
There is none I know
My son's* surpassing.
Thor's chariot is drawn by two goats, called Tanngnjost and Tanngrisner. It is from his driving about in
this chariot he is called Akethor (charioteer-Thor). He
possesses three very precious articles.     The first is a
mallet called Mjolner, which both the frost and mountain giants know to their cost, when they see it hurled
against them in the air; and no wonder, for it has split
many a skull of their fathers and kindred. The second
rare thing he possesses is called the belt of strength or
prowess (Megingjarder).     When he girds it about him
his divine strength is redoubled.      The third precious
article which he possesses is his iron gauntlet, which he
is obliged to put on whenever he lays hold on the handle
of his mallet.    No one is so wise as to be able to
relate all Thor's marvelous exploits.
Now the reader will easily comprehend the following beautiful strophes from the pen of Longfellow,f who
has so ingeniously sprinkled his literature with dews
from Ygdrasil:
I am the god Thor,
I am the war god,
I am the Thunderer!
Here in my Northland,
My fastness and fortress,
Reign I forever!
Here amid icebergs
Rule I the nations;
This is my hammer,
Mjolner, the mighty
Giants and sorcerers
Cannot withstand it!
* Thor's.    t From Tales of a Wayside Inn.





300


THOR.


These are the gauntlets
Wherewith I wield it
And hurl it afar off;
This is my girdle,
Whenever I brace it
Strength is redoubled!
The light thou beholdest
Stream through the heavens,
In flashes of crimson,
Is but my red beard
Blown by the night-wind,
Affrighting the nations.
Jove is my brother;
Mine eyes are the lightning;
The wheels of my chariot
Roll in the thunder,
The blows of my hammer
Ring in the earthquake!
Force rules the world still,
Has ruled it, shall rule it;
Meekness is weakness,
Strength is triumphant;
Over the whole earth
Still is Thor's-day!
Thor is the father of Magne, whose mother is Jarnsaxa, and of Mode. He is the husband of Sif and stepfather of Uller; he is the protector of Asgard and Midgard, and is frequently called Midgardsveor; his servants
are Thjalfe, and the sister of the latter, Roskva. Among
Thor's several names the most common ones are Vingthor, Vingner, and Hlorride. All this of course has reference to him as the god of thunder. Thor, as has
been observed, is punarr, thunder. Thrudvang, his realm,
is the heavy compact cloud, where he reigns; his mansion, Bilskirner (bil-siirnir), are the flashes of lightning that for a moment (bil*) light up the heavens;
* Bil is a common word in Norseland, meaning moment.





SIF AND ULLER.


301


his goats, Tanngnjost (teeth-gnasher) and Tanngrisner
(fire-flashing teeth), symbolize the flashes of lightning,
and so does also his red beard.    Mjolner, his hammer,
is the crusher (compare the English word mill*); his
belt, Megingjarder, is the girdle of strength; his sons,
Magne and     Mode, symbolize strength     and   courage.
Vingthor is the flying thunderstorm and Hlorride is he
who rides in the flaming chariot. His servant Thjalfe
is the busy one, and Roskva is the rapid or nimble one.
That Thor is the god of thunder is also most clearly
shown in the Younger Edda, where it is related that
Thor goes on foot and is obliged every day to wade the
rivers Kormt and Ormt, and two others called Kerlaung,
when he goes to sit in judgment with the other gods at
the Urdar-fount, and cannot ride, as do the other gods.
If he did not walk as he goes to the doomstead under
the ash Ygdrasil, the Asabridge would be in flames
and the holy waters would become boiling hot, that is,
if Thor should drive over Bifrost in his thunder-chariot.
Thor's wife, Sif, is another symbol of the earth.
She is called the fair-haired. Gold is called Sif's hair
on account of the myth already related, according to
which Loke cuts off her hair and gets dwarfs to forge
for her golden locks. The interpreters of mythology
are not willing to give to Sif the field waving with
ripe grain, which belongs to the god Frey, being symbolized by his boar Goldenbristle, but say that Sif is
the mountain clad with grass, in contradistinction to
Jarnsaxa, who reigns in the barren deserts. Hrungner,
that is, the naked rock, tried to win the favor of Sif,
but did not succeed.
Uller is the son of Sif and the step-son of Thor.
He is so well skilled in the use of the bow, and can go
* But see also Vocabulary, under the word Mjolner.





302


THOR AND HRUNGNER.


so fast on his snow-skates (skcees), that in these arts no
one can contend with him. He is also very handsome
in his person and possesses every quality of a warrior;
wherefore it is proper to invoke him in single combats.
Uller's mansion is Ydaler (valleys of rain). From his
running on skees we judge that he is a personification
of winter, and if the artist chooses him for his theme,
he must represent him standing on snow-shoes, clad in
a winter-suit, with bow and arrow in his hands. We
are now prepared to give some of Thor's adventures.
SECTION II. THOR AND HRUNGNER.
Thor had once gone eastward to crush trolls, but
Odin rode on his horse, Sleipner, to Jotunheim, and
came to a giant by name Hrungner. Then asked
Hrungner what man that was, who with a helmet of
gold rode through the air and over the sea, and added
that it was an extraordinarily good horse he had. Odin
replied that he would wager his head that so good a
horse could not be found in Jotunheim. Hrungner
said that it was indeed a very excellent horse, but he
had one, by name Goldfax (gold-mane), that could take
much longer paces, and he immediately sprang upon
his horse and galloped away after Odin. Odin constantly kept ahead, but Hrungner's giant nature had
become so excited that before he was himself aware of
it he had come within the gates of Asgard. When he
came to the door of the hall the gods invited him to
drink, which as soon as he had entered he demanded.
Then the gods set before him the bowls out of which
Thor was accustomed to drink, and them he emptied
each in one draught. And when he had become drunk,
he gave the freest vent to his loud boastings. He was
going to take Valhal, he said, and carry it off to Jotun




THOR AND HRUNGNER.


303


heim; he would demolish Asgard and kill the gods,
except Freyja and Sif, whom he would take home with
him; and while Freyja was pouring the celestial beverage into the bowls for him he remarked that he was
going to drink up all the ale of the gods. When the
gods at length grew tired of his arrogance, they named
Thor, who immediately came, and swung his hammer
and was very much enraged, and asked who was to
blame that dogwise giants should be permitted to drink
there, or who had given safety to Hrungner in Valhal,
and why Freyja should pour ale for him as she did at
the feasts of the gods. Hrungner, looking at Thor with
anything but a friendly eye, answered that Odin had
invited him   and   that he was under his protection.
Thor said that Hrungner should come to rue that
invitation before he came out; but the giant answered
that it would be but little honor to Asathor to kill
him, unarmed as he was; it would be a better proof
of his valor if he dared      contend with    him  at the
boundaries of his territory, at Grjottungard (Grjottunagartar).   Foolish   was it also   of me, continued
Hrungner, to leave my shield and my flint-stone at
home; had I my weapons here we would now try a
holmgang; * but I declare you to be a coward if you
kill me unarmed. Thor would not excuse himself from
a duel when he was challenged out on a holm; this
was something that no one had ever offered him before. Hrungner now went his way and hastened home.
This journey of Hrungner was much talked of by the
giants, and especially did his challenge of Thor awaken
* Holmgang (literally isle-gang) is a duel taking place on a small island.
Each combatant was attended by a second, who had to protect him with a
shield. The person challenged had the right to strike the first blow. When
the opponent was wounded, so that his blood stained the ground, the seconds
might interfere and put an end to the combat. He that was the first wounded
had to pay the holmgang fine.





304


THOR AND HRUNGNER.


their interest, and it was of great importance to them
which of the two should come out from -the combat
victorious. For if Hrungner, who was the most powerful among the giants, should be conquered, they
might look for nothing but evil from Thor. They
therefore made at Grjottungard a man of clay, nine
rasts (miles?) high and three rasts broad between the
shoulders; they could not find a heart corresponding
to his size, and therefore took one out of a mare; but
this fluttered and trembled when Thor came. Hrungner had a heart of hard stone, sharp and three-cornered; his head was also of stone, and likewise his
shield, which was broad and thick, and this shield he
held before himself when he stood at Grjottungard
waiting for Thor. His weapon was a flint-stone, which
he swung over his shoulders, so that it was no trifle to
join in combat with him. By his side stood the claygiant, that is called Mokkerkalfe (Mkikrcrdlfi), and was
so extremely terrified that the sweat poured from off
him. Thor went to the holmgang together with Thjalfe,
a servant, whom he had got from a peasant by the sea.
Thjalfe ran to the place where Hrungner was standing,
and said to him: You stand unguarded, giant; you
hold the shield before you, but Thor has seen you; he
comes with violence from beneath the earth and attacks
you. Then Hrungner hastily put the shield beneath his
feet and stood on it, but he seized his flint-stone with
both hands. Presently he saw flashes of lightning and
heard loud crashings, and then he saw Thor in his asamight, rushing forward with impetuous speed, swinging
his hammer and throwing it from the distance against
Hrungner. The latter lifted the flint-stone with both
his hands and threw it with all his might against the
hammer; the two met in the air and the flint-stone





THOR ANUD HRUINGNER.


305


broke into two pieces, one piece of which fell on the
ground (and hence the flint mountains), while the other
fell with such force against the head of Thor that he
fell forward to the ground; but the hammer Mjolner
hit Hrungner right in the head and crushed his skull
into small pieces, he himself falling over Thor, so that
his foot lay across Thor's neck. Thjalfe contended with
Mokkerkalfe, who fell with little honor. Then Thjalfe
went over to Thor, and was going to take IHrungner's
foot away, but he was not able to do it. Thereupon
came all the gods to Grjottungard, when they had learned
that Thor had fallen, but neither was any one of them
able to remove the foot of the giant. Then      came
Magne (mangni, strength), the son of Thor and Jarnsaxa; he was only three nights old and he threw
Hrungner's foot off from Thor saying: It was a great
mishap, father, that I came so late; this giant, I think,
I could have slain with my fist. Thor stood up and
lovingly greeted his son, adding that he would give
him the giant's horse Goldfax  but Odin remarked that
this was wrongfully done of Thor to give the son of a
hag (gygjar syni, son of Jarnsaxa) and not his father
so excellent a horse.
Thor returned home to Thrudvang, and the flintstone 'sat fast in his head.  Then came a sorceress,
whose name was Groa, wife of Orvandel the Wise; she
sang her magic songs over Thor until the flint-stone
became loose. But when Thor perceived this, and was
just expecting that the stone would disappear, he desired
to reward Groa for her cure, and gladden her heart.
He accordingly related to her how he had waded from
the north over the rivers Elivagar and had borne Orvandel on his back in a basket from Jotunheim; and
in evidence he told her that one toe of Orvandel had





306


THOR AND HRUNGNER.


protruded from the basket and had frozen, wherefore he
had broken it off and thrown it up into the sky and
made of it the star which is called Orvandel's toe.
Finally he added that it would not be long before Orvandel would come home again. But Groa became so
delighted with this news that she forgot all her magic
songs and the flint-stone became no looser than it was,
and it sticks fast in Thor's head yet. Therefore no one
must throw a flint-stone across the floor, for then the
stone in Thor's head is moved. Thus sings the Skald,
Thjodolf of Hvin:
We have ample evidence
Of the terrible giant's journey
To Grjottungard,
With berg-folks' consuming fire.
The blood boiled in Meile's brother,*
The moon-land trembled,
When earth's son went
To the steel-gloved contest.
In bright flame stood
All the realms of the sky
For Uller's step-father,
And the earth rocked;
To pieces flew Svolner's widow
When the span of goats
Drew the sublime chariot
And its divine master
To the meeting with Hrungner.
The most prominent feature of this myth is, the
lightning which strikes down among the rocks and
splits them. Hrungner (from hruga, to wrinkle, to heap
up) is the naked, wrinkled mountains with their peaks.
Everything is made of stone.      Hrungner's heart and
head and shield and weapon were all of stone; beside
*A name for Thor.





THOR AND HRUNGNER.


307


him stands the clayey mountain (Mokkerkalfe) clad in
mist (mikkr), and the contest is at Grjottungard, on the
boundary of the stone-covered field.   Thor crushes the
mountain to make way for agriculture. Thjalfe is the
untiring labor, which prepares the rock for cultivation.
He advises Hrungner to protect himself from        below
with his shield.  The cultivation of the mountain must
begin at the foot of it; there labors the industrious
farmer. When he looks up the mountain lifts its rocky
head like a huge giant of stone, but the clouds gather
around the giant's head, the lightnings flash and split
it.  Thjalfe may also be regarded as a concomitant of
the thunderstorm, and would then represent the pouring rain, as Thor had got him from a peasant by the
sea, and he contends with the mountain of clay, from
which the water pours down. Thor's forehead may also
represent the face of the earth, from which he rises as
the son of earth, and we know that Minerva sprang
forth full-grown and equipped from the brain of Zeus.
Orvandel* and Groa (to grow) refer to the seed sprouting (Orvandel) and growing. Thor carries the seed in
his basket over the ice-cold streams (Elivagar), that is,
he preserves plant-life through the winter; the sprout
ventures out too early in the spring and a toe freezes
off; and it is a beautiful idea that the gods make shining stars of everything in the realm of giants that has
become useless on earth, and what more charming theme
can the painter ask for than Thor carrying on his divine
shoulders the reckless Orvandel wading through the ice
streams of winter?
Before proceeding to the next myth, we will pause
here for a moment and take a cursory look at history, to
see whether a few outlines of it do not find their com* Orvandel, from aur, earth, and vendill, the sprout (vOndr), ruler = the seed.





308


THOR AND HRUNGNER.


pletest reflection in this stone-hearted  myth  about
Hrungner and Thor.
Hrungner on his horse Goldfax, racing with Odin and
Sleipner, in the most perfect manner represents the
Roman poetastry reveling in the wealth robbed from the
nations of the earth, in rivalry with the genuine Greek
poetry and philosophy; for Sleipner is Pegasos; and
when the Roman poetasters are in the hight of their
glory Hrungner is entertained at Asgard, drunk and
crazy, bragging and swearing that he will put all the gods
to death excepting Sif (Fortuna) and Freyja (Venus),
destroy Asgard and move Valhal to Jotunheim; or, in
other words, Venus and Fortuna are the only divinities
that shall be worshiped; all religion (Asgard) shall be
rooted out and history (Valhal) shall only serve to glorify
Rome.
But in the course of time the North begins to take
part in determining the destinies of the world; Thor
comes home, and shortly afterwards a duel is fought
between the Goth and Roman (Vandal) in which Rome is
worsted, which could not be expressed more fitly than by
the fortunate blow of Mjolner, which crushes the stonehearted and stone-headed Giant (Roman Vandalism).
But the Goth becomes Romanized, he becomes a slave
of Roman thought and Roman civilization, and thus
Hrungner falls upon Thor, with his foot upon Thor's
neck, until his son Magne comes and takes it away.
Magne is the Anglo-Saxon who created a Gothic Christianity and a Gothic book-speech; and well might the
Anglo-Saxon be called Magne, son of Asathor and the
hag Jarnsaxa, for Magne is the mythical representation
of the mechanical arts, which have received their most
perfect development in England and America (the AngloSaxons). And we need only to look at the literature of





THOR AND HRUNGNER.


309


England and America to observe with what pleasure
Magne (the Anglo-Saxon) is a great child, who rides the
horse Goldfax (the Latin language), at which Odin (the
Goth) may well complain that it was wrongfully done,
although the spirit of the North (Odin) might rather
envy the horse (Romanism) its rider than the rider (the
Anglo-Saxon) his horse.
In regard to the piece of flint-stone that remained
in Thor's forehead, and sticks there yet, we know, alas!
that it is too true that the schools and the literature of all
the Teutonic races suffer more or less from the curse of
Romanism; and this they suffer in spite of the German
sorceress Groa (Luther), who in the sixteenth century
loosened the ugly Roman popery in Thor's forehead
without his getting rid of it; for he began boasting too
soon, and Groa (the Lutheran Reformation) became so
glad on account of her husband with his frozen toe
(German scholasticism and soulless philosophy elevated to
the skies), that she forgot not her Latin but her magic
Teutonic songs; and hence we look in vain for a complete
system of German mythology and old German poetry.
Who the Mokkerkalfe who assisted Hrungner is, in
this picture, it is difficult to say, unless it be the Arab,
and he may well be called a brother of the Roman
(Hrungner) against Thor.     The Mokkerkalfe had a
mare's heart in him, and we know that love of horses
has forever been a characteristic of the Arabs; and the
Frank, who defeated the Arab on the historical arena,
must then be Thjalfe, who was a servant of Thor.
Thus this myth is disposed of and its application
in a prophetic sense has been pointed out.    It is not
claimed that the ancient Norsemen had in their minds
Arabs and Greeks and Romans and Franks and AngloSaxons, but that they had in their minds a profound





310


THOR AND GEIRROD.


comprehension of the relations of things, the supreme
law of the universe; and history is but the reflection
of the sublimest riddles in nature.
SECTION III.   THOR AND GEIRROD.*
It is worth relating how   Thor made a journey to
Geirrodsgard  without his hammer Mjolner, or belt
Megingjarder, or his iron gloves; and that was Loke's
fault.  For when Loke once, in Frigg's falcon-guise,
flew out to amuse himself, curiosity led him to Geirrodsgard, where he saw a large hall.     He sat down and
looked in through an opening in the wall, but Geirrod
observed him and ordered one of his servants to seize
the bird and bring it to him.     But the wall was so
high that it was difficult to climb up, and it amused
Loke that it gave the servant so much trouble, and he
thought it was time enough to fly away when the servant had got over the worst. As the latter now caught
at him, he spread his wings and made efforts (stritted)
with his feet, but the feet were fast, so that he was
seized and brought to the giant.   When the latter saw
his eyes he mistrusted that it was no bird; and when
Loke was silent and refused to answer the questions put
to him, Geirrod locked him    down in a chest and let
him hunger for three months.     Thus Loke finally had
to confess who he was, and to save his life he had to
make an oath to Geirrod that he should get Thor to
Geirrodsgard without his hammer or his belt of strength.
On the way Thor visited the hag Grid, mother of
Vidar the Silent.    She informed him, in regard to
Geirrod, that he was a dogwise and dangerous giant, and
she lent him her belt of strength, her iron gloves and
her staff, which is called Gridarvold. Thor then went to
* This Geirrod must not be confounded with Odin's foster-son Geirrod,
son of Hraudung (see p. 228).





THOR AND GEIRROD.


311


the river Vimer, which is exceedingly large; then he
buckled the belt around him     and stemmed the wild
torrent with his staff, but Loke and Thjalfe held themselves fast in the belt.  When he had come into the
middle of the river it grew so much that the waves
washed over his shoulders. Then quoth Thor:
Wax not, Vimer,
Since to wade I desire
To the realms of giants!
Know, if thou waxest
Then waxes my asamight
As high as the heavens!
Up in a cleft he saw Geirrod's daughter, Gjalp, who
stood on both sides of the stream and caused its growth;
then took he a large stone and threw after her.      At
its source the stream must be stemmed, and he always
hit what he aimed at.    At the same time he reached
the land and got hold of a shrub, and so he escaped out
of the river; hence comes the adage that a shrub saved
Thor. When Thor with his companions had now come
to Geirrod, lodgings were given them    in a house, but
there was only one chair in it, and on this Thor sat
down. Then he noticed that the chair was raised under
him toward the roof. He then put Grid's staff against
the beams and pressed himself down against the chair;
then a noise was heard, upon which followed a great
screaming, for Geirrod's daughters, Gjalp and Greip, had
been sitting under the chair and he had broken the
backs of both of them. Then quoth Thor:
Once I employed
My asamight
In the realm of giants,
When Gjalp and Greip,
Geirrod's daughters,
Wanted to lift me to heaven.





312


THOR AND SKRYMER.


Then Geirrod invited Thor into the hall to see games.
Large fires burned along the hall, and when Thor had
come opposite to Geirrod the latter took with a pair of
tongs a red-hot iron wedge and threw it after Thor; he
seized it with the iron gloves and lifted it up into the
air, but Geirrod ran behind an iron post to defend himself. Thor threw the wedge, which struck through the
post and through Geirrod and through the wall, so that
it went outside and into the ground.
Geirrod is the intense heat which produces violent
thunderstorms, and hence his daughter the violent torrent.  Of course Loke (fire) is locked up and starved
through the hottest part of the summer; but this myth
needs no explanation, and we proceed to the next.
SECTION IV. THOR AND SKRYMER.
One day the god Thor, accompanied by Loke, set
out on a journey in his car drawn by his goats. Night
coming on, they put up at a peasant's cottage, when
Thor killed his goats, and, after flaying them, put them
in a kettle. When the flesh was boiled he sat down
with his fellow-traveler to supper, and invited the peasant
and his wife and their children to partake of the repast.
The peasant's son was named Thjalfe, and his daughter
Roskva. Thor bade them throw all the bones into the
goats' skins, which were spread out near the fireplace,
but young Thjalfe broke one of the shank-bones to
come at the marrow. Thor having passed the night in
the cottage, rose at the dawn of day, and when he had
dressed himself he took his hammer, Mjolner, and, lifting it up, consecrated the goats' skins, which he had
no sooner done than the two goats reassumed their
wonted form, with the exception that one of them now
limped on one of its hind legs. Thor, perceiving this,





THOR AND SKRYMEER.


313


said that the peasant or one of his family had handled
the shank-bone of this goat too roughly, for he saw
clearly that it was broken. It may readily be imagined
how frightened the peasant was, when he saw Thor
knit his brows and seize the handle of his hammer with
such force that the knuckles of his fingers grew white
with the exertion. But the peasant, as we might expect,
and his whole family, screamed aloud, sued for peace,
and offered all they possessed as an atonement for the
offense committed. But when Thor saw their fright he
desisted from his wrath and became appeased, and he
contented himself by requiring their children, Thjalfe and
Roskva, who thus became his servants and have accompanied him ever since. Thor let his goats remain there,
and proceeded eastward on the way to Jotunheim clear
to the sea.  Then he went across the deep ocean, and
when he came to the other shore he landed with Loke,
Thjalfe and Roskva. They had traveled but a short distance when they came to a large forest, through which
they wandered until night set in. Thjalfe was exceedingly
fleet-footed; he carried Thor's provision-sack, but the
forest was a bad place for finding anything eatable to
stow into it. When it had become dark they looked
around for lodgings for the night and found a house.
It was very large, with a door that took up the whole
breadth of one of the ends of the building; here they
chose them a place to sleep in. At midnight they were
alarmed by a great earthquake.   The earth trembled
beneath them and the whole house shook. Then Thor
stood up and called his companions to seek with him a
place of safety.  On the right they found an adjoining
chamber, into which they entered; but while the others,
trembling with fear, crept into the farthest corner of this
retreat, Thor remained in the doorway, with his hammer





314


THOR AND SKRYMER.


in his hand, prepared to defend himself whatever might
happen.   Then they heard a rumbling and roaring.
When the morning began to dawn, Thor went out and
saw a man lying a short distance from the house in the
woods. The giant was large, lay sleeping, and snored
loudly. Then Thor could understand whence the noise
had come in the night. He girded himself with his
belt of strength, and his divine strength grew; at the
same time the man awoke and arose hastily. But it is
related that Thor on this occasion became so amazed that
he forgot to make use of his mallet; he asked the man
for his name, however.  The latter answered that his
name was Skrymer; but your name I do not need to ask
about, said he; I know you are Asathor; but what
have you done with my mitten? Thereupon Skrymer
stretched out his hand and picked up his mitten, which
Thor then perceived was what they had taken over night
for a house, the chamber where they had taken refuge
being the thumb. Skrymer asked whether Thor wanted
him for a traveling companion, and when Thor consented to this, Skrymer untied his provision-sack and
began to eat his breakfast. Thor and his companions
did the same in another place. Then Skrymer proposed
that they should put their provisions together, and when
Thor gave his consent to this, Skrymer put all the food
into one sack and slung it on his back. He went before
them all day with tremendous strides, but toward evening
he sought out for them a place where they might pass
the night, beneath a large oak. Then said Skrymer to
Thor that he was going to lie down to sleep; the others
might in the meantime take the provision-sack and prepare their supper. Then Skrymer fell asleep, and snored
tremendously, and Thor took the provision-sack to untie
it; but, incredible though it may appear, not a single





THOR AND SKRYMER.


315


knot could he untie, nor render a single string looser
than it was before. Seeing that his labor was in vain,
Thor became angry, seized the hammer Mjolner with
both hands, went over to Skrymer and struck him on
the head. But Skrymer awoke and asked whether there
had fallen a leaf down upon his head, and whether they
had eaten their supper and were ready to go to sleep?
Thor answered that they were just going to sleep, and
went to lie down under another oak, but also here it was
dangerous to sleep. At midnight Thor again heard how
fast Skrymer slept and snored, so outrageously that a
thundering noise was heard through the whole woods.
Arising he went over to the giant, swung his hammer
with all his might, and struck him right in the skull,
and the hammer entered the head clear to the handle.
Skrymer, suddenly awakening, said: What is the matter now?   Did an acorn fall down upon my head?
How is it with you, Thor? Thor went hastily away
and said that he had just waked up; it was midnight,
he said, and time to sleep. Then thought he that if
he could get an opportunity to give the giant a third
blow he should never see the light of day any more,
and he now lay watching to see whether Skrymer was
fast asleep again.  Shortly before day-break he heard
that the giant was sleeping again. He got up, hastened over to him, swung his hammer with all his
might, and gave him such a blow on the temples that
the head of the hammer was buried in the giant's head.
Skrymer arose, stroked his chin and said: Do there sit
birds above me in the tree? It seemed to me as I awoke
that some moss fell down upon me out of the boughs;
but are you awake, Thor? It seems to me that it is
time to arise and dress, and you have not now a long
journey to the castle which is called Utgard.  I have





316


ODIN AND SKRYMER.


heard you have whispered among yourselves that I am
not small of stature, but you shall find larger men when
you come to Utgard.    I am going to give you good
advice: do not brag too much. Utgard-Loke's courtiers
will not brook the boasting of such insignificant little
fellows as you are.  If you will not heed this advice
you had better turn back, and that is in fact the best
thing for you to do. But if you are determined to
go further then hold to the east; my way lies northward to those mountains that you see yonder. Skrymer then taking the provision-sack, slung it on his
back and disappeared in the woods, and it has never
been learned whether the asas wished to meet him again
or not.
Thor now vent on with his companions till it was
noon, when their eyes beheld a castle standing on a
great plain, and it was so high that they had to bend
their necks quite back in order to be able to look over
it.  They advanced to the castle; there was a gate to
the entrance, which was locked. Thor tried to open it,
but could not, and being anxious to get within the
castle they crept between the bars of the gate. They
saw the palace' before them, the door was open, and
they entered, where they saw a multitude of men, of
whom the greater number were immensely large, sitting
on two benches. Then they came into the presence of
the king, UTTtgard-Loke, and saluted him; but it took
some time before he would deign to look at them, and
he smiled scornfully, so that one could see his teeth,
saying: It is tedious to ask for tidings of a long journey, but if I am not mistaken this little stripling must
be Asathor; perhaps, however, you are really bigger
than you look. Well, what are the feats that you and
your companions are skilled in?  No one is tolerated





THOR AND SKRYMER.


317


among us here unless he distinguishes himself by some
art or accomplishment. Then said Loke: I understand
an art, of which I am prepared to give proof, and that
is, that there is none here who can eat his food as fast
as I can. To this Utgard-Loke made reply: Truly that
is an art, if you can achieve it, which we shall now see.
He called to the men, who sat on one end of the bench,
that he, whose name was Loge (flame), should come
out on the floor and contend with Loke. A trough
was brought in full of meat.  Loke seated himself at
one end and Loge at the other; both ate as fast as they
could and met in the middle of the trough. Loke had
picked the meat from the bones, but Loge had consumed meat, bones and trough all together; and now
all agreed that Loke was beaten. Then asked UtgardLoke, what that young man could do. It was Thjalfe.
He answered, that he would run a race with any one
that Utgard-Loke would appoint. Utgard-Loke replied
that this was a splendid feat, but added that he must
be very swift if he expected to win, but they should
see, for it would soon be decided. Utgard-Loke arose
and went out; there was a very good race-course on
the level field. Then he called a little fellow, by name
Huge (thought) and bade him race with Thjalfe. The
first time they ran Huge was so much in advance that
at the turning back in the course he met Thjalfe. You
must ply your legs better, Thjalfe, said Utgard-Loke, if
you expect to win, though I must confess that there
never came a man here swifter of foot than you are.
They ran a second time, but when Huge came to the
end and turned around, Thjalfe was a full bow-shot
from  the goal.  Well run, both of you, said Utgard-Loke, but I think Thjalfe will hardly win, but the
third race shall decide it.  They accordingly ran a





318


THOR AND SKRYMER.


third time, but Huge had already reached the goal
before Thjalfe had got half-way. Then all who were
present cried out that there had been sufficient trial of
skill in this art. Utgard-Loke then asked Thor in what
arts he would choose to give proof of his skill for
which he was so famous. Thor answered that he preferred to contend in drinking with any one that wished.
Utgard-Loke consented, and entering the palace he called
his cup-bearer, and bade him bring the large horn which
his courtiers were obliged to drink out of when they
had trespassed in any way against established usage.
The cup-bearer brought the horn, gave it to Thor, and
Utgard-Loke said: Whoever is a good drinker will empty
that horn at a single draught, though some men make
two of it; but there is no so wretched drinker that he
cannot exhaust it at the third draught.  Thor looked
at the horn and thought it was not large, though tolerably long; however, as he was very thirsty he set it
to his lips, and without drawing breath drank as long
and as deep as he could, in order that he might not be
obliged to make a second draught of it. But when his
breath gave way and he set the horn down, he saw to
his astonishment that there was little less of the liquor
in it than before.  Utgard-Loke said: That is well
drunk, but not much to boast of; I should never have
believed but that Asathor could have drunk more; however, of this I am confident, you will empty it at the
second draught. Thor made no reply, but put the horn
to his mouth and drank as long as he had breath, but
the point of the horn did not rise as he expected; and
when be withdrew the horn from his mouth it seemed
to him that its contents had sunk less this time than
the first; still the horn could now be carried without
spilling. Utgard-Loke said: How now, Thor, have you





THOR AND SKRYMER.


319


not saved for the third draught more than you can make
away with? You must not spare yourself more in performing a feat than befits your skill, but if you mean
to drain the horn at the third draught you must drink
deeply. You will not be considered so great a man
here as you are thought to be among the asas if you
do not show greater skill in other games than you appear to have shown in this. Then Thor became angry,
put the horn to his mouth, and drank with all his
might, so as to empty it entirely; but on looking into
the horn he found that its contents had lessened but
little, upon which he resolved to make no further attempt, but gave back the horn to the cup-bearer. Then
said Utgard-Loke: It is now plain that your strength
is not so great as we thought it to be.  Will you try
some other games, for we see that you cannot succeed
in this?  Yes, said Thor, I will try something else, but
I am sure that such draughts as I have been drinking
would not have been counted small among the asas, but
what new   trial have you to propose?    U tgard-Loke
answered: We have a very trifling game here, in which
we exercise none but children. Young men think it
nothing but play to lift my cat from the ground, and I
should never have proposed this to Asathor if I had not
already observed that you are by no means what we
took you for. Thereupon a large gray cat ran out upon
the floor. Thor advancing put his hand under the cat's
body and did his utmost to raise it from the floor, but
the cat, bending its back in the same degree as Thor
lifted, had notwithstanding all Thor's efforts only one
of its feet lifted up, seeing which Thor made no further effort.  Then said Utgard-Loke: The game has
terminated just as I expected; the cat is large, but
Thor is small and little compared with our men. Then





320


THOR AND SKRYMER.


said Thor: Little as you call me I challenge any one to
wrestle with me, for now I am angry. I see no one here,
replied Utgard-Loke, looking around on the benches,
who would not think it beneath him to wrestle with
you; but let somebody call hither that old woman, my
nurse, Elle (old age), and let Thor prove his strength
with her, if he will.  She has thrown to the ground
many a man not less strong and mighty than Thor is.
A toothless old woman then entered the hall and she
was told by Utgard-Loke to wrestle with Thor. To cut
the story short, the more Thor tightened his hold the
firmer she stood. Finally, after a violent struggle, Thor
began to lose his footing, and it was not long before
he was brought down on one knee. Then Utgard-Loke
stepped forward and told them to stop, adding that Thor
had now no occasion to ask anyone else in the hall to
wrestle with him, and it was also getting late. He
therefore showed Thor and his companions to their
seats, and they passed the night there enjoying the best
of hospitality.
The next morning, at break of day, Thor and his
companions arose, dressed themselves and prepared for
their departure. Utgard-Loke then came and ordered a
table to be set for them, on which there wanted no good
provisions, either meat or drink. When they had breakfasted they set out on their way. Utgard-Loke accompanied them out of the castle, and on parting he asked
Thor how he thought his journey had turned out, and
whether he had found any man more mighty than himself. Thor answered that he could not deny that he
had brought great dishonor upon himself; and what
mortifies me the most, he added, is that you will consider me a man of little importance. Then said UtgardLoke: Now I will tell you the truth, since you are out





THOR AND HYMER.


323


AEger was in want of a kettle for brewing ale.       He
asked Thor to go and fetch it, but neither the asas
nor the vans knew where it could be found, before
Tyr said to Thor: East of the rivers Elivagar, near
the borders of heaven, dwells the dogwise Hymer, and
this my father has a kettle which is strong and one
rast (mile) deep. Do you think we can get it? said
Thor. Yes, by stratagem it may be gotten, answered
Tyr. Tyr, and Thor under the semblance of a young
man, now started out and traveled until they came to
Egil.  With him    they left the goats and    proceeded
further to Hymer's hall, and we shall presently see how
Thor made amends for his journey to Utgard-Loke. At
Hymer's hall Tyr found his grandmother, an ugly
giantess with nine hundred heads, but his mother, a
beautiful woman, brought him a drink. She advised
her guests to conceal themselves under the kettles in
the hall, for her husband was sometimes cruel toward
strangers. Hymer came home from his fishing late in
the evening; the jokuls resounded as he entered the
hall, and his beard was full of frost. I greet you welcome home, Hymer, said the woman; our son, whom
we have been so long expecting, has now come home to
your halls, and in company with him is the enemy of
the giants and the friend of man, Veor (i.e. Asgardsveor,
the protector of Asgard). See how they have concealed
themselves at the gable end of the hall, behind the post
yonder. Hymer threw a glance in the direction pointed
out by his wife, and the post instantly flew into shivers
at the look of the giant, the beam broke, and eight kettles fell down; one was so hard and strong that it did
not break in falling. The gods came forth, and straight
the old giant gazed at his enemy. It was no pleasant
ight to see Thor before him, but still he ordered three





324


THOR AND HYMER.


steers to be killed and served on the table. Thor alone
ate two. This meal seemed to the friend of Hrungner
somewhat extravagant, and he remarked that the next
evening they would have to live on fish. The following
morning, at break of day, when Thor perceived that
Hymer was making his boat ready for fishing, he arose
and dressed himself, and begged the giant to let him row
out to sea with him. Hymer answered that such a puny
stripling as he was could be of no use to him; besides, he
said, you will catch your death of cold if I go so far out
and remain as long as I am accustomed to do. Thor said
that for all that he would row as far from the land as
Hymer had a mind, and was not sure which of them
would be the first who might wish to row back again.
At the same time he was so enraged that he was much
inclined to let his hammer ring at the giant's skull
without further delay, but intending to try his strength
elsewhere he subdued his wrath, and asked Hymer what
he meant to bait with. Hymer told him to look out for
a bait himself. Thor instantly went up to a herd of
oxen that belonged to the giant, and seizing the largest
bull, that bore the name Himinbrjoter (heaven-breaker),
wrung off his head, and returning with it to the boat,
put out to sea with Hymer. Thor rowed aft with two
oars, and with such force that Hymer, who rowed at the
prow, saw with surprise how swiftly the boat was driven
forward. He then observed that they were come to the
place where he was wont to angle for flat-fish, but Thor
assured him that they had better go on a good way further. They accordingly continued to ply their oars, until
Hymer cried out that if they did not stop they would be
in danger from the great Midgard-serpent. Notwithstanding this, Thor persisted in rowing further, and in
spite of Hymer's remonstrances it was a long time befor'





THOR AND HYMER.


325


he would lay down his oars. When they finally stopped,
Hymer soon drew up two whales at once with his bait.
Then Thor took out a fishing-line, extremely strong,
made with wonderful art and furnished with an equally
strong hook, on which he fixed the bull's head and cast
his line into the sea. The bait soon reached the bottom,
and it may be truly said that Thor then deceived the
Midgard-serpent not a whit less than Utgard-Loke had
deceived Thor when he obliged him to lift up the serpent in his hand; for the monster greedily caught at
the bait and the hook stuck fast in his palate. Stung
with the pain, the serpent tugged at the hook so violently
that Thor was obliged to hold fast with both hands in
the pegs that bear against the oars. But his wrath now
waxed high, and assuming all his divine power he pulled
so hard at the line that his feet forced their way through
the boat and went down to the bottom of the sea, while
with his hands he drew up the serpent to the side of the
vessel. It is impossible to express by words the scene
that now took place. Thor on the one hand darting
looks of wrath at the serpent, while the monster on the
other hand, rearing his head, spouted out floods of venom
upon him. When the giant Hymer beheld the serpent
he turned pale and trembled with fright, and seeing
moreover that the water was entering his boat on all
sides, he took out his knife, just as Thor raised his
hammer aloft, and cut the line, on which the serpent
sank again under water. According to another version
the valiant Thor hauled the venom-spotted serpent up
to the edge of the boat, his hands struck against the
side of the boat and with both his feet he stepped
through, so that he stood on the bottom of the sea.
With his hammer he struck the serpent in the forehead;
the mountains thundered, the caves howled, and the





326


THOR AND HYMER.


whole old earth shrank together; but the serpent sank to
the bottom, for at the sight of it the giant became so
terrified that he cut the line. Then, according to both
versions, Thor struck Hymer such a blow on the ear
with his fist that the giant fell headlong into the water.
The giant was not glad when they rowed back. While
he carried his two whales, Thor took the boat, with
oars and all, and carried it to the house of the giant.
Then the giant challenged Thor to show another evidence
of his strength and requested him to break his goblet.
Thor, sitting, threw it through some large posts, but
it was brought whole to the giant. But Thor's fair
friend gave him friendly advice: Throw it against the
forehead of Hymer, said she, it is harder than any
goblet.  Then   Thor assumed his asastrength.    The
giant's forehead remained whole, but the round winegoblet was broken. The giant had lost a great treasure;
that drink, said he, was too hot; but there yet remained
for Thor one trial of his strength, and that was to bring
the kettle out of his hall. Twice Tyr tried to lift it, but
it was immovable. Then Thor himself took hold of it
at the edge with so great force that he stepped through
the floor of the hall; the kettle he lifted onto his head,
and its rings rung at his heels. They had gone a long
distance before Odin's son looked back and saw a manyheaded multitude rushing impetuously from the caves
with Hymer. Then he lifted the kettle from his shoulders, swung the murderous Mjolner and slew all the
mountain-giants. After that he proceeded to Egil, where
he had left his goats; and he had not gone far thence
before one of the goats dropped down half dead. It was
lame, and we remember from a previous myth that a
peasant near the sea had to give Thor his son Thjalfe and
daughter Roskva as bond-servants for laming one of his





THOR AND HYMER.


327


goats. Thor finally came to the feast of the gods and
had the kettle with him, and there was nothing now to
hinder zEger from  furnishing ale enough at the feast,
that he prepared for the gods at every harvest time.
This myth forms the subject of the lay of Hymer
in the Elder Edda. The whole myth of course represents the thunderstorm   in  conflict with the raging
sea; but a historical counterpart of this struggle of
Thor with Hymer and the Midgard-serpent is so forcibly suggested that we cannot omit it. It is Luther's
struggle with the pope and Romanism.      Luther, the
heroic Thor, saw his enemy, but did not strike just in
the right time and in the right way, and the golden
opportunity was lost after Hymer (the pope) had severed the fishing-line; that is, after the old memories
were destroyed, when the golden line connecting the
Germans with their poetic dawn had been divided, and
Romanism, with blood-stained breast, with close embrace first twined around the whole school system of
Germany and north Europe, and horribly mangled their
grand mission with its fangs, and then seized the Teutonic Laocoon and his sons and bound their unsophisticated Teutonic hearts in its mighty folds. Ay, this
Roman Midgard-serpent, with its licentiousness, arrogance, despotism, unbridled ambition, unbounded egotism, dry reasoning and soulless philosophy, has grasped
the Goth twice, yes thrice, about the middle, and
winding its scaly back thrice around his neck, has overtopped him. In vain he has striven to tear asunder
its knotted and gory spires.   He can but shriek to
heaven for help, and may Thor hear his cry and come
to his rescue! May Thor next time embark well armed
with his gloves and belt and hammer; but he had better leave the giant slain on shore. Yet Luther did a





328


THOR AND THRYM.


noble work. Although his first intention was to leave
the giant unmolested, and only take his kettle from
him, still, when he found a determined opposition threatening, he turned around, set down his kettle, and slew
both the giant and the many-headed multitude (pope,
cardinals, bishops, etc.) that followed him. But Luther
erred in not establishing a thoroughly Teutonic in place
of a Romanic school system. Thus he left his great
work only half finished. If he had made good use of
his hammer at the time, much valuable knowledge about
our Teutonic ancestors might have been collected and
preserved which now is lost forever.
SECTION VI. THOR AND THRYM.
This is a very beautiful myth, and we will give it
complete as it is found in the Elder Edda, in the lay
of Thrym. We give our own translation:
Wrathful was Vingthor
As he awaked
And his hammer
Did miss;
His beard shook,
His hair trembled,
The eon of earth
Looked around him.
Thus first of all
He spoke:
Mark now Loke
What I say!
What no one knows
Either on earth
Or in high heaven,The hammer is stolen.
Went they to Freyja's
Fair dwelling;





THOR AND) THRYM.


329


There in these words
Thor first spoke:
Wilt thou, Freyja, lend
Me thy feather-guise,
That I my hammer
Mjolner may fetch?
I gave it thee gladly
Though it were of gold;
I would instantly give it
Though it were of silver.
Flew then LokeThe feather-guise whizzed;
Out he flew
From home of asas,
In he flew
To home of giants.
On the hill sat Thrym;
The king of giants
Twisted gold-bands
For his dogs,
Smoothed at leisure
The manes of his horses.
THRYM:
How fare the asas?
How fare the elves?
Why comest thou alone
To Jotunheim?
LOKE:
Ill fare the asas,
Ill fare the elves.
Hast thou concealed
The hammer of Thor?
THRYM:
I have concealed
The hammer of Thor
Eight rasts
Beneath the ground;





330


THOR AND THRYM.


No man
Brings it back
Unless he gives me
Freyja as my bride.
Flew then LokeThe feather-guise whizzed;
Out he flew
From home of giants,
In he flew
To home of asas.
Met him Thor
First of all
And thus addressed him:
Hast thou succeeded
In doing thine errand?
Then tell before perching
Long messages;
What one says sitting
Is often of little value,
And falsehood speaks he
Who reclines.
LOKE:
Well have I succeeded
In doing my errand;
Thrym has thy hammer,
The king of the giants.
No man
Brings it back
Unless he gives him
Freyja as bride.
Went they then the fair
Freyja to find,
First then Thor
Thus addressed her:
Dress thyself, Freyja,
In bridal robes,
Together we will ride
To Jotunheim.





THOR AND THRYM.
Angry grew Freyja,
And she raged
So the hall of the asas
Must shake.
Her heavy necklace,
Brisingamen, broke:
Then would I be
A lovesick maid
If with thee I would ride
To Jotunheim.
Then all the asas
Went to the Thing,
To the Thing went
All the asynjes,
The powerful divinities,
And held consult,
How they should get
The hammer back.
Then spake Heimdal
The whitest godForeknowing was he,
As the vans are all:
Dress we Thor
In bridal robes,
Brisingamen
Must he wear.
Let jingle keys
About his waist;
Let a woman's dress
Cover his knees;
On his bosom we put
Broad broaches,
And artfully we
His hair braid.
Spoke then Thor,
The mighty god:
Mock me all
The asas would,


331





332


THOR AND THRYM.
If in bridal robes
I should be dressed.
Spoke then Loke
Laufeyarson:
Be silent Thor;
Stop such talk.
Soon will giants
Build in Asgard
If thou thy hammer
Bring not back.
Dressed they then Thor
In bridal-robes;
Brisengamen
He had to wear;
Keys let they jingle
About his waist,
And a woman's dress
Fell over his knees;
On his bosom they placed
Broad broaches,
And artfully they
His hair did braid.
Spoke then Loke
Laufeyarson:
For thee must I
Be servant-maid;
Ride we both
To Jotunheim.
Home were driven
Then the gcats,
And hitched to the car;
Hasten they must--
The mountains crashed,
The earth stood in flames,
Odin's son
Rode to Jotunheim.
Spoke then Thrym,
The king of giants:





THOR AND THRYM.


333


Giants! arise
And spread my benches!
Bring to me
Freyja as bride,
Njord's daughter,
From Noatun.
Cows with golden horns
Go in the yard,
Black oxen
To please the giant;
Much wealth have I,
Many gifts have I;
Freyja, methinks,
Is all I lack.
Early in the evening
Came they all;
Ale was brought
Up for the giant.
One ox Thor ate,
Eight salmon
And all the delicacies
For the women intended;
Sif's husband besides
Drank three barrels of mead.
Spoke then Thrym,
The king of giants:
Where hast thou seen
Such a hungry bride?
I ne'er saw a bride
Eat so much,
And never a maid
Drink more mead.
Sat there the shrewd
Maid-servant near;*
Thus she replied
To the words of Thrym:
Nothing ate Freyja
In eight nights,
* Loke.





334


THOR AND THRYM.


So much did she long
For Jotunheim.
Behind the veil
Thrym sought a kiss,
But back he sprang
The length of the hall:
Why are Freyja's
Eyes so sharp?
From her eyes it seems
That fire doth burn.
Sat there the shrewd
Maid-servant near,
And thus she spake,
Answering the giant:
Slept has not Freyja
For eight nights,
So much did she long
For Jotunheim.
In caihe the poor
Sister of Thrym;
For bridal gift
She dared to ask:
Give from thy hand
The golden rings,
If thou desirest
Friendship of me,
Friendship of me -
And love.
Spoke then Thrym,
The king of giants:
Bring me the hammer
My bride to hallow;
Place the hammer
In the lap of the maid;
Wed us together
In the name of Var.*
* The goddess who presides over marriages.





THOR AND THRYM.


335


Laughed then Thor's
Heart in his breast;
Severe in mind
He knew his hammer.
First slew he Thrym,
The king of giants,
Crushed then all
That race of giants;
Slew the old
Sister of Thrym,
She who asked
For a bridal gift;
Slap she got
For shining gold,
Hammer blows
For heaps of rings;
Thus came Odin's son
Again by his hammer.
Thrym (from pruma) is the noisy, thundering imitator of Thor.   While the thunder sleeps, the giant
forces of nature howl and rage in the storms and
winds, they have stolen the hammer from Thor. Thor
goes and brings his hammer back and the storms are
made to cease. It has been suggested that Thor is the
impersonation of truth, and the Younger Edda speaks
of him as one never having yet uttered an UNTRUTH.
It has also been claimed that the name of his realm
Thrud-vang contains the same root as our English
word truth, but this we leave for the reader to examine
for himself. Before the Norsemen learned to make the
sign of the cross, they made the sign of the hammer
upon themselves and upon      other things that they
thereby wished to secure against evil influences.
Now let us glance at the last appearance of Thor
on the stage of this world. The Norse king, Olaf the
saint, was eagerly pursuing his work of Christian reform





336


THOR AND THRYM.


in Norway, and we find him sailing with fit escort
along the western shore of that country from haven to
haven, dispensing justice or doing other royal work.
On leaving a certain haven, it is found that a stranger
of grave eyes and aspect, with red beard and of a
robust and stately figure, has stepped in.  The courtiers
address him; his answers surprise by their pertinency
and depth. At length he is brought to the king. The
stranger's conversation here is not less remarkable, as
they sail along the beautiful shore; but after awhile
he addresses King Olaf thus: Yes, King Olaf, it is
all beautiful, with the sun shining on it there; green,
fruitful, a right fair home for you; and many a sore
day had Thor, many a wild fight with the mountain
giants, before he could make it so. And now you seem
minded to put away Thor.     King Olaf, have a care!
said the stranger, knitting his brows; and when they
looked again he was nowhere to be found.       This is
the last myth of Thor, a protest against the advance
of Christianity, no doubt reproachfully set forth by
some conservative pagao!n.:
* Thomas Carlyle, Heroes and Hero-worship.





CHAPTER V.


VIDAR.
ON the way to Geirrod (see p. 310) we noticed that
Thor visited the hag Grid, and she lent him
three things, counterparts of Thor's own treasures, her
belt of strength, iron gloves and staff. Grid belongs to
the race of giants; she dwells in the wild, unsubdued
nature, but is not hostile toward the gods. Her belt,
gloves and staff, her name, the place where she dwells
between Asgard and Jotunheim, her ability to give
Thor information about Geirrod, all give evidence of her
wild and powerful character.
She is the mother of Vidar, who is a son of Odin.
Hence we have here, as in the case of Tyr, a connecting link between the giants and asas. Through Tyr
the gods are related to the raging sea, through Vidar
to the wild desert and the forests. Vidar is surnamed
the Silent.   He is almost as strong as Thor himself,
and the gods place great reliance on him in all critical
conjunctures. He is the brother of the gods. He has
an iron shoe; it is a thick shoe, of which it is said that
material has been gathered for it through all ages.   It
is made of the scraps of leather that have been cut off
from the toes and heels in cutting patterns for shoes.
These pieces must therefore be thrown away by the
shoemaker who desires to render assistance to the gods.
He is present at iEger's feast, where Odin says to him:
(337)





338


VIDAR.


Stand up, Vidar!
And let the wolf's father*
Be guest at the feast,
That Loke may not
Bring reproach on us
Here in LEger's hall.
His realm is thus described in the Elder Edda:
Grown over with shrubs
And with high grass
Is Vidar's wide land.
There sits Odin's
Son on the horse's back;
He will avenge his father.
He avenges his father in the final catastrophe, in Ragnarok; for when the Fenris-wolf has swallowed Odin,
Vidar advances, and setting his foot on the monster's
lower jaw he seizes the other with his hand, and thus
tears and rends him till he dies. It is now his shoe
does him   such   excellent service.  After the universe
has been regenerated
There dwell Vidar and Vale
In the gods' holy seats,
When the fire of Surt is slaked.
Vidar's name (from    vilr, a forest) indicates that he
is the god of the primeval, impenetrable forest, where
neither the sound of the ax nor the voice of man was
ever heard; and hence he is also most fittingly surnamed the Silent God. Vidar is, then, imperishable
and incorruptible nature represented as an immense
indestructible forest, with the iron trunks of the trees
rearing their dense and lofty tops toward the clouds.
Who has ever entered a thick and pathless forest, wandered about in its huge shadows and lost himself in its
* Loke.





VIDAR.


33v)


solemn darkness, without feeling deeply sensible to the
loftiness of the idea that underlies Vidar's character.
Vidar is the Greek Pan, the representative of incorruptible nature. He is not the ruler of the peaceful
grove near the abode of the gods, where Idun dwells,
but of the great and wild primeval forest, that man
never yet entered.   The idea of Vidar's woods is imperishableness, while that of Idun's grove is the constant renovation and rejuvenation of the life of the
gods. The gods and all the work of their hands shall
perish, and it is nowhere stated that Idun survives
Ragnarok. Odin himself perishes, and with him all his
labor and care for man; but nature does not perish.
If that should be entirely destroyed, then it could not
be regenerated.   If matter should perish, where would
then the spirit take its dwelling?     If Vidar did not
exist, where would Vale be?     The glory of the world,
the development that has taken place, and the spirit
revealed in it, perish; but not Vidar, for he is the imperishable, wild, original nature, the eternal matter,
which reveals its force to, but is not comprehended by,
man; a force which man sees and reveres, without venturing an explanation; but when all the works of man
are destroyed by consuming flames, this force of eternal
matter will be revealed with increased splendor.
Thus we find the power and strength of the gods
expressed in two myths, in Thor and in Vidar, both
sons of Odin, who is, as the reader knows, the father
of all the gods.  Thor is the thundering, noisy, crushing, but withal beneficent, god; Vidar is silent, dwells
far away from, and exercises no influence upon, the
works of man, except as he inspires a profound awe
and reverence.   Thor is the visible, in their manifestations wonderful, constantly returning and all-preserv




34:0                    VIDAB.
ing, workings of nature; Vidar is the quiet, secretly
working, hidden and self-supporting imperishableness.
Popularity, fame, position, influence, wealth,- all that
makes so much stir and bustle in the world -shall
perish; but the quiet working of the soul, the honest
pursuit of knowledge, the careful secret development
of the powers of the human mind, shall live forever.
And Vidar and Vale (mind and knowledge) shall together inhabit the sacred dwellings of the gods, when
the waves of time have ceased to roll: Vidar as the god
of imperishable matter, Vale as the god of eternal light
(spirit) that shines upon it.





CHAPTER VI.


THE VANS.
SECTION I.   NJORD AND SKADE.
T   WO   opposite elements in nature are united in
order to produce life. The opposite elements are
expressed in the mythology by the terms asas and vans.
In our language and mode of expression that would
mean the solid and the liquid, the masculine and the
feminine.  Water, the par excellence representative of
liquids, may symbolize various ideas.   It may typify
sorrow; it then manifests itself in tears, and sorrow is
as fleeting as the flowing tears. Water may symbolize
gladness, happiness, and blessings, that flow in gushing
streams along the pathway of life; and it may also be
used as the symbol of innocence, purity, and wealth.
These ideas may be regarded as a general interpretation
of the vans, and we find them reflected in the triune
vana-deity: Njord with his children Frey and Freyja,
who rise from the sea and unite themselves with the
asa-divinity in heaven and on earth.
Njord is called Vanagod, and he dwells in the heavenly
region called Noatun.   He rules over the winds and
checks the fury of the sea and of fire, and is therefore
invoked by seafarers and fishermen. He is so wealthy
that he can give possessions and treasures to those who
call on him for them. Yet Njord is not of the lineage
of the asas, for he was born and bred in Vanaheim.
(341)





342


NJORD AND SKADE.


But the vans gave him as hostage to the asas, receiving
from  them  in his stead Hcener.     By this means peace
was reestablished between the asas and vans.      (See Part
II, Chap. 1, Sec. 13.)
Njord took to wife Skade, the daughter of the giant
Thjasse.* She preferred dwelling in the abode formerly
belonging to her father, which is situated among rocky
mountains in the region called Thrymheim, but Njord
loved to reside near the sea. They at last agreed that
they should pass together nine nights in Thrymheim and
then three in Noatun. But one day, when Njord came
back from   the mountains to Noatun, he thus sang:
Am weary of the mountains,
Not long was I there,
Only nine nights;
The howl of the wolves
Methought sounded ill
To the song of the swans.
To which Skade sang in reply:
Sleep could I not
On my sea-strand couch
For screams of the sea-fowl.
There wakes me
When from the wave he comes
Every morn the mew (gull).
Skade then    returned to the rocky mountains and
dwelt in Thrymheim.        There fastening on her skees
and taking her bow she passes her time in the chase
of wild beasts, and is called Andre-dis (Skee-goddess).
Thus it is said:
Thrymheim it's called
Where Thjasse dwelled,
* How Skade came to choose Njord when she was permitted to choose a
husband among the gods, seeing only their feet, was related on page 277.





IEGER AND RAN.


343


That stream-mighty giant;
But Skade now dwells,
Skee-bride of the gods,
In her father's old mansion.
Njord is the god of the sea; that is to say, of that
part of the sea which is immediately connected with
the earth, that part of the sea which is made serviceable to man, where fishing and commerce is carried on.
His dwelling is Noatun, which means land of ships
(nor, ship; tin, yard, place). Njord's realm is bounded
on the one side by the earth, the land, and on the
other by the raging ocean, where Alger with his daughters reigns.  Njord's wife is Skade (harm), the wild
mountain stream, which plunges down from the high
rocks, where she prefers to dwell, and pours herself
into the sea. Her dwelling is Thrymheim, the roaring
home, at the thundering waterfall.    Taken as a whole,
the myth is very clear and simple.
The compromise between Njord and Skade, to- dwell
nine nights in Thrymheim      (home of uproar, storms)
and three nights in Noatun, of course has reference to
the severe northern latitudes, where rough weather and
wintry storms prevail during the greater part of the
year.
SECTION II. LEGER AND RAN.
Thecse do not belong to the vana-divinities, but are
given here in order to have the divinities of the sea in
one place.  As Njord is the mild, beneficent sea near
the shore, so AEger is the wild, turbulent, raging sea,
far from the land, where fishing and navigation cannot
well be carried on; the great ocean, and yet bordering
on the confines of the asas.     Hence AJEger's twofold
nature; he is a giant, but still has intercourse with





344


3EGER AND RAN.


the gods. Thus in Mimer, AEger and Njord, we' have
the whole ocean represented, from its origin, Mimer, to
its last stage of development, to Njord, in whom, as a
beneficent divinity, it unites itself with the gods; that
is to say, blesses and serves the enterprises of men.
~Eger visits the gods, and the latter visit him    in
return; and it was once when the gods visited him
that his brewing-kettle was found too small, so that
Thor had to go to the giant Hymer and borrow a
larger one.   In -AEger's hall the bright gold was used
instead of fire, and there the ale passed around spontaneously.  Ran is his wife.   She has a net, in which
she catches those who venture out upon the sea. JEger
and Ran have nine daughters, the waves.       Loke once
borrowed Ran's net, to catch the dwarf Andvare, who
in the guise of a fish dwelt in a waterfall.   With her
hand she is able to hold the ships fast. It was a
prevailing opinion among the ancient Norsemen that
they who perished at sea came to Ran; for Fridthjof,
who with his companions was in danger of being
wrecked, talks about his having to rest on Ran's couch
instead of Ingeborg's, and as it was not good to come
empty-handed to the halls of Ran and IEger, he divided
a ring of gold between himself and his men.
Thus Tegner has it in Fridthjof at Sea:
Whirling cold and fast
Snow-wreaths fill the sail;
Over deck and mast
Patters heavy hail.
The very stem they see no more,
So thick is darkness spread,
As gloom and horror hover o'er
The chamber of the dead.





AEGER AND RAN.


345


Still to sink the sailor dashes
Implacable each angry wave;
Gray, as if bestrewn with ashes,
Yawns the endless, awful grave.
Then says Fridthjof:
For us in bed of ocean
Azure pillows Ran prepares,
On thy pillow, Ingeborg,
Thou thinkest upon me.
Higher ply, my comrades,
Ellida's sturdy oars;
Good ship, heaven-fashioned,
Bear us on an hour.
The storm continues:
O'er the side apace
Now a sea hath leapt;
In an instant's space
Clear the deck is swept.
From his arm now Fridthjof hastens
To draw his ring, three marks in weight;
Like the morning sun it glistens,
The golden gift of Bele great.
With his sword in pieces cutting
The famous work of pigmied art,
Shares he quickly, none forgetting,
Unto every man a part.
Then says Fridthjof again:
Gold is good possession
When one goes a-wooing;
Let none go empty-handed
Down to azure Ran.
Icy are her kisses,
Fickle her embraces;
But we'll charm the sea-bride
With our ruddy gold.





346


JEGER AND RAN.


How eager Ran is to capture those who venture out
upon her domain is also illustrated in another part of
Fridthjof's Saga, where King Ring and his queen Ingeborg ride over the ice on the lake to a banquet.
Fridthjof went along on skates. Thus Tegner again:
They speed as storms over ocean speed;
The queen's prayers little King Ring doth heed.
Their steel-shod comrade standeth not still,
He flieth past them as swift as he will.
Many a rune on the ice cutteth he;
Fair Ingeborg's name discovereth she.
So on their glittering course they go,
But Ran, the traitress, lurketh below.
A hole in her silver roof she hath reft,
Down sinketh the sleigh in the yawning cleft.
But, fortunately, Fridthjof was not far away.      He
came to their rescue, and
With a single tug he setteth amain
Both steed and sleigh on the ice again.
Of JEger's and Ran's daughters, the waves, it is said
that they congregate in large numbers according to the
will of their father.  They have pale locks and white
veils; they are seldom  mild in their disposition toward
men; they are called billows or surges, and are always
awake when the wind blows.       They lash the sounding
shores, and angrily rage and break around the holms;*
they have a hard bed (stones and rocks), and seldom
play in calm weather.    The names of the daughters of
ZEger and Ran represent the waves in their various
magnitudes and appearances.      Thus Himingloefa, the
* Rocky islands.





AEGER AND RAN.


347


sky-clear; Duva, the diver; Blodughadda, the bloodyor purple-haired; Hefring, the swelling; Bylgja, billow;
Kolga, raging sea, etc.
These myths are very simple and need no extended
explanations. AEger is the Anglo-Saxon eagor, the sea.
He is also called  iler, the shelterer (hle, Anglo-Saxon
hleo, Danish Lee, English lee), and Gymer, the concealing (geyma, Anglo-Saxon gyman, Norse gjemme, to conceal, to keep). These names express the sea in its uproar, in its calmness, and as the covering of the deep.
The name of his wife, Ran (robbery or the robbing;
roena, to plunder), denotes the sea as craving its sacrifice of human life and of treasures.    It is a common
expression in Norseland that the sea brews and seethes,
and this at once suggests 2Eger's kettles. The foaming
ale needs no butler but passes itself around, and there
is plenty of it. That zEger, when visited by the gods,
illuminated his hall with shining gold, refers of course
to  the phosphorescent light of      the  sea  (Icelandic
marelldr, Norse morild).    Those who are familiar with
the sea cannot fail to have seen the sparks of fire that
apparently fly from it when its surface is disturbed in
the dark. Thus the servants of 2Eger, Elde and Funfeng (both words meaning fire), are properly called excellent firemen. The relation between Njord and JEger
seems to be the same as between Okeanos, the great
water encircling the earth, and Pontus, the Mediterranean, within the confines of the earth.
Some of the old Norse heroes are represented as possessing a terrifying helmet, /Eger's helmet (cgislijdblr);
and thus, as Odin's golden helmet is the beaming sky, and
as the dwarfs cover themselves with a helmet of fog, so
ýEger wears on his brow a helmet made of dense darkness and heaven-reaching, terrifying breakers.





348


FREY.


2Eger and his family, it is certain, did not belong
among the asas, yet they were regarded, like them, as
mighty beings, whose friendship was sought by the gods
themselves; and England, that proud mistress of the
sea, is the reflection of the myth of IEger, showing what
grand results are achieved historically, when human enterprise and heroism enter into friendly relations with
the sea, making it serve the advancement of civilization,- when the gods go to -Eger's hall to banquet.
SECTION III. FREY.
Njord had two children -a son Frey and a daughter
Freyja, both fair and mighty. Frey is one of the most
celebrated of the gods.*  He presides over rain and sunshine and all the fruits of the earth, and should be invoked to obtain good harvests, and also for peace. He
moreover dispenses wealth among men.        IHe is called
van and vanagod, yeargod and goods-giver (figjafi). He
owns the ship Skidbladner and also Goldenbristle (gullinbursti) or Slidrugtanne (the sharp-toothed), a boar
with golden bristles, with which he rides as folk-ruler to
Odin's hall. In time's morning, when he was yet a child,
the gods gave him Alfheim (home of elves) as a present.
Of Frey's ship Skidbladner, we have before seen (see
p. 220) how it was made by the dwarfs, sons of Ivald,
and presented to Frey. It was so large that all the gods
with their weapons and war stores could find room on
board it. As soon as the sails are set a favorable breeze
arises and carries it to its place of destination, and it
is made of so many pieces, and with so much skill, that
when it is not wanted for a voyage Frey may fold it
together like a piece of cloth and put it into his pocket.
* Generally speaking, both asas and vans are included in the term gods,
both being propitious.





FREY.


349


Njord had the consolation, when he was sent as
hostage to the gods, that he begat a son whom no one
hates, but who is the best among the gods. Thus the
Elder Edda, in ~Eger's banquet to the gods, where Loke
also was present:
NJORD:
It is my consolation--
For I was from a far-off place
Sent as a hostage to the godsThat I begat that son*
Whom no one hates,
And who is regarded
Chief among the gods.
To which LOKE makes reply:
Hold thy tongue, Njord!
Subdue thy arrogance;
I will conceal it no longer
That with thy sister
A son thou didst beget
Scarcely worse. than thyself.
But TYR defends Frey:
Frey is the best
Of all the chiefs
Among the gods.
He causes not tears
To maids or mothers:
His desire is to loosen the fetters
Of those enchained.
LOKE:
Hold thy tongue, Tyr!
Never thou couldst
Use both hands,f
Since thy right one,


*Frey.            t See p. 271.





350


FREY.


As I now remember,
The wolf Fenrer took from you.
TYR:
I lack a hand,
Thou lackest good reputation,Sad it is to lack such a thing;
Nor does the wolf fare well,In chains he pines
Till the end of the world.
LOKE:
Hold thy tongue, Tyr!
Thy wife and I
Had a son together,
But thou, poor fellow,
Received not a farthing
In fine from me.
FREY:
The wolf I see lie
At the mouth of the river
Until the powers perish.
Mischief-maker!
If thou dost not hold thy tongue
Thou also shalt be bound.
LOKE:
For gold thou bought'st
Gymer's daughter,
And sold thy sword
At the same time;
But when the sons of Muspel
Come riding from the dark woods,
What hast thou, poor fellow,
To rely upon?
Frey has a servant by name BYGVER, who responds
to Loke:
Know that, were I born
Of so noble a race





FREY.


351


As Ingun's Frey,
And had I
So glorious a hall,
I would crush the evil crow,
Break his bones to the marrow!
LOKE then turns upon Bygver, and calls him a
little impertinent thing, that always hangs about Frey's
ears and cries under the millstone (can the reader help
thinking at this moment of Robert Burns' famous poem,
John Barleycorn?); a good-for-nothing fellow, who never
would divide good with men, and when the heroes
fought they could not find him, for he was concealed
in the straw of the bed.
Frey's maid-servant is Beyla, Bygver's wife, whom
Loke calls the ugliest and filthiest hag that can  be
found among the offspring of the gods. Of course Loke
exaggerates and uses abusive language, but it was in
truth a sorry thing for Frey that he traded his sword
away, for it is to this fact he owes his defeat when he
encounters Surt in Ragnarok.
Frey's wife was Gerd, a daughter of Gymer, and
their son was Fjolner. Frey was worshiped throughout
the northern countries. In the common formula of the
oath his name was put first: HJALPI MER SVA FREYR
OK NJOERDR OK HINI     ALMATTKI ASs! that is, So help
me Frey and Njord and the almighty Asa (Odin). On
Jul-eve (Christmas eve) it was customary to lead out a
boar, which was consecrated to Frey, and which was
called the atonement boar. On this the persons present
laid their hands and made solemn vows; and at the
feast, where the flesh of the sacrificed animal was eaten
by the assembled guests, there was drunk, among other
horns, a horn to Njord and Frey for prosperous seasons
and for peace.





352


FREY AND GERD.


Everything about Frey goes to show that he is the
god of the earth's fruitfulness.  The sea, Njord, rises
as vapor and descends in rain upon the land, making
it fruitful.  There has been much dispute about the
etymological meaning of the word Frey.     Finn Magnfsson derives it from frwe, Norse fro, meaning seed.
Grimm, on the other hand, thinks the fundamental idea
is mildness, gladness (compare German froh, Norse
fryd). A derived meaning of the word is man, masculine of Freyja (German frau), meaning woman.
SECTION IV. FREY AND GERD.
Frey had one day placed himself in Hlidskjalf, and
looked out upon all the worlds. He also saw Jotunheim,
and perceived a large and stately mansion which a maid
was going to enter, and as she raised the latch of the
door so great a radiancy was thrown from her hand,
that the air and waters and all worlds were illuminated
by it. It was Gerd, a daughter of the giant Gymer
and Aurboda, relatives of Thjasse. At this sight Frey,
as a just punishment for his audacity in mounting on
that sacred throne, was struck with sudden sadness, so
that on his return home he could neither speak nor
sleep nor drink, nor did any one dare to inquire the
cause of his affliction.  Frey's messenger was named
Skirner. Njord sent for him and requested of him, as
did also Skade, that he should ask Frey why he thus
refused to speak to any one.
Thus the Elder Edda, in the lay of Skirner:*
SKADE:
Skirner, arise, and swiftly run
Where lonely sits our pensive son;
* Herbert's translation.





FREY AND GERD.


353


Bid him to parley, and inquire
'Gainst whom he teems with sullen ire.
SKIRNER:
Ill words I fear my lot will prove,
If I your son attempt to move;
If I bid parley, and inquire
Why teems his soul with savage ire.
Reluctantly   Skirner then    proceeded   to Frey, and
thus addressed him:
SKIRNER:
Prince of the gods, and first in fight!
Speak, honored Frey, and tell me right:
Why spends my lord the tedious day
In his lone hall, to grief a prey?
FREY:
Oh, how shall I, fond youth, disclose
To you my bosom's heavy woes?
The ruddy god* shines every day,
But dull to me his cheerful ray.
SKIRNER:
Your sorrows deem not I so great
That you the tale should not relate:
Together sported we in youth,
And well may trust each other's truth.
FREY:
In Gymer's court I saw her move,
The maid who fires my breast with love;
Her snow-white arms and bosom fair
Shone lovely, kindling sea and air.
Dear is she to my wishes, more
Than e'er was maid to youth before;
But gods and elves, I wot it well,
Forbid that we together dwell.
*The sun.





354


FREY AND GERD.


SKIRNER:
Give me that horse of wondrous breed
To cross the nightly flame with speed;
And that self-brandished sword to smite
The giant race with strange affright.
FREY:
To you I give this wondrous steed
To pass the watchful fire with speed;
And this, which borne by valiant wight,
Self-brandished will his foemen smite.
Frey, having thus given away his sword, found himself without arms when he on another occasion fought
with Bele, and hence it was that he slew him with a
stag's antlers. This combat was, however, a trifling
affair, for Frey could have killed him with a blow of
his fist, had he felt inclined; but the time will come
when the sons of Muspel will sally forth to the fight in
Ragnarok, and then indeed will Frey truly regret having parted with his falchion. Having obtained the horse
and sword, Skirner set out on his journey, and thus
he addressed his horse:
Dark night is spread; 'tis time, I trow,
To climb the mountains hoar with snow;
Both shall return, or both remain
In durance, by the giant ta'en.
Skirner rode into Jotunheim, to the court of Gymer.
Furious dogs were tied there before the gate of the
wooden inclosure which surrounded Gerd's bower. He
rode toward a shepherd, who was sitting on a mound,
and thus addressed him:
Shepherd, you, that sit on the mound,
And turn your watchful eyes around,
How may I lull these bloodhounds? say;
How speak unharmed with Gymer's may?*
* May, maid.





FREY AND GERD.


355


THE SHEPHERD:
Whence and what are you? doomed to die?
Or, dead, revisit you the sky?
For ride by night or ride by day,
You ne'er shall come to Gymer's may.
SKIRNER:
I grieve not, I, a better part
Fits him who boasts a ready heart:
At hour of birth our lives were shaped;
The doom of fate can ne'er be 'scaped.
But Gerd inside hears the stranger, and thus speaks
to her maid-servant:
What sounds unknown my ears invade,
Frightening this mansion's peaceful shade;
The earth's foundation rocks withal,
And trembling shakes all Gymer's hall.
THE MAID-SERVANT:
Dismounted stands a warrior sheen;
His courser crops the herbage green.
GERD:
Haste! bid him to my bower with speed,
To quaff unmixed the pleasant mead;
And good betide us; for I fear
My brother's murderer is near.
Skirner having entered, Gerd thus addresses him:
What are you, elf or asas' son?
Or from the wiser vanas sprung?
Alone to visit our abode,
O'er bickering flames, why have you rode?
SKIRNER:
Nor elf am I, nor asas' son;
Nor from the wiser vanas sprung:
Yet o'er the bickering flames I rode
Alone to visit your abode.





356


FREY AND GERD.


Eleven apples here I hold,
Gerd, for you, of purest gold;
Let this fair gift your bosom move
To grant young Frey your precious love.
GERD:
Eleven apples take not I
From man as price of chastity:
While life remains, no tongue shall tell
That Frey and I together dwell.
SKIRNER:
Gerd, for you this wondrous ring,
Burnt on young Balder's pile, I bring,
On each ninth night shall other eight
Drop from it, all of equal weight.
GERD:
I take not, I, that wondrous ring,
Though it from Balder's pile you bring:
Gold lack not I, in Gymer's bower;
Enough for me my father's dower.
SKIRNER:
Behold this bright and slender wand,
Unsheathed and glittering in my hand!
Refuse not, maiden! lest your head
Be severed by the trenchant blade.
GERD:
Gerd will ne'er by force be led
To grace a conqueror's hateful bed;
But this I trow, with main and might
Gymer shall meet your boast in fight.
SKIRNER:
Behold this bright and slender wand,
Unsheathed and glittering in my hand!
Slain by its edge your sire shall lie,
That giant old is doomed to die.





FREY AND GERD.


357


As this has no effect upon Gerd's mind, Skirner heaps
blows upon her with a magic wand, and at the same
time he begins his incantations, scoring runic characters
as he sings:
E'en as I list, the magic wand
Shall tame you! Lo, with charmed hand
I touch you, maid! There shall you go
Where never man shall learn your woe.
On some high, pointed rock, forlorn
Like eagle, shall you sit at morn;
Turn from the world's all-cheering light,
And seek the deep abyss of night.
Food shall to you more loathly show
Than slimy serpent creeping slow,
When forth you come, a hideous sight,
Each wondering eye shall stare with fright;
By all observed, yet sad and lone;
'Mongst shivering giants wider known
Than him" who sits unmoved on high,
The guard of heaven with sleepless eye.
'Mid charms and chains and restless woe,
Your tears with double grief shall flow.
Now sit down, maid, while I declare
Your tide of sorrow and despair.
Your bower shall be some giant's cell,
Where phantoms pale shall with you dwell;
Each day to the frosty giant's hall,
Comfortless, wretched, shall you crawl;
Instead of joy, and pleasure gay,
Sorrow and tears and sad dismay;
With some three-headed giant wed,
Or pine upon a lonely bed;
From morn to morn love's secret fire
Shall gnaw your heart with vain desire;
Like barren root of thistle pent
In some high ruined battlement.
O'er shady hill, through greenwood round,
I sought this wand; the wand I found.
* Heimdal, the god of the rainbow.





358


FREY AND GERD.


Odin is wroth, and mighty Thor;
E'en Frey shall now your name abhor.
But ere o'er your ill-fated head
The last dread curse of heaven be spread,
Giants and Thurses far and near,
Suttung's sons, and ye asas, hear
How I forbid with fatal ban
This maid the joys, the fruit of man.
Cold Grimner is that giant hight
Who you shall hold in realms of might;
Where slaves in cups of twisted roots
Shall bring foul beverage from the goats;
Nor sweeter draught, nor blither fare
Shall you, sad virgin, ever share.
'Tis done! I wind the mystic charm;
Thus, thus I trace the giant form;
And three fell characters below,
Fury and Lust and restless Woe.
E'en as I wound, I straight unwind
This fatal spell, if you are kind.
GERD:
Now hail, now hail, you warrior bold!
Take, take this cup of crystal cold,
And quaff the pure metheglin old.
Yet deemed I ne'er that love could bind
To vana-youth my hostile mind.
SKIRNER:
I turn not home to bower or hall
Till I have learnt mine errand all;
Where you will yield the night of joy
To brave Njord's, the gallant boy.
GERD:
Bar-isle is hight, the seat of love;
Nine nights elapsed, in that known grove
Shall brave Njord's, the gallant boy,
From Gerd take the kiss of joy.
Then   Skirner rode home.       Frey stood   forth  and
hailed him   and asked what tidings.





FREY AND GERD.


359


FREY:
Speak, Skirner, speak and tell with speed!
Take not the harness from your steed,
Nor stir your foot, till you have said,
How fares my love with Gymer's maid!
SKIRNER:
Bar-isle is hight, the seat of love;
Nine nights elapsed, in that known grove
To brave Njord's, the gallant boy,
Will Gerd yield the kiss of joy.
FREY:
Long is one night, and longer twain;
But how for three endure my pain?
A month of rapture sooner flies
Than half one night of wishful sighs.
This poem illustrates how beautifully a myth can be
elaborated. Gerd is the seed; Skirner is the air that
comes with the sunshine. Thus the myth is easily explained: The earth, in which the seed is sown, resists
the embrace of Frey; his messenger Skirner, who brings
the seed out into the light, in vain promises her the
golden ears of harvest and the ring, the symbol of
abundance. She has her giant nature, which has not
yet been touched by the divine spirit; she realizes not
the glory which she can attain to by Frey's love. Skirner must conjure her, he must use incantations, he
must show her how she, if not embraced by Frey, must
forever be the bride of the cold frost, and never experience the joys of wedded life.   She finally surrenders
herself to Frey, and they embrace each other, when the
buds burst forth in the grove. This myth then corresponds to Persephone, the goddess of the grain planted
in the ground.    Demeter's sorrow on account of the
naked, forsaken field, from    which   the  sprout shall
shoot forth from   the hidden reed, is Frey's impatient





360


WORSHIP OF FREY.


longing; and Skirner is Mercurius, who brings Proserpina up from the lower world.
But the myth has also a deeper ethical signification.
Our forefathers were not satisfied with the mere shell;
and Frey's love to Gerd, which is described so vividly
in the Elder Edda, is taken from the nature of love,
with all its longings and hopes, and is not only a
symbol of what takes place in visible nature. As the
warmth of the sun develops the seed, thus love develops the heart; love is the ray of light (Skirner) sent
from heaven, which animates and ennobles the clump
of earth. Gerd is the maid, who is engaged in earthly
affairs and does not yet realize anything nobler than
her every-day cares. Then love calls her; in her breast
awakens a new life; wonderful dreams like gentle breezes
embrace her, and when the dreams grow into consciousness her eyes are opened to a higher sphere of existence. This myth is most perfectly reflected in the lovestory of Pridthjof's Saga, an old Norse romance moulded
into a most fascinating Epic Poem by Tegner. A good
English translation of this poem appeared a few years
ago in London, and was republished in this country
under the auspices of Bayard Taylor. It is also translated into almost every other European language, and
is justly considered one of the finest poetical productions of this century.
SECTION V. WORSHIP OF FREY.
The Sagas tell us, as has already been stated, that
Frey was worshiped extensively throughout the northern
countries.
In Throndhjem there was during the reign of Olaf
Tryggvesson a temple in which Frey was zealously worshiped. When the king, having overthrown the statue





WORSHIP OF FREY.


361


of the god, blamed the bondes * for their stupid idolatry,
and asked them wherein Frey had evinced his power,
they answered: Frey often talked with us, foretold us
the future, and granted us good seasons and peace.
The Norse chieftain Ingemund Thorstenson, who in
the days of the tyrant Harald Hairfair emigrated from
Norway and settled in Vatnsdal, Iceland, built near his
homestead a temple, which appears to have been specially
dedicated to Frey, who had in a manner pointed out a
dwelling-place to him; for in digging a place for his
pillars of the high-seat (indvegis-silur, something similar to the Greek Hermes and Roman Penates), Ingemund found in the earth an image of Frey, which he
had lost in Norway.
The Icelander Thorgrim of Seabol was a zealous
worshiper of Frey, and conducted sacrificial festivals in
his honor during the winter nights. He was killed in
his bed by Gisle, and a famous funeral service was
given him; but one thing, says the Saga of Gisle Surson,
also happened, which seemed remarkable. Snow never
settled on Thorgrim's how (grave-mound) on the south
side, nor did it freeze; it was thought that Frey loved
him so much, because he had sacrificed to him, that
he did not want it to grow cold between them.
In the vicinity of the estate Tver-aa, in Eyjafjord in
Iceland, there was a temple dedicated to Frey, and the
place became so holy that no guilty person dared to
tarry there, for Frey did not allow it. When the chieftain Thorkel the Tall was banished from     Tver-aa by
Glum Eyjolfson, who is universally known as Vigaglum,
he led a full-grown ox to Frey's temple before he left,
and thus addressed the god: Long have you been to
me a faithful friend, 0 Frey! Many gifts have you
* Farmers, peasants.





362


WORSHIP OF FREY.


received from me and rewarded me well for them. Now
I give you this ox, in order that Glum may some day
have to leave Tver-aa no less reluctantly than I do.
And now give to me a sign to show whether you accept
this offering or not. At that moment the ox bellowed
loudly and fell dead upon the ground. Thorkel considered this a good omen, and moved away with a lighter
heart. Afterwards (it is related in Vigaglum's Saga) Glum
in his old days became involved in a dangerous suit for
manslaughter, which ended in his having to relinquish
Tver-aa to Ketil, son of Thorvald Krok, whom he confessed having killed. On the night before he rode to
the thing (assembly, court), where his case was to be
decided, he dreamed that there had congregated a number of men at Tver-aa to meet Frey; he saw many
down by the river (a is river in Icelandic), and there
sat Frey on a bench. Glum asked who they were, and
they answered: We are your departed relatives, and
have come to pray Frey that you may not be driven
from Tver-aa; but it avails us nothing. Frey answers
us short and angrily and now remembers the ox which
Thorkel the Tall gave to him. Glum awoke, and from
that time he said that he was on unfriendly terms with
Frey.
In the temple at Upsala, in Sweden, Frey, together
with Odin and Thor, was especially worshiped; and by
the story of the Norseman Gunnar Helming, who in
Sweden gave himself out as Frey, it is attested that the
people in some provinces of Sweden put their, highest
trust in this god, and even believed him sometimes to
appear in human form.
The horse, it appears, was regarded as a favorite
animal of Frey. At his temple in Throndhjem it is said
there were horses belonging to him. It is related of the





WORSHIP OF FREY.


363


Icelander Rafnkel that he loved Frey above all other gods,
and bestowed upon him an equal share in all his best
possessions. He had a brown horse called Frey-fax (compare Col-fax, Fair-fax,* etc.), which he loved so highly
that he made a solemn vow to kill the man who should
ride this horse against his will, a vow which he also
fulfilled. Another Icelander, Brand, also had a horse
called Frey-fax, which he made so much of that he was
said to believe in it as in a divinity.
Frey's boar, Gullinburste, has been referred to in connection with the Jul or Christmas festivities, and there
are found many examples of swine-sacrifice in the old
Norse writings.  King Hedrek made solemn vows on
the atonement-boar on Jul-eve, and in one of the prose
supplements to the ancient Eddaic poem of Helge HIjorvardson we find that the atonement-boar is mentioned
as being led out on Jul-eve, in order that they might
lay hands upon it and make solemn vows.
A highly valued wooden statue or image of Frey was
found in a temple at Throndhjem, which king      Olaf
Tryggvesson hewed in pieces in the presence of the
people. Kjotve the Rich, king of Agder in Norway,
one of the chiefs who fought against Harald Fairhair,
had a weight upon which the god Frey was sculptured
in silver. This treasure, which he held in great veneration, fell after the battle into the hands of King Harald,
and he presented it to his friend, the chieftain Ingemund
Thorstenson, who afterwards carried the image in a purse
and held it in very high esteem. This last-mentioned
image was probably borne as an amulet, as was often the
case, no doubt, with the gold bracteates which are found
in the grave-hows and in the earth, having upon them
the images of men and animals, and which are furnished
with a clasp for fastening to a necklace.
* Fax means hair.





364


FREYJA.


SECTION VI. FREYJA.
The goddess of love is Freyja, also called Vanadis or
Vanabride. She is the daughter of Njord and the sister
of Frey. She ranks next to Frigg. She is very fond
of love ditties, and all lovers would do well to invoke
her. It is from her name that women of birth and
fortune are called in the Icelandic language his freyjur
(compare Norse fru and German frau). Her abode in
heaven is called Folkvang, where she disposes of the
hall-seats.  To whatever field of battle she rides she
asserts her right to one half the slain, the other half
belonging to Odin. Thus the Elder Edda, in Grimner's lay:
Folkvang 't is called
Where Freyja has right
To dispose of the hall-seats.
Every day of the slain
She chooses the half
And leaves half to Odin.
Her mansion, Sessrymner (having       many or large
seats), is large and magnificent; thence she rides out
in a car drawn by two cats. She lends a favorable ear
to those who sue for her assistance.     She possesses a
necklace called Brisingamen, or Brising.    She married
a person called Oder, and their daughter, named Hnos,
is so very handsome that whatever is beautiful and
precious is called by her name hnossir (that means,
nice things). It is also said that she had two daughters,
Hnos and Gerseme, the latter name meaning precious.
But Oder left his wife in order to travel into very
remote countries.   Since that time Freyja continually
weeps, and her tears are drops of pure gold; hence she
is also called the fair weeping goddess (it grdtfagra got").
In poetry, gold is called Freyja's tears, the rain    of





FREYJA.


Freyja's brows or cheeks. She has a great variety of
names, for, having gone over many countries in search
of her husband, each people gave her a different name.
She is thus called Mardal, Horn, Gefn, Syr, Skjalf and
Thrung. It will also be remembered, from the chapter
about Thor, that Freyja had a falcon-guise, and how
the giant Thrym   longed to possess her. In the lay of
Hyndla, in the Elder Edda, Freyja comes to her friend
and sister, the giantess Hyndla, and requests her to
ride to Valhal, to ask for success for her favorite Ottar;
promising the giantess to appease Odin and Thor, who
of course were enemies to the giants. Hyndla is inclined to doubt Freyja's remarks, especially as she comes
to her with Ottar in the night. Who this Ottar was
we do not know, excepting that he was a son of the
Norse hero, Instein, and hence probably a Norseman.
He was heir to an estate, but his right to it was disputed by Angantyr. It was therefore necessary to make
his title good, and to enumerate his ancestors, but for
this he was too ignorant. Meanwhile he had always
been a devout worshiper of the asynjes (goddesses), and
had especially worshiped Freyja by making sacrifices,
images, and erecting altars to her. Hence it is that
she wishes to help him in this important case, but finds
that she is not able, and it was for this reason she
saddled her golden boar and went to the wise giantess
Hyndla, who was so well posted in regard to the pedigrees, origin and fates of gods, giants and men. Hyndla
consents to giving the information asked for, and so
she enumerates first the immediate ancestors of Ottar
on his father's and mother's side, then speaks of the
king so famous in olden times, Halfdan Gamle, the
original progenitor of the Skjolds and several other
noble families of the North. And as these royal fami




366


FREYJ A.


lies were said to be descended from the gods and the
latter again from the giants, Hyndla gives some of their
genealogies also. Thus she gets an opportunity to speak
of Heimdal and his giant mothers, then of Loke and
of the monsters descended from him, which shall play
so conspicuous a part in Ragnarok, then of the mighty
god of thunder, and finally of a god yet more mighty,
whom she ventures not to name, and here she ends
her tale. She will not prophesy further than to where
Odin is swallowed by the Fenris-wolf and the world by
the yawning abyss. Freyja after this asks her for a
drink of remembrance to give to Ottar, her guest and
favorite, in order that he might be able to remember
the whole talk and the pedigree two days afterwards,
when the case between him and Angantyr should be
decided by proofs of this kind. Hyndla refuses to do
this, and upbraids her with abusive language. By this
Freyja is excited to wrath and threatens to kindle a
fire around the giantess, from which she would not be
able to escape, if she did not comply with her request.
When the threat begins to be carried out (at the breaking forth of the flaming aurora in the morning) Hyndla
gives the requested drink, but at the same time curses it.
Freyja is not terrified by this, but removes the curse by
her blessing and earnest prayers to all divinities for the
success of her beloved Ottar.
We should like to give the lay in full, as it is found
in the Elder Edda, but having quoted several strophes
from it before, and it being quite long, we reluctantly
omit it. We advise our readers, however, by all means
to read the ELDER EDDA.       There is more profound
thought in it than in any other human work, not even
Shakespeare excepted. What a pity that it is so little
known!





FREYJA.


367


Women    came after death   to Freyja.  When Egil
Skallagrimson had lost his young son, and was despairing unto death on this account, his daughter Thorgerd,
who was married to Olaf in Lax-aa-dal, comes to console
him; and when she hears that he will neither eat nor
drink, then she also says that she has not and will not
eat or drink before she comes to Freyja. With her,
lovers who have been faithful unto death are gathered;
therefore Hagbard sings: Love is renewed in Freyja's
halls.
Freyja is the goddess of love between man and woman.
Hence we find in her nature, beauty, grace, modesty, the
longings, joys, and tears of love, and we find also that
burning love in the heart which breaks out in wild
flames. She rules in Folkvang, in the human dwellings,
where there are seats enough for all. No one escapes her
influence. Odin shares the slain equally with her, for the
hero has two grand objects in view -to conquer his enemy
and to win the heart of the maiden.
Thus the Norse mythology teaches us that the sturdy
Norseman was not insusceptible to impressions from
beauty nor unmoved by love. The most beautiful flowers
were named after Freyja's hair and eye-dew, and even
animate objects, which, like the flowers, were remarkable
for their beauty, were named after this goddess, as for
instance the butterfly (Icel. Freyjuha~na-Freyja's hen).
There is a semi-mythological Saga called Orvarodd's
Saga. Orvarodd signifies Arrow-odd; and as this same
Arrow-odd is implicated in a large number of love
exploits, it has been suggested that he may be Freyja's
husband, whose name the reader remembers was Oder, the
stem of which is od, and hence we have in the North also
not only a goddess of love, but also a god of love (Cupid),
with his arrows!





368


A BRIIEF REVIEW.


Freyja's cats symbolize sly fondling and sensual enjoyment. The name of her husband, Oder, means sense,
understanding, but also wild desire. The various names
bestowed upon Freyja when she travels among the different nations denote the various modes by which love
reveals itself in human life. The goddesses Sjofn, Lofn,
and Var, heretofore mentioned, were regarded as messengers and attendants of Freyja. Friday (dies Veneris) is
named after her. (See page 237.)
SECTION VII. A BRIEF REVIEW.
The lives and exploits of the propitious divinities
have now been presented; and in presenting the myths
we have not only given the forces and phenomena
of nature symbolized by the myths, but we have also
tried to bring the mythology down from heaven to the
earth, and exhibit the value it had in the minds of our
ancestors.  We have tried, as Socrates did with his
philosophy, to show what influence the myths have had
upon the life of our forefathers; in other words, we have
tried to put a kernel into the shell. We have tried to
present the mythology, not as the science and laws by
which the universe is governed, but as something- call
it science or what you will- by which to illustrate how
the contemplation of the forces and phenomena of nature
have influenced human thought and action. Language
is in its origin nothing but impressions from nature,
which having been revolved for a time in the human
mind find their expression in words.     Poetry is in its
origin nothing else but expressions of human thought
and feeling called forth by the contemplation of the
wonderful works of God. And this is also true of
mythology.





A BRIEF REVIEW.


369


We have found the propitious divinities divided into
three classes, those of heaven, those of earth, and those
of the sea. The union or marriage between heaven and
earth has been presented in various myths.   The king
of heaven is but one, but he embraces the earth in various forms, and the earth is, in a new form, wedded to
the god of thunder; nay, the vans, or divinities of the
sea, arise and fill the land with blessings in various ways.
The manner in which the gods are combined and interlinked with each other in one grand system is a feature
peculiar to the Norse mythology.   There is not, as in
the Greek, a series of separate groups and separate dwellings, but the gods come in frequent contact with each
other. Odin rules in the heavens, Thor in the clouds,
Heimdal in the rainbow, Balder in the realms of light,
Frey with his elves of light in the earth, but the sun
affects them all: it is Odin's eye, it is Balder's countenance, Heimdal needs it for his rainbow, and Frey governs
its rays; and still the sun itself rides as a beaming maid
with her horses from morning until evening. The earth
has its various forms, and the seed planted in the earth
has its own god (Frey), surrounded by the spirits of the
groves, the forests and the fountains. And the king of
heaven unites man with nature; he not only provides
for his animal life, but also breathes into him  a living
soul and inspires him  with enthusiasm. He sits with
Saga at the fountain of history; he sends out his son
Brage, the god of poetry and eloquence, and unites him
with Idun, the rejuvenating goddess, whose carefully
protected rivers meander through the grove full of fruit
trees bearing golden apples; and he lets his other son,
Balder, the ruler of light, marry the industrious flowergoddess, Nanna, who with her maids spreads a fragrrant
carpet over the earth. And as the god of thunder rules





370


A BRIEF REVIEW.


but to protect heaven and earth, so the naked desert
and the impenetrable forest exist only to remind us of
the incorruptible vital force of nature, safe against all
attacks. The imperishableness of nature appears more
strikingly in the stupendous mountains and gigantic
forests than in the fertile, cultivated and protected parts
of the earth.  Now let us again ask: Is there nothing
here for the poet or artist?  Has the Norse mythology
nothing that can be elaborated and clothed with beauful forms and colors?    Does this mythology not contain germs that art can develop into fragrant leaves,
swelling buds and radiant blossoms? Does not this
our Gothic inheritance deserve a place with the handmaids of literature?  Will not our poets, public speakers, lecturers, essayists, and writers of elegant literature
generally, who make so many quaint allusions to, and
borrow  so many elegant and      suggestive illustrations
from, Greek   mythology; will they not, we say, do
their own ancestors the honor to dip their pen occasionally into the mythology of the Gothic race?    It is
bad practice to borrow when we can get along without
it, besides the products of the south thrive not well in
our northern Gothic soil and climate. Ygdrasil grows
better here, and that is a tree large enough and fruitful
enough to sustain the Gothic race with enthusiasm and
inspiration for centuries yet to come, and to supply a
whole race of future bards and poets and artists with a
precious and   animating' elixir.  Our next generation
will comprehend this.





CHAPTER VII.


THE DEVELOPMENT OF EVIL. LOKE AND
HIS OFFSPRING.
SECTION I. LOKE.
W     E have now made an acquaintance with the lives
and exploits of the good and propitious divinities, with the asas and vans. But what of the evil?
Whence come they, and how have they been developed?
Many a philosopher has puzzled his brain with this vexed
question, and the wisest minds are still engaged in deep
meditations in regard to it. It is and will remain an
unsolved problem.  But what did the old Goths, and
particularly our Norse forefathers, think  about the
development of evil? What forms did it assume among
them? How did it spring forth in nature, and how did
it impress the minds and hearts of the people? These
are questions now to be answered.
There are in the Norse mythology two individuals
by the name of Loke. The one is Utgard-Loke, hideous
in his whole being, and his character was sketched in
the myth about Thor and Skrymer (see pp. 312-322); he
represents physical and moral evil in all its naked loathsomeness.  The other is Asa-Loke, of whom there also
have been accounts given at various times in connection
with the propitious gods; and it is of him solely we are
now to speak, as the former belongs wholly to the race
of giants. Asa-Loke, whom we shall hereafter call by his
(371)





LOKE.


common name, Loke, is the same evil principle in all its
various manifestations; but as he makes his appearance
among the gods, he represents evil in the seductive and
seemingly beautiful form in which it glides about through
the world. We find him flowing in the veins of the
human race and call him sin, or passion. In nature he
is the corrupting element in air, fire and water. In the
bowels of the earth he is the volcanic flame, in the sea
he appears as a fierce serpent, and in the lower world
we recognize him as pale death. Thus, like Odin, Loke
pervades all nature. And in no divinity is it more clear
than in this, that the idea proceeding from the visible
workings of nature entered the human heart and mind
and there found its moral or ethical reflection.    Loke
symbolizes sin, shrewdness, deceitfulness, treachery, malice, etc. Loke is indeed in his development one of the
profoundest myths. In the beginning he was intimately
connected with Odin, then he became united with the air,
and finally he impersonates the destructive fire. And in
these changes he keeps growing worse and worse.
In the banquet of JEger he reminds Odin that they
in the beginning of time had their blood mixed. Thus
the Elder Edda:
LOKE:
Do thou mind, Odin,
That we in time's morning
Mixed blood together!
Then thou pretendedst
That thou never wouldst ask a drink
Unless it was offered to both of us.
Sameness of blood symbolizes sameness of mind, and
Loke is in the Younger Edda called Odin's brother, the
uncle of the gods. Under the name of Loder, or Lopter,
Loke took part in the creation of man; he gave the
senses, the sources of evil desires, the passions, the fire





LOKE.


373


of the veins. Thus he is like the fire, which is beneficent and necessary for development, but also dangerous
and destructive. With the giantess Angerboda (producing sorrow) he begat the wolf Fenrer, but the most
disgusting monster is the woman Hel, who is a daughter
of Loke.    Odin unites himself with the gigantic force
in nature, but he does this to develop, ennoble and
elevate it. Lolce unites himself with crude matter, but
by this union he only still further develops the evil
principle, which then expresses itself in all kinds of
terrible phenomena: the sea tosses its waves against
heaven itself, and rushes out upon the land; the air
trembles; then comes snow and howling winds; the rain
splashes down upon the earth, etc.      Such is also his
influence upon the human mind. He is the sly, treacherous father of lies.  In appearance he is beautiful and
fair, but in his mind he is evil, and in his inclinations
he is inconstant.    Notwithstanding his being ranked
among the gods, he is the slanderer of the gods, the
grand contriver of deceit and fraud, the reproach of
gods and men. Nobody renders him divine honors.
He surpasses all mortals in the arts of perfidy and
craft.
There is some dispute about the real meaning of
Loke's name. Some derive it from the Icelandic luka,
to end, thus arguing that Loke is the end and consummation of divinity. Another definition is given, taken
from the Icelandic logi (Anglo-Saxon lig), according to
which the primary meaning would be fire, flame. He
is also called Loder, or Lopter (the aerial; compare
Norse luft, Anglo-Saxon lyft, air); and this would seem
to corroborate the definition of Loke as fire.     Loder
(lodern, to blaze) would then designate him in the character of the blazing earthly fire, and Lopter as the





074


LOKE.


heated and unsteady air.   He is son of the giant Farbaute, that is, the one who strikes the ships, the wind.
His mother is Laufey, or Nal, the former meaning leafisle, and the latter needle. Oak trees produce leaves and
pines produce needles; both Laufey and Nal are therefore combustibles. His brothers are Byleist (dwelling
destroyer, raging flame), and Helblinde, the latter being
another name for Odin.
In the previous chapters it has frequently been seen
how Loke time and again accompanied the gods, they
making use of his strength and cunning; but it has
also been shown how he acted in concert with the
jotuns and exposed the gods to very great perils and
then extricated them again by his artifices. By Loke's
advice the gods engage the artificer to build a dwelling
so well fortified that they should be perfectly safe from
the incursions of the frost-giants. For this the artificer
is to receive Freyja, providing he completes his work
within a stipulated time; but Loke prevented him from
completing his task by the birth of Sleipner. When the
dwarfs forge the precious things for the gods, it is he
who brings about that the work lacks perfection, and
even the handle of Thor's mallet, Mjolner, becomes too
short; for evil is everywhere present and makes the best
things defective. He cuts the hair of the goddess Sif, and
by this he makes way for the forging of the precious articles; thus evil often in spite of itself produces good
results. Examples of this abound in the history of the
world. Loke gives Thjasse an opportunity to rob Idun,
but brings her back again and thus causes Thjasse's
death. He hungers at Geirrod's, and causes Thor to
undertake his dangerous journey; but he also looks after
Thor's hammer, and accompanies him as maid-servant to
get it back. He steals Freyja's Brisingamen, and quar




LOKE.


375


rels with Heimdal about it. But his worst deed is Balder's death. For these reasons Loke is in Old Norse
poetry called: son of Farbaute, son of Laufey, son of Nal,
brother of Byleist, brother of Helblinde, father of the
Fenris-wolf, father of the Midgard-serpent, father of Hel,
uncle of Odin, visitor and chest-goods of Geirrod, thief of
Brisingamen and of Idun's apples, defender of Sigyn (his
wife), Sif's hair destroyer, adviser of Balder's bane, etc.
Odin, Hcener and Loke are often together. It is related that they once set out to explore the whole world.
They came to a stream, and followed it until they came
to a force (cascade) where there sat an otter near the
force.  It had caught a salmon in the force and sat
half sleeping eating it.  Then Loke picked up a stone
and threw it at the otter, struck it in the head and then
boasted of his deed, for he had killed or captured both
the otter and salmon with one stone. They then took
the salmon and otter with them     and came to a gard
(farm), where they entered the house.      The bonde,*
who lived there, hight Hreidmar, an able fellow well
skilled in necromancy. The gods asked for night lodgings, but added that they were supplied with provisions; whereupon they showed what they had caught.
But when Hreidmar saw the otter he called to him his
sons Fafner and Regin, and told them that their brother
Odder (otter) h'ad been slain, and who had done it.
Father and sons then attack the gods, overpower and
bind them, and then inform them that the otter was
Hreidmar's son.   The gods offered a ransom    for their
lives, as large as Hreidmar himself would determine it;
they made a treaty accordingly, confirming it with oaths.
When the otter then had been flayed, Hreidmar took
the skin and demanded that they should fill it with
shining gold and then perfectly cover it with the same.
* Peasant, farmer.





376


LOKE.


These were the terms of agreement. Then Odin sent
Loke to the home of the swarthy elves (Svartalf-heim),
where he met the dwarf Andvare (wary, cautious spirit),
who lived as a fish, in the water. Loke borrowed Ran's
net and caught him, and demanded of him, as a ransom for his life, all the gold he had in the rock, where
he dwelt. And when they came into the rock the dwarf
produced all the gold which he possessed, which was a
considerable amount; but Loke observed that the dwarf
concealed under his arm a gold ring, and ordered him
to give it up. The dwarf prayed Loke by all means to
let him keep it; for when he kept this ring, he said,
he could produce for himself more of the metal from
it. But Loke said that he should not keep so much as
a penny, and took the ring from him, and went out.
Then said the dwarf, that that ring should be the
bane of the person who possessed it.    Loke had no
objection to this, and said that, in order that this purpose should be kept, he should bring these words to the
knowledge of him who should possess it. Then Loke
returned to Hreidmar, and showed Odin the gold; but
when the latter saw the ring he thought it was pretty;
he therefore, taking it, gave Hreidmar the rest of the
gold. Hreidmar then filled the otter-skin as well as he
could, and set it down when it was full. Then Odin went
to cover the bag with gold, and afterwards bade Hreidmar see whether the bag was perfectly covered; but
Hreidmar examined, and looked carefully in every place,
and found an uncovered hair near the mouth, which
Odin would have to cover, or the agreement would be
broken. Then Odin produced the ring and covered the
hair with it, and said that they now had paid the otterransom. But when Odin had taken his spear, and Loke
his shoes, so that they had nothing more to fear, Loke





LOKE.


377


said that the curse of the dwarf Andvare should be fulfilled, and that this gold and this ring should be the
bane of him who possessed it.   From this myth it is
that gold is poetically called otter-ransom.
And the curse was fulfilled. This curse of ill-gotten
gold became the root of a series of mortal calamities,
which are related in the latter part of the Elder Edda,
in the songs about Sigurd Fafner's bane, or the Slayer
of Fafner; about Brynhild, about Gudrun's sorrow,
Gudrun's revenge, in the song about Atle, etc. The
curse on the gold, pronounced upon it by Andvare, the
dwarf, is the grand moral in these wonderful songs,
and never was moral worked out more terribly.    Even
Shakespeare has no tragedy equal to it.   When Odin
and Loke had gone away, Fafner and Regin demanded
from their father, Hreidmar, a share of the ransom in
the name of their brother Odder; but Hreidmar refused,
so Fafner pierced his father with  a sword while he
slept.  Thus Hreidmar died, but Fafner took all the
gold.  Then Regin demanded his paternal inheritance,
but Fafner refused to give it, and disappeared. Another
prominent character in the Edda is Sigurd, who frequently visited Regin and told him that Fafner, having
assumed the shape of a monstrous dragon, lay on Gnita
Heath, and had 2Eger's helmet, the helmet of terror,
before which all living trembled. Regin made a sword
for Sigurd, which was called Gram; it was so sharp that
when it stood in the river and a tuft of wool floated on
the current, the sword would cut the wool as easily as
the water. With this sword Sigurd cut Regin's anvil in
twain. Regin excites Sigurd to kill Fafner, and accordingly Sigurd and Regin proceeded on their way to Gnita
Heath, and discovered Fafner's path, whereupon the latter (Fafner) crept into the water.  In the way Sigurd





378


LOKE.


dug a large grave and went down into it. When Fafner
now crept away from the gold he spit poison, but this
flew over Sigurd's head, and as Fafner passed over the
grave Sigurd pierced him with his sword to the heart.
Fafner trembled convulsively, and fiercely shook his
head and tail.    Sigurd sprang out of the grave when
they saw   each other. Then a conversation takes place
between them, in which Fafner heaps curses upon Sigurd
until the former expires. Regin had gone away while
Sigurd killed Fafner, but came back while Sigurd was
wiping the blood off the sword.
REGIN:
Hail to thee now, Sigurd!
Now thou hast victory won
And Fafner slain.
Among all men who tread the earth
Most fearless
I proclaim thee to be born.
SIGURD:
Uncertain it is to know,
When we all come together,
Sons of victorious gods,
Who was born most fearless;
Many a man is brave
Who still does not thrust the blade
Into another man's breast.
REGIN:
Glad art thou now, Sigurd,
Glad of thy victory,
As thou wipest Gram on the grass.
Thou hast my
Brother wounded,
Let myself have some share therein.
SIGURD:
It was thou who caused
That I should ride





LOKE.


379


Hither over frosty mountains;
His wealth and life
Would the spotted snake still possess,
Hadst thou not excited me to fight.
Then went Regin to Fafner and cut the heart out
of him   with the sword     called Ridel, and afterwards
drank the blood from    the wound. He said:
Sit down now, Sigurd!
I will go to sleep:
Hold Fafner's heart by the fire.
Such a repast
Will I partake of
After this drink of blood.
SIGURD:
Thou didst absent thyself
When I in Fafner's blood
My sharp blade stained.
I set my strength
Against the power of the dragon
While thou didst lie in the heath.
REGIN:
Long wouldst thou
Have let the old
Troll lie in the heath,
Hadst thou not used
The sword which I made,
Thy sharpened blade.
SIGURD:
Courage is better
Than sword-strength
Where angry men must fight;
For the brave man
I always see win
Victory with a dull blade.
It is better for the brave man
Than for the coward
To join in the battle,
It is better for the glad





380


LOKE.


Than for the sorrowing
In all circumstances.
Sigurd took Fafner's heart, put it on a spit and
roasted it; but when he thought it must be roasted
enough, and when the juice oozed out of the heart, he
felt of it with his fingers to see whether it was well done.
He burned himself, and put his finger into his mouth, but
when the blood of Fafner's heart touched his tongue he
understood the song of birds. He heard birds singing in
the bushes, and seven birds sang a strophe each, talking
about how Regin might avenge his brother, kill Sigurd,
and possess the treasure alone, when Sigurd finally says:
Not so violent
Will fate be, that Regin
Shall announce my death;
For soon shall both
Brothers go
Hence to Hel.
And he cut the head off Regin, ate afterwards Fafner's
heart, and drank both his and Regin's blood. Then
Sigurd heard the birds sing:
Sigurd! gather
Golden rings;
It is not royal
To be smothered by fear.
I know a maid
Fairer than all
Endowed with gold,
If thou couldst but get her.
To Gjuke lie
Green paths,
Fortune beckons
The wanderers forward;
There a famous king
Has fostered a daughter,Her thou, Sigurd, must win.





LOKE.


381


Sigurd followed the track of the dragon to his nest
and found it open. Its doors and door-frames, and all
the beams and posts of the place, were of iron, but the
treasure was buried in the ground. There Sigurd found
a large heap of gold, with which he filled two chests.
Then he took the helmet of terror (.Eger's helmet), a
gold cuirass, the sword Hrotte, and many treasures,
which he put on the back of the horse Grane, but the
horse would not proceed before Sigurd mounted it also.
This is but the beginning of this terrible tragedy, but
our space does not allow us here to enter upon all the
fatal results of the curse of Andvare.  In the fate, first
of Sigurd and Brynhild, and afterwards of Sigurd and
Gudrun, is depicted passion, tenderness and sorrow with
a vivid power which nowhere has a superior. The men
are princely warriors and the women are not only fair,
but godlike, in their beauty and vigor. The noblest
sentiments and most heroic actions are crossed by the
foulest crimes and the most terrific tragedies.  In this
train of events, produced by the curse of Andvare alone,
there is material for a score of dramas of the most absorbing character. In the story of Sigurd and Brynhild, as
we find it in the latter part of the Elder Edda, there are
themes for tragic and heroic composition that would
become as immortal as Dante's Inferno or Shakespeare's
Macbeth, for they are based on our profoundest sympathies, and appeal most forcibly to our ideas of the beautiful and the true.
The ring Andvarenaut (Andvare's gift), as it is called,
here as elsewhere, symbolizes wealth, which increases in
the hands of the wary, careful Andvare (and-vari, wary).
But for avarice, that never gets enough, it becomes a
destructive curse. It is perfectly in harmony with Loke's





382


LOKE'S CHILDREN.


character to be satisfied and pleased with the curse
attached to the ring.*
SECTION II. LOKE'S CHILDREN. THE FENRIS-WOLF.
Loke's wife was Sigyn; their son was Nare or Narfe,
and a brother of him was Ale (Ole) or Vale.
With the hag, Angerboda, Loke had three children.
Angerbode was a giantess of Jotunheim, and her name
means anguish-boding. The children's names are Fenrer
or Fenris-wolf, the Midgard-serpent called Jormungander,
and Hel. The gods were not long ignorant that these
monsters continued to be bred up in Jotunheim, and,
having had recourse to divination, became aware of all
the evils they would have to suffer from them; that they
were sprung from such a bad mother was a bad omen,
and from such a father, one still worse. Allfather (Odin)
therefore deemed it advisable to send the gods to bring
them  to him.   When they came, he threw the serpent
into that deep ocean by which the earth is encircled. But
the monster has grown to such an enormous size, that
holding his tail in his mouth he engirdles the whole
earth. Hel he cast headlong into Niflheim, and gave her
power over nine worlds (regions), into which she distributes those who are sent to her,- that is to say, all who
die through sickness or old age. Here she possesses a
habitation  protected  by  exceedingly  high   walls and
strongly-barred gates. Her hall is called Elvidner (place
of storm); hunger is her table; starvation, her knife;
delay, her man-servant; slowness, her maid-servant;
precipice, her threshold; care, her bed; and burning
anguish forms the hangings of her apartments. The
* To anyone who wishes to read this great epic of the North, we would
recommend the Vilsunga Saga translated by Eirikr Magnfisson and William
Morris. London, 1872.





THE FENRIS-WOLF.


383


one half of her body is livid, the other half the color of
human flesh. She may therefore easily be recognized;
the more so as she has a dreadfully stern and grim
countenance.
The wolf Fenrer was bred up among the gods, but
Tyr alone had courage enough to go and feed him.
Nevertheless, when the gods perceived that he every day
increased prodigiously in size, and that the oracles warned
them that he would one day become fatal to them, they
determined to make a very strong iron chain for him,
which they called Leding.    Taking this fetter to the
wolf, they requested him to try his strength on it. Fenrer, perceiving that the enterprise would not be very
difficult for him, let them do what they pleased, permitted
himself to be bound, and then by great muscular exertion
burst the chain and set himself at liberty. The gods
having seen this, made another chain, twice as strong
as the former, and this they called Drome. They prevailed on the wolf to put it on, assuring him that, by
breaking this, he would give an incontestible proof of
his strength; it would be a great honor to him if so
great a chain could not hold him.
The wolf saw well enough that it would not be so
easy to break this fetter, but finding at the same time
that his strength had increased since he broke Leding,
and thinking that he could never become famous without running some risk, he voluntarily submitted to be
chained. When the gods told him that they had finished
their task, Fenrer shook himself violently, stretched his
limbs, rolled on the ground, and at last burst his chains,
which flew in pieces all around him. He thus freed
himself from   Drome.   From   that time we have the
proverbs, to get loose out of Leding, or to dash out of





384


THE FENRIS-WOLF.


Drome, when anything is to be accomplished by powerful efforts.
After this the gods despaired of ever being able to
bind the wolf; wherefore Odin sent Skirner, the messenger of Frey, down to the abode of the dark elves
(Svartalf-heim), to engage certain dwarfs to make the
chain called Gleipner. It was made out of six things,
namely, the noise made by the footstep of a cat, the
beard of a woman, the roots of the mountains, the
sinews of the bear, the breath of the fish, and the
spittle of birds (the enumeration of these things produces alliteration in Icelandic). And although you, says
he who relates this in the Younger Edda, may not
have heard of these things before, you may easily convince yourself that I have not been telling you lies.
You may have observed that woman has no beard,
that cats make no noise when they run, and that there
are no roots under the mountains; but it is nevertheless none the less true what I have related, although
there may be some things that you are not able to
furnish proof of.
How was this chain smithied? It was perfectly
smooth and soft like a silken string, and yet, as we
shall presently see, very firm and strong. When this
fetter was brought to the gods, they were profuse in
their thanks to Skirner for the trouble he had given
himself and for having done his errand so well, and taking the wolf with them they proceeded to a lake called
Amsvartner, to a holm (rocky island) which is called
Lyngve. They showed the string to the wolf, and expressed their wish that he would try to break it, at the
same time assuring him that it was somewhat stronger
than its thinness would warrant a person in supposing
it to be. They took it themselves one after another in





THE FENRIS-WOLF.


385


their hands, and, after attempting in vain to break it,
said: You alone, Fenrer are able to accomplish such a
feat.  Methinks, replied the wolf, that I shall acquire
no fame by breaking such a slender thread, but if any
deceit or artifice has been employed in making it, slender though it seems, it shall never come on my feet.
The gods assured him that he would easily break a
limber silken cord, since he had already burst asunder
iron fetters of the most solid construction; but if you
should not succeed in breaking it, they added, you will
show that you are too weak to cause the gods any fear,
and we will not hesitate to set you at liberty without
delay. I fear much, replied the wolf, that if you once
bind me so fast that I shall be unable to free myself
by my own efforts, you will be in no haste to loose me.
Loath am I therefore to have this cord wound around
me, but in order that you may not doubt my courage,
I will consent, provided one of you put his hand into
my mouth, as a pledge that you intend me no deceit.
The gods looked wistfully at one another, and thought
the conditions severe, finding that they had only the
choice of two evils, and no one would sacrifice his
hand, until Tyr, as has formerly been related, stepped
forward and intrepidly put his hand between the monster's jaws. Thereupon the gods having tied up the
wolf, he violently stretched himself as he had formerly
done, and used all his might to disengage himself, but
the more efforts he made the tighter became the cord.
Then all the gods burst out in laughter at the sight,
excepting Tyr, who lost his hand.
When the gods saw that the wolf was effectually
bound, they took the chain called Gelgja, which was
attached to the cord, and drew it through the middle
of a large rock called Gjol, which they sank deep into





386


THE FENRIS-WOLF.


the earth; afterwards, to make it still more secure, they
fastened the end of the cord to another massive stone
called Thvite, which they sank still deeper. The wolf
made in vain the most violent efforts to break loose,
and, opening his tremendous jaws, and turning in every
possible direction, endeavored to bite the gods. They,
seeing this, thrust a sword into his mouth within his
outstretched jaws, so that the hilt stood in his lower jaw
and the point in the roof of the mouth; and this is
called his palate-spar (gomsparri).  He howls horribly,
and the foam flows continually from his mouth in such
abundance that it forms the river called Von; from
which the wolf is also sometimes called Vonargander.
There he will remain until Ragnarok, the Twilight of
the gods. But why did not the gods slay the wolf, when
they have so much evil to fear from     him?    Because
they had so much respect for the sanctity of their
peace-steads that they would not stain them with the
blood of the wolf, although prophecies foretold to them
that he must one day become the bane of Odin.
The Fenris-wolf is the earthly fire chained by man,
exceedingly ferocious when let loose, as has been terribly illustrated by our recent fires in Chicago and her
sister city Boston; as a devouring wolf it attacks and
licks up the dwellings of men, as it is said in the lay
of Haakon:
Fearfully fares
The Fenris-wolf
Over the fields of men
When he is loosed.
Once it shall, with its upper jaw reaching to the
heavens and with the lower jaw on the earth, advance
with terror and destruction, and destroy the fire and
flame of heaven, Odin (the sun). At present it is fet




THE MIDGARD-SERPENT - HEL.


387


tered on the island, where a grave is dug and a furnace
is built of stone, with the draft (mouth) partially barred,
so that the fire is surrounded by things which prevent
its spreading. It is managed and controlled by men
for their advantage, and it is so useful that no one would
think of entirely destroying it (killing it).
SECTION III. JORMUNDGANDER, OR THE MIDGARDSERPENT.
The Midgard- or world-serpent we have already become tolerably well acquainted with, and recognize in
him the wild tumultuous sea.    Thor contended with
him; he got him on his hook, but did not succeed in
killing him. We also remember how Thor tried to lift
him in the form   of a cat.  The North abounds in
stories about the sea-serpent, which are nothing but
variations of the original myth of the Eddas. Odin
cast him into the sea, where he shall remain until he
is conquered by Thor in Ragnarok.
SECTION IV. HEL.
The goddess, or giantess (it is difficult to decide what
to call her), Hel, is painted with vivid colors. She rules
over nine worlds in Niflheim, where she dwells under
one of the roots of Ygdrasil. Her home is called Helheim. The way thither, Hel-way, is long. Hermod traveled it in nine days and nine nights.   Its course is
always downward and northward. Her dwelling is surrounded by a fence or inclosure with one or more large
gates. Gloomy rivers flow through her world. One of
these streams is called Slid, which rises in the east and
flows westward through valleys of venom, and is full of
mud and swords. A dog stands outside of a cave (Gnipahellir).  With blood-stained breast and loud howling





HEL.


this dog came from Hel to meet Odin, when the latter
rode down to wake the vala, who lay buried in her
grave-mound east of the Hel-gate, and to inquire about
the fate of Balder. Horrible is the coming of Hel, for
she binds the dying man with strong chains that cannot
be broken. Anguish gnaws his heart, and every evening
Hel's maids come and invite him. These maids are also
represented as dead women, who come in the night and
invite him who is dying to their benches. And to the
vision of the dying man opens a horrible, gloomy world
of fog; he sees the sun, the genuine star of day, sink
and disappear, while he, on the other hand, hears the
gate of Hel harshly grate on its hinges, opening to
receive him. Hel receives all that die of sickness or old
age. But it also seems that others, both good and evil,
come there; for Balder we know came to Hel, after he
had been slain by Hoder. And Sigurd, who we remember slew Fafner, was afterwards assassinated by Gunnar
and went to Hel; and thither went also Brynhild, in
her beautiful car, after she had been burned on her
funeral pile. Hel's company is large, but she has dwellings enough for all; for her regions extend widely, and
her palaces are terribly high and have large gates. Of
course it is all shadows, but it has the appearance of
reality.
For Balder,
The decorated seats
Were strewn with rings;
The lordly couch
Was radiant with gold,
And the pure mead
Was brewed for him.
But there seems to have been a place set aside far
down in the deepest abyss of Hel for the wicked; for
it is said that the evil went to Hel, and thence to





HEL.


389


Niflhel, that is, down into the ninth world. And it is
here, in this most infernal pit, that the palace is named
Anguish; the table, Famine; the waiters, Slowness and
Delay; the threshold, Precipice, and the bed, Care. It
is here Hel is so livid and ghastly pale that her very
looks inspire horror.
Hel's horse has three feet.  Hel-shoes were tied on to
the feet of the dead, even though they went to Valhal.
Our English word hell is connected with the goddess
Hel,* and to kill is in Norse at slaa ihel (i-Hel).   The
faith in this goddess is not yet perfectly eradicated from
the minds of the people. Her dog is yet heard barking
outside of houses as a warning that death is near. She
wanders about from place to place as a messenger of
death.   In the story of Olaf Geirstada-alf it is a large
ox, that goes from farm to farm, and at his breath
people sink down dead. In the popular mind in Norway
this messenger of death is sometimes thought to be a
three-footed goat, and at other times a white three-footed
horse. To see it is a sure sign of death. When a person
has recovered from a dangerous illness, it is said that
he has given Death a bushel of oats, for her wants must
be supplied, and Hel wandering about in the guise of a
goat, ox or horse, may accept oats as a compromise.
It may also be noticed here, that the so-called Black
Plague, or Black Death, that ravaged Norway as well as
many other European countries about the middle of the
fourteenth century, assumed in the minds of the Norsemen the form    of an old hag (Thok, Hel, Loke), going
through the realm from parish to parish with a rake
and a broom. In some parishes she used the rake, and
there a few were spared; in other parishes she used the
* They are both derived from the Anglo-Saxon helan or heliil, to cover,
to conceal; compare the English to hill.





390


THE NORSEMEN'S IDEA OF DEATH.


broom, and there all perished, and the parishes were
swept clean.
SECTION V. THE NORSEMEN S IDEA OF DEATH.*
The Norse mythology shows that our ancestors had
a deeply-rooted belief in the immortality of the soul.
They believed in a state of retribution beyond the grave.
The dissolution of the body was typified by Balder's
death, and like the latter it was a result of Loke's
malignity, just as the devil brought death upon Adam
and Eve, and through them upon all mankind.
But while we find the belief in the imperishableness
of the soul firmly established, the ideas regarding the
state of existence after death were somewhat unsettled.
We are soon to present the Eddaic doctrines of future
life, but in connection with Hel it seems proper to give
some further explanation of the ideas that our forefathers entertained of death.    Hel's gate is open, or
ajar, said the old Goths, when the shades of death went
out through the darkness of night and terrified all;
but it is also open to receive the child with rosy cheeks
as well as the man with hoary locks and trembling gait.
The future state was regarded as a continuation of
our earthly existence. This is proved by the custom so
prevalent among the Norsemen of supplying the dead
with the best part of their property and the first necessities of life. A coin was put under the dead man's tongue,
that he might be able to defray his first expenses with
it on his way to his final abode.    Of course the dead
went either to Odin or to Hel, but the relation between
Valhal and Helheim presented difficulties which the
* For a more complete discussion of this subject the reader is referred
to Keyser's Religion of the Northmen translated by Barclay Pennock. New
York, 1854.





THE NORSEMEN'S IDEA OF DEATH.


391


Norsemen strove in various ways to solve. It was said
that they who are slain in battle go to Odin in Valhal,
while those who die of sickness or old age go to Hel
in Helheim. But according to this it would be the kind
of death alone which decided the soul's future state;
only those who fell by weapons would ascend to the
glad abodes of heaven, while all who die of sickness
would have to wander away to the dark world of the
abyss, and there were people in whose eyes nothing
except warlike deeds was praiseworthy. ' But the Odinic
mythology, taken as a whole, presents a different view,
although it must be admitted, as has before repeatedly
been stated, that bravery was a cardinal virtue among
our Norse ancestors.
We remember, from a previous chapter in this book,
that the spirit or soul of man was a gift of Odin, while
the body, blood and external beauty were a gift of
Loder, who afterwards separated from the trinity of
Odin, Hcener and Loder and became the mischievous
Loke. Thus the soul belonged to the spirit-world, or
Heaven, and the body to the material world, to the Deep.
The two, soul and body, were joined together in this
earthly life, but at its close they were separated, and each
returned to its original source. The soul, with its more
refined bodily form in which it was thought to be enveloped, went to the home of the gods, while the body,
with the grosser material life, which was conceived to
be inseparable from it, went to the abodes of Hel to become the prey of Loke's daughter. Thus man's being
was divided between Odin and Hel. Odin, whose chief
characteristic was god of war, seems to have claimed his
share chiefly from those who fell in battle; and this
probably may suggest to us some reason why Balder
went to Hel. Balder is not a fighting god, he only





392


THE NORSEMEN'S IDEA OF DEATH.


shines, conferring numberless blessings on mankind,
and death finally steals upon him. Odin seems not to
have much need of his like. Thus death by arms came
to be considered a happy lot, by the zealous followers
of the asa-faith, for it was a proof of Odin's favor smiling upon them. He who fell by arms was called by
Odin to himself, before Hel laid claim to her share of
his being; he was Odin's chosen son, who with longing
was awaited in Valhal, that he, in the ranks of the
einherjes, might assist and sustain the gods in their last
battle, in Ragnarok.    In accordance with this theory
we find in the ancient song of praise to the fallen king
Erik Blood-ax, that Sigmund asks Odin this question:
Why snatch him then, father,
From fortune and glory?
Why not leave him rather
To fill up his story
On victory's road?
ODIN:
Because no man knows
When gray wolf" so gory
His grisly maw shows
In Asgard's abode;
Therefore Odin calls
And Erik fain falls
To follow his liege lord
And fight for his god.
By this Odin means to say, we do not know when
the Fenris-wolf may come, and therefore we may need
Erik's assistance.   In the same sense the valkyrie is
made by Eyvind Skaldespiller, in lHakonarmil, to say:
Now are strengthened the host of the gods,
Since they have Haakon
And his valiant army
Home to themselves brought.
* The Fenris-wolf.





THE NORSEMEN'S IDEA OF DEATH.


393


But because the dead who were slain by arms were
thought to be called to Valhal, to unite themselves with
the hosts of the einherjes, it was not supposed that Hel
did not get her share in their being; nor was it supposed,
on the other hand, that the soul of every one who died
a natural death was shut out from  heaven and forced to
follow the body down into the abodes of Hel. That it
was virtue, on the whole, and not bravery alone, which
was to be rewarded in another life, and that it was
wickedness and vice that were to be punished, is distinctly
shown in the first poem of the Elder Edda, where it
says of Gimle:
The virtuous there
Shall always dwell,
And evermore
Delights enjoy;
while perjurers, murderers and adulterers shall wade
through  thick venom-streams in Naastrand.      But it
must be remembered that Gimle and Naastrand had
reference to the state of things after Ragnarok, the Twilight of the gods; while Valhal and Hel have reference
to the state of things between death and Ragnarok,-a
time of existence corresponding somewhat to what is
called purgatory by the Catholic church. It may however be fairly assumed that the ideas which our ancestors
had of reward and punishment concerning the preceding
middle state (purgatory) of the dead, were similar to those
which they had concerning the state after Ragnarok.
It was certainly believed that the soul of the virtuous,
even though death by arms had not released it from the
body and raised it up to the rank of the real einherjes, still
found an abode in heaven, either in Valhal or in Vingolf
or in Folkvang.   The skald, Thjodolf of Hvin, makes
King Vanlande go to Odin, although Hel tortured him;





394


THE NORSEMEN'S IDEA OF DEATH.


and Egil Skallagrimson, lamenting the death of his
drowned son, knows that the son has come to the home
of the gods (Gudheimr), while of himself he says that
he fearlessly awaits the coming of Hel.
Of Nanna we read that she went with her husband,
Balder, to Hel; but the souls of noble women were believed to go to heaven after death.  There they found an
abode with Freyja, and the spirits of maidens with Gefjun. When it is said that Freyja shares the slain with
Odin, it may be supposed to mean that the slain, who in
life had loved wives, were united to them again with
Freyja.
On the other hand, it was as certainly believed that
blasphemy and baseness might shut out even the bravest
from Valhal. In the Saga of Burnt Njal, Hakon Jarl
says of the bold but wicked Hrap, who had seduced his
benefactor's daughter and burned a temple: The man
who did this shall be banished from Valhal and never
come thither.
The reader may think that the statements here presented show some inconsistency in the theory and plan
of salvation according to the doctrines of the Norse
mythology. We admit that there seems to be some inconsistency, but let us ask, is not this charge also frequently
made against the Scriptures? Is not the church, on this
very question of the plan of salvation, divided into two
great parties, the one insisting on faith and the other on
works? The one party quoting and requoting Paul, in
his epistle to the Romans (iii, 28), where he says, that
man is justified by faith without the deeds of the law;
and the other appealing to James' epistle (ii, 24), where
he says, that by works a man is justified, and not by faith
only. And as the most eminent divines have found harmony in the principles of the Mosaic-Christian religion





THE NORSEMEN'S IDEA OF DEATH.


395


as laid down in the Scriptures, so we venture to assert
that a profound study of the Odinic mythology will
enable the student to elicit a sublime harmony in its
doctrines and principles.
The strict construction of the asa-doctrine appears
to be this, that although man in the intermediate state,
between death and Ragnarok, was divided between Odin
and Hel, yet each one's share of his being, after death,
was greater or less according to the life he had lived.
The spirit of the virtuous and the brave had the power
to bear up to heaven with it after death the better part
of its corporeal being, and Hel obtained only the dust.
But he whose spirit, by wickedness and base, sensual lust
was drawn away from heaven, became in all his being
the prey of Hel.  His soul was not strong enough to
mount freely up to the celestial abodes of the gods, but
was drawn down into the abyss by the dust with which
it had ever been clogged. Perhaps the representation of
Hel as being half white and half pale-blue had its origin
in this thought, that to the good, death appeared as a
bright (white) goddess of deliverance, but to the wicked,
as a dark and punishing deity.
When the drowned came to the halls of Ran, the
sea-goddess took the part of Hel; that is, Ran claimed
the body as her part, while the spirit ascended to heaven.
Bondsmen came to Thor after death. This seems to
express the idea, that their spirits had not the power to
mount up with free-born heroes to the higher celestial
abodes, but were obliged to linger midway, as it were,
among the low floating clouds under the stern dominion
of Thor;- a thought painful to the feelings of humanity, but nevertheless not inconsistent with the views of
our ancestors in ancient times. But when the bondsmen, as was the custom in the most ancient Gothic





396


THE NORSEMEN'S IDEA OF DEATH.


times, followed their master on the funeral pile, the
motive must have been that they would continue to
serve him in the future life, or their throwing themselves on their master's funeral pile could have no
meaning whatever.
The old Norsemen had many beautiful ideas in connection with death. Thus in the lay of Atle it is said
of him who dies that he goes to the other light. That
the dead in the mounds were in a state of consciousness is illustrated by the following passages from  Fridthiof's Saga:
Now, children, lay us in two lofty graves
Down by the sea-shore, near the deep-blue waves:
Their sounds shall to our souls be music sweet,
Singing our dirge as on the strand they beat.
When round the hills the pale moonlight is thrown
And midnight dews fall on the Bauta-stone,
We'll sit, 0 Thorsten, in our rounded graves
And speak together o'er the gentle waves.
Finally, it is a beautiful thought that there was a
sympathetic union between the dead and the living.
As the Persians believed that the rivers of the lower
world grew by the tears of the living and interfered
with the happiness of the departed, so the Norse peasant still believes that when a daughter weeps for the
death of her father she must take care that no tear
falls on his corpse, for thereby the peace of the deceased
would be disturbed.     We find this same thought expressed in the Elder Edda, where Helge says to Sigrun:
Thou alone causest, Sigrun
From Sevafjeld,
That Helge is bathed
In sorrow's dew.





LOKE' E PUNISHMENT.


397


Thou weepest, gold-adorned,
Sunbright w oman!
Cruel tears,
Before thou gGest to sleep.
Every bloody t( ar
Fell on the king's breast,
Ice-cold and swelling
With sorrow.
Thus also in the old song of Aage and Else:
Whenever thou grievest,
My coffin is within
As livid blood:
Whenever thou rejoicest,
My coffin is within
Filled with fragrant roses.
SECTION VI. LOKE'S PUNISHMENT.
Loke and Balder struggled for the government of the
world. Loke gradually grew victorious in his terrible
children, while Balder, defenseless and innocent, had
nothing but his shining purity with which to oppose
Loke's baseness.   Loke's wickedness reached its culminating point in the death of Balder and in the hag
Thok, who with arid tears would wail Balder from Hel.
According to the Younger Edda it would seem that
Loke was punished immediately after the death of Balder,
but according to the Elder Edda the banquet of.Eger
seems to have taken place after the death of Balder, and
there Loke was present to pour out in words his enmity
to the defeated gods. When zEger had received the large
kettle, that Thor had brought him from the giant Hymer,
he brewed ale for the gods and invited them to a banquet.
The gods and elves were gathered there, but Thor was
not present. 1Eger's servants were praised for their attentiveness and agility. This Loke could not bear to hear,





398


LOKE'S PUNISF.MENT.


and he killed one of them      by name Funfeng.     The
gods drove him into the v oods, but when they had
seated themselves at the table and had begun to drink
he came back again, and isked Elder, the other servant
of JEger, what the gods talked about at the banquet.
They talk about their weapons and about their bravery,
replied Elder, but neither the gods nor the elves speak
well of you. Then, said Loke, I must go into AEger's
hall, to look at the banquet: scolding and evil words
bring I to the sons of the gods and mix evil in their ale.
Then Loke went into the hall; but when they who were
there saw who had entered, they were all silent. Then
said Loke to the gods:
Thirsty I hither
To the hall came -
Long way I journeyed--
The gods to ask
Whether one would grant me
A drink of the precious mead.
Why are ye silent, gods!
And sit so stubborn?
Have ye lost your tongues?
Give me a seat
And place at the banquet,
Or turn me away.
BRAGE:
The gods will.never
Give you a seat
And place at the banquet;
Well know the gods
To whom they will give
Pleasure at the banquet.
Then Loke begins to abuse the gods, and reminds
Odin how they once mixed blood together,- and Vidar
must yield him his seat. But before Loke drank he





LOKE'S PUNISHMENT.


399


greeted all the gods and goddesses excepting Brage, who
occupied the innermost bench.   And now Loke pours
out his abuse upon all the gods and goddesses, much of
which has been given heretofore.   His last quarrel is
with Sif, the wife of Thor. But then Beyla hears the
mountains quake and tremble. It is Thor that is coming;
and when he enters the hall he threatens to crush every
bone in Loke's body; and to him Loke finally yields, for
he knows that Thor carries out his threats. On going
out he heaps curses upon 1Eger, and hopes that he
(AEger) may never more make banquets for the gods,
but that flames may play upon his realm and burn him
too.
Loke now fled and hid himself in the mountains.
There he built him a dwelling with four doors, so that
he could see everything that passed around him. Often
in the daytime he assumed the likeness of a salmon and
concealed himself under the waters of a cascade called
Fraananger Force, where he employed himself in divining and circumventing whatever stratagems the gods
might have recourse to in order to catch him. One day
as he sat in his dwelling he took flax and yarn and
worked them into meshes, in the manner that nets have
since been made by fishermen. Odin had however, sitting
in Hlidskjalf, discovered Loke's retreat; and the latter,
becoming aware that the gods were approaching, threw
his net into the fire and ran to conceal himself in the
river. When the gods entered Loke's house, Kvaser, who
was the most distinguished among them all for his quickness and penetration, traced out in the hot embers the
vestiges of the net which had been burnt, and told Odin
that it must be an invention to catch fish. Whereupon
they set to work and wove a net after the model they saw
imprinted in the ashes. This net, when finished, they





400


LOKE'S PUNISHMENT.


threw into the river in which Loke had hid himself.
Thor held one end of the net and all the other gods laid
hold of the other end, thus jointly drawing it along the
stream. Notwithstanding all their precautions the net
passed over Loke, who had crept between two stones,
and the gods only perceived that some living thing had
touched the meshes.   They therefore cast their net a
second time, hanging so great a weight to it that it everywhere raked the bed of the river. But Loke, perceiving
that he had but a short distance to the sea, swam onward
and leapt over the net into the force. The gods instantly
followed him and divided themselves into two bands.
Thor, wading along in mid-stream, followed the net,
whilst the others dragged it along toward the sea. Loke
then perceived that he had only two chances of escape,either to swim out to the sea, or to leap again over the
net. He chose the latter, but as he took a tremendous
leap Thor caught him in his hand.      Being however
extremely slippery, he would have escaped had not Thor
held him fast by the tail; and this is the reason why
salmon have had their tails ever since so fine and slim.
The gods having thus captured Loke, they dragged
him without commiseration into a cavern, wherein they
placed three sharp-pointed rocks, boring a hole through
each of them. Having also seized Loke's children, Vale
and Nare, or Narfe, they changed the former into a wolf,
and in this likeness he tore his brother to pieces and
devoured him. The gods then made cords of his intestines, with which they bound Loke on the points of the
rocks, one cord passing under his shoulders, another
under his loins, and a third under his hams, and afterwards transformed these cords to fetters of iron. Then
the giantess Skade took a serpent and suspended it over
him in such a manner that the venom should fall into





LOKE'S PUNISHMENT.


401


his face, drop by drop. But Sigyn, Loke's wife, stands
by him and receives the drops, as they fall, in a cup,
which she empties as often as it is filled. But while she
is doing this, venom falls upon 'oke, which makes him
shriek with horror and twist his body about so violently
that the whole earth shakes; and this produces what men
call earthquakes. There will Loke lie until Ragnarok.
Here we have Loke in the form of a salmon. Slippery as a salmon, is as common an adage in Norseland
as our American: slippery as an eel. Loke himself makes
the net by which he is caught and ruined. This is very
proper; sin and crime always bring about their own
ruin.  The chaining of Loke is one of the grandest
myths in the whole mythology. That Loke represents
fire in its various forms, becomes clearer with every
new fact, every new   event in his life.  Skade is the
cold mountain stream, that pours its venom upon Loke.
Sigyn takes much of it away, but some of it will, in
spite of her, come in contact with the subterranean fire,
and the earth quakes and the geysers spout their scalding water. But who cannot see human life represented
in this grand picture?    All great convulsions in the
history of man are brought about in the same manner,
and beside the great forces of revolution stand the pious,
gentle and womanly minds who with the cup of religion
or with the eloquence of the pure spirit prevent the
most violent outbreaks of storm among the nations, and
pour their quieting oils upon the disturbed waters. And
who does not remember cases at the shrine of the family, where the inevitable consequences of man's folly
and crime produce convulsive crises, misfortunes and
misery, which the wife shares, prevents and moderates
with her soft hand, gentle tears, and soothing words,always cheerful and never growing weary. It is wo




402


LOKE'S PUNISHMENT.


man's divine work in life, in a quiet manner to bring
consolation and comfort, and never to despair.
As the earth and sea in their various manifestations
are represented by various divinities, so the fire also presents various forms. It is celestial, united with Odin; it
is earthly in the Fenris-wolf, and it is subterranean in
the chained Loke.    That Loke symbolizes fire, is also
illustrated by the fact that the common people in Norway, when they hear the fire crackling, say that Loke
is whipping his children. In a wider sense Loke is in
one word the evil one, the devil. The common people
also know Loke as a divinity of the atmosphere. When
the sun draws water, they say that Loke is drinking
water. When vapors arise from the earth and float about
in the atmosphere, this phenomenon is also ascribed to
Loke. When he sows his oats among the grain, he produces a peculiar airial phenomenon, of which the novelist Blicher speaks in one of his romances, saying that
this trembling motion of the air, which the people call
Loke's oats, confuses and blinds the eyes. Nay, truly it
confuses and blinds, for we need not take this only in
a literal sense.  It is that motion which    shocks the
nerves of man when the soul conceives evil thoughts;
it is that nervous concussion which shocks the whole
system of the criminal when he goes to commit his foul
misdeed.
Having now given a description of Loke,--having
painted with words the character of this wily, mischievous, sly and deceitful divinity,- we ask, with Petersen,
where is the painter who will present him in living colors
on canvas?   We want a personal representation of him.
We want his limbs, his body and his head. Where is
the painter who can give his chin the proper form, his
mouth the right shape, paint his dimples with those.





THE IRON POST.


403


deep and fine wrinkles when he smiles, and do justice to
his nose and upper lip? Who will paint those delicate
elevations and depressions of his cheeks, that terrible
brilliancy of his eyes, his subtle and crafty forehead, and
his hair at once stiff and wavy?      Who will paint this
immortal youth who yet everywhere reveals his old age,
or this old man whose face mocks at everything like a
reckless youth? Here is a theme without a model, a
theme for a master of the art.
SECTION VII. THE IRON POST.
The following story from      the south   of Germany
illustrates how stories can be remodeled and changed as
to their external adornment and still preserve their fundamental feature. The reader will not fail to discover
Loke in the following tradition, entitled Der Stock im
Eisen, a story which in its most original form must
date back to the time when Loke was known in Germany.
Opposite St. Stephen's Tower in Vienna there is
found, it is said, one of the old landmarks of this city,
the so-called Stock im Eisen (the iron post). It is a
post that has in the course of time become blackened
and charred, and into which nail after nail has been
driven so close together that there is not room for a
single one more, and the post is literally inclosed in an
iron casing. This covering of iron keeps the dry post
in an upright position, and near the ground it is fastened
by an iron ring with an unusually wonderful lock. In
olden times this post was a landmark, for to it extended
the great Wienerwald. In connection with it the following tale is told by H. Meinert:
A young good-looking locksmith apprentice, by name Reinbert,
had secretly won the heart and become engaged to his master's
daughter Dorothea; but there was not much hope that she





404


THE IRON POST.


would ever become his wife. One evening the two lovers agreed
to meet outside the city; they forget themselves in their conversation, in their doubts and their hopes, and hear not the clock
that strikes the hour when the gate of the city is to be closed;
and the lover has forgotten to take money along to get it opened.
But what a misfortune if they should be shut out, what a disgrace
to his beloved, if it should become known that she has spent the
night outside the city, outside of her father's house, in company
with a man! Suddenly there arises as it were from the ground
a pale man, with the contour of his face sharply marked, with
wonderful flashing eyes, wearing a black cloak and black hat,
and in the latter waves a cock-feather. Reinbert involuntarily
shudders as he sees him, but still he does not forget his misfortune in being shut out of the city; he therefore explains his
distress to the stranger, and asks him to lend him enough to pay
the gate-watch. Like for like! whispers the stranger into Reinbert's ear; if I am to help you and your beloved out of your
distress, then you must promise me upon the salvation of your
soul never on any Sunday to neglect the holy mass. Reinbert
hesitates; but it is in fact a pious promise, and necessity knows
no laws.  He promises, and the gate opens as it were spontaneously.
Four weeks later, when Reinbert sat in his workshop, the
door opens and that strange man enters. Reinbert shudders at
the sight of him; but when the stranger does not even care to
look at him, and only asks for his master, he regains his peace
of mind. When the apprentices had called the master, the visitor
ordered an iron fastening, with lock and bolt, and the master is
willing to undertake the work. But now began the stranger (cunning as Loke) with a wonderful knowledge of details to mention
all the different parts of the lock, explained with great eloquence
the whole plan of it, and took special pains to describe the manner
in which the springs must necessarily be bent and united; and although both the master and the apprentices had to admit that such
a lock was not without the range of possibilities,- nay, that it
would indeed be a masterpiece,- still their heads began to swim
when they tried to think of its wonderful construction and arrange
the plan in their minds, and they had to admit that they did not
trust themselves to do the work. Then the stranger's mouth
assumed a deeply-furrowed, indescribably scornful smile; and





THE IRON POST.


405


he said with contempt: Call yourselves master and apprentices,
when you do not know how to undertake a work that the youngest
one among you can do in less than an hour! The youngest one
among us, murmured the apprentices; do you think that Reinbert
would be able to do it,--he is the youngest one among us? O yes,
said the stranger, he there can do it, or his look must deceive me
much. With these words he called out the astounded Reinbert,
explained to him once more the plan of the lock, and added: If
you do not save the honor of the smiths, the whole world shall
know their disgrace; but if you can get the lock ready within two
hours, no master will refuse you his daughter, after you have
saved his reputation. Yes indeed, said the master, if you can
perform such an impossibility, Dorothea shall be yours. While
the stranger described the nature of the lock, Reinbert had sunk
into deep reflections; to his soul the narrow workshop widened
into a large plain; he saw a beautiful, happy future blooming
before him; by strange and wonderful voices he heard himself
styled the master of masters; and his beloved he saw approaching
him with the bridal wreath entwined in her locks; and just at that
moment he heard his master's words: If you can perform such an
impossibility, Dorothea shall be yours. He immediately began
his work; it seemed as if he were working with a hundred arms;
each blow of the hammer gave form to a part of the work; by a
peculiar resounding the hammer-blows seemed to multiply, as if
more invisible hands hammered with him, while the stranger in
the red glare of the flame looked like a pillar of fire (Loke). After
the lapse of an hour the work was finished. Apprentices and
master looked at it and examined it, shaking their heads, and with
mouths wide open; but there was no doubt that Reinbert had
accomplished a masterpiece never seen before, and the master
ascribed it to his enthusiasm awakened by his love. The stranger
took the lock and went ahead; the master with Reinbert and all
his apprentices and the members of his family followed, and all
proceeded to the place where the iron post (Stock im Eisen) now
stands. Here the stranger placed an iron chain around the post
and fastened it with Reinbert's lock. When they returned, the
stranger had disappeared, and with him the key to the marvelous
lock.
We omit a part of the story, taking only that part
which has reference to Loke.





406


THE IRON POST.


On account of slander, Reinbert had to travel far and wide
before he finally got his beloved Dorothea. A few days after
he had returned, the government issued a proclamation to the
effect that whatever smith could make a key that would open
that lock should thereby get his diploma of mastership.  Reinbert announced himself as a candidate, and repaired to his
workshop to make the key. But for the first time his work
did not seem to succeed. The iron was stubborn and would not
assume the form required; and it seemed astonishing to him,
when he at last had succeeded in giving the key the proper
form, and put it into the furnace to temper it, it was turned
and twisted when he took it out again. His impatience grew
into wrath. But when he at length, after many unsuccessful
attempts, had got the key ready and put it into the furnace
and carefully scrutinized to see what it was that thus always
ruined his work, he saw in the midst of the fire a claw seize
after the key, and terror-stricken he discovered that disagreeable
stranger's twisted face (Loke) staring at him out of the burning
furnace. He quickly snatched the key away, turned it, seized it
with the tongs at the other end, and put it into the fire again;
and lo and behold! when he took it out the handle was somewhat twisted, but the head preserved its right shape. (We remember that it was Loke's fault that the handle of Thor's hammer became rather short.)
Reinbert now announced to the government that the key
was ready; and the day after the government officials and the
citizens marched in procession to the iron post, and Reinbert's
key opened the lock. In his enthusiasm at his success lie threw
the key high up in the air, but to everybody's surprise it did
not come down again. It was sought for everywhere, but could
nowhere be found, and Reinbert had to promise to make a new
one some time. To commemorate the fact that it had been possible to open the lock he drove a nail into the wooden post, and
since that time every smith has done the same when he left
Vienna; thus this post was formed with its numberless nails.
Reinbert became a master and married his beloved. Up to
this time he had kept his promise and had attended upon the
holy mass every Sunday; he began to drink and gamble, but he
conscientiously continued to keep his promise. Finally it happens that he once stayed a little too long at the gambling




THE IRON POST.


407


house, and hastens terrified in order not to come too late to
church. But the door of St. Stephen's church is closed. Outside sits an old woman (Loke assumed the guise of a woman*
after Balder's death), who, in answer to his question, informs
him that mass is out. Filled with deadly anguish he rushes
back to his comrades, who laughed at him and insisted that, as
mass began at half-past eleven o'clock, and as it was only threequarters past eleven, the mass could not yet be over. He hastens back again; the church-door is now open, but at the very
moment he enters, the priest leaves the altar--the mass is over.
The old woman rises, seizes him by the arms, and his soul departs from him.
Thus the myth develops into traditionary story, and
one story begets another; they wander about from       the
south to the north and from the north to the south,
and change with the times, reminding us of the various
manifestations of life; reminding us how human things
circulate and develop, each inextricably interwoven with
all, and always reminding us, too, that there is a heaven
above the earth and an existence beyond what is allotted
to us mortals on earth.
SECTION VIII. A BRIEF REVIEW.
We have now completed the second part of our
work, and witnessed the life and exploits of the gods.
It remains now to sum up briefly the main features of,
and the principal lessons taught in, this portion of the
mythology.
We cannot fail to have observed that the life of the
gods is, in the first place, a reflection of the workings
of visible nature, and, in the second place, a reflection
and foreshadowing of the life of man, particularly of
life in its various manifestations in the history of the
Gothic race. We have also witnessed how wonderfully
the interests and works of the gods--nay, how abso* Thok.





408


A BRIEF REVIEW.


lutely the gods themselves - are interlinked with each
other,- that centralizing thought which, as has been
said before, forms one of the most prominent characteristics of Norse or Gothic mythology, thought and
history.
We have seen how the divinities and demons, after
having been created, enter upon various activities, contend with each other and are reconciled, and how new
beings are developed in this struggle, all destined to
fight on one side or the other in the final conflict.
The myth reflects nature and society, the one inextricably in communion with the other; and in the development of nature and society we find three relations:
the relation of the asas to the giants, the relation of the
asas to the vans, and the relation of Loke to Odin. The
asas and giants try to unite, but meet with poor success,
their natures are too opposite.   The union of the asas
and vans is accomplished with but little difficulty; while
between Odin and Loke there is a tendency to separate
more and more. The beginning of warfare between the
gods and the giants is the beginning of nature's development; the giants storm the heavens and are repulsed;
this struggle lasts through life, and in it Sleipner is
produced. Later, begins the war between the asas and
vans, which ends in peace, and with this peace begins
the development of society; the asas and vans together
forming a series of beautiful myths, that have reference
to war, to the cultivation of the earth, to the civilizing
influences of the water, to the greater development of
the mind and heart,-that is, to knowledge, love, humanity and peace,-the object of which is reconciliation, reached by labor and struggles. But enmity soon
arises among the gods themselves.      Odin's union with
Loke is dissolved.    In the midst of the good there is





A BRIEF REVIEW.


409


evil.  The evil proceeds from   the gbod by separation,
by taking a wrong course.      The unity of the spirit
is destroyed when anything tears itself loose from it
and assumes an independent position in opposition to
it.  Loke separates himself from     Odin and develops
himself independently. He acts like Odin; he permeates all nature and the soul of man; but he does it independently, and the result is that the powers of evil
spread over the earth in the form of Loke's children.
Everything becomes wild and tumultuous.       Fire rages
in its frantic fury in the character of the Fenris-wolf.
The Midgard-serpent represents the furious convulsions
of the sea; cowardice seizes the heart and begets the
pale Hel, death without conflict, life as a mere shadow.
Thus it goes on. Knowledge rightly used is a blessing, but
unconstrained by prudence it degenerates into cunning
and deceitfulness; killing is honorable, but unconstrained
by justice and valor it becomes foul murder; to break a
promise that can no longer be kept is proper, but when
done recklessly it is perjury.  We find, throughout the
life of the gods, light and darkness well defined and
distinctly separated.  Loke fluctuates between the two;
he gradually leaves light and unites himself to darkness.
The darkness of night supplants the light of day; the
gloomy winter overcomes the shining summer. The gods
learn that they are subject to the infirmities of old age;
the rejuvenating Idun sinks into the abyss.   From   the
depths below, Odin receives warnings that the light of
life may be extinguished. Loke begins his conflict with
Balder; finally his stratagem and cunning gain a victory, and all the sorrowing of nature is in vain. Loke
is chained, but Balder does not return from Hel. Vale
has avenged his brother's death, but the end of life is
at hand.   And now we are prepared for RAGNAROK,
followed by the REGENERATION OF THE EARTH.










PART III.
I{AGNAROK AND REGENERATION.
SKUTLD.
LIti6 sja'um aptr,
En ekki fram;
Skyggir Skuld fyrir sjo'n.










CHAPTER I.


RAGNAROK.
T HIE final destruction of the world, and regeneration
of gods and men, is called Ragnarok; that is, the
Twilight of the gods (Ragna, from    regin, gods, and
rakr, darkness).
The journey through life has been a long one, and
yet we have not reached the end, for the end is also the
beginning. Death is the center, where the present and
future existence meet.   When   life ends, there is a
change, there comes a new day and a sun without a
shadow.
In comparing the Greek mythology with the Norse,
it was stated, that the Norse has a theoktonic myth,
while the Greek lacks the final act of the grand drama.
The Greeks knew of no death of the gods; their gods
were immortal. And yet, what were they but an ideal
conception of the forms of life? And this life with all
its vanity, pomp and glory, the Greek loved so dearly,
that he thought it must last forever. He imagined an
everlasting series of changes. But what will then the
final result be? Shall the thundering Zeus forever continue to thunder? Shall the faithless Aphrodite forever
be unfaithful?   Shall Typhon forever go on with his
desolations?  Shall the sinner continue to sin forever,
and shall the world continue without end to foster and
nourish evil?   These are questions that find no satisfactory answer in the Greek mythology.
(413)





414


RAGNAROK.


Among the Norsemen, on the other hand, we find
in their most ancient records a clearly expressed faith
in the perishableness of all things; and we find this
faith at every step that the Norsemen has taken. The
origin of this faith we seek in. vain; it conceals itself
beneath the waters of the primeval fountains of their
thoughts and aspirations. They regarded death as but
the middle of a long life. They considered it cowardice
to spare a life that is to return; they thought it folly to
care for a world that must necessarily perish; while
they knew   that their spirits would be clothed with
increased vigor in the other world.  Happy were they
who lived beneath the polar star, for the greatest fear
that man knows, the fear of death, disturbed them not.
They rushed cheerfully upon the sword; they entered
the battle boldly, for, like their gods, who every moment
looked forward to the inevitable Ragnarok, they knew
that life could be purchased by a heroic death.
The very fact that the gods in the creation proceeded
from  the giant Ymer foreshadowed    their destruction.
The germ of death was in their nature from the beginning, and this germ would gradually develop as their
strength gradually became wasted and consumed. That
which is born must die, but that which is not born
cannot grow old.
The gradual growth of this germ of death, and corresponding waste of the strength of the gods, is profoundly sketched throughout the mythology. The gods
cannot be conquered, unless they make themselves weak;
but such is the very nature of things, that they must do
this. To win the charming Gerd, Frey must give away
his sword, but when the great final conflict comes he
has no weapon. In order that the Fenris-wolf may be
chained, Tyr must risk his right hand, and he loses it.





RAGNAROK.


415


How shall he then fight in Ragnarok?      Balder could
not have died, had not the gods been blind and presumptuous; their thoughtlessness put weapons into the hands
of their enemy. Hoder would never have thrown the
fatal mistletoe, had not their own appointed game been
an inducement to him to honor his brother. When Loke
became separated from Odin, the death of the gods was a
foregone conclusion.
The imperfection of nature is also vividly depicted
in the Eddas. The sun was so scorching hot that the
gods had to place a shield before it; the fire was so
destructive that the gods had to chain it, in order that
it might not bring ruin upon the whole world. Life,
after the natural death, was not continued only in the
shining halls of Valhal, but also in the subterranean
regions among the shades of Hel.
Our old Gothic fathers, in the poetic dawn of our
race, investigated the origin and beginning of nature
and time. The divine poetic and imaginative spark in
them lifted them up to the Eternal, to that wonderful
secret fountain which is the source of all things. They
looked about them in profound meditation to find the
image and reflection of that glorious harmony which
their soul in its heavenly flight had found, but in all
earthly things they discovered strife and warfare. When
the storms bent the pine trees on the mountain tops,
and when the foaming waves rolled in gigantic fury
against the rocky cliffs, the Norseman saw strife. When
the growl of the bear and the howl of the wolf blended
with the moaning of the winds and the roaring of the
waters, he heard strife. In unceasing conflict with the
earth, with' the beasts and with each other, he saw men
stand, conquer, and fall. If he lifted his weary eye
toward the skies, he saw the light struggling with dark




416


RAGNAROK.


ness and with itself. When light arose out of darkness,
it was greeted with enthusiasm; when it sank again
into darkness, its rays were broken and it dissolved in
glimmering colors; and if he looked down into the
heart of man, into his own breast, he found that all
this conflict of opposing elements in the outward world
did but faintly symbolize that terrible warfare pervading
and shattering his whole being. Well might he long
for peace, and can we wonder that this deep longing
for rest and peace, which filled his heart in the midst
of all his struggles,- can we wonder, we say, that his
longing for peace found a grand expression in a final
conflict through which imperishableness and harmony
were attained?
This final conflict, this dissolution of nature's and
life's disharmony, the Edda presents to us in the death
of the gods, which is usually, as stated, called Ragnarok.
There is nothing more sublime in poetry than the
description, in the Eddas, of Ragnarok. It is preceded
by ages of crime and terror.      The vala looks down
into Niflheim, and
There saw she wade
In the heavy streams
Men - foul murderers,
And perjurers,
And them who other's wives
Seduce to sin.
The growing depravity and strife in the world proclaim  the approach of this great event.   First there is
a winter called Fimbul-winter, during which snow will
fall from the four corners of the world; the frosts will
be very severe, the winds piercing, the weather tempestuous, and the sun will impart no gladness.     Three
such winters shall pass away without being tempered





RAGNAROK.


417


by a single summer. Three other similar winters follow,
during which war and discord will spread over the whole
earth. Brothers for the sake of mere gain shall kill
each other, and no one shall spare either his parents
or his children. Thus the Elder Edda:
Brothers slay brothers;
Sisters' children
Shed each other's blood.
Hard is the world;
Sensual sin grows huge.
There are sword-ages, ax-ages;
Shields are cleft in twain;
Storm-ages, murder-ages;
Till the world falls dead,
And men no longer spare
Or pity one another.
Then shall happen such things as may truly be
regarded as great miracles. The Fenris-wolf shall devour
the sun, and a severe loss will that be to mankind.
The other wolf* will take the moon, and this, too, will
cause great mischief.   Then the stars shall be hurled
from the heavens, and the earth shall be shaken so
violently that trees will be torn up by the roots, the
tottering mountains will tumble headlong from their
foundations, and all bonds and fetters will be shivered
to pieces.  The Fenris-wolf then breaks loose and the
sea rushes over the earth on account of the Midgardserpent writhing in giant rage and gaining the land.
On the waters floats the ship Naglfar (nail-ship), which
is constructed of the nails of dead men. For this reason
great care should be taken to die with pared nails, for
he who dies with his nails unpared supplies materials
for the building of this ship, which both gods and men
wish may be finished as late as possible. But in this
* Moongarm. See Vocabulary.





418


RAGNAROK.


flood shall Naglfar float, and the giant Hrym be its
steersman.
The Fenris-wolf advances and opens his enormous
mouth; the lower jaw reaches to the earth and the
upper one to heaven, and he would open it still wider
had he room   to do so. Fire flashes from his eyes and
nostrils.  The Midgard-serpent, placing himself by the
side of the Fenris-wolf, vomits forth floods of poison,
which fill the air and the waters. Amidst this devastation the heavens are rent in twain, and the sons of
Muspel come riding through the opening in brilliant
array.  Surt rides first, and before and    behind  him
flames burning fire. His sword outshines the sun itself.
Bifrost (the rainbow), as they ride over it, breaks to
pieces. Then they direct their course to the battle-field
called Vigrid. Thither repair also the Fenris-wolf and
the Midgard-serpent, and Loke with all the followers of
Hel, and Hrym with all the frost-giants. But the sons
of Muspel keep their effulgent bands apart on the battlefield, which is one hundred miles (rasts) on each side.
Meanwhile Heimdal arises, and with all his strength
he blows the Gjallar-horn to arouse the gods, who assemble without delay. Odin then rides to Mimer's fountain
and consults Mimer how he and his warriors are to enter
into action. The ash Ygdrasil begins to quiver, nor is
there anything in heaven or on earth that does not fear
and tremble in that terrible hour. The gods and all the
einherjes of Valhal arm themselves with speed and sally
forth to the field, led on by Odin with his golden helmet,
resplendent cuirass, and spear called Gungner.     Odin
places himself against the Fenris-wolf. Thor stands by
his side, but can render him no assistance, having himself to combat the Midgard-serpent.     Frey encounters
Surt, and terrible blows are exchanged ere Frey falls;





RAGNAROK.


419


and he owes his defeat to his not having that trusty
sword which he gave to Skirner. That day the dog
Garm, that had been chained in the Gnipa-cave, breaks
loose. He is the most fearful monster of all, and attacks
Tyr, and they kill each other. Thor gains great renown
for killing the Midgard-serpent, but at the same time,
retreating nine paces, he falls dead upon the spot, suffocated with the floods of venom which the dying serpent
vomits forth upon him. The wolf swallows Odin, but
at that instant Vidar advances, and setting his foot upon
the monster's lower jaw he seizes the other with his hand,
and thus tears and rends him till he dies. Vidar is able
to do this because he wears those shoes which have
before been mentioned, and for which stuff has been
gathered in all ages, namely, the shreds of leather which
are cut off to form the toes and heels of shoes; and it
is on this account that those who     desire to render
service to the gods should take care to throw such shreds
away. Loke and Heimdal fight and kill each other.
Then Surt flings fire and flame over the world. Smoke
wreathes up around the all-nourishing tree (Ygdrasil),
the high flames play against the heavens, and earth
consumed sinks down beneath the sea.
All this is vividly and sublimely presented in the
Elder Edda, thus:
East of Midgard in the Ironwood
The old hag * sat,
Fenrer's terrible
Race she fostered.
Onetf of them
Shall at last
In the guise of a troll
Devour the moon.


*Angerbodta. See p. 179.


t Moongarm. See p. 180.





420


RAGNAROK.


It feeds on the bodies
Of men, when they die:
The seats of the gods
It stains with red blood:
The sunshine blackens
In the summers thereafter
And the weather grows badKnow ye now more or not?
The hag's watcher,
The glad Edger,
Sat on the hill-top
And played his harp;
Near him crowed
In the bird-wood
A fair-red cock
Which Fjalar hight.
Among the gods crowed
The gold-combed cock,
He who wakes in Valhal
The hosts of heroes;
Beneath the earth
Crows another,
The root-red cock,
In the halls of Hel.
Loud barks Garm
At Gnipa-cave;
The fetters are severed,
The wolf is set free,Vala knows the future.
More does she see
Of the victorious gods
Terrible fall.
The wolf referred to in the first strophe is Maanegarm    (the  moon-devourer), of whom       we have made
notice before. The hag in the Ironwood is Angerboda
(anguish-boding), with whom Loke begat children. Evil
is being developed. The gods become through Loke





RAGNAROK.


421


united with the giants. The wood is of iron, hard and
barren; the children are ravenous wolves. On the hilltop sits Egder (an eagle), a storm-eagle, the howling
wind that rushes through the wood, and howling wind
is the music produced upon his harp.       The cock is a
symbol of fire, and it is even to this day a common
expression among the Norsemen, when a fire breaks
out, that the red cock is crowing over the roof of the
house.   There are three cocks, one in the bird-wood,
one in heaven, and one in the lower regions with Hel.
The idea then is, that the cock as a symbol of fire announces the coming of Ragnarok in all the regions of the
world. The vala continues:
Mimer's sons play;
To battle the gods are called
By the ancient
Gjallar-horn.
Loud blows Heimdal,
His sound is in the air;
Odin talks
With the head of Mimer.
Quivers then Ygdrasil,
The strong-rooted ash;
Rustles the old tree
When the giant gives way.
All things tremble
In the realms of Hel,
Till Surt's son
Swallows up Odin.
How fare the gods?
How fare the elves?
Jotunheim shrieks.
The gods hold Thing;
The dwarfs shudder
Before their cleft caverns,
Where behind rocky walls they dwell.
Know ye now more or not?





422


RAGNAROK.


Loud barks Garm*
At Gnipa-cave;
The fetters are severed,
The wolf is set free,Vala knows the future.
More does she see
Of the victorious gods'
Terrible fall.
From the east drives Hrym,
Bears his child before him;
Jormungander welters
In giant fierceness;
The waves thunder;
The eagle screams,
Rends the corpses with pale beak,
And Naglfar is launched.
A ship from the east nears,
The hosts of Muspel
Come o'er the main,
But Loke is pilot.
All grim and gaunt monsters
Conjoin with the wolf,
And before them all goes
The brother of Byleist.f
From the south wends Surt
With seething fire;
The sun of the war-god
Shines in his sword;
Mountains together dash,
And frighten the giant-maids;
Heroes tread the paths to Hel,
And heaven in twain is rent.
Over Hlint then shall come
Another woe,
When Odin goes forth
The wolf to combat,
* Hel's dog.  t Loke.   $ One of Frigg's maid-servants.





RAGNAROK.


423


And he * who Bele slew
'Gainst Surt rides;
Then will Frigg's
Beloved husband f fall.
Loud barks Garm
At Gnipa-cave;
The fetters are severed,
The wolf is set free,Vala knows the future.
More does she see
Of the victorious gods'
Terrible fall.
Then Vidar, the great son
Of Victory's father,
Goes forth to fight
With the ferocious beast;
With firm grasp his sword
In the giant-born monster's heart
Deep he plants,
And avenges his father.
Then the famous son:
Of Hlodyn ~ comes;
Odin's son comes
To fight with the serpent;
Midgard's ward II
In wrath slays the serpent.
Nine paces away
Goes the son of Fjorgyn;
He totters, wounded
By the fierce serpent.
All men
Abandon the earth.
The sun darkens,
The earth sinks into the ocean;
The lucid stars
From heaven vanish;
tey.   Odin. $ Thor. ~ Another name for Frigg. I Defender.





424


RAGNAROK.


Fire and vapor
Rage toward heaven;
High flames
Involve the skies.
Loud barks Garm
At Gnipa-cave;
The fetters are severed,
The wolf is set free,Vala knows the future.
More does she see
Of the victorious gods'
Terrible fall.
These strophes are taken from Voluspa (the prophecy
of the vala); and besides these we also have a few
strophes of the lay of Vafthrudner, in the Elder Edda,
referring to the final conflict:
VAFTHRUDNER:
Tell me, Gagnraad,*
Since on the floor thou wilt
Prove thy proficiency,
How that plain is called,
Where in fight shall meet
Surt and the gentle gods?
GAGNRAAD (ODIN):
Vigrid the plain is called,
Where in fight shall meet
Surt and the gentle gods;
A hundred rasts it is
On every side.
That plain is to them decreed.
And in the second part of this same poem, in which
Odin asks and Vafthrudner answers:
* Odin.





RAGNAROK.


425


GAGNRAAD (ODIN):
What of Odin will
The end of life be,
When the powers perish?
VAFTHRUDNER:
The wolf will
The father of men devour;
Him Vidar will avenge:
He his cold jaws
Will cleave
In conflict with the wolf.
The terrible dog mentioned several times is Hel's
bloody-breasted and murderous hound. Like the Fenriswolf and Loke, this dog had been bound at Gnipa-cave,
although the Eddas tell us nothing about when or how
this was done.
When it is said that another woe comes over Hlin,
the maid-servant is placed for Frigg herself; and the
former woe implied is the death of Balder, the other woe
meaning the approaching death of Odin.
It is worthy of notice, that as this final conflict is
inevitable, the gods proceed to it, not with despair and
trembling, but joyfully and fearlessly as to a game, for
it is the last.  Odin rides to the battle adorned; he
knows that he must die, and for this very reason he
decorates himself as does a bride for the wedding, and
the gods follow him; even those who are defenseless
voluntarily expose themselves on the plain of Vigrid.
They are determined to die.
Which are the powers that now oppose each other?
On the one side we have those who have ruled and
blessed heaven and earth; and fighting against them
we find their eternal enemies, those powers which had
sprung into being before heaven and earth were created,





426


RAGNAROK.


and those which had develqped in the earth and in the
sea, and which no asa-might can conquer. From Muspelheim come the sons of Muspel in shining armor;
from Muspel's world came originally the sun, moon and
stars. It is a fundamental law in nature that all things
destroy themselves, all things contain an inherent force
that finally brings ruin; that is the meaning of perishableness or corruption. A second host consists of the
frost-giants.  From  the body of the old giant Ymer
was formed the earth, the sea, the mountains, the trees,
etc.; the giants must therefore assist in the destruction
of their own work.     The third host is Loke and his
children, born in time and the offspring of that which
was created. They are the destructive elements in that
which was created; the ocean becoming a fierce serpent,
and the fire a devouring wolf.     Loke himself is the
volcanic fire which the earth has produced within its
bowels; and then there is all that is cowardly represented by the pale Hel with her bloodless shadows, the
life which has turned into shadowy death. All these
forces oppose each other.    Those who fought in life
mutually conquer each other in death. Odin, whose
heaven is the source of all life, is slain by the Fenriswolf, the earthly fire, which has brought all kinds of
activities into the life of man; but the wolf, after he
has conquered, falls again at the hands of Vidar, the
imperishable, incorruptible force of nature. In this duel
heaven and earth are engaged. The god of the clouds,
Thor, contends with     the Midgard-serpent,-many      a
struggle they have had together; now the clouds and
ocean mutually destroy each other. Since the death of
Balder, Frey is the most pure and shining divinity.
His pure and noble purpose and longing are still within
him, but his sword, his power, is gone. Hence he is





RAGNAROK.


427


stricken down by Surt, the warder of Muspelheim.
Heimdal stretched his brilliant rainbow over the earth,
Loke his variegated stream of fire within the earth;
the one proclaiming mercies and blessings, the other
destruction; both perish in Ragnarok.    Hel and her
pale host also betake themselves to the final contest,
but the Eddas say nothing about their taking part in the
fight.  How can they?    They are nothing but emptiness, the mere vanity of the heart, in which there is no
substance; they are but the darkness which enwraps the
earth, and are not capable of deeds.
Thus is Ragnarok! The great antagonism pervading
the world is removed in a final struggle, in which the
contending powers mutually destroy each other. Ragnarok is an outbreak of all the chaotic powers, a conflict
between them and the established order of creation.
Fire, water, darkness and death work together to destroy
the world. The gods and their enemies meet in a universal, world-embracing wrestle and duel, and mutually
destroy each other.  The flames of Surt, the supreme
fire-god, complete the overthrow, and the last remnant
of the consumed earth sinks into the ocean.





CHAPTER II.


REGE.NERATION.
BUT when the heavens and the earth and the whole
world have been consumed in flames, when the
gods and all the einherjes and all mankind have perished,-what then?      Is not man immortal?      Are not
all men to live in some world or other forever?      The
vala looks again, and
She sees arise
The second time,
From the sea, the earth
Completely green:
Cascades do fall,
The eagle soars,
From lofty mounts
Pursues its prey.
The gods convene
On Ida's plains,
And talk of the powerful
Midgard-serpent;
They call to mind
The Fenris-wolf
And the ancient runes
Of the mighty Odin.
Then again
The wonderful
Golden tablets
Are found in the grass:
(428)





REGENERATION.


429


In time's morning
The leader of the gods
And Odin's race
Possessed them.
The fields unsown
Yield their growth;
All ills cease;
Balder comes.
Hoder and Balder,
Those heavenly gods,
Dwell together in Hropt's* halls.
Conceive ye this or not?
Vidar and Vale survive; neither the flood nor Surt's
flame has harmed them, and they dwell on the plain of
Ida, where Asgard formerly stood. Thither come the
sons of Thor, Mode and Magne, bringing with them
their father's hammer, Mjolner.    Hcener is there also,
and comprehends the future. Balder and Hoder sit and
converse together; they call to mind their former knowledge and the perils they underwent, and the fight with
the wolf Fenrer, and with the Midgard-serpent. The
sons of Hoder and Balder inhabit the wide Wind-home.
The sun brings forth a daughter more lovely than herself, before she is swallowed by Fenrer; and when the
gods have perished, the daughter rides in her mother's
heavenly course.
During the conflagration caused by Surt's fire, a
woman by name Lif (life) and a man named Lifthraser
lie concealed in Hodmimer's forest.     The dew of the
dawn serves them for food, and so great a race shall
spring from them that their descendants shall soon
spread over the whole earth.
Then the vala
* Odin's.





430


REGENERATION.


Sees a hall called Gimle;
It outshines the sun,
Of gold its roof;
It stands in heaven:
The virtuous there
Shall always dwell,
And evermore
Delights enjoy.
Toward the north on the Nida-mountains stands a
large hall of shining gold, which the race of Sindre,
that is the dwarfs, occupy. There is also another hall
called Brimer, which is also in heaven, in the region
Okolner, and there all who delight in quaffing good drink
will find plenty in store for them. Good and virtuous
beings inhabit all these halls.
But there is also a place of punishment. It is called
Naastrand (strand of dead bodies). In Naastrand there
is a vast and terrible structure, with doors that face to
the north. It is built entirely of the backs of serpents,
wattled together like wicker-work. But all the serpents'
heads are turned toward the inside of the hall, and continually vomit forth floods of venom, in which wade all
those who have committed murder, perjury, or adultery.
The vala, in the Elder Edda,
Saw a hall
Far from the sun,
On the strand of dead bodies,
With doors toward the north.
Venom drops
Through the loopholes;
Formed is that hall
Of wreathed serpents.
There saw she wade
Through heavy streams,
Perjurers
And murderers





REGENERATION.


431


And adulterers;
There Nidhug sucked
The bodies of the dead
And the wolf tore them to pieces.
Conceive ye this or not?
Then comes the mighty one*
To the great judgment;
From heaven he comes,
He who guides all things:
Judgments he utters;
Strifes he appeases,
Laws he ordains
To flourish forever.
Or as it is stated in Hyndla's lay, after she has described Heimdal, the sublime protector of the perishable
world:
Then comes another
Yet more mighty,
But him dare I not
Venture to name;
Few look further forward
Than to the time
When Odin goes
To meet the wolf.
And when the vala in Vbluspa, beginning with the
primeval time, has unveiled, in the most profound sentences, the whole history of the universe,- when she
has gone through every period of its development down
through Ragnarok and the Regeneration, the following
is her last vision:
There comes the dark
Dragon   flying,
The shining serpent
From the Nida-mountains
In the deep.
*The Supreme God.   t Nidhug.





432


REGENERATION.


Over the plain it flies;
Dead bodies Nidhug
Drags in his whizzing plumage,Now must Nidhug sink.
Thus ends the vala's prophecy (viluscpd.)  She has
revealed the decrees of the Father of Nature; she has
described the conflagration and renovation of the world,
and now proclaims the fate of the good and of the evil.
The world and the things in it perish, but not the
forces.  Some of the gods reappear in the regenerated
earth, while some do not. They who reappear are mentioned in pairs, excepting Hoener, who is alone. Balder
and Hoder are together; likewise Vidar and Vale, and
Mode and Magne. Neither Odin nor Thor nor the vans
appear. They perished with the world, for they represented the developing forces of this world; they were
divinities representing that which came into being and
had existence in it.   On the other hand, Balder and
Hoder came back from Hel. They represent light and
darkness; but they are alike in this respect, that they
are nothing substantial, nothing real, they are only the
condition for something to be, or we might say they are
the space, the firmament, in which something may exist.
They are the two brothers whose sons shall inhabit the
wide Wind-home. Thus when heaven and earth have
passed away there is nothing remaining but the wide
expanse of space with light and darkness, who not only
rule together in perfect harmony, but also permeate each
other and neutralize each other.
Hoener comes back. He was originally one of the
trinity with Odin and Loder (Loke); but the gods received Njord as a hostage from the vans, and gave to
the vans in return Hoener, as a security of friendship
between them. This union between the asas and vans





REGENERATION.


433


is now dissolved. Hcener has nothing more to do among
the vans. Their works all perished with the old earth.
He is the developing, creative force that is needed now
in the new world as it was in the old.
Vidar is the imperishable force in original nature,
that is, in crude nature, but at the same time united
with the gods. He is the connecting link between gods
and giants. His mother was Grid, a giantess, and his
father was Odin. The strong Vale begotten of Odin and
Rind (the slumbering earth) is the imperishable force
of nature which constantly renews itself in the earth as
a habitation of man. Both Vidar and Vale are avenging
gods. Vale avenges the death of Balder, and Vidar the
death of Odin, and thus we have in Vidar and Vale representatives of the imperishable force of nature in two
forms, the one without and the other within the domain
of man, both purified and renewed in the regenerated
earth.
In the atmosphere and in the dense clouds reigned
Thor, with his flashing fire and clattering thunder.
Thunder and lightning have passed away, but the forces
that produced them, courage and strength, are preserved
in Thor's sons, Mode (courage) and Magne (strength).
They have their father's hammer, Mjolner, and with it
they can strike to the right and to the left, permeating
the new heaven and the new earth. What a well of
profound thought are the Eddas!
The parents of the new race of men are called Lif
and Lifthraser. Life cannot perish. It lies concealed in
Hodmimer's forest, which the flame of Surt was not able
to destroy. The new race of mankind seem to possess a
far nobler nature than the former, for they subsist on
the morning dew.
Do Mimer and Surt live? They are the fundamental





434


REGENERATION.


elements of fire and water. The Eddas are not clear on
this point, but an affirmative answer seems to be suggested
in the fact that the better part of every being is preserved.
The good among men find their reward in Gimle;
for he that made man gave him a soul, which shall live
and never perish, though the body shall have mouldered
away or have been burnt to ashes; and all that are
righteous shall dwell with him in the place called Gimle,
says the Younger Edda. The dwarfs have their Sindre,
and their golden hall on the Nida-mountains; and the
giant has his shining drinking hall, Brimer, but it is
situated in Okolner (not cool), where there is no more
frost.
The Elder Edda seems to point out two places of
punishment for men. Giants and dwarfs are not punished, for they act blindly, they have no free will. But
the wicked of mankind go to Naastrand and wade in
streams of serpent-venom, and thence they appear to be
washed down into Hvergelmer, that horrible old kettle,
where their bodies are torn by Nidhug, the dragon of the
uttermost darkness.
There is a day of judgment. The good and bad are
separated. The god, whom the Edda dare not name, is
the judge. The Younger Edda once calls him Allfather,
for he is to the new world what Odin was to the old. He
was before the beginning of time, and at the end of time
he enters upon his eternal reign.
The reward is eternal. Is the punishment also eternal?  When light and darkness (Balder and Hoder) can
live peaceably together,- when darkness can resolve itself
into light,- cannot then the evil be dissolved in the
good; cannot the eternal streams of goodness wash away
the evil? We think so, and the Edda seems to justify
us in this thought; at least the Elder Edda seems to





REGENERATION.


435


take this view of the subject. Listen again to the last
vision of the vala:
There comes the dark
Dragon flying,
The shining serpent
From the Nida-mountains
In the deep.
Over the plain it flies;
Dead bodies Nidhug
Drags in his whizzing plumage,Now must Nidhug sink.*
When there is an intermediate state, a transition, a
purification, a purgatory, then this purification must
sooner or later be accomplished; and that is the day of
the great judgment, when Nidhug must sink, and nevermore lift his wings loaded with dead bodies. This idea
is beautifully elaborated in Zendavista. The Edda has
it in a single line, but the majority of its interpreters
have not comprehended it. We who are permeated by
the true Christian spirit, we know how great joy there
is in heaven over a sinner who is converted; we know
the God of mercy, who does not desire the ruin of a
single sinner, and    the God    of omnipotence, who with
his hand is able to press the tears of repentance from
the heart, though it be hard as steel; we comprehend
why he lets Nidhug sink down.          All darkness shall be
cleared up and be gilded by the shining light of heaven.
* We present this view of the subject from N. M. Petersen, who suggests
that the common reading of this passage hon ought to be hann,- that is he, not
she. In our translation we have supplied the noun Nidhug, while if we had
followed the other authorities we would have used the noun vala. Petersen
remarks that the word sink (sokkvask) is a natural expression when applied to
the dragon, who sinks into the abyss, but forced and unnatural when applied
to the vala. He also quotes another passage (the last line in Brynhild's Helride, where Brynhild says to the hag: Sink thou (sokkstul!) of giantkind!)
from the Elder Edda which corroborates his view. As the reader will observe,
we have adopted Petersen's view entirely.





436


CONCLUSION.


Such was the origin, the development, the destruction and regeneration of the world. And now, says the
Younger Edda, as it closes the deluding of King Gylfe,
if you have any further questions to ask, I know not
who can answeryou; for I never heard tell of anyone
who could relate what will happen in the other ages of
the world.  Make therefore the best use you can of
what has been imparted to you.
Upon this Ganglere heard a terrible noise all around
him. He looked, but could see neither palace nor city
anywhere, nor anything save a vast plain. He therefore
set out on his return to his kingdom, where he related
all that he had seen and heard; and ever since that
time these tidings have been handed down from man to
man by oral tradition, and we add, may the stream of
story never cease to flow! May the youth, the vigorous
man, and the grandfather with his silvery locks, forever
continue to refresh their minds by looking into and
drinking from the fountain that reflects the ancient history of the great Gothic race!
In closing, we would present this question: Shall
we have northern art? We have southern art (Hercules and Hebe), we have oriental art (Adam and Eve), and
now will some one complete the trilogy by adding Loke
and Sigyn? Ay, let us have another Thorvaldsen, and
let him devote himself to northern art. Here is a new
and untrodden field for the artist. Ye Gothic poets and
painters and sculptors! why stand ye here idle?





VOCABULARY
OF THE
PRINCIPAL PROPER NAMES


OCCURRING IN THE
NORSE MYTHOLOGY,
WITH
A BRIEF SYNOPSIS OF THE CHARACTER AND EXPLOITS OF
THE GODS, EXPLANATIONS, ETYMOLOGICAL
DEFINITIONS, ETC.
GIVING
THE ORIGINAL ICELANDIC FORM OF THE WORD IN THE VOCABULARY,
AND ADDING, AFTER THE SYNOPSIS,
THE ANGLICIZED FORM USED BY THE AUTHOR
THROUGIOUT THE WORK.


ARRANGED BY THE AUTHOR PROM THE BEST SOURCES.










VOCABULARY.
A
BaGIR [Anglo-Sax. eagor, the sea]. The god presiding over the
stormy sea. He entertains the gods every harvest, and
brews ale for them. It still survives in provincial English
for the sea-wave on rivers. Have a care, there is the eager
coming!-(Carlyle's Heroes and Hero-worship.) zEger.
AGNAR. A son of King Hraudung and foster-son of Frigg. Agnar.
AGNAR. A son of King Geirrod. He gives a drink to Grimner
(Odin). Agnar.
ALFR [Anglo-Sax. celf, munt-celfen, sce-elfen, wudu-elfen, etc.; Eng.
elf, elves; Germ. alb and elfen, Erl- in Erlkinig (Goethe) is,
according to Grimm, a corrupt form from the Danish Ellekonge
like Elverkonge; in the west of Iceland the word is also pronounced dlbr]. An elf, fairy; a class of beings like the dwarfs,
between gods and men. They were of two kinds: elves of
light (Ljosdlfar) and elves of darkness (Dijkkdlfar). The abode
of the elves is Alfheimr, fairy-land, and their king is the god
Frey Elf.
ALFOSR or ALFAIIR [Father of all]. The name of Odin as the
supreme god. It also refers to the supreme and unknown
god. Allfather.
ALFHEIMR   [dlf, elf, and heimr, home].  Elf-land, fairy-land.
Frey's dwelling, given him as a tooth-gift. Alfheim.
ALsvrIS [sviSr (svinnr), rapid, wise]. All-wise. One of the horses
of the sun. Alsvid.
ALvfss [All-wise]. The dwarf who answers Thor's questions in
the lay of Alvis. Alvis.
AMSVARTNIR. [The etymology is doubtful; perhaps from ama, to
vex, annoy, and svartnir (svartr), black.] The name of the
sea, in which the island was situated where the wolf Fenrer
was chained. Amsvartner.
(439)





440


VOCABULARY.


ANNARR or 6NARR. Husband of night and father of Jord (jiUr
earth). Annar.
ANDHRIMNIR [ind, soul, spirit, breath, and hrimnir, hrim. AngloSax. hrim; Eng. rime, hoar-frost; hrimnir, the one producing
the hoar-frost]. The cook in Valhal. Andhrrmner.
ANDVARI. The name of a gurnard-shaped dwarf; the owner of
the fatal ring called Andvaranautr. Andvarc.
ANDVARAFORS. The force or waterfall in which the dwarf Andvare kept himself in the form of a gurnard (pike). AndvareForce.
ANDVARANAUTR [ind, spirit; varr, cautious; nautr, Germ. ge-nosse
(from Icel. njota), a donor]. The fatal ring given by Andvare
(the wary spirit). Andvarenaut.
ANGANTYR. He has a legal dispute with Ottar Heimske, who is
favored by Freyja. Angantyr.
ANGEYJA. One of Heimdal's nine mothers. Says the Elder
Edda in the Lay of Hyndla: Nine giant maids gave birth
to the gracious god, at the world's margin. These are.
Gjalp, Greip, Eistla, Angeyja, Ulfrun, Eyrgjafa, Imd, Atla,
and Jarnsaxa. Angeyja.
ANGRBOSA [Anguish-boding]. A giantess; mother of the Fenriswolf by Loke. Angerboda.
ARVAY R [Early awake]. The name of one of the horses of the
sun. Aarvak.
Ass or As; plural XEsiR. The asas, gods. The word appears in
such English names as Osborn, Oswald, etc. With an n it
is found in the Germ. Ansgar (Anglo-Sax. Oscar). It is also
found in many Scandinavian    proper names, as Asbj6rn,
Astrid, etc. The term cesir is used to distinguish Odin,
Thor, etc., from the vanir (vans). Asa.
A.A-LOKI. Loke, so called to distinguish him   from  UtgardLoke, who is a giant. Asa-Loke.
ASA-P~)RR. A common name for Thor. Asa-Thor.
ASGARhtR. The residence of the gods (asas). Asgard.
ASKR [Anglo-Sax. dsc, an ash]. The name of the first man
created by Odin, Hcener and Loder. Ask.
ASYNJA; plural ASYNJUn. A goddess; feminine of Ass. Asynje.
ATLA. One of Heimdal's nine mothers. Atla.
AUGIHUMLA; also written AUJIHUMBLA. [The etymology of this
word is uncertain. Finn Magnuisson derives it from autr,





VOCABULARY.


441


void, and hum, darkness, and expresses the name by abr
nocturnus.] The cow formed from the frozen vapors resolved
into drops. She nourished the giant Ymer. Audhumbla.
AURBOA [aurr, wet clay or loam; bota, to announce]. Gymer's
wife and Gerd's mother. Aurboda.
AURGELMIR [aurr, wet clay or loam]. A giant; grandfather of
Bergelmer; called also Ymer. Aurgelmer.
AUSTRI. A dwarf presiding over the east region. Austre. East.
B
BALDR [Anglo-Sax. baldor, princeps, the best, foremost]. The
god of the summer-sunlight. He was son of Odin and
Frigg; slain by Hoder, who was instigated by Loke. He returns after Ragnarok. His dwelling is Breidablik. Balder.
BARREY [Needle-isle]. A cool grove in which Gerd agreed with
Skirner to meet Frey. Barey.
BAUGI. A brother of Suttung, for whom (Baugi) Odin worked
one summer in order to get his help in obtaining Suttung's
mead of poetry. Bauge.
BELI. A giant, brother of Gerd, slain by Frey. Bele.
BERGELMIR [berg, rock]. A giant; son of Thrudgelmer and
grandson of Aurgelmer. Bergelmer.
BESTLA. Wife of Bur and mother of Odin. Bestla.
BEYLA. Frey's attendant; wife of Bygver. Beyla.
BIFR6ST [bifast, to tremble, rust (compare Eng. rest), a space, a
way; the trembling way, via tremula]. The rainbow. Bifrost.
BILSKIRNIR [bil, a moment; skir, serene, shining]. The heavenly
abode of Thor, from the flashing of light in the lightning.
Bilskirner.
BoLpORN [Evil thorn]. A giant; father of Bestla, Odin's mother.
Bolthorn.
BOLVERKR [Working terrible things]. An assumed name of
Odin, when he went to get Suttung's mead. Bolverk.
BONN. [Compare Anglo-Sax. byden, dolium.] One of the three
vessels in which the poetical mead was kept. Hence poetry
is called the wave of the bo"Sn. Bodn.
BiRR [burr, a son; compare Eng. born, Scotch bairn, Norse barn, a
child]. A son of Bure and father of Odin, Vile and Ve. Bor.





442


VOCABULARY.


BRAGI. [Compare Anglo-Sax. brego, princeps.] The god of poetry.
A son of Odin. He is the best of skalds. Brage.
BREISABLIK [Literally broad-blink, from breiir, broad, and blika
(Germ. blicken; Eng. to blink), to gleam, twinkle]. Balder's
dwelling. Breidablik.
BRISINGAMEN. Freyja's necklace or ornament. Brisingamen.
BURT. [This word is generally explained as meaning the bearing,
i. e. father; but we think that it is the same as the AngloSaxon bVre, son, descendant, offspring. We do not see how
it can be conceived as an active participle of the verb bera,
to bring forth. See p. 195, where we have followed Keyser.]
The father of Bor. He was produced by the cow's licking
the stones covered with rime. Bure.
BYGGVIRI. Frey's attendant; Beyla's husband. Bygver.
BYLEIPTR [The flame of the dwelling]. The brother of Loke.
Byleipt.
D
DAGR [Day]. Son of Delling. Dag.
DAýINN. A hart that gnaws the branches of Ygdrasil. Daain.
DELLINGR [deglinger (dagr, day), dayspring]. The father of Day.
Delling.
Dfs; plural DisiR. Attendant spirit or guardian angel. Any
female mythic being may be called Dis. Dis.
DRAUPNIR [drjdpa; Eng. drip; Germ. traufen; Dan. dryppe].
Odin's ring. It wab put on Balder's funeral-pile. Skirner
offered it to Gerd. Draupner.
DR6MI. One of the fetters by which the Fenris-wolf was fettered. Drome.
DUNEYRR,     Harts that gnaw the branches of Ygdrasil. DynDURAPR6R.       eyr; Durathror.
DURINN. The dwarf, second in degree. Durin.
DVALTNN. A dwarf. Dvalin.
DVERGR [Anglo-Sax. dweorg; Eng. dwarf; Germ. zwerg; Swed.
dwerg]. A dwarf. In modern Icelandic lore dwarfs disappear, but remain in local names, as Dverga-steinn (compare
the Dwarfie Stone in Scott's Pirate), and in several words
and phrases. From the belief that dwarfs lived in rocks an
echo is called dwerg-mdl (dwarf-talk), and dwerg-mdla means
to echo. The dwarfs were skilled in metal-working.





VOCABULARY.


443


E
EDDA. The word means a great-grandmother. The name is
usually applied to the mythological collection of poems discovered by Brynjolf Sveinsson in the year 1643. He, led by
a fanciful and erroneous suggestion, gave to the book which
he found the name Saemundar Edda, Edda of Saemund. This
is the so-called Elder Edda. Then there is the Younger
Edda, a name applied to a work written by Snorre Sturleson, and containing old mythological lore and the old artificial rules for verse-making. The ancients applied the name
Edda only to this work of Snorre. The Elder Edda was
never so called. And it is also uncertain whether Snorre
himself knew his work by the name of Edda. In the Rigsmal (Lay of Rig) Edda is the progenitrix of the race of
thralls.
EGWIR. An eagle that appears at Ragnarok. Egder.
EGILL. The father of Thjalfe; a giant dwelling near the sea.
Thor left his goats with him on his way to the giant Hymer.
Egil.
EIKpYRNIR [eik, oak, and pyrnir, a thorn]. A hart that stands
over Odin's hall (Valhal). From his antlers drops into the
abyss water from which rivers flow. Eikthyrner.
EINHERI; plural EINHERJAR. The only (ein) or great champions;
the heroes who have fallen in battle and been admitted
into Valhal. Einherje.
EIR. [The word means peace, clemency.]     An attendant of
Menglod, and the best of all in the healing art. Eir.
EISTLA. One of Heimdal's nine mothers. Eistla.
ELDHRIMNIR [eld, fire, and hrimnir, the one producing rime].
The kettle in which the boar Saehrimner is cooked in Valhal. Eldhrimner.
ELDIR. The fire-producer; a servant of SEger. Elder.
]LIVAGAR. The ice-waves; poisonous cold streams that flow
out of Niflheim. Elivagar.
EMBLA. The first woman. The gods found two lifeless trees, the
ask (ash) and the embla; of the ash they made man, of the
embla, woman. It is a question what kind of tree the embla
was; some suggest a metathesis, viz. emla, from almr (elm),
but the compound emblu-askr, in one of Egil's poems, seems





444


VOCABULARY.


to show that the embla was in some way related to the ash.
Embla.
EYRGJAFA. One of Heimdal's nine mothers. Eyrgjafa.
F
FXFNIR. Son of Hreidmar. He kills his father to get possession of the Andvarenaut. He afterwards changes himself
into a dragon and guards the treasure on Gnita-heath. He
is slain by Sigurd, and his heart is roasted and eaten. Fafner.
FALH6FNIR [Barrel-hoof, hollow-hoof]. One of the horses of the
gods. Falhofner.
FARBAUTI [Ship-beater, ship-destroyer]. The father of Loke.
Farbaute.
FENRIR or FENRISULFR. The monster-wolf. He is the son of
Loke. He bites the hand of Tyr. The gods put him in
chains, where he remains until Ragnarok. In Ragnarok he
gets loose, swallows the sun and conquers Odin, but is
killed by Vidar. Fenrer or Fenris-wolf.
FENSALIR. The abode of Frigg. Fensal.
FJALAR. A misnomer for Skrymer, in whose glove Thor took
shelter. Fjalar.
FJALAR. A dwarf, who slew Kvaser, and composed from his
blood the poetic mead. Fjalar.
FJALAR. A cock that crows at Ragnarok. Fjalar.
FIMAFENGR [fimr, quick, nimble]. The nimble servant of lEger.
He was slain by the jealous Loke. Fimafeng.
FIMBUL. [Compare Germ. fimmel, an iron wedge; Bohem. fimol;
Swed. fimmel-stdng, the handle of a sledge-hammer; in Icel.
obsolete, and only used in four or five compounds in old
poetry.] It means mighty great. In the mythology we have:
FIMBULFAMBI. A mighty fool. Fimbulfambe.
FIMBULTiR. The mighty god, great helper (Odin). Fimbultyr.
FIMBULVETR [vetr, winter]. The great and awful winter of
three years' duration preceding the end of the world. Fimbul-winter.
FIMBULUL. A heavenly river (bul, roaring.) Fimbulthul.
FIMBULPULR. The great wise man (Odin's High-song, 143). Fimbulthuler.
FJOLNIR. A name of Odin. Fjolner.





VOCABULARY.


445


FJORGYN. A    personification of the earth; mother of Thor.
Fjorgyn.
F6LKVANGR [Anglo-Sax. folc; Germ. volk; Eng. folk, people, and
vangr (Ulfilas, waggs), paradise; Anglo-Sax. wang; Dan. vang,
a field]. The folk-field. Freyja's dwelling. Folkvang.
FORNJ6TR. The ancient giant. He was father of IEger or Hler,
the god of the ocean; of Loge, flame or fire, and of Kaare,
wind. His wife was Ran. These divinities are generally
regarded as belonging to an earlier mythology, probably
that of the Fins or Celts, and we omitted them in our work.
Fornjot.
FORSETI [The fore-sitter, president, chairman]. Son of Balder
and Nanna. His dwelling is Glitner, and his office is peacemaker. Forsete.
FRAINANGRS-FORS. The force or waterfall into which Loke, in
the likeness of a salmon, cast himself, and where the gods
caught him and bound him. Fraananger-Force.
FREKI. One of Odin's wolves. Freke.
FREYJA [Feminine of Freyr]. The daughter of Njord and sister
of Frey. She dwells in Folkvang. Half the fallen in battle
belong to her. She lends her feather disguise to Loke. She
is the goddess of love. Her husband is Oder. Her necklace is Brisingamen. She has a boar with golden bristles.
Freyja.
FREYR [Goth. frauja; Gr. xpteoq; Anglo-Sax. fred; Heliand fr6,
a lord]. He is son of Njord, husband of Skade, slayer of
Bele, and falls in conflict with Surt in Ragnarok. Alfheim
was given him as a tooth-gift. The ship Skidbladner was
built for him. He falls in love with Gerd, Gymer's fair
daughter. He gives his trusty sword to Skirner. Frey.
FRIGG. [Compare Anglo-Sax. frigu, love]. She is the wife of
Odin, and mother of Balder and of other gods. She is the
queen of the gods. She sits with Odin in Hlidskjalf. She
exacts an oath from all things that they shall not harm
Balder. She mourns Balder's death. Frigg.
FULLA [Fullness]. Frigg's attendant. She takes care of Frigg's
toilette, clothes and slippers. Nanna sent her a finger-ring
from Helheim. She wears her hair flowing over her shoulders. Fulla.





446


VOCABULARY.


G
GALAR. One of the dwarfs who killed Kvaser. Fjalar was the
other. Galar.
GAGNRA'E. A name assumed by Odin when he went to visit
Vafthrudner. Gagnraad.
GANGLERI. One of Odin's names in Grimner's Lay. Ganglere.
GANGLERI. A name assumed by King Gylfe when he came to
Asgard. Ganglere.
GARZROFA [Fence-breaker]. The goddess Gnaa has a horse by
name Hofvarpner. The sire of this horse is Hamskerper,
and its mother is Gartrofa. Gardrofa.
GARMR. A dog that barks at Ragnarok. He is called the largest
and best among dogs. Garm.
GEFJUN or GEFJON. A goddess. She is a maid, and all those
who die maids become her maid-servants. She is present at
ZEger's feast. Odin says she knows men's destinies as well
as he does himself. Gefjun.
GEIRR6iR. A son of King Hraudung and foster-son of Odin;
he becomes king and is visited by Odin, who calls himself
Grimner. He is killed by his own sword. There is also a
giant by name Geirrod, who was once visited by Thor.
Geirrod.
GEIRSKiGUL. A valkyrie. Geirskogul.
GEIRYIMUL. A heavenly river. Geirvimul.
GERR. Daughter of Gymer, a beautiful young giantess; beloved
by Frey. Gerd.
GERI [gerr, greedy]. One of Odin's wolves. Gere.
GERSEMI [Anglo-Sax. gersuma, a costly thing.] One of Freyja's
daughters. Gerseme.
GJALLARBRJ [gjalla, to yell, to resound; Anglo-Sax. giellan].
The bridge across the river Gjol, near Helheim. The
bridge between the land of the living and the dead. Gjallar-bridge.
GJALLARHORN. Heimdal's horn, which he will blow at Ragnarok.
Gjallar horn.
GILLING. Father of Suttung, who possessed the poetic mead.
He was slain by FjaTar and Galar. Gilling.
GIMLI [gimill, himill, himin, heaven]. The abode of the righteous after Ragnarok. Gimle.





VOCABULARY.


447


GJ ALP. One of Heimdal's nine mothers. Gjalp.
'GINNUNGA-GAP. [Compare Anglo-Sax. gin or ginn, vast, wide.
(The unga may be the adverbial ending added to ginn, as in
eall-unga, adv. from all, all.)] The great yawning gap, the
premundane abyss, the chaos or formless void, in which
dwelt the supreme powers before the creation. In the
eleventh century the sea between Greenland and Vinland
(America) was called Ginnunga-gap. Ginungagap.
GJ8LL. The one of the rivers Elivagar that flowed nearest the
gate of Hel's abode. Gjol.
GfSL [Sunbeam]. One of the horses of the gods. Gisl.
GLAIR [Clear, bright]. One of the horses of the gods. Glad.
GLANSHEIMR [Home of brightness or gladness]. Odin's dwelling. Gladsheim.
GLASIR. A grove in Asgard. Glaser.
GLEIPNIR. The last fetter with which the wolf Fenrer was
bound. Gleipner.
GLER [The glassy]. One of the horses of the gods. Gler.
GLITNIR [The glittering]. Forsete's golden hall. Glitner.
GNA. She is the messenger that Frigg sends into the various
worlds on her errands. She has a horse called Hofvarpner,
that can run through air and water. Gnaa.
GNIPAHELLIR. The cave before which the dog Garm       barks.
The Gnipa-cave.
GNITAHEIPR. Fafner's abode, where he kept the treasure called
Andvarenaut. Gnita-heath.
G6INN. A serpent under Ygdrasil. Goin.
GOLL. A valkyrie. Gol.
GOMUL. A heavenly river. Gomul.
GiNDUL. A valkyrie. Gondul.
GPPUL. A heavenly river. Gopul.
GRABAKR [Gray-back]. One of the serpents under Ygdrasil.
Graabak.
GRIA. A heavenly river. Graad.
GRAFVITNIR,      Serpents under Ygdrasil. Grafvitner; Graf.
GRAFVYLLUSR.       vollud.
GREIP [Anglo-Sax. grdp; Eng. grip]. One of Heimdal's nine
giant mothers. Greip.
GRIMNIR [Icel. grima; Anglo-Sax. grima; Dan. grime, a horsehalter]. A kind of hood or cowl covering the upper part of





448


VOCABULARY.


the face. Grimner is a name of Odin from his traveling
in disguise. Grimner.
GR6A [Icel. grda; Anglo Sax. growan; Eng. grow; Lat. crescere,
crev-i]. The giantess mother of Orvandel. Thor went to
her to have her charm the flint-stone out of his forehead.
Groa.
GULLFAXI [Gold-mane]. The giant Hrungner's horse. Goldfax.
GULLINKAMBI [Gold-comb]. A cock that crows at Ragnarok.
Gullinkambe or Goldcomb,
GULLTOPPR [Gold-top]. Heimdal's horse. Goldtop.
GULLVEIG [Gold-drink, gold-thirst]. A personification of gold.
She is pierced and thrice burnt, and yet lives. Gulveig.
GULLINBURSTI [Golden bristles]. The name of Frey's hog.
Gullinburste.
GUNGNIR [Dan. gungre, to tremble violently]. Odin's spear.
Gungner.
GUN1NL&; genitive GUNNLA8AR [Icel. gunnr, war, battle; AngloSax. gduS; Old High Germ. gundia; and Icel. 16l (la(a, to
invite), invitation; Anglo-Sax. gelatian, to invite]. One who
invites war. She was daughter of the giant Suttung, and had
charge of the poetic mead. Odin got it from her. Gunlad.
GYLFI. A king of Svithod, who visited Asgard under the name
of Ganglere. The first part of the Younger Edda is called
Gylfaginning, which means the Delusion of Gylfe. Gylfe.
GYLLIR [Golden]. One of the horses of the gods. Gyller.
GYMIR. A giant; the father of Gerd, the beloved of Frey.
Gymer.
GYMIR. Another name of the ocean divinity IEger.. Gymer.
H
HALLINSKfII. Another name of the god Heimdal. The possessor of the leaning (halla) way (skeiS). Hallinskid.
HAMSKERPIR [Hide-hardener]. A horse: the sire of Hofvarpner,
which was Gnaa's horse. Hamskerper.
HAR [Anglo-Sax. hedh; Eng. high; Ulfilas hauhs]. The High One,
applied to Odin. Haar.
HARBAR'NR. The name assumed by Odin in the Lay of Harbard. Hlarbard.
HEInRUNR [Bright-running]. A goat that stands over Valhal.
Heidrun.





VOCABULARY.


449


HEIMDALR. The etymology has not been made out. He was
the heavenly watchman in the old mythology, answering to
St. Peter in the medieval. According to the Lay of Rig
(Heimdal), he was the father and founder of the different
classes of men, nobles, churls and thralls. He has a horn
called Gjallar-horn, which he blows at Ragnarok. His dwelling is Himinbjorg. He is the keeper of Bifrost (the rainbow). Nine giantesses are his mothers. Heimdal.
HEL [Ulfilas halja, a~dq; Anglo-Sax. and Eng. hell; Heliand and
Old High Germ. hellia; Germ. HIlle; Dan. at slaa, i-hjel, to
kill]. The goddess of death, born of Loke and Angerboda.
She corresponds to Proserpina. Her habitation is Helheim,
under one of the roots of Ygdrasil. Hel.
HELBLINDI. A name of Odin. Helblinde.
HELGRINDR. The gates of Hel. Helgrind or Helgate.
HELIIEIM. The abode of Hel. Helheim.
HE2F&iR,     [The father of hosts]. A name of Odin.    HerHERJAF6R        father.
HERMOSR [Courage of hosts]. Son of Odin, who gives him helmet and corselet. He went on Sleipner to Hel to bring
Balder back. Hermod.
HILDISVINI [hildr (Anglo-Sax. hild) means war]. Freyja's hog.
Hilde-svine.
HIMINBJORG [himinn, heaven, and bjirg, help, defense; hence
heaven defender]. Heimdal's dwelling. Himinbjorg.
HIMINBRJ6TR [Heaven-breaker]. One of the giant Hymer's oxen.
Himinbfioter.
HLESEY. The abode of ZEger. Hlesey.
HLI'SKJALF [from hliS, gate, and skjdif, shelf, bench]. The seat
of Odin, whence he looked out over all the worlds. Hlidskjalf.
HLIN. One of the attendants of Frigg; but Frigg herself is
sometimes called by this name. Hlin.
HLO6YN. A goddess; a name of the earth; Thor's mother.
Hlodyn.
HLORIDI [from hiJa; Anglo-Sax. hlowan; Eng. low, to bellow,
roar, and reiS, thunder]. One of the names of Thor; the
bellowing thunderer. Hloride.
HNIARR, Names of Odin, Hnikar and Hnikuder.
HNIKU-SR.





450


VOCABULARY.


HNoss [Anglo-Sax. hnossian, to hammer]. A costly thing; the
name of one of Freyja's daughters. Hnos.
HODDMIMISHOLT. Hodmimer's holt or grove, where the two
human beings Lif and Lifthraser were preserved during
Ragnarok. Hodmimer's forest.
Ho&R. The slayer of Balder. He is blind, returns to life in
the regenerated world. The Cain of the Norse mythology.
Hoder.
HCENIR. One of the three creating gods. With Odin and Loder
Hoener creates Ask and Embla, the first human pair. Hmener.
H6FVARPNIR [Hoof-thrower]. Gnaa's horse. His father is Hamskerper and mother Gardrofa. Hofvarpner.
HRIESVELGR [Corpse-swallower]. A giant in an eagle's plumage,
who produces the wind. Hrmsvelger.
HRAUJSUNGR. Geirrod's father. Hraudung.
HREI6MARR. Father of Regin and Fafner. He exacts the bloodfine from the gods for slaying Otter. He is slain by Fafner.
Hreidmar.
HRfMFAXI [Rime-mane]. The horse of Night. Rimefax.
HRIfMURSAR [Anglo-Sax. hrim; Eng. rime, hoar-frost]. Rimegiants or frost-giants, who dwell under one of Ygdrasil's
roots. Giants.
HROSVITNIR. A wolf; father of the wolf Hate. Hrodvitner.
HROPTR. One of Odin's names. Hropt.
HRUNGNIR. A giant; friend of Hymer. Thor fought with him
and slew him. Hrungner.
HRINGIHORNI. The ship upon which Balder's body was burned.
HIringhorn.
HROSSPJ6FR [Horse-thief]. A giant. Hrosthjof.
HUGINN [Mind]. One of Odin's ravens. Hugin.
HVERGELMIR [The old kettle]. The spring in the middle of
Niflheim, whence flowed the rivers Elivagar. The Northern
Tartaros. Hvergelmer.
HYMIR. A giant with whom Thor went fishing when he caught
the Midgard-serpent. His wife was the mother of Tyr.
Tyr and Thor went to him to procure a kettle for 2Eger.
Hymer.
HYNDLA. A vala visited by Freyja, who comes to her to learn
the genealogy of her favorite Ottar. Hyndla.





VOCABULARY.


451


I
ISAViLLR. A plain where the gods first assemble, where they
establish their heavenly abodes, and where they assemble
again after Ragnarok. The plains of Ida. Idavold.
ISUNN. Daughter of the dwarf Ivald; she was wife of Brage,
and the goddess of early spring. She possesses rejuvenating
apples of which the gods partake. Idun.
IFING. A river which divides the giants from the gods. Ifing.
IMI. One of Heimdal's nine giant mothers. Imd.
hiM. A son of the giant Vafthrudner. Im.
INGUNAP-FREYR. One of the names of Frey. Ingun's Frey.
INNSTEINN. The father of Ottar Heimske; the favorite of Freyja.
Instein.
fvALDI. A dwarf. His sons construct the ship Skidbladner.
Ivald.
J
JAFmHAiR [Equally high]. A name of Odin. Evenhigh. Jafnhaar.
JALKRn. A name of Odin (Jack the Giant-killer?). Jalk.
JARNSAXA [Iron-chopper]. One of Heimdal's nine giant mothers.
Jarnsaza.
JARNvrI~   [Iron-wood]. A wood east of Midgard, peopled by
giantesses called Jarnvids. This wood had iron leaves.
Jarnvid.
JARNviviun. The giantesses in the Iron-wood. Jarnvids.
JiRD. Wife of Odin and mother of Thor. Earth. Jord.
JSTUNN [Anglo-Sax. eoten]. A giant. The giants were the earliest created beings. The gods question them in regard to
Balder. Thor frequently contends with them. Famous giants
are: Ymer, Hymer, Hrungner, Orvandel, Gymer, Skrymer,
Vafthrudner and Thjasse. Giant.
JiTUNHEIMAR (plural). The Utgaard; the home of the giants
in the outermost parts of the earth. Jotunheim.
K
KERLAUGAR (plural). Two rivers which Thor every day must
cross. IKerlaug.
KnRMT. Another river which Thor every day must pass. Kormt.
KvAsm. The hostage given by the vans to the asas. His blood,
when slain, was the poetical mead kept by Suttung. Kvaser.





452


VOCABULARY.


L
LEINGR. One of the fetters with which the Fenris-wolf was
bound. Lcding.
LERA6R [Furnishing protection]. A tree near Valhal. Learad.
LANDViSI. [A mountain range overgrown with trees is viSi.]
Vidar's abode. The primeval forests. Landvide.
LAUFEY [Leafy island]. Loke's mother. Laufey.
LEIFpRIASIR,  The two persons preserved in Hodmimer's grove
LfF.            during Surt's conflagration in Ragnarok; the
last beings in the old and the first in the new world. Lif
and Lifthraser.
LETTFETI [Light-foot]. One of the horses of the gods. Lightfoot.
LITR. A dwarf that Thor kicked into Balder's funeral pile. Liter.
LODDFiFNIR. A proteg6 of Odin. Lodfafner.
LoSurRR [Compare Germ. lodern, to flame]. One of the three
gods (Odin, Hener and Loder) who create Ask and Embla,
the first man and woman. He is identical with Loke. Loder.
LOKI [Icel. luka, to end, finish; Loke is the end and consummation of divinity]. The evil giant-god of the Norse
mythology. He steers the ship Naglfar in Ragnarok. He
borrows Freyja's feather-garb and accompanies Thor to the
giant Thrym, who has stolen Thor's hammer. He is the
father of Sleipner; but also of the Midgaard serpent, of the
Fenris-wolf and of Hel. He causes Balder's death, abuses
the gods in 1Eger's feast, but is captured in Fraanangerforce and is bound by the gods. Loke.
LOPTR [The airial]. Another name of Loke. Lopter.
M
MAGNI [megin, might, strength]. A son of Thor. Magne.
MANI [Ulfilas mina; Anglo-Sax. m6na; Eng. moon]. Brother of
Sol (the sun, feminine), and both were children of the giant
Mundilfare. Moon or Maane.
MARDiLL or MARJOLL. One of the names of Freyja. Mardallar
grdtr (the tears of Mardal), gold. Mardal.
MANAGARMR [Moon-swallower]. A     wolf of Loke's offspring.
He devours the moon. Maanegarm or Moongarm.
MANNHEIMAR (plural) [Homes of man]. Our earth. Manheim.
MEILI. A son of Odin. Meile.





VOCABULARY.


453


MIrGAR'R. [In Cumberland, England, are three farms: Highgarth, Middle-garth, Low-garth.] The mid-yard, middle-town,
that is, the earth, is a mythological word common to all the
ancient Teutonic languages. Ulfilas renders the Gr. oixouJyv&:
by midjungards; Heliand    calls the earth middil-gard;
the Anglo-Saxon homilies, instead of earth, say middangeard (meddlert, Jamieson), and use the word as an appellative; but the Icelandic Edda alone has preserved the true
mythical bearing of this old Teutonic word. The earth
(Midgard), the abode of men, is seated in the middle of the
universe, bordered by mountains and surrounded by the great
sea (ithaf); on the other side of this sea is the Utgard
(out-yard), the abode of the giants; the Midgard is
defended by the yard or burgh Asgard (the burgh of the
gods) lying in the middle (the heaven being conceived as
rising above the earth). Thus the earth and mankind are
represented as a stronghold besieged by the powers of evil
from without, defended by the gods from above and from
within. Midgard.
MrSGARSIORMR [The serpent of Midgaard]. The world-serpent
hidden in the ocean, whose coils gird around the whole Midgard. Thor once fishes for him, and gets him on his hook.
In Ragnarok Thor slays him, but falls himself poisoned by
his breath. Midgard-serpent.
MfMAMEISR. A mythic tree; no doubt the same as Ygdrasil.
It derives its name from Mimer, and means Mimer's tree.
Mimameider.
MfiAR. The name of the wise giant keeper of the holy well
Mimis-brunnr, the burn (bourn, brun) of Mimer, the well of
wisdom, in which Odin pawned his eye for wisdom; a myth
which is explained as symbolical of the heavenly vault with
its single eye, the sun, setting in the sea. Is the likeness of
the word to the Latin memor only accidental? The true
etymology of Mimir is not known. Mimer.
MJOLNIR. [The derivation from   mala or mola (to crush) is,
though probable, not certain. The word may be akin to
Goth. milhma, cloud; Swed. moln; Dan. mulm; Norse molnas
(Ivar Aasen), to grow dark from bands of clouds arising.]
Thor's formidable hammer. After Ragnarok, it is possessed
by his sons Mode and Magne. Mjolner.





454


VOCABULARY.


MISTILTEINN [Old High Germ. mistil; Germ. mistel; Anglo-Sax.
mistel or mistel-td; Eng. mistletoe]. The mistletoe or mistletwig, the fatal twig by which Balder, the white sun-god, was
slain. After the death of Balder, Ragnarok set in. Balder's
death was also symbolical of the victory of darkness over
light, which comes every year at midwinter. The mistletoe
in English households at Christmas time is no doubt a relic
of a rite lost in the remotest heathendom, for the fight of
light and darkness at midwinter was a foreshadowing of the
final overthrow in Ragnarok. The legend and the word are
common to all Teutonic peoples of all ages. Msstletoe.
M6W I [Courage]. A son of Thor. Mode.
M6WSOGNIR. The dwarf highest in degree or rank. Modsogner.
M6ONN. A serpent under Ygdrasil. Moin.
MUNDILFARI. Father of the sun and moon. Mundilfare.
MUNINN [Memory]. One of Odin's ravens. Munin.
MUSPELL. The name of an abode of fire. It is peopled by
Mfspells lfSir (the men of Muspel), a host of fiends, who are
to appear at Ragnarok and destroy the world by fire. Muspel. (See next word.)
MfjSPELLSHEIMR. The abode of Muspel. This interesting word
(Mispell) was not confined to the Norse mythology, but
appears twice in the old Saxon poem Heliand, thus: (1)
mutspelli cumit on thiustra naht, also thiof ferit (mutspelli
comes in dusky night, as a thief fares,-that is, But the day
of the Lord will come as a thief in the night), and (2)
mutspellis megin obar man ferit (the main of mutspelli fares
over men). A third instance is an Old High German poem
on the Last Day, thus: ddr ni mac denne mac andremo helfan
vora demo muspille (there no man can help another against
the muspel-doom). In these instances muspel stands for the
day of judgment, the last day, and answers to Ragnarok of
the Norse mythology. The etymology is doubtful, for spell
may be the weird, doom, Lat. fatum; or it may be spoil,
destruction. The former part, mus or muod, is more difficult
to explain. The Icelandic muis is an assimilated form. Muspelheim.
MSKKURKALFI [mlkkr means a dense cloud]. A clay giant in
the myth of Thor and Hrungner. Mokkerkalfe.





VOCABULARY.


455


N
NAGLFAR [Nail-ship]. A mythical ship made of nail-parings. It
appears in Ragnarok. Naglfar. Nailship.
NAL [Needle]. Mother of Loke. Naal.
NANNA. Daughter of Nep (bud); mother of Forsete and wife of
Balder. She dies of grief at the death of Balder. Nanna.
NARI or NARFI. Son of Loke. Loke was bound by the intestines of Nare. Nare or Narfe.
NASTRiND [The shore of corpses]. A place of punishment for the
wicked after Ragnarok. Naastrand.
NIrAFJULL. The Nida-mountains toward the north, where there
is after Ragnarok a golden hall for the race of Sindre (the
dwarfs). Nidafell.
NISH6GGR. A serpent of the nether world, that tears the carcases of the dead. He also lacerates Ygdrasil. Nidhug.
NIFLHEIMR [nif; Old High Germ. nibul; Germ. nebel; Lat.
nebula; Gr. velik, mist, fog.] The world of fog or mist;
the nethermost of the rime worlds. The place of punishment (Hades). It was visited by Odin when he went to
inquire after the fate of Balder. Niflheim.
NJOR.R. A van, vanagod. He was husband of Skade, and
father of Frey and Freyja. He dwells in Noatun. Njord.
N6ATcON [Place of ships]. Njord's dwelling; Njord being a
divinity of the water or sea. Noatun.
NoR"nS [North]. A dwarf presiding over the northern regions.
Nordre or North.
N6TT. Night; daughter of Norve. Night.
NORN; plural NORNIR. The weird sisters; the three heavenly
norns (parcce, fates) Urd, Verdande, and Skuld (Past, Present,
and Future); they dwelt at the fountain of Urd, and ruled
the fate of the world. Three norns were also present at
the birth of every man and cast the weird of his life. Norn.
0
6SINN [Anglo-Sax. Wodan; Old High Germ. Wodan]. Son of
Bor and Bestla. He is the chief of the gods. With Vile and
Ve he parcels out Ymer. With Hcener and Loder he creates
Ask and Embla. He is the fountain-head of wisdom, the
founder of culture, writing and poetry, the progenitor of





45 G


VOCABULARY.


kings, the lord of battle and victory. He quaffs with Saga
in Sokvabek. He has two ravens, two wolves and a spear.
His throne is Hlidskjalf, from where he looks out over all
the worlds. In Ragnarok he is devoured by the Fenriswolf. Odin.
6lii. Freyja's husband. Oder.
6inRERim [The spirit-mover]. One of the vessels in which the
blood of Kvaser, that is, the poetic mead, was kept. The
inspiring nectar. Odrcerer.
OFNI. A serpent under Ygdrasil. Ofner.
OKOLNIR [Not cool]. After Ragnarok the giants have a hall
(ale-hall) called Brimer, at Okolner.
OKU-PO6RR [Icel. aka; Lat. agere; Gr. ay`eev (compare English yoke),
to drive, to ride]. A name of Thor as a charioteer. Akethor.
6SKI [Wish]. A name of Odin. Oske. Wish.
OTE [OTTER]. A son of Hreidmar; in the form of an otter killed
by Loke. Oter.
6TTARR or OTTARR HEIMSKI [Stupid]. A son of Instein, a protig6 of Freyja. He has a contest with Angantyr. Hyndla
gives him a cup of remembrance. Ottar.
R
RAGNAROK [ragna, from regin, god; ri;k may be Old High Germ.
rahha, sentence, judgment, akin to rekja; rDk, from rekja, is
the whole development from creation to dissolution, and
would, in this word, denote the dissolution, doomsday, of the
gods; or it may be from rikr (reykkr, smoke), twilight, and
then the word means the twilight of the gods.] The last
day; the dissolution of the gods and the world. Ragnarok.
RiN [Rob]. The goddess of the sea; wife of LEger. Ran.
RATATOSKR. A squirrel that runs up and down the branches of
Ygdrasil. Ratatosk.
RATI. An auger used by Odin in obtaining the poetic mead. Rate.
REGINN. Son of Hreidmar; brother of Fafner and Otter. Regin.
RINDR [Eng. rind, crust]. A personification of the hard frozen
earth. Mother of Vale. The loves of Odin and Rind resemble those of Zeus and Europa in' Greek legends. Rind.
ROSKVA. The name of the maiden follower of Thor. She symbolizes the ripe fields of harvest. Roskva.





VOCABULARY.


457


S
SIEHRfMNIR [seer, sea; hrimnir, rime-producer]. The name of the
boar on which the gods and heroes in Valhal constantly
feed. Scehrimner.
SAGA [History]. The goddess of history. She dwells in Sokvabek.
Saga.
SESSRUMNIR [Seat-roomy]. Freyja's large-seated palace. Sesrumner.
SiSHiTTR [Long-hood]. One of Odin's names, from his traveling
in disguise with a large hat on his head hanging down over
his face. Sidhat.
SiMSKEGGR [Long-beard]. One of Brage's names. It is also a
name of Odin in the lay of Grimner. Sidskeg.
SIF. The wife of Thor and mother of Uller. [Ulfilas sibja; AngloSax. sib; Eng. gos-sip, god-sib; Heliand sibbia; Old High Germ.
sibba; Germ. sippe. The word denotes affinity.]   Sif, the
golden-haired goddess, wife of Thor, betokens mother earth
with her bright green grass. She was the goddess of the
sanctity of the family and wedlock, and hence her name. Sif.
SIGFA6IR [Father of victory]. A name of Odin. Sigfather.
SIGYN. Loke's wife. She holds a basin to prevent the venom
from dropping into Loke's face. Sigyn.
SILFRINTOPPI   [Silver-tuft].  One of the horses of the gods.
Silvertop.
SINDRI. One of the most famous dwarfs. Sindre.
SINIR [Sinew]. One of the horses of the gods. Siner.
SJOFN. One of the goddesses. She delights in turning men's
hearts to love. Sjofn.
SKA1I [scathe, harm, damage]. A giantess; daughter of Thjasse
and the wife of Njord. She dwells in Thrymheim. Hangs a
venom serpent over Loke's face. Skade.
SKEISBRIIMIR  [Race-runner].  One of the horses of the gods.
Skeidbrimer.
SKIBLAKiNIR. The name of the famous ship of the god Frey.
Skidbladner.
SKINFAXI [Shining-mane]. The horse of Day. Skinfax.
SKfRNIR [The bright one]. Frey's messenger. Skirner.
SKRYMIR. The name of a giant; the name assumed by UtgardLoke. Skrymer.
SKULD [Shall]. The norn of the future. Skuld.





458


VOCABULARY.


SKOGUL. A valkyrie. Skogul.
SLEIPNIR [The slipper]. The name of Odin's eight-footed steed.
He is begotten by Loke with Svadilfare. Sleipner.
SNOTRA [Neat]. The name of one of the goddesses. Snotra.
SiKKMiMIR [Mimer of the deep]. A giant slain by Odin. Sokmimer.
SOKKVABEKKR. A mansion where Odin and Saga quaff from
golden beakers. Sokvabek.
56L [Sun]. Daughter of Mundilfare. She drives the horses that
draw the car of the sun. Sol.
SoNR. One of the vessels containing the poetic mead. Son.
SUDRI [South]. A dwarf presiding over the south region. Sudre.
South.
SURTR. A fire-giant in Ragnarok; contends with the gods on the
plain of Vigrid; guards Muspelheim. Surt.
SUTTUNGR. The giant possessor of the poetic mead. Suttung.
SVAYILFARI. A horse; the sire of Sleipner. Svadilfare.
SVAFNIR. A serpent under Ygdrasil. Svafner.
SVALINN [Cooler]. The shield placed before the sun. Svalin.
SvAsuitR [Delightful]. The name of a giant; the father of the
sun. Svasud.
SN. A minor goddess. Syn.
T
TYR; genitive TYs, dative and accusative Ty. [Compare Icel.
tivi, god; Twisco (Tivisco) in Tacitus' Germania. For the
identity of this word with Sanscrit dyaus, divas, heaven; Gr.
Ze6 (Jc6S); Lat. divus, see Max Miiller's Lectures on tie
Science of Language, 2d series, p. 425.] Properly the generic
name of the highest divinity, and remains in many compounds. In the mythology he is the one-armed god of war.
The Fenris-wolf bit one hand off him. He goes with Thor
to Hymer to borrow a kettle for 2Eger. He is son of Odin
by a giantess. Tyr.
P (TH).
pJALFI. The name of the servant and follower of Thor. The
word properly means a delver, digger (Germ. delber, delben,
to dig). The names Thjalfe and Roskva indicate that Thor
was the friend of the farmers and the god of agriculture.
Thjalfe.





VOCABULARY.


459


PJAZI [pJASSI]. A giant; the father of Njord's wife, Skade.
His dwelling was Thrymheim; he was slain by Thor.
Thjasse.
p6RR. [Anglo-Sax. bunor; Eng. thunder; North Eng. thunner;
Dutch donder; Old High Germ. donar; Germ. donner; Heliand thunar; Danish tor, in tor-den (compare Lat. tono and
tonitrus.) The word porr is therefore formed by absorption
of the middle n, and contraction of an old dissyllabic ponor
into one syllable, and is a purely Scandinavian form; hence
in Anglo-Saxon charters or diplomas it is a sure sign of
forgery when names compounded with pur- appear in deeds
pretending to be of a time earlier than the Danish invasion
in the ninth century; although in later times they abound.
The English Thursday is a later form, in which the phonetic rule of the Scandinavian tongue has been followed;
but perhaps it is a North English form]. The god of
thunder, keeper of the hammer, the ever-fighting slayer of
trolls and destroyer of evil spirits, the friend of mankind,
the defender of the earth, the heavens and the gods; for
without Thor and his hammer the earth would become the
helpless prey of the giants. He was the consecrator, the
hammer being the cross or holy sign of the ancient heathen,
hence the expressive phrase on a heathen Danish runic
stone: purr vigi kassi runar (Thor consecrate these runes!)
Thor was the son of Odin and Fjorgyn (mother earth); he
was blunt, hot-tempered, without fraud or guile, of few
words and ready stroke--such was Thor, the favorite deity
of our forefathers. The finest legends of the Younger
Edda and the best lays of the Elder Edda refer to Thor.
His hall is Bilskirner. He slays Thjasse, Thrym, Hrungner,
and other giants. In Ragnarok he slays the Midgard-serpent, but falls after retreating nine paces, poisoned by the
serpent's breath. Thor.
pnrSI [Third]. A name of Odin in Gylfaginning. Thride.
pRfJPGELMIR. The giant father of Bergelmer. Thrudgelmer.
PRTHEIMR or A   Thor's abode.    rueim; Thrudheim;  rudvang.
pRUNSVANGR.
pRtIR. The name of a goddess; the daughter of Thor and Sif.
Thrud.
PRYMHEIMR. Thjasse's and Skade's dwelling. Thrymheim.





460


VOCABULARY.


PRYMR. The giant who stole Thor's hammer and demanded
Freyja for it. Thrym.
Xp)KK. The name of a giantess (supposed to have been Loke in
disguise) in the myth of Balder. She would not weep for
his death. Thok.
U
ILFRUN. One of Heimdal's nine giant mothers. Ulfrun.
ULLR. The son of Sif and stepson of Thor. His father is not
named. He dwells in Ydaler.   Tller.
URNARBRUNNR. The fountain of the norn Urd. The Urdarfountain. The weird spring.
URwR [Anglo-Sax. wyrd; Eng. weird; Heliand wurth]. One of
the three norns. The norn of the past, that which has been.
Urd.
UTGARWAR [The out-yard]. The abode of the giant Utgard-Loke.
Utgard.
iJTGARNA-LOKI. The giant of Utgard visited by Thor. He calls
himself Skrymer. Utgard-Loke.
V
VAFpRf1NNTR. A giant visited by Odin. They try each other in
questions and answers. The giant is defeated and forfeits
his life. Vafthrudner.
VALASKJILF. One of Odin's dwellings. Valaskjalf.
VALFOSR [Father of the slain]. A name of Odin. Valfather.
VALGRIND. A gate of Valal. Valgrind.
VALHU)LL [The hall of the slain. Icel. valr; Anglo-Sax. wcel, the
slain]. The hall to which Odin invited those slain in battle.
Valhal.
VALKYRIJA [The chooser of the slain]. A troop of goddesses,
handmaidens of Odin. They serve in Valhal, and are sent
on Odin's errands. Valkyrie.
VALI. Brother of Balder. Slays Hoder when only one night
old. Rules with Vidar after Ragnarok. Vale.
VALI. A son of Loke. Vale.
VALTAMR. A fictitious name of Odin's father. Valtam.
VE. A brother of Odin (Odin, Vile and Ve). Ve.
VEGTAMR. A name assumed by Odin. Vegtam.
VANAHEIMAR. The abode of the vans. Vanaheim.





VOCABULARY.


461


VANR; plural VANIR. Those deities whose abode was in Vanaheim, in contradistinction to the asas, who dwell in Asgard:
Njord, Frey and Freyja. The vans waged war with the asas,
but were afterwards, by virtue of a treaty, combined and
made one with them. The vans were deities of the sea. Van.
VkORR [Defender]. A name of Thor. Veor.
VERQ*ANDI [from.erSa, to become; Germ. werden]. The norn of
the present, of that which is.
VESTRI. The dwarf presiding over the west region. Vestre. West.
VIIARR. Son of Odin and the giantess Grid. He dwells in
Landvide. He slays the Fenris-wolf in Ragnarok. Rules
with Vale after Ragnarok. Vidar.
ViGRIrR [Icel. ig; Ulfilas wiahjo, pd'y, a fight, a battle]. The
field of battle where the gods and the sons of Surt meet in
Ragnarok. Vigrid.
VfLI. Brother of Odin and Ve. These three sons of Bor and
Bestla construct the world out of Ymer's body. Vile.
VIMUR. A river that Thor crosses. Vimer.
VINDSVALR [Wind-cool]. The father of winter. Vindsval.
VINDHEIMR [Wind-home]. The place that the sons of Balder
and Hoder are to inhabit after Ragnarok. Vindheim. Windhome.
VIN-GOLF [The mansion of bliss]. The palace of the asynjes.
Vingolf.
VINGPORR. A name of Thor. Vingthor.
V6R. The goddess of betrothals and marriages. Vor.
Y
YDALIR. Uller's dwelling. Ydaler.
YGGR. A name of Odin. Ygg.
YGGDRASILL [The bearer of Ygg (Odin)]. The world-embracing
ash tree. The whole world is symbolized by this tree. Ygdrasil.
YMIR. The huge giant in the cosmogony, out of whose body
Odin, Vile and Ve created the world. The progenitor of the
giants. He was formed out of frost and fire in Ginungagap.
Ymer.










INDEX.


A
Aachen, 92.
Aage, 397.
Aarvak, 159, 177, 178, 259.
Acts of the Apostles, 25.
Adam, 82, 390, 436.
Adelsten, Hakon, 110.
Adonis, 53.
AEger, 39, 40, 98, 110, 123, 247,
274, 322, 323, 327, 337, 338,
343-349, 372, 377, 381, 397-399.
Eschylus, 78.
Afternoon, 180.
Agder, 363.
Agnar, 122,156.
Ahriman, 81.
Alexander, 88, 96.
Ale, 382.
Alfheim, 186, 348.
Allfather, 49, 182, 193, 216, 434.
Alsvinnl59, 177, 178.
Alsvin, 259.
Alvis, 124.
America, American, etc., 34, 52,
59, 74, 92, 94, 96, 113, 128, 208,
308, 309, 401.
Amsvartner, 384.
Andunson (Thorgeir), 202.
Andhrimner, 263, 264.
Andvare, 344, 376, 377, 381.
Angantyr, 365, 366.
Angerboda, 373, 382, 419, 420.
Anglo-Saxon, 23, 36, 43, 47, 48,
72,74, 75, 79, 117, 126, 165, 177,
223, 230, 233, 240, 298, 308, 309.
347, 373.
Annar, 178, 237.
Aphrodite, 53, 413.
Apollo, 40.
Arab, 309.
Argos, 72, 87.


Asa-bridge, 189, 301.
Asaheim, 54, 187, 208.
Asas.(a people), 232.
Asgard, 35, 36, 38, 40, 101, 123,
126,182, 185, 217, 221, 233,234,
250, 274-277, 287, 289, 300, 302,
303, 308, 323, 332, 337,392, 429.
Asia, 81.
Ask, 82, 100, 183, 185, 187, 196.
Atle, 377, 396.
Athens, 59, 92.
Aud, 156, 178.
Audhumbla, 173, 174, 195.
Augustus, 71, 89.
Aurboda, 352.
Aurgelmer, 173, 174, 194.
Austre, 183.
Avon, 78.
B
Babel, 82, 175.
Balder, 29, 39, 49, 53, 54, 57, 60,
64, 65, 82, 84, 90, 96, 98, 106,
109, 110, 113, 121, 123, 124, 185,
186, 189, 193, 208, 222, 229,
237-239, 241, 243, 244, 270, 272,
277-297, 356, 369, 375, 388, 390,
391, 394, 397,407, 409, 415, 425,
426, 429, 432-434.
Barleycorn (John), 351.
Bascom (Dr. John), 17, 114.
Bauge, 249.
Bele, 345, 354, 423.
Beowulf, 36, 43, 47, 126, 131.
Bergelmer, 173-175, 194.
Berghild, 210.
Berzelius, 28.
Bestla, 174,254.
Beyla, 357, 399.
Bifrost, 98, 101, 181,186, 189,272
301, 418.
(463)





464


INDEX.


Bil, 182.                      C
Billing, 242.                  (
Bilskirner, 186, 298, 300.
Bjarkemaal, 62.                (
Bjdrnson (Bj6rnstjerne), 95    (
Black Plague, 389.
Black Sea, 82.
Bleking, 226.
Blicher, 402.
Blodughadda, 347.
Boccaccio, 126.
Bodn, 247, 249.
Bolthorn, 174, 254.
Bolverk, 149, 249, 252.
Bor, 174-176, 183.
Boston, 386.
Bous, 244.
Boyesen (Hjalmar Hjorth), 18,
267.
Braalund, 210.
Brage, 90, 96-98, 123, 126, 159,
185, 220, 240 (the skald), 247,
259, 270, 273-278, 369, 398, 399.
Brand, 363.
Breidablik, 186, 279.
Brimer, 430, 434.
Brisingamen, 331, 364, 374, 375.
Brok, 106, 220, 221.
Brynhild, 48, 118, 200, 377, 381,
388, 435.
Bugge (Sophus), 116.
Bull (Ole), 96, 202.
Bure, 174.
Burns (Robert), 351.
Bygver, 350, 351.
Byleist, 374, 375, 422.
Bylgja, 347.
Byrger, 182.
Byzantium, 244.
C
Cambridge (Eng.), 72.
Carpenter (Dr. S. H.), 17, 75.
Carthage, 240.
Carlyle, 27, 37, 47, 54, 69, 72,205,
266, 336.
Caspian Sea, 82, 232.
Castalian fountain, 72, 97.
Catholic church, 31, 43, 49, 205,
393.


Cato, 88.
Charlemagne, 42.
Chicago, 386.
Christ, 31, 39, 41, 42, 49, 57, 82.
Christian, Christianity, etc., 25,
27, 29, 31, 32, 33, 35, 37, 39, 40,
42, 44, 45, 47, 49, 50, 62, 70, 79,
94, 95, 113, 115, 128, 163, 201,
205, 265, 308, 335, 336, 394, 435.
Cicero, 89.
Clarendon press, 72.
Cleasby (Richard), 72.
Colfax, 363.
Cologne, 92.
Constantinople, 65,92.
Cornwall (Barry) 28, 273.
Correggio, 294.
Creation, 60, 171-187.
Cupid, 367.
D
Daain, 190, 255.
Dan, 105.
Danaides, 64.
Dane, Danish, Denmark, etc, 34,
35, 40, 41, 42, 44, 45, 47, 60, 72,
83, 108, 233, 240, 322, 347.
Dante, 381.
Danube, 69.
Darwin, 199.
Dasent, 35, 36, 47, 48, 50, 51, 72,
205.
Day, 178,179, 237.
Decameron, 126.
Declaration of Independence, 92,
129.
Delling, 178, 179, 258.
Delphi, 57.
Demeter, 236, 237, 359.
Demosthenes, 77.
Deucalion, 56.
Dido, 240.
Dorothea, 403-407.
Draupner, 106, 217, 220-223, 238,
288, 289, 299.
Drome, 383, 384.
Duneyr, 190.
Durathror, 190.
Durin, 183, 184.
Dutch, 43, 95.





INDEX.


465


Duva, 347.
Dvalin, 105, 190, 255.
Dwarfs, 27, 29, 98, 99, 101, 102 -109, 175.
E
Edda (Elder), 116-125.
Edda (Younger), 125-127.
Edinburgh, 72.
Egder, 420, 421.
Egil, 326.
Egil Skallagrimson, 367, 394.
Egyptians, 23.
Eikthyrner, 263.
Eir, 241.
Elder, 347, 398.
Eldhrimner, 263, 264.
Elektra, 53.
Elivagar, 97, 172, 173, 305, 307,
323.
Elle, 320, 322.
Ellida, 345.
Else, 397.
Elves, 201.
Elvidner, 382.
Embla, 82, 183, 185, 187, 196.
England, English, etc., 23, 34, 35,
40, 42, 43-48, 52, 59, 65, 71, 72,
74, 75, 76, 78, 92, 113, 118, 119,
128, 129, 165, 205, 208, 233, 301,
308, 309, 347, 348, 360, 389.
Ennius, 89.
Erik Blood-ax, 392.
Eros, 69.
Etrurian, 74.
Europe, European, etc., 35, 48,
49, 51, 52, 59, 68, 71, 75, 77, 92,
99, 111,113, 120, 129, 164, 233,
327, 360, 389.
Euxinus, 232.
Eve, 82, 390, 436.
Evening, 180.
Eyjafjord, 361.
Eyvind Skaldespiller, 392.
F
Fafner, 375, 377-380, 388.
Fairfax (Harald), 26, 48, 49, 361,
363.
Falhofner, 189.


Farbaute, 374, 375.
Fengr, 219.
Fenris-wolf, 25, 53, 271, 338, 350,
366, 373, 375, 382-387, 402, 409,
414, 417-419, 425-429.
Fensal, 186, 237, 285, 290.
Fimbul-winter, 416.
Fjalar, 133, 247, 248, 250.
Fjolner, 219, 351.
Fjorgyn, 123, 236, 237, 423.
Folkvang, 186, 364, 367, 393.
Forenoon, 180.
Forsete, 185, 186, 296, 297.
Forseteland, 297.
Fortuna, 308.
Fraananger Force, 399.
France, French, etc., 34, 41, 42,
48, 65, 75, 92, 113, 155, 232.
Frank, 48, 309.
Freke, 219, 220.
Frey, 46, 98, 104, 106, 108, 109,
122, 165, 185, 200, 221, 231, 237,
239, 274, 288, 301, 341, 348-363,
369, 414, 418, 423, 426.
Freyja, 110, 123, 125, 165, 186,
215, 224-226, 237-239, 274, 276,
288, 303, 308, 328-334, 341, 348,
352, 364-368, 374, 394.
Friday, 237, 367, 420.
Fridthjof, 344-346, 360, 396.
Frigg, 53, 98, 121-123, 186, 222,
231,236-241,245,259, 274, 279 -281, 285-290, 294, 310, 364, 422,
425.
Frisians, 87.
Frye (W. E.), 322.
Fulla, 110, 238, 274, 289, 295.
Funen, 233, 240, 241.
Funfeng, 347, 398.
G
Gagnraad, 121, 227, 424, 425.
Gaia, 236, 237.
Galar, 247, 248.
Ganglere, 174, 195, 436.
Gardrofa, 239.
Garm, 419-424.
Gausta-fjeld, 33, 66.
Gaut, 228.
Gefjun, 123, 240, 241, 274.





466


INDEX.


Gefn, 365.
Geirrod, 122, 228, 310-312, 337,
374, 375.
Gelgja, 385.
Genesis, 55, 89, 272.
Gerd, 122, 200, 274, 351-360, 414.
Gere, 219, 220.
German, Germany, etc., 34, 35,
39-49, 59, 72-75, 79, 118, 119,
126, 196, 203, 233, 270, 277,298,
309, 327, 352, 364, 403.
Gerseme, 364.
Giants, 29, 36, 38-40, 56, 60, 84,
86, 98, 102, 104, 105, 172, 173.
Gibraltar, 69.
Gilling, 247, 248.
Gimle, 54, 101, 128, 185, 187, 269,
393, 430, 434.
Ginungagap, 56, 66, 98, 171, 172,
175,188.
Gisl, 189.
Gisle Surson, 361.
Gjallar-bridge, 187, 208, 288, 289.
Gjallar-horn, 188, 230, 272, 418,
421.
Gjalp, 311.
Gjol, 172, 187, 288, 385.
Gjuke, 380.
Gladsheim, 98, 182, 231, 261, 262.
Glaser, 262.
Gleipner, 271, 384.
Glener, 177.
Glitner, 186, 296, 297.
Glommen, 103.
Glum, 361, 362.
Gnaa, 238, 239, 245.
Gnipa-cave, 419-425.
Gnipa-heller, 387.
Gnipa-heath, 377.
God (the supreme), 24-34, 49, 54,
62, 66, 80, 119, 173, 272, 294,
368. 415, 431, 435.
Goethe, 40, 292.
Goin, 190.
Golden Age, 183.
Goldfax, 302-309.
Goldtop, 189, 272, 288.
Gondul, 267.
Gothic, 23, 33, 42-47, 51, 61, 62,
71, 73, 74, 78, 79, 94, 95, 111 -

114, 117, 125-129, 165, 205, 208,
235, 273, 308, 327, 370, 371,390,
395, 407, 408, 415, 436.
Graabak, 191.
Grafvitner, 190.
Grafvollud, 191.
Gram, 155, 377, 378.
Grane, 159, 259, 381.
Greek, Greece, etc., 23-25, 51-79,
81, 87-89, 92, 97, 111-119, 192,
193, 198, 237, 240, 245, 253, 254,
273, 291, 308, 309, 339, 361,369,
370, 413.
Greenland, 65, 92.
Greip, 311.
Grid, 310, 311, 337, 433.
Gridarvold, 310.
Grimm (the brothers), 35, 39, 45,
86, 240, 352.
Grimner, 90, 122, 176, 178, 181,
219, 220, 227-231, 261, 272, 279,
296, 298, 358, 364.
Grjottungard, 303-307.
Groa, 305-309.
Grundtvig, 16, 19, 60, 227, 240.
Gudrun, 377, 381.
Gullinburste, 106, 288, 301, 348,
363.
Gungner, 159, 220-224, 259, 418.
Gunlad, 91, 132, 148, 149, 200,
246-253.
Gunnar Helming, 362, 388.
Gylfaginning, 126.
Gylfe, 126, 233, 234, 240, 436.
Gymer, 347, 350-359.
H
Haar, 91, 194, 195.
Hagbard, 367.
Hakon, 267-270, 386, 394.
HAkonarmal, 392.
Halfdan Gamle, 365.
Hallfred, 44
Hallinskide, 271.
Hamarsheimt, 110, 328-336.
Hamder, 62.
Hamlet, 78.
Hamskerper, 239.
Harald Haardraade, 92.
Harald Haarfager. See Fairfax.





INDEX.


467


Harbard, 122, 123.
Hate Hrodvitneson, 179, 181.
Hauch, 60.
Haivamal, 120, 128-155, 163, 241,
244, 250, 251.
Hebe, 436.
Hebrews, 76, 77, 89.
Hedrik, 363.
Hefring, 347.
Heiddraupner, 159.
Heidrun, 263.
Heimdal, 53, 84, 93, 101, 102, 171,
185-189, 208, 230, 270-273, 288,
331, 357, 366, 369, 375, 419-431.
Heimskringla, 50, 82, 125, 232.
Hekla (Mt.), 34, 100.
Hel, Helheim, Helgate, etc., 63,
84, 124, 128, 172, 187, 200, 205,
208, 229, 238, 270, 280-283,
287-290, 295, 373, 375, 380, 382,
387-397, 409, 415, 418-432.
Helblinde, 374, 375.
Helge, 49, 210, 363, 396.
Helgoland, 297.
Hengist, 48, 233.
Hera, 87, 245.
Herbert, 352.
Hercules,'65, 78, 92, 119, 436.
Hermes, 361.
Hermion, 57.
Hermod, 91, 216, 270, 287-289.
Herodotus, 77, 88.
Hesiod, 118.
Himinbjorg, 186, 272.
Himinbrjoter, 324.
Himinglcefa, 346.
Hindoos, 23, 53, 81.
Hjalmgunnar, 156.
Hjaltalin, 72.
Hjuke, 182.
Hler, 347.
Hlidskjalf, 185, 187, 231, 237, 352,
399.
Hlin, 238, 422, 425.
Hlodyn, 236, 237, 423.
Hnikar, 218.
Hnos, 364.
Hoddropner, 159.
Hoder, 29, 82, 84, 185, 270, 280,
284, 286, 290-292, 388, 414, 429,
432, 434.


Hodmimer, 429, 433.
Hcener, 81, 183, 185,196, 215, 275,
342, 375, 391, 429-433.
Hofud, 272.
Hofvarpner, 238, 239.
Holstein, 83, 233.
Homer, 52, 77, 88, 89, 116, 118,
119, 267.
Horn, 365.
Horsa, 48, 233.
Howitts (William and Mary), 80,
118.
Hraesvelger, 181, 182, 197.
Hrap, 394.
Hraudung, 310.
Hreidmar, 375-377.
Hrimfaxe, 178, 179.
Hrimner, 244.
Hropt, 158, 261, 429.
Hroptatyr, 228, 258.
Hrotte, 381.
Hrungner, 91, 199, 200, 301-310,
324.
Hrym, 39, 418, 422.
Hvergelmer, 172, 187, 188, 190,
208, 263, 434.
Huge, 317-321.
Hugin, 29, 219, 227.
Hulder, 201.
Humber, 40.
Hunding, 218, 219.
Hymer, 39, 101, 123, 199, 322-328,
344, 397.
Hyndla, 24, 54, 124, 215, 365, 366,
431.
Hyrroken, 287.
I
Ibsen, 95.
Iceland, 25, 34-50, 65, 72, 75, 77,
81, 92, 116, 117, 126, 129, 227,
290, 295, 296, 347, 361-364, 367,
373, 384.
Ida's Plains, 428, 429.
Idavold, 182-187.
Idun, 90, 98, 109, 123, 273-278,
339, 369, 374, 375, 409.
Ifing, 187.
Iliad, 89, 116, 264.
India, 81,116.





468


INDEX.


Ingeborg, 344, 366.
Ingemund, 25, 361, 363.
Ingun, 351.
Ingve, 267.
Instein, 365.
Io, 87.
Iris, 53, 273.
Iron post, 403-407.
Italy, 15, 75, 92.
Ivald, 220, 227, 348.
Ixion, 63.
Jack the Giant-killer, 228.
Jafnhaar, 91, 196.
Jalk, 228.
Japhet, 83.
Jarnsaxa,300-308.
Jarnved, 179, 180.
Jehovah. See God.
Jew, 33, 58.
Jochumson, 167.
Jonsson (Arngrim), 26.
Jord, 178, 236, 237.
Jormungander, 100, 101,382,387,
422.
Jotunheim, 38, 91, 101, 110, 177,
183, 184, 187, 196-198, 208,209,
225, 226, 229, 240, 248,276,287,
302, 305, 313, 322, 229-332,334,
337, 352, 354, 382, 421.
Judas, 82.
Judea, 57.
Jul, 357, 363.
Jupiter, 98, 300.
Jutland, 83, 233, 241.
K
Kadroma, 199.
Keightley (Thomas), 201-205.
Kerlaung, 189, 301.
Ketil, 362.
Keyser (Prof. R.), 47,86,126,128,
130, 163, 164, 390.
Kjotve, 363.
Klio, 253.
Kolga, 347.
Kormt, 189, 301.
Kvaser, 91,247, 248, 252, 253, 399.


L
Ladrones Islands, 38.
Laing (Samuel), 72, 129.
Laocoon, 327.
Latin, Rome, Roman, etc., 23, 31,
42-44, 49, 68, 71-79, 83, 84, 88 -99, 113, 117, 119, 128, 165, 232,
235, 254, 291, 308, 309,327,328,
361.
Laufey, 374, 375.
Lax-aa-dal, 367.
Leding, 383.
Lerad, 263.
Lif, 429, 433.
Lifthraser, 429, 433.
Lightfoot, 189.
Lincoln, 294.
Lit, 288.
Ljosalfaheim, 187.
Lodbrok (Regner), 267.
Loder, 81, 183, 185, 196, 215, 372,
373, 391, 432.
Lodfafner, 150-154.
Lofn, 238, 239, 368.
Loge, 317, 321.
Logrinn, 240.
Loire, 92.
Loke, 28, 29, 38, 65, 81-84, 98,
102-113,123,124,185,196, 220 -226, 237, 260, 275-277, 281, 285,
286, 290, 292, 295, 301, 310-312,
317, 321, 322, 328-336, 338, 344,
349, 350, 351, 371-409, 414, 418 -436.
London, 72.
Longfellow (H. W.), 96, 97, 99,
299.
Loptr, 105, 372, 373.
Lord's Supper, 31.
Luther, 73, 309, 327, 328.
Lybia, 69.
Lynge, 218.
Lyngve, 384.
M
Maane, 177, 182.
Maane (Thorkel), 25, 26.
Maanegarm, 180, 417, 419, 420.
Macbeth, 296, 381.
Magna Charta, 92, 129.





INDEX.


469


Magne, 29, 300, 301,305, 308, 309, Mundilfare, 177, 178.
429, 432, 433.               Munin, 29, 53, 219, 227.
Magnusson (E.), 72,382.       Muspel, 181, 350, 354, 418, 422,
Magnussen (Finn), 352.          425.
Mallet, 232.                   Muspelheim, 54, 56, 98, 172, 175,
Mannaheim, 187.                 176, 187, 193, 425, 427.
Mannigfual, 87.
Mardal, 365.                                N
Mars, 73, 89, 98.              Naastrand, 62, 99, 100, 128, 393,
Marsh (George P.), 76.          430, 434.
Mars' Hill, 25.                Naglfar, 178, 417,418, 422.
Maurer (Konrad), 72.           Nal, 374, 375.
Mediterranean Sea, 76, 347.    Nanna, 84, 90, 98, 106, 109, 113,
Megingjarder, 29, 299 301, 310.  222, 238, 239, 274, 287, 289, 294,
Meile, 306.                     296, 369, 394.
Meinert (H.), 403.             Nare, or Narfe, 382, 400.
Mercurius, 360.                Necks, 203.
Mermaid, 204.                  Nep, 288, 294.
Merman, 204.                   Nere, 211.
Midgard, 82, 98, 99, 175-179, 183, Newtons, 28.
187, 197, 224, 300, 419, 423.  Nida-mountains,430, 431,434,435.
Midgard-serpent, 53,96,123, 322- Nidhug, 187, 188, 190, 208, 431 -328, 375, 382, 387, 409, 417-419,  435.
426, 428, 429.               Niebelungen-Lied, 43,47,118,126.
Midnight, 180.                 Niflheim, 56, 98, 124, 172, 187,
Millers, 28.                    188, 194, 208, 226, 264, 280, 282,
Milton, 69, 293.                382, 387, 416.
Mimer, 69, 96, 98, 103, 159, 188, Niflhel, 389.
189, 208, 209, 229, 230, 260, 344, Night, 177-179.
418, 421, 433.               Niobe, 57.
Minerva, 307.                  Nisses, 203.
Mithridates, 83, 232.          Nix, 105.
Mjolner, 28, 79, 101-103,110, 225, Njal, 394.
288,299,301,305,308,310,312, Njord, 123, 185, 186, 200, 231,
315, 326, 329, 374, 429, 433.  239, 274, 277, 333, 341-364, 432.
Mnemosyne, 53.                Noah, 55, 82, 83.
Mode, 300, 301, 429, 432, 433.  Noatun, 186, 333, 341-343.
Modgud, 289.                   Noon, 180.
Modsogner, 183, 184.          Nordre, 183.
M6bius, 72.                    Normandy, 48, 92.
Maeso-Gothic, 75, 206.         Norns, 62, 109, 205.
Moin, 190.                     North American Review, 265.
Mokkerkalfe, 91, 304-309.      North Sea, 34, 37.
Montesquieu, 129.              Norve, 177, 179.
Morning, 180.                  Nottingham, 39.
Morris (William), 72, 382.     Numa Pompilius, 74.
Moses, Mosaic, 33, 70, 79, 89, 198,
394.                                      O
Miller (Max), 47, 74.         Odense, 233.
Munch (P. A.) 47.             Oder, 226, 364-368.





470


INDEX.


Odin, 24, 26, 29, 35, 40, 49, 53-56, Proserpina, 360.
74, 81-84, 87,90, 91,96,98, 101, Psyche, 69.
103, 106, 108-113, 116, 120-130, Pyrrha, 56.
144, 147, 149, 155-159, 163, 165, Pythia, 57.
171, 174, 175, 182-189, 193-200,
206, 209, 215-300, 302, 303, 308,         Q
309, 326, 332, 335-339, 347-351, Quirinus, 74.
358, 362-369, 372-376, 382-395,
398-402, 408, 409, 414, 418-434.
Odroerer, 149,247-254.
Oehlenschleger, 95, 108, 322.  Rafnagud, 219.
Oersted, 28.                   Rafnkel, 363.
Ofner, 191, 228.               Ragnarok, 25, 6(
Okeanos, 53, 347.                100, 102, 120, 1
Okolner, 430, 434.               285, 338, 339,
Olaf Geirstada-alf, 389.         387, 392-395, 4
Olaf in Lax-aa-dal, 367.         431.
Olaf the Saint, 335, 336.      Ran, 98, 103, 11
Ole, 382.                        376,395.
Oiler, 244.                    Rask (Rasmus),
Olympos, 53, 54.               Ratatosk, 190.
Ormt, 189, 301.                Rate, 148, 249-2f
Orvandel, 305-307.             Reformation, 121
Orvar-Odd, 367.                Regeneration, 42
Ottar, 365, 366.               Regin, 375-379.
Ott6 (E. C.), 165.             Reinbert, 403-40
Oxford, 72.                    Rhine, 69, 92.


0, 61, 66, 84, 96,.23, 230, 272, 273,
351, 354, 366,386,
01, 409, 413-427
L0, 245, 343-348,
72, 82, 83.
51.
9.
28-436.
)7.


p
Paestum, 118.
Paganism, 42, 49.
Palestine, 65.
Pan, 339.
Paris, 92.
Parnassos, 56, 72.
Paul (the apostle), 25, 394.
Pegasos, 227, 308.
Penates, 361.
Pennock (Barclay), 390.
Persephone, 359.
Persia, 81, 396.
Peter, 394.
Petersen (N. M.), 47, 116, 117,
291, 402, 435.
Plato, 77.
Plautus, 89.
Pluto, 81.
Pompey, 83, 232.
Pontus, 83, 232, 347.


Ridel, 379, 380.
Rig, 124, 273.
Rind, 236-246, 280, 284, 433.
Ring (King), 346.
Ringhorn, 287, 295.
Rjukan Force, 66.
Rogner, 159, 259.
Rolf Ganger, 48.
Rolleif, 25.
Romance, 58, 70, 75.
Rome, Roman. See Latin.
Romulus, 73, 89.
Roskva, 300, 312, 313, 326.
Rosterus, 243.
Rosthiof, 243, 344.
Rouen, 48.
Rudbek, 83.
Rune, 42, 50.
Runeburg, 293.
Rune Song, 254-259.
Runic Chapter, 155, 273.
Russia, 41, 92.
Ruthenians, 243.





INDEX.


471


S               Skade, 200,277,341-343, 352, 400,
Sabines, 73, 74.                401.
Saga (Goddess), 186, 253, 369.  Skaldskaparmil, 126.
Sagas (Histories), 36, 38, 43, 44, Skeidbrimer, 189.
49, 72, 77, 88, 96, 126, 127, 218- Skidbladner, 34, 122, 220, 348.
223, 227, 235, 295, 360, 361.  Skilfing, 228.
Saeger, 182.                  Skinfaxe, 178, 179.
Seehrimner, 69, 263, 264.     Skirner, 122, 231, 352-360, 384,
Saeming, 234.                   419.
Saemund, 37, 38, 50, 116.     Skjalf, 365.
Sars (J. E.), 47.             Skjold, 83, 233, 365.
Saturnus, 165.                Skogul, 267, 268.
Saxo Grammaticus, 82, 232, 243, Skol, 179, 181.
244.                        Skrymer, 312-322, 371.
Saxon, 40, 42, 48, 233, 240.  Skuld, 98, 110, 165, 189, 210,
Scandinavian, Scandinavia, 34,  265.
35, 40-47, 59, 72, 75, 89, 95, 96, Sleipner, 159, 189, 217, 224-227,
129, 201, 233.                259, 270, 280, 282, 287, 302, 308,
Scotland, 39, 40, 75, 203.      374, 408.
Scheldt, 92.                  Slid, 387.
Scythia, 232.                 Slidrugtanne, 288, 348.
Seabold, 361.                 Snorre Sturleson, 38, 50, 82, 116,
Seine, 48, 92.                  125, 232.
Seneca, 78.                   Snotra, 238.
Sesrumner, 186, 364.          Socrates, 88, 368.
Seva-fjeld, 396.              Sokmimer, 200.
Shakespeare, 40, 52, 78,,79, 119, Sokvabek, 186, 253.
222, 296, 366, 377, 381.    Sol, 177.
Sibylline, 89.                Solomon, 89, 120.
Sicily, 48.                   Solon, 88.
Sif, 28, 29, 102, 103, 107-109, 220, Son, 247, 249.
221, 300, 301, 303, 308, 333, 374, Spanish, 38, 65, 75, 92,
375, 399.                   Sparta, 59.
Sigdrifa, 128, 129, 155-163, 230.  Spirit of Laws, 129.
Sigfrid, 118.                 Sterkodder, 199.
Sigmund, 156, 216, 218, 392.  Stockholm, 234.
Sigrun, 396.                  Stephens (George), 23.
Sigtuna, 234, 235.            Stephens (St.), 403-407.
Sigurd, 48, 130, 155-163, 218, 219, Stromkarl, 96.
377-381. 388.               Sudre, 183.
Sigyn, 111, 274, 375, 382,401, 436. Sulun, 82.
Silfrintop, 189.              Surt, 172, 338, 351, 418-433.
Simul, 182.                   Suttung, 148, 149, 248-252, 358.
Sindre, 106, 107, 220, 221, (Hall, Svadilfare, 224-226.
430, 434.)                  Svafner, 191, 228, 281.
Siner, 189.                   Svalin, 177, 178.
Sisyphos, 64.                 Svartalf-heim, 187, 376, 384.
Siva, 81.                     Svasud, 180, 182.
Sjofn, 238, 239, 368.         Svithjod, 82.
Skaane, 226.                  Svolner, 306.





472


INDEX.


Swedes, 34, 35, 41-47, 83,126, 226,
233, 234, 240, 241, 244, 362.
Syn, 238, 239.
Syr, 365.
T
Tanais, 232.
Tanngnjost, 299.
Tanngrisner, 299, 301.
Tantalos, 63.
Tartaros, 60, 63.
Taylor, Bayard, 360.
Tegner, 95, 344, 346, 360.
Teutonic, 34-36, 41-52, 70-78, 90,
296, 309, 327, 328.
Thames, 48.
Thaumas, 53.
Theodolf, St., 265.
Thessalian, 57.
Thibet, 199.
Thjalfe, 91, 300-326.
Thjasse, 275-277, 342, 352, 374.
Thjodolf of Hvin, 306, 393.
Thjodrcerer, 258.
Thok, 65, 290, 295, 389, 397, 407.
Thor, 26-29, 39, 40, 46, 49, 52, 53,
74, 79, 82, 84, 87, 91, 93, 96, 98 -124, 165, 185-189, 220-226, 237,
267, 270, 287, 288, 298-339, 358,
362, 365, 369, 371,374, 387, 395 -400, 406, 418, 426, 429, 432, 433.
Thorgerd, 367.
Thorgrim, 361.
Thorkel, 361, 362.
Thorp, Benjamin, 46, 72
Thorstein, 396.
Thorwald Krok, 362.
Thorwaldsen, Albert, 436.
Thride, 91, 196.
Throndhjem, 360-363.
Thrudgelmer, 173, 194.
Thrudheim, 186.
Thrudvang, 186, 298, 300, 305,
322, 335.
Thrung, 365.
Thrym, 39, 111, 123, 124, 200, 388 -336, 365.
Thrymheim, 342, 343.
Thund (Odin), 228, 255.
Thvite, 386.


Tiberias, 92.
Tityos, 63.
Trent, 39.
Trier, 265.
Trinity, 81, 91.
Trolls, 202.
Troy, 118.
Tryggvesson, Olaf, 44, 360, 363.
Tuesday, 270.
Tver-aa, 361, 362.
Twilight of the gods. See Ragnarok.
Tyndall, 28.
Typhon, 413.
Tyr, 157, 165, 185, 267, 270, 271,
323, 326, 337, 349, 350, 383, 385,
414, 419.
U
Uller, 185, 186, 281, 300-306.
Ulfilas, 206.
United States, 65.
Upsala, 362.
Uranos, 236.
Urd, Urdar-fount, etc., 95,98, 110,
149, 165, 169, 189, 190, 191, 208,
209, 301.
Utgard, 196, 315, 316.
Utgard-Loke, 316-325, 371.
V
Vafthrudner, 120, 121, 173-181,
227, 290, 291, 424, 425.
Vafud, 228.
Vak, 244.
Vaker, 228.
Valaskjalf, 231.
Vale, 185, 237, 245, 291, 338-340,
382, 400, 409, 429-433.
Valfather. See Odin.
Valhal, 60, 98, 108-112,122, 128,
185, 215, 216, 224, 230, 231, 237,
261-269, 286, 290, 302-308, 365,
389-394, 415-420.
Valkyries, 69, 110, 112, 265-269.
Valtam, 280, 283.
Vanaheim, 187, 341.
Vandal, 79, 308.
Vanlande, King, 393.
Vans, 341-370.





INDEX.


473


Var, 238, 239, 334, 368.      Vl6uspa, 120, 171, 176, 180 -Vasud, 180.                     209, 229, 230, 273, 290, 424,
Vatnsdal, 361.                Von, 386.
Ve, 56, 81, 91, 174, 175, 195, 215.  Vonargander, 386.
Vecha, 243, 244.              Voring Force, 66.
Vedfolner, 190.
Vedic, 52, 116.                            W
Vegtam, 124, 227, 229, 241, 280- Wagner, 199.
285.                        Welhaven, 95.
Venus, 237, 308, 367.         Wergeland, 95.
Veor, 323.                    Wiener-wald, 403-407.
Verdande, 98, 110, 165, 189,209.  Wind-home, 429, 432.
Vestre, 183.                  Wisconsin, 245.
Vidar, 185, 310, 333-340, 398, 419-         y
433.
Vienna, 403-407.              Ydaler, 186, 302.
Vidfin, 182.                  Ygdrasil, 74, 82, 86, 87, 94, 98, 1
Viga-glum, 361, 362.            122, 188-191, 205-209, 217, 2
Vigfusson, Gudbrand, 72.        254, 260, 299, 301, 370,387, 4
Vigrid, 418, 425.               42     22221.
Vile, 56, 81, 84, 91, 174 175, 195, Ygg, 206, 228, 282.
215, 259.                   Ymer, 40, 56, 66, 82, 96, 122, 1
Vimer, 311.                     171-176, 183, 194-196, 215, 2
Vindlone, 180.                  414, 426.
Vindsval, 180, 181.           Ynglings, 233.
Vindsval, 180, 181.           Ynglings, 233.
Vinland. 52, 65.              Yngve, 233.
Vingolf, 183, 185, 216, 393.                Z
Volsung and Volsung Saga, 217, Zealand, 240, 241.
218, 322.                   Zendavista, 435.
Volund, 124.                  Zeus, 53-56, 236, 245, 307, 413.


183,
431..20,
M29,
18 -25,.37,