MATTHEW ARNOLD (1822-1888).
Matthew Arnold's strong sympathy with noble and virile literature of whatever age or nation led him in time to Old Norse, and his poem "Balder Dead" is of distinct importance among the works of the nineteenth century in English literature. It is an addition of permanent value to our poetry, because of its marked originality and its high ethical tone. "Mallet, and his version of the Edda, is all the poem is based upon," says Arnold. [[20]] It is the poet's divinely implanted instinct that gathers from the few chapters of an old book a knowledge wonderfully full and deep of the cosmogony and eschatology of the northern nations of Europe. "Balder Dead" tells the familiar story of the whitest of the gods, but it also contains the essence of Old Icelandic religion; indeed there is no single short work in our language which gives a tithe of the information about the North, its spirit, and its philosophy, which this poem of Matthew Arnold's sets forth. In future days a text-book of original English poems will be in the hands of our boys and girls which will enable them to get, through the medium of their own language, the message and the spirit of foreign literature. Old Norse song will need no other representative than Matthew Arnold's "Balder Dead."
This is an original poem. It does not imitate the verse nor the word of the older song, but the flavor of it is here. Gray and his imitators drew from the Icelandic fountain "dreadful songs" and many poets since have heard no milder note. Matthew Arnold's instincts were for peace and the arts of peace, and he found in Balder a type for the ennobling of our own century. Balder says to his brother who has come to lament that Lok's machinations will keep the best beloved of the gods in Niflheim:
For I am long since weary of your storm
Of carnage, and find, Hermod, in your life
Something too much of war and broils, which make
Life one perpetual fight, a bath of blood.
Mine eyes are dizzy with the arrowy hail;
Mine ears are stunn'd with blows, and sick for calm.
Arnold has exalted the Revelator of the Northern mythology, and in magnificent poetry sets forth his apocalyptic vision:
Unarm'd, inglorious; I attend the course
Of ages, and my late return to light,
In times less alien to a spirit mild,
In new-recover'd seats, the happier day.
. . . . . . . . .
Far to the south, beyond the blue, there spreads
Another Heaven, the boundless—no one yet
Hath reach'd it; there hereafter shall arise
The second Asgard, with another name.
. . . . . . . . .
There re-assembling we shall see emerge
From the bright Ocean at our feet an earth
More fresh, more verdant than the last, with fruits
Self-springing, and a seed of man preserved,
Who then shall live in peace, as now in war.
Here is the grandest message that the Old Norse religion had to give, and Matthew Arnold concerned himself with that alone. It is a far cry from Regner Lodbrog to this. There is a fine touch in the introduction of Regner into the lamentation of Balder. Arnold makes the old warrior say of the ruder skalds:
But they harp ever on one string, and wake
Remembrance in our souls of war alone,
Such as on earth we valiantly have waged,
And blood, and ringing blows, and violent death.
But when thou sangest, Balder, thou didst strike
Another note, and, like a bird in spring,
Thy voice of joyance minded us, and youth,
And wife, and children, and our ancient home.
Here is a human Norseman, a figure not often presented in the versions of the old stories that English poets and romancers have given us. Arnold did a good service to Icelandic literature when he put into Regner's mouth mild sentiments and a love for home and family. The note is not lacking in the ancient literature, but it took Englishmen three centuries to find it. It was the scholar, Matthew Arnold, who first repeated the gentler strain in the rude music of the North, as it was the scholar, Thomas Gray, who first echoed the "dreadful songs" of that old psalmody. Gray has all the culture of his age, when it was still possible to compass all knowledge in one lifetime; Arnold had all the literary culture of his fuller century when multiplied sciences force a scholar to be content with one segment of human knowledge. The former had music and architecture and other sciences among his accomplishments; the latter spread out in literature, as "Sohrab and Rustum," "Empedocles on Etna," "Tristram and Iseult," as well as "Balder Dead" attest. The quatrain prefixed to the volume containing the narrative and elegiac poems be-tokens what joy Arnold had in his literary work, and indicates why these poems cannot fail to live:
What poets feel not, when they make,
A pleasure in creating,
The world in its turn will not take
Pleasure in contemplating.
Balder is the creation of Old Norse poetry that is most popular with contemporary English writers, and Matthew Arnold first made him so. As Bugge points out, no deed of his is "celebrated in song or story. His personality only is described; of his activity in life almost no external trait is recorded. All the stress is laid upon his death; and, like Christ, Baldr dies in his youth." [[21]]