CHAPTER XIV.
The death of Balder is justly regarded as the most beautiful myth in Teutonic mythology. It is connected with the Lay of Vegtam in the Elder Edda. Like so many other myths (Frey and Gerd, The Robbing of Idun, etc.) the myth symbolizes originally the end of summer and return of spring. Thus Balder dies every year and goes to Hel. But in the following spring he returns to the asas, and gladdens all things living and dead with his pure shining light. Gradually, however, the myth was changed from a symbol of the departing and returning summer, and applied to the departing and returning of the world year, and thus the death of Balder prepares the way for Ragnarok and Regeneration. Balder goes to Hel and does not return to this world. Thokk refuses to weep for him. His return is promised after Ragnarok. The next spring does not bring him back, but the rejuvenated earth. Thus the death of Balder becomes the central thought in the drama of the fate of the gods and of the world. It is inseparably connected with the punishment of Loke and the twilight of the gods. The winter following the death of Balder is not an ordinary winter, but the Fimbul-winter, which is followed by no summer, but by the destruction of the world. The central idea in the Odinic religion, the destruction and regeneration of the world, has taken this beautiful sun-myth of Balder into its service. Balder is then no more merely the pure holy light of heaven; he symbolizes at the same time the purity and innocence of the gods; he is changed from a physical to an ethical myth. He impersonated all that was good and holy in the life of the gods; and so it came to pass that when the golden age had ceased, when thirst for gold (Gulveig), when sin and crime had come into the world, he was too good to live in it. As in Genesis fratricide (Cain and Abel) followed upon the eating of the forbidden fruit, and the loss of paradise; so, when the golden age (paradise) had ended among the asas, Loke (the serpent) brought fratricide (Hoder and Balder) among the gods; themselves and our ancestors regarded fratricide as the lowest depth of moral depravity. After the death of Balder
Brothers slay brothers,
Sisters’ children
Shed each other’s blood,
Hard grows the world,
Sensual sin waxes 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.
Upon the whole we may say that a sun-myth first represents the death of the day at sunset, when the sky is radiant as if dyed in blood. In the flushing morn light wins its victory again. Then this same myth becomes transferred to the death and birth of summer. Once more it is lifted into a higher sphere, while still holding on to its physical interpretation, and is applied to the world year. Finally, it is clothed with ethical attributes, becomes thoroughly anthropomorphized, and typifies the good and the evil, the virtues and vices (light and darkness), in the character and life of gods and of men. Thus we get four stages in the development of the myth.