NOTES TO THE SIXTEENTH CANTO.
Specimen of the metre.
Mens Ydun var i̱ Faengsel, stod Valhal som en Grav,
En frugtbar Oee var opslugt af baelmörken Hav
I Borgens öde Haller hver Gud sad i sin Vraa,
Og som en Marmelstötte sti̱vt hen for sig saae.
The metre I have adopted for the translation of this Canto is somewhat more regular than that of the original: mine is in lines of thirteen syllables each: a slight pause after the seventh syllable will give the rhythm required.
[60] This Canto begins with a description of the fatal consequences of the absence of Iduna: all the pleasures of Valhalla are suspended. According to Finn Magnussen, the mythe of Skada’s entry into Valhalla may be thus interpreted: Skada here typifies the violent winds and capricious temperature of the commencement of spring, which proceeds from winter, as Skada does from her father, the frost-giant Thiasse. Though she enters Valhalla with violent designs, she becomes pacified at the sight of Balder (the sun at the summer solstice). Thus doth spring, commencing with tempests, become appeased and calm, from the increasing heat of the sun at the beginning of summer. The English reader will be here reminded of the old English proverb: “Spring comes in like a lion, and goes out like a lamb.”
[61] Hildur’s favourite sport; i.e. war. See this name in the Catalogue.