7 Carlyle in his Heroes, p. 18, draws out the spiritual significance of it and of Norse mythology generally.
The Gods of the Eddas.—We now come to the gods of the system. Odin is in the Eddas the founder of the world as now constituted. He has displaced the old formless race of gods, and is the leader of a new and vigorous race now ruling in their stead. The old scholars rationalised Odin into a chief who had led a migration from Asia to Norway in early times. He is the inventor of the art of writing by runes and the founder of poetry; thus he has the aspect of a culture-hero; that is to say, of a man of advanced views who, for the benefits he conferred on his people, was exalted first to a hero and then to a god. But the worship of Odin or Wodan is one of the earliest things we know about the German race. He is the god of the South-Germans from the very first. His earliest character is that of a storm-god. Whether his name is connected with the German wüthen, rage (Scot. wud) or with the Vedic Vata, who is a god of storm, he is from the first an impetuous being. The early myth of him is scarcely dead at this day; the peasant hears him rushing through the woods at night. That is the "wild hunt of Wodan," he says; the god is out with his followers, and woe to him who gets in his way! The early Germans thought of him as a kind being who fulfilled the wishes of men, and it was probably this side of his character that caused him to be identified with Mercury. In the Eddic theology he is a patron of war, as becomes the chief god of a warlike people. He arranges battle and dispenses victory; the heroes who fall in battle he receives into his heavenly army; they live with him in Valhalla or Valhöll, the hall of choice. Odin chooses those who are to go there; he is assisted in this by the Valkyries or choice-maidens. Life in Valhalla is a constant round of fighting, the wounds of which are healed at once, and feasting, the materials for which are ever renewed. Odin, like other great gods, bears traces of low surroundings, as if he had once lived among savages. He can turn himself into an eagle or other animal to gain his object, and he has engaged in disreputable adventures. But he tends to improve, and the Eddas show him at his best. Here he is called the All-father, the Ruler of all, who gave man a soul that shall never perish; and we hear that he needs no food and takes no share himself in the feasts of the heroes. All the righteous shall be with him in Vingolf (the same as Valhalla), but the wicked shall go to Hel, the kingdom of Hel or Hela, the goddess of the under-world.
Thor or Donar, Thunder, is said to be the mightiest of the gods; he is identified, as we saw, with Jove, but he is a rougher and more primitive deity. He drives in a chariot drawn by two goats, and is possessed of three things which have wonderful properties. The first is the hammer Mjölnir, which the Frost- and Mountain-giants cannot resist when he throws it; the second is the belt of strength, which makes him twice as strong when he puts it on; and the third a pair of gauntlets with which he grasps his mallet. Many stories are told of his prowess, of his conflicts with the giants, who, however, give him a good deal of trouble with their cunning; and of his catching the Midgard serpent which surrounds the world at the bottom of the sea. Being a god of storm, he forms a connection with agriculture, and thus gains a more sedate aspect; he has also to do with marriage, and a hammer is used symbolically at Icelandic weddings. Thor is only half-brother to the other sons of Odin; his mother was Fiörgyn, the earth; the worships of Odin and Thor, originally distinct, seem to have been united at an early period.
The god Tyr, son of Odin by a giantess, is the Eddic figure of the German Tiw or Ziu, etymologically equivalent to Zeus or Jupiter, but identified by the Romans with Mars. His greatness belongs to early times; he was then a sword-god, and had an extensive worship in various parts of Europe. In the Eddas he has scarcely any character, and seldom takes a prominent part in the legend. Loki, by etymology a fire-god (Germ. Löhe, Scot. Lowe),8 is in one account the brother of Odin, in another his son by a giantess. His character is fitful; sometimes he acts a brotherly part by the gods and helps them out of their difficulties by clever devices, and sometimes he provides entertainment for them; but for the most part he is an embodiment of cunning and mischief; his course is downwards, he tends to become a being purely evil, setting himself heartlessly against the wishes of the other gods, and acting so as to imperil them and their world till they are obliged to cast him out of heaven. He is thus a kind of Lucifer or Satan, and like the Christian devil, his ultimate fate is to be bound till the end of the world shall arrive. Baldur, the son of Odin and Frigga, is the best and brightest of the gods. Like Apollo, he has to do with light, and no pollution can come near him; he has also to do with the administration of justice, and pronounces sentences which can never be reversed. Heimdall also is a light and gracious god; he is the warder of the Æsir, and stays near the bridge Bifröst. Of him it is told that he wants less sleep than a bird, sees a hundred miles off by night or day, and hears the grass grow on the ground and the wool on the sheep's back. Bragi is the god of poetry and eloquence, the best of all skalds.
8 The etymology is not perhaps correct, but it suggested itself and influenced the view taken of this god, in very early times.
Of the goddesses, Frigga, wife of Odin, stands first, an august matron of mysterious knowledge, whom even gods consult, and by whom men swear; she has also to do with marriage, and the childless appeal to her. Etymologically she is scarcely to be distinguished from Freya, wife of Odur, who, however, is lighter in character, and is rather a goddess of love. The goddesses in the Eddas are more shadowy figures than the gods; there are others, and an attempt is made to reckon up twelve of them to answer to the twelve chief gods, but their names are taken from the qualities they represent, and they have little reality.
The story of the death of Baldur, brought about by the evil mind of Loki in defiance of the whole divine family, sounds the note of tragedy in the divine family of the Eddas. The gods themselves suffer, and are unable to retrieve the misfortune which has come upon them. With one accord they try to get Baldur brought back from the under-world, but they are foiled by the same agency of evil which carried him off. With the death of Baldur the gods feel that their rule, which, we saw, had a beginning, and with it the world they govern, for the two are inseparably bound up with each other, is coming to an end. The gods perish in the ruin of the world; and this is well, for sin cleaves to them and to their house, and they are not fit to endure. Ragnarök, the twilight of the gods, comes on; the universe is burnt up in a mighty conflagration, and while there are abodes of bliss and abodes of misery where some survive, the universe as a whole is entirely changed, and a milder race of gods will rule over a better world.
If this mythology were found to be of native Scandinavian growth, it would prove that Teutonic religion was capable of lofty development, and would throw back an interesting light upon its previous history. Here, it has been maintained, we see the Teutonic faith rising to monotheism. Odin has among his other titles that of All-father; he is rising above the other gods to a position of supremacy, which will fit him, if the process were allowed, as it was not, to advance somewhat further, to represent pure deity and to attract to himself an undivided reverence. Here also we find a religion which was formerly a rude intercourse between barbarous men and savage gods, clothing itself with an ideal element. As the Greeks found religion in beauty and the Romans in utility, so did the Germans find it at last in pathos. They attain to the conception of suffering deity; in Baldur a god falls victim to malice and wickedness, and the sorrow of his fall takes possession of the whole of heaven. Thus pain and sacrifice are hallowed, for man by the history of the gods, and his intercourse with them leads him into heights and depths unknown before.
But the conviction is now establishing itself that this phase of Teutonic religion is borrowed from Christianity, which was then seriously menacing the existence of the old faith, and that it is the shadow of their approaching extinction by the new religion, which occasions among the Northern gods this feeling of sadness. They feel themselves falling from their position; they are to be gods no longer, but are to yield to the world-order, based on a deeper law than theirs, which called them into being and now is preparing their dismissal. Distinctly Christian ideas enter the old world of gods; the ideas of sin, of sacrifice, of a final judgment, of a good god who dies, of an evil spirit who, after prevailing for a time, is chained up to await his doom. That a sense of guilt rests on the gods shows that they are abandoning their rule, and they acknowledge that their successors will be better than they have been.
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