INTRODUCTION.
If we would understand the religion of the ancient Scandinavians, we ought to study at the same time the myths of all Teutonic nations. A drawing together of these, and a comparison of one with another, has been most beautifully effected by Simrock, in his Handbuch der Deutschen Mythologie, where he tells us that whilst the Scandinavian records are richer and more definite, they are also younger than those of Germany, which latter may be compared to ancient half choked-up streams from which the fuller river flows, but which, it is to be remarked, that river has mingled in its flowing. Grimm says that both religions—the German and the Northern—were in the main identical, though in details they varied; and as heathenism lingered longer in Scandinavia than in any other part of Europe, it is not surprising that there, rather than anywhere else, we should find the old world wants and hopes and fears, dark guesses, crude imaginings, childlike poetic expressions, crystallised into a pretty definite system of belief and worship. Yes, we can walk through the glittering ice halls of the old frozen faith, and count its gems and wonder at its fearful images; but the warm heart-reachings from which they alike once flowed, we can only darkly feel, at best but narrowly pry into here and there. Ah! if we could but break up the poem again into the syllables of the far off years.
The little tales which follow, drawn from the most striking and picturesque of the Northern myths, are put together in the simplest possible form, and were written only with a design to make the subject interesting to children. By-and-bye, however, as we through their means become in a slight degree acquainted with the characters belonging to, and the parts played by, the various deities of this mythology, it will not be uninteresting to consider what their meaning may be, and to try if we can trace the connection of one with another. At present it seems best, as an introduction to them—and without it they would be scarcely intelligible—to give a very slight sketch of the Northern mythology, as it is gathered from the earliest Scandinavian sources, as well as a short account of the sources from which it is gathered.
Laing, in the introduction to his Translation of the Heimskringla Saga, says,—"A nation's literature is its breath of life, without which a nation has no existence, is but a congregation of individuals. During the five centuries in which the Northmen were riding over the seas, and conquering wheresoever they landed, the literature of the people they overcame was locked up in a dead language, and within the walls of monasteries. But the Northmen had a literature of their own, rude as it was." Songs and sagas, mythical and heroic, were the staple of this literature of the north; and these appear to have been handed down by word of mouth from skald to skald until about the beginning of the twelfth century. Then Sæmund the Learned, and others, began to commit them to writing. Sæmund the Learned was born in Iceland about the year 1057, fifty years after Christianity had been positively established in that island. He passed his youth in Germany, France, and Italy, studying at one time with a famous master, "by whom he was instructed in every kind of lore." So full, indeed, did Sæmund's head become of all that he had learnt, that he frequently "forgot the commonest things," even his own name and identity, so that when asked who he was, he would give the name of any one he had been reading about. He was also said to be an astrologer, and a charming little anecdote is related of him in this capacity, which, however, would be out of place here. When he went back to Iceland, he became priest of Oddi, instructed the people about him, studied the old religion, and, besides writing a history of Norway and Iceland, which has been lost, transcribed several of the mythic and heroic songs of the North, which together form a collection known by the name of the Poetic, Elder, or Sæmund's Edda. The songs themselves are supposed to date from about the eighth century; Sæmund wrote them down in the twelfth. The oldest copy of his original MS. is of the fourteenth century, and this copy is now in the Royal Library of Copenhagen. A few years ago they were translated into English by B. Thorpe. So much for the history of the Elder Edda—great-grandmother the name is said to mean, but after all she scarcely seems old enough to be called a great-grandmother. We have traced her growing up, and seen how she has dressed herself, and we begin to think of her almost as a modern young lady. When we listen to the odd jumble of tales she tells us, too, we are more than half inclined to quarrel with her, though without exactly knowing whether it is with her youth or her age that we find fault. You are too young to know what you are talking about, great-grandmother, we complain; but, oh dear! you mumble so and make use of such odd old-fashioned words we can scarcely understand you. Sæmund was not the only man who wrote down songs and sagas; he had some contemporaries, many successors; and, about fifty years after his death, we hear of Snorro Sturleson, a rich man, twice Supreme Magistrate of the Icelandic Republic, who also lived for some time at Oddi, and who has left many valuable additions to the stock of Icelandic written lore. Laing says of him—"Snorro Sturleson has done for the history of the Northmen, what Livy did for the history of the Romans." Amongst other things, he wrote a sort of commentary or enlargement of Sæmund's Edda, probably drawn from MSS. of Sæmund and of others, which were preserved at Oddi. This is called the Prose, Younger, or Snorro's Edda, and was translated many years ago by M. Mallet into French. Added to these two sources of information respecting the Scandinavian mythology, there are many allusions to the myths scattered through the heroic lays with which Northern literature abounds.
The Poetic Edda consists of two parts—the mythological and the heroic. The mythological songs contain an account of the formation and destruction of the world, of the origin, genealogies, adventures, journeys, conversations of the gods, magic incantations, and one lay which may be called ethical. This portion of the Edda concludes with a song called "The Song of the Sun," of which it is supposed Sæmund himself was the author. Thorpe, the English translator, says, "It exhibits a strange mixture of Christianity and heathenism, whence it would seem that the poet's own religion was in a transition state. We may as well remark here that the only allusion to Christianity in the Elder Edda, with the exception of this last song, which stands quite alone, is a single strophe in an incantation:—
"An eighth I will sing to thee,
If night overtake thee,
When out on the misty way,
That the dead Christian woman
No power may have to do thee harm."
Which savours curiously of the horror which these heathens then evidently felt of the new faith.
The Younger Edda is a very queer old lady indeed. She begins by telling a sort of story. She says "there was once a King called Gylfi, renowned for his wisdom and skill in magic;" he being seized with a desire to know all about the gods, and wishing also to get his information first-hand, sets off on a journey to Asgard itself, the gods' own abode. When he gets there he finds a mysterious Three seated upon three thrones—the High, the Equally High, and the Third. The story-teller is supposed to have taken this picture from a temple at Upsal, where the thrones of Odin, Thor, and Frey were placed in the same manner, one above another. Gylfi introduces himself as Gangler, a name for traveller (connected with the present Scotch word gang), and proceeded to question the Three upon the origin of the world, the nature and adventures of the gods, &c., &c. Gangler's questions, and the answers which he receives, will, with reference to the Elder Edda tales, help us to get just the short summary we want of the Scandinavian mythology—the mythology grown up and old, and frozen tight, as we find it in the Eddas.