Of the other general poems, the next four were probably composed before 950; in each the setting is different. Vafthrudnismal, a riddle-poem, shows Odin in a favourite position, seeking in disguise for knowledge of the future. Under the name of Gangrad (Wanderer), he visits the wise giant Vafthrudni, and the two agree to test their wisdom: the one who fails to answer a question is to forfeit his head. In each case the questions deal first with the past. Vafthrudni asks about Day and Night, and the river which divides the Giants from the Gods, matters of common knowledge; and then puts a question as to the future: “What is the Page 7plain where Surt and the blessed Gods shall meet in battle?” Odin replies, and proceeds to question in his turn; first about the creation of Earth and Sky, the origin of Sun and Moon, Winter and Summer, the Giants and the Winds; the coming of Njörd the Wane to the Aesir as a hostage; the Einherjar, or chosen warriors of Valhalla. Then come prophetic questions on the destruction of the Sun by the wolf Fenri, the Gods who shall rule in the new world after Ragnarök, the end of Odin. The poem is brought to a close by Odin's putting the question which only himself can answer: “What did Odin say in his son's ear before he mounted the pyre?” and the giant's head is forfeit.
In the third poem of this class, Grimnismal, a prose introduction relates that Odin and Frigg quarrelled over the merits of their respective foster-children. To settle the question, Odin goes disguised as Grimni, “the Hooded One,” to visit his foster-son Geirröd; but Frigg, to justify her charge of inhospitality against Geirröd, sends her maiden Fulla to warn him against the coming stranger. Odin therefore meets with a harsh reception, and is bound between two fires in the hall. Geirröd's young son, Agnar, protests against this rude treatment, and gives wine to the guest, who then begins to instruct him in matters concerning the Gods. He names the halls of the Aesir, describes Valhalla and the ash Yggdrasil, the Page 8Valkyries, the creation of the world (two stanzas in common with Vafthrudnismal), and enumerates his own names. The poem ends with impressive abruptness by his turning to Geirröd:
“Thou art drunk, Geirröd, thou hast drunk too deep; thou art bereft of much since thou hast lost my favour, the favour of Odin and all the Einherjar. I have told thee much, but thou hast minded little. Thy friends betray thee: I see my friend's sword lie drenched in blood. Now shall Odin have the sword-weary slain; I know thy life is ended, the Fates are ungracious. Now thou canst see Odin: come near me, if thou canst.”
[Prose.] “King Geirröd sat with his sword on his knee, half drawn. When he heard that Odin was there, he stood up and would have led Odin from the fires. The sword slipt from his hand; the hilt turned downwards. The king caught his foot and fell forwards, the sword standing towards him, and so he met his death. Then Odin went away, and Agnar was king there long afterwards.”
Harbardsljod is a dialogue, and humorous. Thor on his return from the east comes to a channel, at the farther side of which stands Odin, disguised as a ferryman, Greybeard. He refuses to ferry Thor across, and they question each other as to their past feats, with occasional threats from Thor and taunts from Odin, until the former goes off vowing vengeance on the ferryman:
Thor. “Thy skill in words would serve thee ill if I waded across the water; I think thou wouldst cry Page 9louder than the wolf, if thou shouldst get a blow from the hammer.”
Odin. “Sif has a lover at home, thou shouldst seek him. That is a task for thee to try, it is more proper for thee.”
Thor. “Thou speakest what thou knowest most displeasing to me; thou cowardly fellow, I think that thou liest.”
Odin. “I think I speak true; thou art slow on the road. Thou wouldst have got far, if thou hadst started at dawn.”
Thor. “Harbard, scoundrel, it is rather thou who hast delayed me.”