It is abundantly clear that the latter part of the story is of a totally different origin from the first part, and in reality many centuries earlier. The prose here is for the most part little more than a paraphrase of the poem, which probably has its roots in poetry of the Gothic period. But how this story came to be joined on to a narrative of the Viking Age is far from clear.
It is also interesting to note that some of the characters in the saga are repetitions of one another. At all events what is said about Hervör the daughter of Heithrek in the latter part of the story bears a strong resemblance to the description of the more prominent Hervör, the daughter of Angantyr, in the first part.
Three poems of considerable length are preserved in the story. The Riddles of Gestumblindi, though somewhat tedious as a whole, afford a better specimen of this type of composition than is to be found elsewhere in early Norse literature. They cannot fail to be of considerable interest to anyone who studies the Anglo-Saxon Riddles, though unlike the latter they are wholly Teutonic in spirit and form. Direct Latin influence appears to be entirely absent.
Gestumblindi's Riddles, while they belong essentially to popular literature, yet contain many arresting phrases which show a minute observation of nature. They illustrate the condensed, proverbial type of wisdom that prevails in a primitive state of society, as well as its keen interest and delight in the little things of life. They can hardly be called literature as we understand the term; they are rather the stuff of which literature is made. But though it is a far cry from these little nature verses to the more beautiful and more ambitious nature poems of Burns and Tennyson, yet Gestumblindi's loving interest in "every creature of earth" surprised even King Heithrek into comment. The keen and whimsical observation that noted that even a spider is a "marvel" and that it "carries its knees higher than its body" is the same spirit that inspired a poem to the
Wee sleekit, cowrin', tim'rous beastie.
The poet who noticed that water falling as hail on rock looks white by contrast, yet forms little black circles when it falls into the sand as rain, had much in common with one who noticed that rock and sand yield opposite sounds when struck by the same object—
Low on the sand and loud on the stone
The last wheel echoed away.
But though these things are pleasing in themselves, they are, of course, slight. Gestumblindi cannot rise to the heights of true poetry reached by Burns or Tennyson.