This myth about Frey and Gerd is the subject of one of the most fascinating poems in the Elder Edda, the Journey of Skirner. It is, as Auber Forestier, in Echoes from Mistland, says, the germ of the Niblung story. Frey is Sigurd or Sigfrid, and Gerd is Brynhild. The myth is also found in another poem of the Elder Edda, the Lay of Fjolsvin, in which the god himself—there called Svipday (the hastener of the day)—undertakes the journey to arouse from the winter sleep the cold giant nature of the maiden Menglad (the sun-radiant daughter), who is identical with Freyja (the goddess of spring, promise, or of love between man and woman, and who can easily be compared with Gerd). Before the bonds which enchain the maiden can in either case be broken, Bele (the giant of spring storms, corresponding to the dragon Fafner in the Niblung story,) must be conquered, and Wafurloge (the wall of bickering flames that surrounded the castle) must be penetrated. The fanes symbolize the funeral pyre, for whoever enters the nether world must scorn the fear of death. (Auber Forestier’s Echoes from Mistland; Introduction, xliii, xliv.) We also find this story repeated again and again, in numberless variations, in Teutonic folk-lore; for instance, in The Maiden on the Glass Mountain, where the glass mountain takes the place of the bickering flame.
CHAPTER XI.
The tree Lerad (furnishing protection) must be regarded as a branch of Ygdrasil.
CHAPTER XII.
In Heimskringla Skidbladner is called Odin’s ship. This is correct. All that belonged to the gods was his also.
CHAPTER XIII.
For a thorough analysis of Thor as a spring god, as the god who dwells in the clouds, as the god of thunder and lightning, as the god of agriculture, in short, as the god of culture, we can do no better than to refer our readers to Der Mythus von Thor, nach Nordischen Quellen, von Ludwig Uhland, Stuttgart, 1836; and to Handbuch der Deutschen Mythologie, mit Einschluss der Nordischen, von Karl Simrock, Vierte Auflage, Bonn, 1874.
CHAPTER XIV.
The death of Balder is justly regarded as the most beautiful myth in Teutonic mythology. It is connected with the Lay of Vegtam in the Elder Edda. Like so many other myths (Frey and Gerd, The Robbing of Idun, etc.) the myth symbolizes originally the end of summer and return of spring. Thus Balder dies every year and goes to Hel. But in the following spring he returns to the asas, and gladdens all things living and dead with his pure shining light. Gradually, however, the myth was changed from a symbol of the departing and returning summer, and applied to the departing and returning of the world year, and thus the death of Balder prepares the way for Ragnarok and Regeneration. Balder goes to Hel and does not return to this world. Thokk refuses to weep for him. His return is promised after Ragnarok. The next spring does not bring him back, but the rejuvenated earth. Thus the death of Balder becomes the central thought in the drama of the fate of the gods and of the world. It is inseparably connected with the punishment of Loke and the twilight of the gods. The winter following the death of Balder is not an ordinary winter, but the Fimbul-winter, which is followed by no summer, but by the destruction of the world. The central idea in the Odinic religion, the destruction and regeneration of the world, has taken this beautiful sun-myth of Balder into its service. Balder is then no more merely the pure holy light of heaven; he symbolizes at the same time the purity and innocence of the gods; he is changed from a physical to an ethical myth. He impersonated all that was good and holy in the life of the gods; and so it came to pass that when the golden age had ceased, when thirst for gold (Gulveig), when sin and crime had come into the world, he was too good to live in it. As in Genesis fratricide (Cain and Abel) followed upon the eating of the forbidden fruit, and the loss of paradise; so, when the golden age (paradise) had ended among the asas, Loke (the serpent) brought fratricide (Hoder and Balder) among the gods; themselves and our ancestors regarded fratricide as the lowest depth of moral depravity. After the death of Balder