[107]. Othrörir: here the name of the magic mead itself, whereas in stanza 141 it is the name of the vessel containing it. Othin had no intention of bestowing any of the precious mead upon men, but as he was flying over the earth, hotly pursued by Suttung, he spilled some of it out of his mouth, and in this way mankind also won the gift of poetry.
[109]. Hor: Othin (“the High One”). The frost-giants, Suttung’s kinsmen, appear not to have suspected Othin of being [[52]]identical with Bolverk, possibly because the oath referred to in stanza 110 was an oath made by Othin to Suttung that there was no such person as Bolverk among the gods. The giants, of course, fail to get from Othin the information they seek concerning Bolverk, but Othin is keenly conscious of having violated the most sacred of oaths, that sworn on his ring.
[111]. With this stanza begins the Loddfafnismol (stanzas 111–138). Loddfafnir is apparently a wandering singer, who, from his “chanter’s stool,” recites the verses which he claims to have received from Othin. Wells of Urth: cf. Voluspo, 19 and note. Urth (“the Past”) is one of the three Norns. This stanza is apparently in corrupt form, and editors have tried many experiments with it, both in rejecting lines as spurious and in rearranging the words and punctuation. It looks rather as though the first four lines formed a complete stanza, and the last four had [[53]]crept in later. The phrase translated “the speech of Hor” is “Hova mol,” later used as the title for the entire poem.
[112]. Lines 1–3 are the formula, repeated (abbreviated in the manuscript) in most of the stanzas, with which Othin prefaces his counsels to Loddfafnir, and throughout this section, except in stanzas 111 and 138, Loddfafnir represents himself as simply quoting Othin’s words. The material is closely analogous to that contained in the first eighty stanzas of the poem. In some cases (e.g., stanzas 117, 119, 121, 126 and 130) the formula precedes a full four-line stanza instead of two (or three) lines. [[57]]
[129]. Line 5 is apparently interpolated.
[131]. Lines 5–6 probably were inserted from a different poem. [[58]]
[133]. Many editors reject the last two lines of this stanza as spurious, putting the first two lines at the end of the preceding stanza. Others, attaching lines 3 and 4 to stanza 132, insert as the first two lines of stanza 133 two lines from a late paper manuscript, running:
“Evil and good | do men’s sons ever
Mingled bear in their breasts.”
[134]. Presumably the last four lines have been added to this stanza, for the parallelism in the last three makes it probable that they belong together. The wrinkled skin of the old man is [[59]]compared with the dried skins and bellies of animals kept for various purposes hanging in an Icelandic house.