TRANSCRIBER’S NOTE: A printing error with the page numbering of the original book (present in multiple copies) has been retained: the poem goes from pages 1 to 352, but then the following section of notes begins with page 337.
THE GODS
OF THE NORTH.
Paris.—Printed by J. Smith, 14 ter, rue Fontaine-au-Roi.
Dedicated by permission to H. M. the
King of Denmark.
THE
GODS OF THE NORTH,
AN EPIC POEM, BY
ADAM ŒHLENSCHLÆGER,
TRANSLATED FROM THE ORIGINAL DANISH INTO ENGLISH VERSE
BY
WILLIAM EDWARD FRYE,
FORMERLY MAJOR OF INFANTRY IN THE BRITISH SERVICE, AND MEMBER OF THE ACADEMY DEGLI ARCADI, IN ROME.
LONDON,
WILLIAM PICKERING,
PARIS,
STASSIN AND XAVIER.
1845.
To his Majesty Christian VIII,
King of Denmark,
&c. &c. &c.
Sire,
The countenance of an enlightened Prince has ever been eagerly sought after by the most distinguished authors. It may then well be permitted to an humble admirer and translator of a poem of Denmark’s greatest Scald to desire to place himself and his work under the protection of a King of Denmark, who yields to no Sovereign of any age or country in his love of science, and in his zealous furtherance of all that can adorn or benefit the great family of mankind. In soliciting the permission of dedicating this work to your Majesty, I had nothing to plead in favour of my request, but my ardent zeal for Scandinavian literature; I knew, however, that such zeal would be my greatest recommendation in the eyes of a patriotic Monarch, and the gracious permission accorded to me by Your Majesty I consider as my highest reward.
I have the honour to be, Sire,
Your Majesty’s most grateful and devoted humble servant,
W. E. FRYE.
Paris, January, 1845.
PREFACE
BY THE TRANSLATOR.
The argument of the poem by the author is the sole document that accompanies the original work; there are neither notes nor preface to the edition from which I have made my translation, and which is the only one I have ever seen. To the people of education in Scandinavia, who are well versed in the ancient mythology of their country, notes are perhaps not strictly necessary, inasmuch as this poem is based upon the Edda, which is universally read; but since, to the generality of English readers, the Edda and the Scandinavian mythology are but little, if at all familiar, I feel myself bound to furnish them with all the information on the subject that I have been able to collect from various sources; by which they will be enabled to read this poem with additional pleasure and profit.
The Scandinavian mythology, like that of all other nations, is founded on the personification and consequent adoration of the powers of nature, which may be expressed by the word “Demonism,” used in its Greek sense; to this may be added the deification of national heroes.
The first source of Demonism (I here borrow the words of Wieland in his admirable work called Agathodemon) lies in the ignorance of mankind, in the early stages of the world, of the real causes or laws by which the powers of nature act, on the one side; and on the other, in the innate propensity of man to reflect the image of the things which he can and does see, on the things which lie beyond the contact of his senses.
This induces us to personify the causes of the effects that we behold in nature; we assign to them our manner of thinking and acting, and we endow them with a form like our own, because we can conceive no higher model. Thus we give a supposed existence to an infinite number of divinities in heaven and earth, whose operations are seen and felt, though the agents themselves are unseen or unknown. Thus the earth, the sun, the moon, the stars, the sea, rivers, woods, mountains, etc., all have their peculiar divinities; and as these were considered as the cause of light or of darkness, of warmth or of cold, of fertility or of barrenness, of the eternal vicissitudes of the year, month or day, as well as of the destructive effects of storms, tempests, floods, volcanoes, earthquakes, etc., to the idea of their existence became conjoined the belief of their superhuman power. They were therefore recognised as the arbitrary rulers of nature, who had their separate principalities, circles, and districts in her empire; and as we ascribe to them our own passions, caprices, and necessities, we naturally endeavour to captivate their good will, or avert their anger, by prayers, sacrifices, presents, or penances.
On the principle of Demonism, therefore, did the earliest legislators establish the basis of their fabric of social order, civilization and religion; and it was by profiting by this innate inclination of mankind, that priests and mystagogues succeeded in consolidating their power and influence, which became necessarily augmented and enhanced by the right they arrogated to themselves of canonizing or deifying those heroes or princes, whom they were disposed to hold up as worthy of adoration, or as examples to be followed by the people.
History thus became blended with allegory and mythology; and this circumstance, combined with the total want of chronology, which seems to pervade the early records of all nations, renders it extremely difficult to give to any mythology a consistent form, proportionate in all its parts, and presenting an invariable doctrine or system of action.
Proceeding thus from a similar source, the Scandinavian polytheism has a remarkable coincidence with those of Greece, Italy, Egypt and India; and from its classification of the superior powers into good and evil genii, it bears a still more striking resemblance to the religion of the ancient Persians, the doctrine of the Magi, which admits the co-existence of, and the eternal struggle between, the two opposing principles of Good and Evil, under the types of Ormuzd and Ahrimanes.
It seems generally admitted that the Gothic mythology was introduced into the north-west of Europe by the Asar or Asiatic Goths, when, under the guidance of the historical Odin, they emigrated from the borders of the Black Sea and penetrated into Scandinavia, where they founded their empire; and had they at that time been acquainted with navigation, they would most assuredly not have stopped there, but would have invaded the British Islands, which would have afforded an easy conquest, and a more alluring resting-place, from the superior fertility of their soil, and far greater mildness of the climate.
The word Asa may be derived from Asia, or both may be derived from the word As or Az,[1] which in the Zend or ancient Persian dialect (the link between the Gothic and the Sanscrit) signifies “powerful, elevated;” and may have been applied to that part of Asia bordering on Europe by its own inhabitants, as a country, par excellence, occupied by a super-excellent people; on the same principle that the word “Svensk” (Swedish) is derived from “Sven” (man), and denotes a man, par excellence; and the country itself called “Sverige” (empire of men, Sweden). The word Goth also is a synonyme for what is good, great, and illustrious; for in all the Teutonic and Scandinavian languages, the three words Goth, good, and God spring from the same root; such has ever been the self-love and vanity of nations. The term Jotun or Jette may on the other hand have been the name of some rival nation, professing a different worship, and engaged in a long and obstinate warfare with the Asar or Goths, either in Asia or in Europe; and by the suggestion of national hatred, the Asar may have given the name of their enemies (the Jetter) to the destructive powers of nature, personified by the malevolent genii or giants: hence in the Icelandic, Danish and Swedish languages, the term Jotun, Jette, or Jätte, denotes a giant and implies the idea formed of this fabulous race by all nations.
The historical Odin was deified after his death, as were his wives, his sons, and immediate relations, and either their names may have been given to the benign influences of nature, or they (Odin and his relations) may have adopted the names of the gods of their Asiatic ancestors, in order to impose on their new subjects. The names of regions, places and abodes were transferred from Asia to Scandinavia; and the said names were, either previously or subsequently to the first grand immigration of the Goths into the north-west of Europe, applied by them to the supposed residences of the gods in heaven. Among the Egyptians and Greeks, the names of the Zodiac and of the constellations afford a similar and satisfactory proof of the continual re-action of earth on heaven, and of heaven on earth.[2]
The popular belief of the continual intercourse between heaven and earth, between gods, demi-gods, and heroes in the early ages of mankind, fostered and encouraged by the many ingenious allegories framed by the priests, the sole astronomers of the time, out of the movements and influences of the celestial bodies, render either hypothesis probable, and may serve to account for the many incongruities that prevail in the Scandinavian, as well as in other mythologies; it is sufficient for the comprehension of this poem, to lay down the principle, that the Asar (gods) represent the creating, embellishing, and conservative powers of nature; and the Jetter (giants), on the contrary, represent the defacing, corrupting, destructive powers of the same. The giants existed before the gods, inasmuch as chaos, darkness and confusion preceded creation, light and order.
With respect to the superhuman size attributed by most nations to evil spirits, it may be observed, that in darkness the terrors of mankind increase, and the shades of night magnify considerably to the visual orb every object in nature: hence to the Jetter, or evil genii, who were supposed to wander about at night doing mischief, was lent by the imagination a form gigantic in stature, and features frightful to behold. Day appears! the giants vanish! or they assume the ordinary appearance of towers, steeples, and windmills; or they become changed to wolves and bears; or they dwindle to the usual human size: but are still dangerous by their knowledge of magic, their power of effecting transformations, and by the artifices and illusions whereby they seek to mislead mankind and seduce them to the perpetration of evil. That the Jotun or Jetter, who were probably the aboriginal inhabitants of Scandinavia at the time of the Gothic invasion, should appear to the Asar to be giants in size, and as having the heads of bears, wolves, elks, or wild bulls, conjoined to human bodies, may be very easily and naturally accounted for. The Jotun race were in a very low state of civilization compared with the Asar, and were, probably, totally unacquainted with the art of tanning or weaving. They accordingly clothed themselves with the skins of beasts; and in order to increase the terrific in their exterior (an object of great importance among savage nations), they preserved the head, tail, and claws of the animals, in whose spoils they arrayed themselves; and wore its head, horns and all, as a head-dress above their own, allowing the tail to dangle behind them, while its paws crossed their breast. This must naturally have given to them the appearance, not only of a stature far above the human size, but that also of partaking of the shape and nature both of man and beast, which idea was not a little supported by the ferocity of their manners; and such was probably the origin of giantism in every country.[3]
I shall now proceed to give an outline of the cosmogony and principal events of the Scandinavian mythology, as far as they can be collected from the only authentic source extant, viz. the fragments of the poetry contained in the elder or poetic Edda, discovered and compiled by the celebrated Sæmund Sigfusson, a native of Iceland, who was born in the year 1054, and died in 1133. He was a Christian priest of extensive talents and acquirements, who made a journey to Rome, a rare occurrence, at that time, among the clergy of the north. He it was who discovered these fragments, and at once perceived their value. He compiled them, and gave them to light, with a Latin translation of his own, under the name of the Edda, which, in the Icelandic or ancient Scandinavian tongue, means “Ancestress.”
It was fortunate that this discovery was made by a man so enlightened and liberal as Sæmunder, who was free from all the prejudices which prevailed among the clergy of his time. Any poem or writing connected with the ancient polytheistic religion of the country, was at that time considered as the work of devils, and severely proscribed. The poems of the Edda, therefore, had they fallen into the hands of an ignorant or bigotted priest, would have been burnt, and lost to posterity for ever. The fragments thus collected together under the name of the Edda are, indeed, but the disjectorum membra poetarum; but they form the only document extant, which throws on the Scandinavian mythology a light at all to be depended on.[4]
Of importance far inferior, but still of considerable relative utility, is the younger or prosaic Edda, composed, rather than compiled, by Snorro Storleson, a learned Icelander, who was born in 1178, and was killed at Reykiaholt in 1241. This work, written in prose, may be considered as a commentary on the elder or poetic Edda, with several additions and legends, collected probably from oral tradition. It is written in a homely, story-telling style, and but for the elder Edda, would stand a chance of being considered as unimportant as a black letter romaunt or fairy tale. In the preface to it, there is a strange jumble of history, sacred and profane; a very fantastic geography; and an attempt to derive the genealogy of all the nations in Europe from the Trojans: there reigns, moreover, throughout the whole work, a total want of chronology.[5]
The most interesting part of the work, from the light it throws on the elder Edda, is the Gyllfaginning, or Conversations of King Gyllfe, who reigned over a part of Sweden at the time of Odin’s invasion. A curious appendage to the work is the “Skalde sprâket” (the language of the Skalds), which forms a sort of Gradus ad Parnassum of the Icelandic poetry, in which the synonymes and epithets of all persons and things occurring in the works of the Skalds, are given with extreme accuracy. But, as I have before stated, the whole importance of Snorro Sturleson’s work is derived from the elder or poetic Edda. In the Gyllfaginning occurs the following remarkable passage:
“King Gyllfe was a prudent and very wise man; it caused him much surprize that the Asar possessed so much knowledge, that every thing yielded to their will; and he reflected whether this could proceed from their own power, or whether they derived it from the Gods, to whom they sacrificed.”
It is from the Gyllfaginning that I borrow the following account of the cosmogony, according to the Scandinavian mythology.
In the beginning when nothing existed, when there was neither earth, nor sea, nor heaven, all was Ginnungagap,[6] a vast unfathomable abyss. Towards the north of this abyss lay a world of cold and darkness called Niffelheim, in the midst of which was the source or fountain Hvergelmer. On the south of Ginnungagap lay Muspelheim, a world of heat, light and fire. From the source Hvergelmer flowed twelve rivers, called collectively Elivagor. These flowed into Ginnungagap, so far from their source, that the poisonous matter they contained congealed at length, and formed a mass of ice. On the other hand, the sparks and flames proceeding from Muspelheim, came into contact with this congealed mass; and the heat, operating on the cold, produced the giant Ymer, the grand progenitor of the race of giants. He was wicked, and so were all his race, who were called Hrimthusser. Shortly after the apparition of Ymer, arose the cow Audumbla; she nourished herself by licking the frost from the pillars of salt in Ginnungagap; and this operation produced, on the first day, a man’s hair; on the second, his whole head; on the third the entire man; this man was called Bure. Bure had a son called Bor; and this Bor, by an union with a beautiful giantess of the name of Betsla, became the father of three sons, Odin, Vil and Ve, the progenitors of the Asar race. These three brothers slew the giant Ymer, from whose body flowed so much blood, that all the giants were drowned therein, except Bergelmer and his wife, who escaped from the deluge on the top of a mountain. Bergelmer and his wife had a numerous progeny, and by them were perpetuated the giant race. Odin, Vil and Ve, having slain Ymer, proceeded to the creation of the world, as it now exists. From the limbs of Ymer, they created the earth, the mountains from his bones, the sea from his blood, the heavens from his scull; and from his eye-brows they built Midgard, name of the abode to be inhabited by the human race, and so called, because it lies in the middle region. They then from two trees, which they found on the sea-shore, created a man, called Askur, and a woman called Embla; and placed them to dwell in Midgard. From this pair descend all mankind.
On the confines of Midgard towards the north, and separated from it by mountains of ice and snow, and dreary wastes eternally agitated by storms, lies Utgard, the domain of the giants, whose sovereign is Lok, commonly called Utgard-Lok, to distinguish him from an Asa bearing the same name. Utgard became thus the region assigned to the giant race, as Midgard was to mankind. The Asar chose for themselves a region supposed to be in the heavens above the earth, and this region they called Asagard. There they built for themselves various palaces and tenements; and dwelling therein, pass their time in joy and felicity, in banquets, tournaments, festivals, and amusements of all sorts; or they occupy themselves in conferring happiness upon, and imagining inventions useful and beneficial to the human race. They occasionally descend from Asagard to Midgard, by passing over the bridge Bifrost, when they deem it necessary to intervene immediately in the affairs of mankind, for the purpose of relieving the oppressed, or of enforcing the practice of justice and benevolence.
The giants, on the contrary, when they sally forth from their domain in Utgard, do so for the purpose of creating storms and earthquakes, and causing, either openly or insidiously, as much mischief as possible to gods and men.
I shall not in this preface enumerate the names of the different gods and goddesses, nor of their abodes and attributes; neither shall I enumerate the names of the giants, nor those of the Dvergar, of the Alfer, or of the Vaner. All these names will be found in a catalogue, alphabetically arranged, which I shall annex to this work. Neither shall I take notice, in this preface, of the various episodes of the mythology, which are introduced in the body of the poem, and explain themselves; but I shall proceed to give an account of the death of Balder,[7] as it is related in the younger or prosaic Edda.
Frigga is the wife of Odin and queen of the gods. Their son Balder, the most benevolent among the Asar, called by the Skalds “the fillet that binds together the garland of the gods,” was troubled with unpleasant dreams, portending some dreadful calamity to himself, and pregnant with mischief and ruin to the universe. He related his dreams to the Asar, and a council was held by them, in order to devise the means of averting the threatened mischief. His mother Frigga exacted an oath from all the elements, from iron and all kinds of metals, from stones, trees, beasts, birds, fishes and reptiles, that they would do no injury to Balder. When this oath was made, it was agreed upon by the Asar, that they should throw their lances at Balder, or cut at him with their swords, by way of amusement and experiment. Of course, enchanted as he was, he remained unscathed from all those assaults. This rejoiced the gods exceedingly; but there was one among the Asar, called Lok, originally of giant race, but admitted among the gods; a being of a treacherous and vacillating disposition, addicted to mockery and calumny, and inheriting from his ancestors, the giants, a strong innate disposition to mischief. It grieved him sore, that no injury could be done to Balder. He repaired to Fensal, the abode of Frigga, in the shape of a female, and related to her what had past between Balder and the other Asar at the tournament. Frigga replied: No weapon can do injury to Balder, for I have exacted an oath in his favour from all things likely to do him mischief. Lok answered: Have you really exacted an oath from all things? Frigga replied: Eastward to Valhalla grows a little plant, called the mistletoe; from it I exacted no oath, for it appeared to me so insignificant, as to be incapable of doing harm to anybody. Lok went away, dug up the plant, and made thereof a spear; he then went in search of Hædur, twin-brother of Balder, and born blind. Having found him, he asked him, why he did not join in the general amusement, and cast a weapon at Balder. Hædur replied: I am blind, and have no weapon. Lok answered: You should not be the only one among the Asar, who does not do honour to Balder; here! take this lance (giving to him the spear made of the mistletoe), and run at him with it! Hædur did so, and Balder fell down dead. The gods were inconsolable at his loss, and sent Hermod, the messenger of Odin, to Hela, the queen of death and of the shades below, into whose hands Balder had fallen, in order to supplicate his release. Hermod mounted the steed of Odin, called Sleipner, and repaired to the abode of Hela, in order to demand the restitution of Balder. Hela at first refused to release him on any condition whatsoever; but at length relenting, she said: Now is the time to prove, if Balder be really so beloved by all creatures, as ye pretend. If, therefore, every thing in nature will shed tears for Balder’s death, and demand his release, I will grant it. Hermod returned to Asagard, satisfied with the success of his mission. The Asar sent messengers all over the earth, calling upon all creatures to weep for Balder’s death; and all creatures did grieve and join in the prayer for his release from the shades of Helheim, except an old witch, by name Thock, who was sitting by the entrance of a cavern. When called upon to join in the general lamentation, she answered spitefully:
With dry tears
Doth Thock grieve
For the death of Balder;
He never did good to me
Either in life or death;
May Hela retain her prey!
and in consequence of this solitary refusal, Hela did retain her prey, and will do so until the end of time. It was now discovered that the witch Thock was no other than Lok himself in disguise; and the gods, enraged at his treachery, inflicted on him a summary vengeance. Changing his two sons into wolves, who devour each other, the gods make a chain from their intestines, and bind therewith Lok to a sharp rock in a subterranean abode. They then place over him two enormous serpents, who drop their venom on his limbs, and he is to remain exposed to this continual torture until the end of the world. But though Lok be thus punished, the calamity springing from Balder’s death cannot be averted; from it dates the entrance of crime and misery into the world, and a state of unceasing warfare in the heavens, on the earth, and under the earth; which state is to last until the great day of Ragnarok, called the twilight of the gods. On that awful day, which is to be preceded by a severe uninterrupted winter of three years’ duration, a great battle is to be fought between the gods and giants, in which dreadful conflict giants, gods, mankind, the whole universe, in fine, are to perish in a shower of fire and blood. After the destruction of the world, a new creation is to take place under the auspices of Vidar, the god of silence and wisdom, the sole being who survives the general conflagration. It is he who is to resuscitate the gods and the human race, and to lead them to dwell in the palace of Gimle on the plains of Ida, an abode of eternal joy and felicity, where virtue and love are to reign triumphant, and vice and hatred be extinguished for ever. As the details of the destruction of the world and of its reconstruction are given in the last canto of this poem, I need not dwell on them here.[8] Besides the alphabetical catalogue, explicatory of all that remains to be known, concerning the events and personages which figure in this poem, I have annexed to each canto notes, which give the hidden sense and meaning of most of the mythes and allegories; on which subjects I have borrowed all my information from the celebrated Danish antiquarian Finn Magnussen, now living in Copenhagen, which information is to be found in his two admirable works, the one called “The elder Edda, translated with copious notes and illustrations;” the other, “The Edda doctrine explained and elucidated.” These two works afford a complete key to the mythes and allegories of the Scandinavian mythology, intricate as it is; and armed thus with his (Finn Magnussen’s) magic wand, I too may fearlessly undertake the office of Hierophant.
With respect to this poem and its author,[9] it has been observed by a modern Danish writer of some eminence: “There have been various poetical works in all the northern languages based on the legends of the Edda; but no author has woven thereof a whole, nor has so happily and poetically embodied its genius, mythes and transformations, as Œhlenschläger in his celebrated poem, The Gods of the North.”
To me it seems that he has combined in an eminent degree the peculiar excellences of three distinguished poets, of three distinct ages, viz. those of Hesiod in his Theogony, of Ovid in his Metamorphoses, and of Ariosto in his Orlando Furioso. Œhlenschläger seems to possess all the inexhaustible genius, fertility of invention, playfulness, and sly, but not ill-natured, satire of the bard of Ferrara:
“Il grande che cantò le armi e gli amori.”
Of my translation, it befits not me to speak. Like my archetype, I have adopted various metres for the different cantos, not always the same as those of the original; for I wished to take a freer scope, and not to fetter myself by an invariable adoption of the self-same metres, which would have been attended with great difficulty, inasmuch as some of them are unsuitable to the genius of the English language, which is far less laconic than the Danish. I have likewise, in a few instances, amplified my archetype, for I was determined that nothing of his should be lost; yet I trust, that even in those parts where I have most amplified, I have never departed from the meaning and spirit of the author. I can therefore never admit, that my translation, though unshackled, should be termed “a free one,” or Bearbeitung, as the Germans express it.
With respect to my qualifications as a translator, they are as follows: from the early age of fifteen I have been engaged in the acquisition of the language and literature of Germany; for the last twelve years, I have closely studied the Danish and Swedish languages, and I have lately attempted the Icelandic.
About eight years ago, I made a summer tour in Denmark and Sweden, and when at Copenhagen, I became acquainted with Finn Magnussen, the celebrated antiquarian, and with the poet Œhlenschläger himself, most of whose works I had previously read with unbounded admiration and delight, and among which, this poem, “The Gods of the North,” had excited my peculiar attention. Thus prepared, I determined on undertaking a metrical version of the whole of this work, one canto of which (the 12th) I had previously translated, and published anonymously in a Parisian weekly review, in 1835.
In my translation, I was further encouraged by the idea that I was thereby contributing to spread among my countrymen a taste for the mythology and general literature of Scandinavia, which is capable of furnishing to the painter or the sculptor a series of subjects not less interesting than those derived from the classic sources of Greece or Rome. I recommend, also, to the attention of scholars, the study of the Danish and Swedish languages, as the key to an historical literature extremely rich and diversified, interesting to the readers of every European nation, but more particularly so to the English reader, who is desirous of forming an intimate acquaintance with the arcana of his own language, and with his own early history, laws, customs, manners, and legends. The history of Denmark, Norway, and Sweden is as captivating as a romance, and it presents an astonishing variety of the most singular events, which would afford admirable subjects for epic and dramatic poetry, as well as for the historical novel. The English reader will perceive, likewise, that the Scandinavian mythology is the fountain head of many of the most popular tales, legends, and ballads of his own country. It will interest him to mark the effect of the introduction of the Christian religion upon the Scandinavian polytheism, as therein he may trace the origin of many of our own superstitions and fabulous traditions. At the appearance of the Cross, the proud edifice of Valhalla, not seldom, alas! polluted with human gore, crumbles into dust. Asagard, with all its palaces and gardens, dissolves in air! The mighty Odin himself, the wise, the just, the beneficent Odin, degenerates into a common-place demon, liable to be exorcised by a parish priest. The Nornor, or Fates, the solemn, majestic, and impartial Nornor, though stern, yet beautiful to behold, become changed to disgusting and wrinkled witches, and figure as such in the weird sisters of Macbeth. The awful giants of Utgard sink into the ogres of a fairy tale; Thor, deprived of his belt, his hammer, his gauntlets, and his car, dwindles into Jack the Giant-killer,[10] the familiar hero of our days of childhood; and from the graa gaas (grey goose), a name given to a collection of ancient legends in the Icelandic tongue, from the circumstance of great longevity being attributed to that bird, may be traced our old nursery acquaintance and monitress, Mother Goose.[11] I have only to add, that I began the translation of this poem towards the end of the year 1836, and finished it in the autumn of 1837; but I was compelled by circumstances to delay the publication of it until the present year.
W. E. Frye.
Paris, January 1845.
[1] This may be the origin of the term Ace in cards.
[2] In the prosaic Edda is this remarkable passage, wherein the name of Odin is given to Alfader, the supreme god. “We suppose that he (Odin, the god) must have been so called, for so is called the man, the greatest and the most glorious that we know, and well may mankind let him bear that name.”
[3] The figure given to the devil by the imagination of the northern nations is a confirmation of this hypothesis; whereas the Orientals give to him a more seducing form; but in modern times the least cultivated minds reject the northern type, as Göthe says in his drama of Faust:
Das nordische Phantom ist jetzt nicht mehr zu schauen,
Wo siehst du jetzt die Hörner, Schweif und Klauen?
(Faust von Göthe.)
[4] The Eddas are written in the Icelandic tongue, then called the Suio-Gothic, and sometimes the Norrana tunga (or Norse tongue), which was formerly the language of all Scandinavia. After the introduction of Christianity, from the connection with the Empire and the Church, this tongue became gradually deteriorated by a mixture with the German; and it is by this mixture with the German that the modern Swedish and Danish languages are formed. Iceland having been colonised by some Norwegian families previous to the corruption of the language, has thus, from its insular position, preserved the old language pure; and it is now called Icelandic, which, though a dead language for Scandinavia, is a living one in Iceland.
[5] Snorro Storleson is likewise the author of the celebrated history called Heimkringlas, a most valuable work.
[6] For the meaning of Ginnungagap and of all the other proper names, see the alphabetical catalogue annexed to this preface.
[7] The details of the death of Balder are not given in this Poem “The Gods of the North.” It is only alluded to in the speech of the Vala, in the last canto; but Œhlenschläger has treated the “Death of Balder” separately, and made it the subject of an admirable tragic opera, with choruses and trochaics in the Greek style.
[8] Respecting the tragic opera of Balder by Œhlenschläger, which I have also translated, Sneedorf Birch says:
“The mythe of Balder is one of the most beautiful and sublime poetical compositions, whose equal is not to be found in the Greek or Roman mythology, or perhaps in that of any other people. This mythe has besides furnished the subject of one of the finest masterpieces in the Danish literature, namely, the drama of “Balder the Good,” by Œhlenschläger.”
[9] Sneedorf Birch.
[10] Thor is called by the Scalds Jotni-bane, i.e. Bane of the Giants: perhaps Odin himself may be the original Jack the Giant-killer, since one of his names is Jalc.—See the Grimnismal in the poetic Edda.
[11] The French also call these tales Les Contes de ma Mère l’Oie.
ALPHABETICAL LIST
OF THE PROPER NAMES OCCURRING IN OR CONNECTED WITH THE POEM ENTITLED “THE GODS OF THE NORTH.”
With the assistance of Finn Magnussen’s work Eddalæren (Doctrine of the Edda), I have composed the following alphabetical list of the proper names which occur in this poem, wherein the attributes of the several personages are given, and which should be consulted whenever a proper name occurs, since I have not thought it necessary to repeat in the notes annexed to each canto what is already given in this catalogue.
ÆGIR is the god of the sea, the Neptune of the Scandinavian mythology. His dwelling was supposed to be on the island of Hlesey, now called Lessoe, in the Cattegat. He is sometimes called Hler Ægir. He is of a benevolent disposition; but his consort Ran, who is of giant race, is otherwise. The etymology of the name Ægir is from the Icelandic verb Ægi, to liquify, inundate, etc.
ALFADER (Father of all) a name given to Odin, as king of gods and men. It is sometimes given to a supreme unknown God, pre-existent and superior to Odin himself.
ALF, plural ALFER, are inferior elementary divinities, divided into two classes, viz. the white Alfer, or Alfs of light; and the black Alfer, or Alfs of darkness. The white Alfer are related to the Asar and Vaner, and are friendly to mankind; they dwell with Balder in his palace of Breidablik. The black Alfer are mischievously disposed: they are connected with the Dvergar (dwarfs), and like them they shun the light of day: they dwell in caverns and sally out at night only. Our word elf is derived therefrom.
ANGURBOD, name of a Jettinde (giantess), who, in consequence of an amour with Asa-Lok, brought forth three frightful offspring, viz. the wolf Fenris, the serpent Jormundgard, commonly called the serpent of Midgard, and Hela, queen of death and of the shades below. The word Angurbod denotes “messenger of sorrow.”
ARILD, Arilds-tid (time of Arild). From Arilds-time is a manner of reckoning among the Scandinavians, similar to our expression from “Noah’s time.” It means the time when mankind first learned the use of fire, and to have fixed habitations. Etym.: arne (hearth), ild (fire), and tid (time).
ASA, pl. ASAR, name given to the gods of the Scandinavian mythology; the principal Asar are Odin, Thor, Frey, Balder, Vidar, Ægir, etc. The word seems to be derived from the word As or Az, which in the Zend or ancient Persian language, which forms the link between the Gothic dialect and the Sanscrit, means elevated, powerful, sublime.
ASYNIA, pl. ASYNIOR, name given to the goddesses; the principal Asynior are Frigga, Freya, Iduna, Sif, Gefion, Nanna, etc.
ASAGARD, or ASGARD, is the region, the peculiar territory of the gods. It was supposed to be in the heavens above the earth, and to contain many rich domains and splendid buildings, inhabited by the different gods and goddesses. The most remarkable are the palace of Odin, called Valaskialf; the celebrated banqueting hall or pavilion, called Valhalla: Vingolf the peculiar palace and rendezvous of the Asynior, or goddesses: Trudvang, the domain of Thor: Fensal, the palace of Frigga: Folkvang, that of Freya: Breidablik, that of Balder, besides many others which are given in alphabetical order. Geographically, Asagard or Asgard was the name of a territory and city on the northern border of the Black Sea, from whence the Asiatic Goths originally came. The word gaard in Danish, gard in Swedish, means a walled or hedged inclosure, and is the root of the words yard, court and garden.
ASH, see the word Yggdrassil.
ASKUR is the name of the first man: he and Embla, the first woman, were fabricated from two trees by Bor and Bure; according to others, by Odin, Vil and Ve. Askur and Embla were then placed by their makers in Midgard, to dwell therein, and perpetuate their race. Askur and Embla are in fact the Adam and Eve of the Gothic mythology. Etym.: askr (ash tree).
ASTRILD is the god of love: his name is not to be found in the Edda, but it appears in several of the old Sagas. Etym.: Ast, old Danish word signifying (love) and ild (fire).
AUKTHOR, a name given to Thor: it means Thor the charioteer, from âka (to drive), Swedish verb.
AUDUMBLA, name of the mythologic cow formed by the Fiat of Alfader (the quisquis deorum), at the creation of the universe. By licking the salt rocks in Ginnungagap, she occasioned the birth of Bure, the progenitor of the Asar race. The cow Audumbla represents the organic power of nature acting upon the Chaos. The word, I think, means “development,” from the Icelandic words aud, particle signifying facility, and embla (laborious).
BALDER is the son of Odin and Frigga, the most beloved of his father and mother, the most benevolent among the Asar, the sun personified, the god of light, piety and poesy. He was slain by his twin brother Hædur, born blind, with a branch of the mistletoe. His fate and its consequences have been related at length in the preliminary discourse to this poem. Balder typifies the sun at the summer solstice, and his death the disappearance of the sun from the horizon during the winter months in the north, while Hædur, type of darkness, reigns. The word in Icelandic means brilliant, beautiful, powerful. Balder has an evident analogy with the Baal of the Assyrians, the Apollo of the Greeks, the Horus of the Egyptians, the Krïshna of the Hindoos, all of which are types of the sun in its highest splendour.
BAUGE, name of a giant, who procured for Odin entrance into the bower of Gunliod, when he sought to make himself master of the vase containing the precious liquor called Suttung’s mead, which was confided to the care of Gunliod. Bolverk was the name assumed by Odin on that occasion. Baug in Icelandic means a “ring,” and among the northern nations in the Gothic time promises were made by holding a ring; and this mythe may mean Odin’s seduction of Gunliod by means of a promise given on the ring.
BERGELMER, name of the giant who, with his wife, were the only ones of that race who escaped being drowned in the blood of Ymer. He and his consort escaped on a wreck, and landed on the top of a mountain. From these two descended the second generation of giants. This mythe reminds one of the deluge of Noah and that of Deucalion and Pyrrha, and the mountain, mount Ararat; for Bergelmer means the ancient of the mountain, from berg (mountain), and gamla (old).
BERSERK (bare sark), name given to a sort of combatants among the ancient Scandinavians, who affected peculiar ferocity, and fought with their fists and teeth, in the absence of other weapons, and in no other clothing but their shirt; hence their name. Berserkgang is a term used to signify a combat of life and death, and is often applied to the exploits of Thor, to denote their peculiar danger and difficulty.
BETSLA, name of a beautiful giantess, the wife of Bor, and mother of Odin, Vil and Ve.
BIFROST, name of the vast bridge which unites heaven to earth, and typifies the rainbow. Over this bridge the Asar must pass when they descend to the world below; over it must likewise pass the heroes slain in battle, when they ascend to Valhalla, escorted by the Valkyrior. Etym.: from the Icelandic words bifa (to move) and röst (stone). The bridge Bifrost was supposed to be constructed of stones of various colours.
BILSKIRNIR, name of the palace or castle of Thor, in Trudvang. It is tiled with copper shields, its halls are inlaid with gold and silver, and it has five hundred and forty gates. Etym.: Icelandic words billd (aspect, image), and skirna (make bright).
BOLVERK, name assumed by Odin when he served Bauge, disguised as a labourer. The etymology of this word may be böll (a bolt) and verk (work).
BOR, or Bör, name of the son of Bure; by his union with the beautiful giantess Betsla, he became the father of the Scandinavian triad, Odin, Vil, and Ve. Bor, in Icelandic, means son. But I suspect the word to be of Hebrew origin, meaning beginning; for böra is precisely the Hebrew word wherewith the first book of Genesis begins.
BRAGUR, or BRAGA, an Asa, the god of poetry and musical declamation. At the banquets of Valhalla, he chaunts to the sound of his harp the praises of the gods and Einherier, and celebrates in high-flown language their virtues and warlike deeds. He is the husband of Iduna. He is called by the poets of the north, Bragur hin gamle (Bragur the ancient). Etym.: Icelandic verb bragga (to adorn, to embellish). Our English word to brag comes probably from the same root.
BREIDABLIK, name of the palace of Balder, in Asagard; it is tiled with pearls! Etym.: breid (broad, extended), blik (view).
BURE, father of Bor, and progenitor of the Asar race: his production, effectuated by the cow Audumbla, has been already related in the translator’s preface. Bure in Icelandic has the same meaning as Bör, i.e. son. Both the words come probably from the Hebrew or Zend, and mean the same thing, viz. origin or beginning.
DAG (day), the son of Delling.
DELLING, name of the father of Dag (day); the word means division.
DISA, pl. DISAR; name given to the Asynior, or goddesses. This word is evidently of Persian origin.
DISARSAL (hall of the Disar), name often given to the palace of Vingolf, the peculiar place of reunion for the goddesses in Asagard.
DOVRE, name of a chain of mountains in Norway, which seems to bear the same relation to Asagard as the natural mount Olympus in Greece bears to the mythological one.
DRAPA means funeral dirge, or song of the apotheosis. In it were celebrated the funeral ceremonies of a deceased hero, his glorious actions recapitulated, and his elevation to the rank of an Einherier and admission into Valhalla triumphantly announced. The English word dirge comes, perhaps, from the Icelandic and Swedish verb dyrka (to adore).
DRUPNER, name of a magic ring fabricated for Odin by the dwarfs, at the command of Asa-Lok. This ring had the faculty of dropping eight other rings on every ninth night: by this is typified the change of the moon and its phases. When Odin placed the ring Drupner on the bosom of his son Balder, when he laid his corpse upon the funeral pile, he whispered a secret in his ear. This may allude to the promise of resurrection, but none knew the secret, save Odin himself. The placing of the ring Drupner (the moon) on the bosom of Balder (the sun) may typify the eclipse of the sun by the moon intervening. Etym.: from the Icelandic verb driupa (to drop, or distil).
DVERG, pl. DVERGAR (Dwarf), mythological beings, of short stature, who dwelt in caverns and were skilful in the fabrication of metallic instruments. They are unable to bear the glare of the sun, and prefer to rove about at night. From this circumstance, and from their being at times disposed to mischief, they are considered as related to the giants; but they are employed both by gods and giants to make armour and other instruments for them. They are represented as being of an exceedingly timorous disposition.
DWARFS, see DVERG.
EIKTHYRNIR, name of the mythological stag which stands on the roof of the portal of Valaskialf, and from whose antlers springs a fountain which furnishes water to all the rivers of the earth. Etym.: eikt (vigils), hyrnir (horns).
EINHERIER, name given to mortal warriors deified for their valour, and admitted among the Asar; they are constant guests at the banquets of Valhalla. Their occupations and amusements are thus described in the prosaic Edda: “Every day they dress themselves in their armour, go out on horseback to fight, and cut at one another; thus they pass their time. But when the hour of repast approaches, they ride home to the palace, and take their seats at the banquet.” In the elder or poetic Edda, in the chapter called the Vaftrudnismal, are the following words concerning them:
“All the Einherier
In Odin’s domain,
Fight together daily,
And choose their prey of death:
From the battle they ride afterwards
To drink beer with the Asar,
And to feast on the flesh of Sâhrimner,
In joy and amity.”
Etym.: einn (one, unique), and heria (to bear arms).
EIR, name of an Asynia, whose office it is to heal the wounds of the Einherier, when they are first admitted into Valhalla, by squeezing into their wounds the juice of the beet. She is, in fact, the goddess of medicine.
ELDIR, name of Ægir’s purveyor; he is supposed to dwell under the famous whirlpool of Malstrom, and to break in pieces with his club every bark that is engulfed therein. Etym.: eld (fire), and may allude to the subterranean fire supposed to be under Malstrom, and to cause its effervescence.
ELIVAGOR is, mythologically, the collective name of the rivers that flow from the source Hvergelmer, in Ginnungagap. Geographically, Elivagor is thought to mean the mouth of the White Sea. Etym.: elf (a stream), and vaga (to wander).
ELYERHOY, name of a hill or barrow in the island of Sealand (Denmark), so called from its being the supposed habitation of alfs or elves. In Danish, hoi means height.
EMBLA, name of the first woman, according to the Scandinavian mythology. See Askur. Embla means laborious, productive.
FENRIS, name of the mythologic wolf, begotten by Asa-Lok on the witch or giantess Angurbod. He is malignant, frightful to behold, and his nostrils vomit fire. His presence inspired the gods with such terror, that they endeavoured to bind him with chains of iron and copper; but these he easily burst asunder; they then had resource to a stratagem, and succeeded in binding him with a magic chain, which was composed as follows: of the noise of cat’s feet, of the beards of women, of the breath of birds, of the saliva of fish, of the nerves of bears, and of the roots of mountains. This chain he could not break. The Asar then cast him down into Niffelheim, and placed him at the gate of Helheim, the residence of Hela. There he is to remain chained until Ragnarok; he will then break his chain, join in the battle of the giants against the gods, and devour Odin; but he will be afterwards himself slain by Vidar. By Fenris wolf is typified the subterranean fire, which it is supposed will one day occasion the conflagration of the universe. Etym.: Fenia (giantess or sorceress), risi (to spring from).
FENSAL, name of the palace of Frigga, in Asagard. Probable etym.: fengisall (happy in acquiring riches).
FIALAR, name of the mythologic cock which is to crow at Ragnarok, to excite the gods and giants to combat. Fiallar, in Icelandic, means cock.
FINNAFENG, name of the cook of Ægir, god of the sea; he is slain by Asa-Lok for refusing him admittance to Ægir’s banquet. The etymology may be from the Icelandic words fina (a piece of flesh), fenge (a capture).
FOLKVANGUR or FOLKVANG, name of the palace of Freya in Asagard, into which are admitted, after death, faithful lovers and virtuous women.
FORSETE, an Asa, the son of Balder, and god of justice; he dwells in his palace Glitner. He often descends to earth, to sit in judgment, and hear causes under the shade of the ash-tree Yggdrassil, near the fountain of Urda. He is the son of Balder, inasmuch as justice proceeds from light; and as Urda is the Norna or destiny of the past, it is from her fountain (i.e. consulting the records of the past) that he acquires experience. The etymology of this word is for (before), and sete (set), ergo præses, president.
FREY, or FREYR, is the god of liberty, joy and fecundity; he is the son of Niord, and brother of Freya. He is invoked for sunshine and good crops. He represents the sun at the winter solstice. The new year’s feast was instituted to do him honour; it was the day of his birth, and a season of festivity and joy. He was the owner of a magic sword, but falling in love with Gerda, a beautiful damsel of Jotun race, he gave it away to her father, in order to obtain his consent to their union. He is to be slain by Surtur at Ragnarok. Etym.: frei (free), friò (seed). It is remarkable that in Egypt the sun was called Phré. The Swedish word fröid (joy) is probably derived from the name of this god.
FREYA is the Venus of the Scandinavians, the goddess of love, beauty, pleasure and fecundity; she is the sister of Frey, and daughter of Niord. She is the most beautiful of all the Asynior. She was married to Odur; but when the goddess Iduna, with her golden vase containing the fruit of immortality, was stolen from Asagard, Freya, in common with the other Asar, lost her youth and beauty; and Odur, disgusted at the change, fled from her embraces. On the deliverance of Iduna, Freya recovered her youth and beauty, but her Odur never returned. She wandered all over the earth in search of him, but in vain. She weeps continually for his loss, and sheds tears of gold. When she travels, it is in a golden car, drawn by two black cats. Freya has two daughters, Siofna and Hnos, both remarkable for their beauty and gentleness. The Dutch word fraai (handsome), is derived probably from Freya.
FRIGGA is the wife of Odin, the queen of the gods, the Juno and Ceres of the Scandinavian mythology. She sometimes typifies the earth, as Odin does the heavens; they become thus identic with the Ουρανος and Γη of the Greeks. She is pleased with offerings of fruits and flowers, and is herself extremely generous and beneficent. The constellation “Orion’s belt,” is termed by the Scalds the “spinning-wheel of Frigga.” She is the mother of Balder, Hædur, Thor, etc. The etymology of Frigga is friò (seed), gà (to take care of).
FULLA, name of an Asynia, the handmaid and confidante of Frigga, and guardian of her jewels and wardrobe. She hands round the plates to the guests at the banquet of Valhalla. Her name typifies abundance; voll, full, in the German and English languages, and fuld, full, in the Danish and Swedish, all meaning the same thing, are probably derived therefrom.
GARDERIKE, name given by the ancient Scandinavians to a part of Russia.
GARM, name of the mythologic dog, who remains chained at the cavern of Gnypa, until Ragnarok; he will then break his chain, and fight with Tyr; both will perish.
GAUTHIOD (Gothland), a name of Sweden.
GEFION, an Asynia, the goddess of virginity, herself a virgin; she receives in her domain in Asagard women, who die unmarried. She is the founder of the island of Sealand (Denmark), which was supposed to have been formerly joined to the continent of Sweden, and which, at her request, was ploughed around, separated from the mainland, and dragged into the Ocean by the sons of Gyllfe, who, to please her, transformed themselves into oxen, and performed the said service.
GEIRSODD means “point of a lance.” The historical Odin, when on his death-bed, cut his veins with the point of a lance, assuring his surviving followers and companions, that those who died on the field of battle, or in this manner covered with blood, would meet him in Valhalla, and partake of all the delights of the immortals. Hence the natural death by old age or sickness, called emphatically strâ död (death on the straw), was looked upon as ignominious by the northern warriors, and as exposing them to the danger of falling into the clutches of Hela. They, in consequence, when they felt their end approaching, either by old age or sickness, opened their veins, and bled to death; this was called cutting runes to Odin, or otherwise geirsodd rita (to scratch with the point of a lance); and this, as they believed, ensured them admission into Valhalla.
GERDA, a beautiful damsel of Jotun race, daughter of the giant Gymer. She was united to Frey with the consent of all the gods, and admitted among the Asynior. She was renowned for her beauty, piety and virtue. Finn Magnussen thinks that Gerda is a type of the aurora borealis, which replaces the light of the sun in winter, in the extreme northern regions; Frey himself typifying the sun. Others suppose that Gerda typifies the earth, and her amour with Frey the relationship between the earth and the sun.
GESTUR, name of a blind giant who proposes riddles and enigmas to Skirnir on his journey to the world below, for the purpose of visiting Gerda.
GIALLAR, name of the horn of Heimdal, which he blows, to give notice to the gods of those who arrive at, and attempt to cross the bridge Bifrost. Etym.: Icelandic verb gala (to sing, to call out). The English verb call, and the Swedish and Danish verbs kalla, kalde, come from the same root.
GIANTS, called in the Scandinavian dialects Jotun, Jetter, Jâttar, the evil genii of the Gothic mythology. At Ragnarok they are to fight with and defeat the Asar on the plains of Vigrid; but they are themselves to perish in the conflagration that ensues, and they will never be resuscitated (i.e. in a future state of existence there will be no violence or crime). The giants dwell in their peculiar territory, Jotunheim, in Utgard, and are ruled by their sovereign, Lok, commonly called Utgard-Lok, to distinguish him from an Asa of the same name. The giants were supposed to be of various forms and races, some having the heads of wild beasts joined to human bodies, and others the human form entire. They understood magic, were capable of assuming divers shapes, and of increasing or diminishing their stature ad libitum. They seem to bear a great resemblance to the Titans of the Greek, and to the Afrites of the Mohammedan theology, and all are borrowed from the Persian system, the doctrine of the Magi.
GIMLE, the most beautiful of all buildings, in which virtuous mortals are to dwell together with the gods, after the reconstruction of the universe, in eternal joy and felicity. The grave is often termed by the Scalds, “the verdant gate of Gimle.” The German word Himmel (heaven) is derived therefrom. Etym.: from the Icelandic word gimlir (splendour).
GINNUNGAGAP, name of the vast abyss which existed before the present world, and separated Niffelheim (region of fog) from Muspelheim (region of heat). Etym.: Ginning (between), and gapi (to yawn or open). The following verbs, in different languages, all come from the Icelandic verb gapi, and have the very same meaning, viz. to gape, English; gapa, Swedish; gabe, Danish; gapen, Dutch; gaffen, German; and the Greek words χαω, χαος and χασμα (chasm) are likewise from the same root.
GLADHEIM, a general name given to the abodes of the gods in Asagard, and often used as a synonyme for Valhalla. Etym.: glad (joy, gladness), and heim (home, or abode).
GLADHEIMASAL means hall of the abode of gladness, applied as Gladheim.
GLITNER, name of the palace of Forsete, the god of justice. The word means equalisation. It represents the station of the sun between August 23 and September 23, beginning of the autumnal equinox, corresponding with the sign of the zodiac Libra (the balance).
GNA, an Asynia, messenger and confidante of Frigga. When she executes the commissions of her mistress, she rides on the steed Hofvarpur.
GNYPA, name of a cavern in Niffelheim. Etym.: Icelandic word gnypr (steep).
GUDBRAND, or Guldbrand, name of a fertile valley in the province of Aggerhuys, in Norway.
GULDVEIGE, a female divinity, personifying riches. Etym.: guld (gold), veige (weigh).
GUNLIOD, name of the daughter of Suttung, to whose care her father confided the vase containing the precious beverage called Suttung’s mead. Seduced by Odin, she surrenders to him the vase.
GYLLFE, name of a king of Jotun race, who reigned over a part of Sweden at the time of the invasion of the historical Odin.
GYLLINBORSTE (golden-bristled), name of the mythological golden boar, fabricated by the dwarfs at the instance of Asa-Lok, and presented to Frey to serve him as a steed, mounted on which he travels round the world. According to Finn Magnussen, it is a type of the sun.
GYMER, name of a Jotun or giant, the father of Gerda. Etym.: gima (transmitting light).
HÆNIR, name of an Asa, the god of intellect; he accompanies Odin on his travels. By some he is considered as identic with Vil, the second person of the Scandinavian mythological triad.
HÆRFADER (father of the fight), one of the many names given to Odin.
HAGBARTH, name of a Norwegian prince, celebrated for his valour and his attachment to Signe, a Danish princess. Having had the misfortune to kill Signe’s brother in single combat, he falls into the hands of the mother, who, to revenge her son’s death, causes Hagbarth to be hanged. Signe, in despair at the loss of her lover, destroys herself. The unfortunate love of Hagbarth and Signe has been the theme of many a northern ballad, and Œhlenschläger himself has made it the subject of a most interesting and pathetic tragedy.
HARBARD, in this poem, is the name of a ferryman of Jotun race, who refuses to ferry Skirnir across a river until he has answered his questions and displayed his knowledge.
HEIDRUNA, name of the mythological goat who stands on the roof of Valaskialf, and whose teats afford a constant supply of hydromel to the guests at Valhalla.
HEIMDAL, or Heimdaller, name of an Asa who stands as sentinel at the bridge of Bifrost, to give notice of the approach of strangers by blowing his horn Giallar. He is constantly on the alert to prevent surprise on the part of the giants. Of him it is said, that he was born of nine mothers; that he had a tooth of gold; that he could do without sleep; see at a distance of a hundred miles, as well by night as by day; hear wool grow on the backs of sheep, and grasses shoot. By his doing without sleep may be meant the absence of night from the northern polar regions during the summer months. At Ragnarok, he will blow his horn with all his force, to excite the gods to combat. Etym.: Heim (abode), and dallr (horn).
HEIMKRINGLAS, name given to the universe in the Scandinavian mythology. Etym.: Heim (abode), kring (round about), and lâs (clasp).
HELA, or HEL, name of the queen of death and of the shades below, daughter of Asa-Lok and of the giantess Angurbod. She is frightful and appalling to behold: her body is of white or natural colour below the girdle, but all above is blue or livid, from congealed blood. The gods, terrified at her sight, exiled her from Asagard, and cast her down into Niffelheim, to rule over the dead. There, in her castle Helheim, she receives the ghosts of the worthless and cowardly, and of those who die of old age or sickness, who omit to cut runes to Odin. Of Hela it is said in the prosaic Edda, that her abode is anguish; her table, famine; her attendants, delay and fruitless expectation; her threshold, precipice; her bed, lingering sickness; her bed-curtains, heart-rending care.
HELHEIM (abode of Hela), name of a strong castle situate in Niffelheim, in the midst of eternal damp, ice, snow and darkness. Herein Hela receives and detains her dead guests.
HERMOD, an Asa, the messenger of Odin; from his name and attributes he bears a strong resemblance to the Mercury of the Greeks, Hermes.
HERTHA (the Earth), a purely allegorical divinity, and sometimes used as a synonyme for Frigga. In the pagan time her image was bathed once a year by female slaves, captives of war, who were afterwards drowned by the priests in her honour, that they might not reveal to profane ears the description of the charms and mysteries they had seen and witnessed.
HILDUR, name of a heroine in the northern legends, afterwards deified and enrolled among the Valkyrior. The story of Hildur, as related by Samsoes, is as follows: Her lover Hedin and her father Hogni slew one another in single combat. One night, in the violence of her grief, she by her magic spells evoked the ghost of Hedin; but her spells were so powerful, that the ghost of her father Hogni also arose. The two ghosts commence fighting, and every night they renew the combat, which is destined to last until Ragnarok. Hildur is present and applauds their courage. From this circumstance, War is called by the Skalds Hildur’s game.
HLESEY, an Island in the Cattegat, supposed to be the peculiar residence of Ægir, the god of the sea. Hlesey is now called Lessoe. The word oe in Danish and ö in Swedish means Island.
HLIDSKIALF, name of an immense high tower in Odin’s palace Valaskialf, from the top of which he can see all that passes in the world below.
HLORRIDA, a name given to Thor, when he drives his car through the air, causing thunder. Etym.: Hliod (sound), and rida (to ride).
HLYN, name of an Asynia, sent by Frigga to warn mankind of sudden danger during darkness; from its etymology it evidently typifies the flash of lightning that occurs at intervals during a very dark night. The Danish word lyn signifies “lightning.”
HNOS, name of a beautiful female child, the daughter of Freya. Etym.: hnoss, an Icelandic word meaning a precious thing.
HOEDUR or HOEDER, an Asa, twin brother of Balder; he was born blind. How he slew his brother Balder with a lance made of a branch of mistletoe has been already related. Hôdur is the type of night and darkness, as Balder is that of light and day.
HOFVARPUR, name of the steed mounted by Gna the messenger of Frigga.
HRIMFAX, name of the steed which draws the chariot of Night. It means “frost bringer;” this steed is sometimes mounted by Skada.
HRIMTHUSSER, mythologically, the name of a race of giants; the word means “frost-demon”; and from the word thuss, demon or evil spirit, comes probably the English word deuce. Historically, they were probably the name of some Tartar tribe at war with the Asar, and who harassed them exceedingly on their march. From being good archers, and shutting one eye when they took aim, they obtained the reputation of being one-eyed.
HRINGHORN, name of the bark or vessel of Balder, on board of which his body was placed, and burnt after his death. It derives its name from the circumstance of its prow being decorated with rings of horn. Among the Skalds a ship was often compared to an animal, and its masts to the horns of an animal. These masts were made fast with iron rings round their circumference, and this I take to be the surest origin of the etymology of the name Hringhorn or Ringhorn.
HROSVELGER, name of a giant, who, in the shape of an eagle, causes tempests by the flapping of his wings. Etym.: hrosi (corpse), and svelge (swallow), the wind being the cleanser of all impurities.
HRUGNER, name of a giant made of stone, and animated by the giants, in order to aid them in the conflict with the Asar. Within his breast, instead of a heart, he had a three-corner stone. He typifies probably a volcano, since in the Icelandic tongue Hrungnir signifies “something that makes a violent noise.” Hrugner was slain by Thor.
HUGIN and MUNIN, names given to Odin’s two ravens, who descend to earth, and bring back to him the news from the nether world; when not employed as messengers, they perch themselves on Odin’s shoulders. By Hugin is meant “thought,” and by Munin “memory.”
HVERGELMER, name of a source or fountain in Niffelheim. Etym.: Hver (urn or kettle), and gamla (old).
HYMIR, name of a giant, with whom Thor goes a-fishing in the disguise of a peasant lad. He catches the serpent Jormundgard, but Hymir files in two the anchor which served as a hook, and the serpent escapes.
IDA, IDAVALLEN, name of the plain, on which the resuscitated Asar and the human race are to be assembled by Vidar, after the reconstruction of the world.
IDUNA, name of an Asynia, wife of Bragur. She is the guardian of the golden vase, containing the apples of immortality, the juice of which gives to the gods perpetual youth, health and beauty. She was once carried off from Asagard by the giant Thiasse, aided by the treachery of Asa Lok; and the gods became at once old and feeble; but when Iduna was recovered, and brought back to Valhalla with her precious vase, the gods recovered all their power and advantageous attributes. This mythe of Iduna’s apples has its parallel in the Amreeta (drink of immortality) in the Hindoo mythology.
ISSEFIORD, name of a large creek or fiord, in the island of Sealand (Denmark), lying towards the north.
JETTE, pl. JETTER, JOTUN. So were called the evil genii or giants of the Gothic mythology. Historically, they were probably the aboriginal inhabitants of Scandinavia, and were of Celtic race, with black hair. Being engaged in continual and deadly warfare with the Asar or Goths, from the time of Odin’s invasion, these last may have, from a spirit of national hatred, transferred the appellation Jotun to the evil genii of their own mythology, before that epoch termed Hrimthusser. In spite, however, of the hatred and jealousy between the Asar and Jetter, they sometimes, like the Spaniards and Moors, formed political and also matrimonial alliances.
JORMUNGARD, name of the mythologic serpent, called also the serpent of Midgard. This serpent was offspring of Asa Lok, by the giantess Angurbod. His enormous size and frightful appearance excited such terror in the breast of the gods, that they hurled him down into the ocean that surrounds Midgard. There he is to remain until Ragnarok. On that day he will join the giants in the battle against the gods, and will be slain by Thor; but Thor will perish himself immediately after, from the effect of the serpent’s venom. This serpent is represented by the poets as holding his tail in his mouth, and is no doubt an emblem of the great Ocean, which was thought in those times to encircle the earth. His venom represents the dangerous effects of humidity. In the Hindoo mythology, there is the serpent Naga, which typifies the Ocean. Etym.: jord (earth), munr (mouth), gard (inclosure).
JOTUN (giant); see Jette and Giant.
JOTUNHEIM, peculiar province of the Jotun or giants in Utgard. Geographically, it is thought to denote Siberia.
LAUFEY, or LAUFEIA, name of a giantess, the mother of Asa Lok.
LEIRE, name of the ancient capital of Denmark, situated on the Issefiord, in Sealand. Leire was the theatre of many an important event. The modern city of Roskild is very near the spot, where Leire once stood.
LIF and LIFTRASIR, names of two mythological beings, who remain concealed in the wood of Hoddmimer, at the destruction of the world, and from whom the new race of men are to spring; these beings are purely allegorical, for lif signifies “life,” and liftrasir “producer of life.”
LINDERNÆS, name of a promontory on the southern coast of Norway, in the canton of Mandal.
LODER, an Asa, who conferred beauty on mankind; by some he is confounded with Ve, the third person of the Scandinavian mythologic triad.
LOFNA, name of an Asynia, who presided over marriage. Etym.: Icelandic verb lofa (to promise, to betroth).
LOK, ASA LOK, UTGARD LOK. In the Gothic mythology, there are two important personages of the name of Lok or Loke, in the earliest times perhaps identic, but in the latter divided; namely Lok of Utgard, the supreme ruler of the giants or malevolent spirits, belonging to our world’s system, who dwells in and rules over Utgard; and Asa Lok, originally of giant race, but admitted among the Asar. According to Ling, a modern Swedish poet, in the notes to his poem, called Asarne (the Asar), the mythe of the two Loks is thus explained: Utgard Lok represents the subterranean fire and its destructive effects, earthquakes and volcanic eruptions; Asa Lok represents the deleterious qualities of the air, such as tempests and unwholesome exhalations. In my opinion, the most simple explanation of this mythe would be as follows: Utgard Lok typifies physical evils and calamities, and in this respect he resembles the Siva of the Hindoos; as possessor of subterranean riches, he resembles the Plutus of the Greeks, who, as we are told, was related to Pluto. Asa Lok is the type of moral evil, or the propensity to vice in human nature, which has been personified by the Orientals, under the various names of Satan, Ahrimanes, Belial and Eblis. The punishment inflicted on Asa Lok for his treachery has been already related. At Ragnarok, he will break his chain, and join in combat with the giants against the gods. He and Heimdal will destroy each other.
LOPTUR, a name given to Asa Lok; it means one who runs through the air.
MALSTROM, name of the famous whirlpool on the coast of Norway, near Lofoden. Malstrom signifies “millstream.” It is called by the Skalds the mill of Ægir.
MAANEGARM, name of the mythologic winged goblin, who constantly pursues the moon (maane), and will swallow her up at Ragnarok.
MANHEIM (abode of man), a name often given to Midgard, or the earth.
MEGINGARD (girdle of strength), name of Thor’s belt, which had the faculty of doubling his force when he girded himself with it.
MIDGARD, name given to the earth, as being in the middle region between Asagard and Utgard.
MIMER, an Asa, the god of eloquence and of wisdom; he sits by the wave of Urda, called the fountain of wisdom, of which he is the guardian, and which springs near the ash-tree Yggdrassil. Urda is the destiny of the past, so that the allegory is clear; by consulting the records of the past, we gain wisdom and experience.
MIÖLNER (breaker in pieces), name of Thor’s hammer, type of the thunderbolt.
MOKKURKALF, name of a gigantic figure made of clay, and animated by the giants, that he might aid them against Thor. They gave to him the heart of a horse. This may allude to the custom among many heathen nations of consecrating an idol of clay, wood or stone, by putting therein the heart of a man, or of some animal. Mokkurkalf was slain by Tialf.
MUSPEL, MUSPELHEIM, name given to the region of fire and heat which lies to the south of Ginnungagap, and from whence at Ragnarok, Surtur will collect flames, and set fire to the universe. Flames are often termed by the Scalds “the children of Muspel.”
NAGLEFARE (ship of nails), name of a bark or vessel built by the giants. As its name imports, it was built of men’s nails. On board of this vessel, the giants will embark at Ragnarok, to give battle to the gods. The giants are continually at work to increase its size; hence, those who neglect to cut off the nails from the hands and feet of dead men, contribute to the building of this vessel, and to the mischief that will ensue from it. The popular belief of the continuation of the growth of the hair and nails after death, has probably contributed to this mythe.
NANNA, an Asynia, the wife of Balder, renowned for her piety and constancy. At his death she threw herself on his funeral pile, and was burned with him.
NARF, name of a giant, the father of Night, and also the name of one of Asa-Lok’s sons by Sigyn.
NASTROND, name of a frightful and noisome marsh in the subterranean world, filled with venomous serpents, and destined as a place of punishment in the future life for those who are absolutely incorrigible.
NIDAROS, a city in Norway of great historical celebrity, the ancient capital of the kingdom, and now called Trondhjem, and by the Germans Drontheim.
NIDDING means “scoundrel,” “worthless fellow;” it was the greatest insult to a Scandinavian to call him a Nidding, and the offence could only be expiated by the blood of the offender.
NIDHÖG, name of a frightful dragon that dwells in the marsh of Nastrond, and who continually gnaws the root of the Ash-tree Yggdrassil. Etym.: nid (reproach, abuse), högg (blow), in Icel.
NIFFELHEIM, department of Utgard, region of eternal cold, fog, darkness and horror, lying to the north of Ginnungagap. It is sometimes used as a synonyme for Utgard, or for Helheim. Niffel means “fog.”
NIORD, or NIORDUR, is the Æolus of the Scandinavians, the god of the winds. He is of Vaner race, and is father of Frey and Freya. He was admitted among the Asar to preside over the winds and is the type of the north wind in particular. He is invoked by fishermen and travellers. He was afterwards married to Skada, daughter of the giant Thiasse.—Niord is of a very friendly and benevolent disposition. See the articles Skada and Vaner.
NORNA, pl. NORNOR, name of the Parcæ, or Fates of the Scandinavians; they were three in number, viz. Urda, Norna, or destiny of the past; Verdandis, of the present; Skulda, of the future. They sit near the Ash Yggdrassil, the tree of time, where they weave the woof of human destiny.
ODIN is the Chief Asa, the king of gods and men, the Jupiter and Mars of the Scandinavian mythology, and the grand progenitor of the Scandinavian kings. Some think that this was the name given to the supreme God of nature by the Asar, previous to the invasion of the north-west of Europe by the historical Odin, whose real name is said to be Sigge (conqueror); and that the name of Odin was assumed by Sigge during his life, or given to him by his followers after his death. Others think that the real name of the great conqueror was Odin, and that his name was given to the supreme unknown God. At all events, the historical Odin was deified after his death, and being confounded with the mythologic one, was from that period worshipped as the supreme ruler of the universe. Odin has an immense number of appellations, the most remarkable of which are Alfader, Hœrfader and Valfader. As god of war he is accompanied by two favourite wolves, one called Gere (rapacity), and the other Freke (audacity), to whom he gives his share of food at the banquet of Valhalla; for according to the Edda, Odin lives on wine alone. Odin has also two favourite ravens, one called Hugin (thought), the other Munin (memory), who sit perched on his shoulders, and whom he sometimes dispatches to bring him news from the nether world. At Ragnarok, Odin is to be swallowed up by the wolf Fenris. Odin bears a lance called Gugner.
ODUR, name of the husband of Freya, whom he abandoned on the loss of her youth and beauty. He was changed into a statue by Odin, as a punishment for his desertion. He was the inventor of the art of making wine.
OLUF, a king of Denmark, slain by Starkodder, whom he afterwards meets in Valhalla.
QVASER, name of a chief of Vaner race by his mother; his father, name unknown, was an Asa. He taught mankind arts and sciences, but particularly poetry. He was killed by two dwarfs, who mixed his blood with honey, and poured it into a golden vase. This drink had the faculty of inspiring poetical talent. Suttung, the brother of Qvaser, revenged his death on the two dwarfs, by binding them to a rock in the mid-ocean, where they suffer perpetual hunger. He then took the vessel containing the sacred liquor, and gave it in charge to his daughter Gunliod. This liquor is called by the Scalds “Suttung’s mead,” and is used as a synonyme for poetical inspiration. Etym.: Qvasir, Icelandic word meaning “breath” or “inspiration.”
RAGNAROK, called also “the twilight of the gods,” is the last day, according to the Scandinavian mythology, the day, on which the whole creation, gods, giants, and mankind are to perish in a shower of fire and blood. Ragnarok will be preceded by a dreadfully severe winter of three years duration, called the Fimbul-vetr. At Ragnarok the wolf Fenris will break his chain, and so will Lok. A grand battle will be fought between the gods and giants on the plains of Vigrid, wherein the latter will be victorious; but it will be a fruitless victory, for Surtur, with flames from Muspelheim, will set fire to the universe, and involve victors and vanquished in general destruction. Vidar alone will survive the general conflagration and reconstruct the universe. The etymology of the word Ragnarok, I conceive to be the two Icelandic words: ragna (to imprecate, implore vengeance), and rok (violent tempest). Some derive it from regin (dynasts or gods), and röckur (twilight).
RAN or RANA, name of a giantess, wife of Ægir the god of the sea. She is of an extremely malevolent disposition, and takes pleasure in causing shipwrecks and drowning sailors. In the pagan time, when seamen found their ship about to sink, it was their custom to hold a piece of money in their hand, to propitiate Ran. In fact, Ran personifies the dangers and destructive properties of the sea; Ægir the salubrious and beneficial ones. The word Ran in Icelandic means “rapacity,” and from it comes the Danish verb rane (to rob).
RATATOSK, name of the mythologic squirrel that resides on the branches of the Ash Yggdrassil, and employs himself in running up and down the tree, in order to sow discord between the Eagle Hrosvelger, who sits on the top, and the dragon Nidhög, who lies at its root. This will remind the reader of the fable of Æsop of the eagle, the cat and the sow.
RINDA, name of a princess of Garderike, seduced by Odin.
ROSKA, name of a peasant’s daughter who, with her brother Tialfe, was adopted by Thor and accompanied him on his travels. She was elevated to the rank of an Asynia, and placed in Folkvang, to dwell with Freya.
RUNES, mean “letters of the alphabet” or writings.
SAGA, an Asynia, the goddess of history; she is represented with a graver and shield, on which she engraves events worthy of commemoration.
SÆHRIMNER, name of the mythologic hog, whose flesh furnishes food for the banquets of Valhalla. It is killed every morning and resuscitated every night.
SIF, or SIFIA, an Asynia, the wife of Thor, renowned for the beauty of her hair. Asa-Lok, to revenge himself on Sif for spurning his addresses, cut off her hair while she was asleep; but he was compelled by Thor to procure for her a new head of hair, made of gold by the dwarfs. Hence gold is often termed by the Scalds Sifs hair.
SIGNE, name of a Danish princess.—See Hagbarth.
SIGYN, the wife of Asa-Lok; she alone does not abandon him in his adversity; and when he is chained in the subterranean cavern, with the enormous serpents hanging over him, she holds out a vase to catch the venom they let drop. When the vase is filled, she goes out to empty it; the venom of the serpents then falling on Lok, causes him to writhe with pain, and this movement causes earthquakes.
SIOFNA, an Asynia, daughter of Freya; she presides over sleep and sends pleasing dreams. Etym.: Icelandic verb sofna (to sleep).
SKADA, daughter of the giant Thiasse; she comes to Valhalla in a fury, to revenge her father’s death, becomes pacified at the sight of Balder, and having caught Niord at a game of blindman’s-buff, obtains him for a husband; but their tempers being very different, she being capricious and violent, and he placid and benevolent, they soon quarrel. They cannot agree about their place of residence; she wishing to dwell in the mountains inland, and he preferring to dwell on the sea-shore. Niord says:
“I was tired of the mountains,
Though I was not long there;
Only nine nights:
The howling of the wolf
Was disagreeable to me
Accustomed to the chaunt of the swan.”
Skada says:
“I could not sleep
On the banks of the sea,
On account of the screaming of birds;
And the sea-gulls by their cries,
Disturb my repose every morning.”
As Skada means “mischief” in all the Teutonic and Scandinavian dialects, (to scathe, in English), the allegory is clear: by her union with Niord she represents the mischievous qualities of the wind, he the salubrious and beneficent ones.
SKALDS, or SCALDS; so the poets were called in Scandinavia.
SKIDBLADNER or SKYBLADNER, name of a ship given to the gods by Gerda, on her marriage with Frey. When not required for navigation, it could be folded up like a scarf. It seems to resemble the Sverga, or ship of heaven, of the Hindoos; and they are both probably types of the clouds, for sky is “cloud,” and blad a leaf, in the Icelandic tongue.
SKINFAX, name of the steed who draws the chariot of day. Its meaning is “light-bearer,” the φωσφορος of the Greeks.
SKIRNIR, name of an Asa, messenger of Frey; he is sent by Frey to negotiate his union with Gerda, and by Odin to procure a cord to bind the wolf Fenris, both which commissions he executes successfully. Etym.: Icelandic verb skirna (to clear up).
SKRYMER, name of a giant who meets Thor on his journey to Utgard and leads him astray. He mystifies him also by giving to him a wallet filled with provisions, but which Thor could not untie. Etym.: Icelandic word skrum (boasting), from which comes the Swedish verb skrymma (to look big).
SKULDA, name of the Norna, or destiny of the future. Etym.: skulu (shall), in Icelandic.
SLEIPNER, name of Odin’s charger. He has eight feet; he typifies the wind with its eight principal points.
SNOTRA, an Asynia extremely graceful, who inspires mankind with elegance of gesture and diction. Etym.: Icelandic verb snotra (to teach manners).
STARKODDER, name of a celebrated Scandinavian warrior. He slew king Oluf in a perfidious manner, but having afterwards greatly distinguished himself by a series of brilliant actions, he seems to have obliterated his crime, for he was deified after his death. He may be considered in some measure as the Hercules of the Goths.
SURTUR, name of a formidable giant, who, with flames collected from Muspelheim, is to set fire to the universe at Ragnarok. Etym.: surtr (swarthy in colour).
SUTTUNG; Suttung’s mead; see Qvaser.
SVEA, SVITHIOD, names of Sweden.
SYN, name of an Asynia who in this poem figures as the porteress of Valhalla, but in the Edda she is porteress of the palace of Freya.
THIASSE, name of a giant, father of Skada. In the shape of an eagle he carries off Asa-Lok, and compels him to join in a plot to steal away Iduna from Asagard. When Iduna is delivered, Thiasse pursues her in the shape of a griffin, but is burnt to death by falling into the bale fire at Breidablik.
THOR, an Asa, son of Odin and Frigga, the god of war, strength, and thunder. He plays a most prominent part in the Gothic mythology. He is the arch enemy of the giants, and is constantly employed in punishing crime and oppression and protecting the weak and virtuous. His various actions are described in this poem, of which he is the principal hero. He is the owner of a famous hammer called Miölner, and of a no less famous belt called Megingard; he wears steel gauntlets and brazen armour. He travels usually in a golden car, drawn by two white goats, Tanngniostr and Tanngrisner; when that car rolls along the heavens, it causes thunder and lightning. The worship of Thor seems to be of very remote antiquity; he typifies probably the occult force of nature, which checks the blind fury of the elements and brings them back to their proper limits. There is no mention of Thor as an historical personage. Odin is thought to have introduced the worship of Thor into Scandinavia; hence, by mythologic filiation, he is said to be Thor’s father; or this relationship may typify supreme force proceeding from supreme wisdom. Thor defeats and puts to flight the giants; thus does thunder disperse noxious exhalations and purify the atmosphere. Thor seems to resemble the Indra of the Hindoo mythology.
THRYMUR, name of a giant who falls in love with Freya. Having obtained possession of Thor’s hammer, Miölner, he offers to restore it on condition of obtaining the hand of Freya. The gods are unwilling to part with Freya, but hit on the expedient of sending Thor disguised as Freya, and Asa-Lok as female attendant, down to Thrymur’s abode in Jotunheim. As soon as Thor obtains his hammer, he throws off his female attire, and slays Thrymur and all his followers.
TIALFE, or Tialf, name of a young peasant adopted by Thor and admitted among the Asar; he accompanies Thor as his shield-bearer in all his expeditions. He is brother of Roska.
TING, or THING; a council is so called in the Scandinavian peninsula. This word has the exact meaning of the English word “thing,” “business,” etc., and of the Latin “negotium.” Storting means “grand council,” for stor signifies “great” in all the Scandinavian dialects.
TRUDVANG, or TRUDVANGUR, name of the domain of Thor, in Asagard.
TROLD, in Swedish Troll, means an evil demon or goblin in the Scandinavian mythology; they were very fantastic and grotesque in their appearance. The French word drôle (anglicè droll) is probably derived therefrom, and was introduced by the Norsemen when they conquered Neustria.
TROLDKÆMPELAND; the giants’ territory was often so called. Etym.: trold (goblin), kæmpe (warrior), land (land).
TYR, an Asa, renowned for his valour, and younger brother to Thor. His celebrated adventure with the wolf Fenris, who bites off his hand, is related in the 26th canto of this poem. Etym.: tyr (brilliant renown).
ULLER, name of an Asa who presides over archery and duels.
URDA, name of the Norna or destiny of the past. Etym.: Icelandic word urdu (was).
UTGARD is the name of the territory of the giants. It was supposed to be to the north of Midgard, and that mountains of ice formed the barrier between the two regions. It also signifies the world below, and includes Jotunheim, Svartalfheim, Niffelheim, and Nastrond. Etym.: ut signifies exclusion, anglicè out, and the etymology of gard has been already given as meaning enclosure. Utgard-Lok is the ruler of Utgard.
UTGARD-LOK, see LOK.
VAFTRUDNER, name of a giant celebrated for his wisdom, who is consulted by Odin under the name of Gangrôd (weary wanderer.) Vaftrudner does not, it is true, figure in this poem, but I introduce him into my catalogue because I am obliged to quote some passages in a chapter of the Edda bearing his name, in order to elucidate a passage of Œhlenschläger. Etym.: vafi (eminent), drutna (to be proud).
VALA, name of the sibyl or prophetess of the Gothic mythology, who foretells the destruction of the world.
VALASKIALF, name of the palace of Odin, in Asagard, in which he holds his court.
VALFADER (father of the choice), name given to Odin when he presides at the banquets in Valhalla.
VALHALLA (hall of the choice), name of the celebrated banqueting hall of Odin, in Valaskialf, and theatre of the convivial festivities of the gods and Einherier.
VALKYRIE, pl. Valkyrior, name of the celestial virgins who attend the fields of battle in order to carry off to Valhalla the souls of the heroes who fall. They are mounted on white horses, with fiery manes and tails. At the banquets of Valhalla they hand round to the guests the mead and ale. The word Valkyrie means chooser of the slain, because they choose from the heaps of slain those who have shown most courage. Owing to this belief, the word val, which originally meant “choice,” was applied to a field of battle; hence the Danish word valplads and the German wahlplatz, both signifying “field of battle.” Kyrie comes from the old Teutonic verb küren (to choose); there is therefore, properly speaking, tautology in the word Valkyrie, both the words of which it is composed signifying choice. By the Valkyrior are thought to be typified those meteoric appearances in the heavens, which were supposed to forebode wars and tumults.
VANER, VANAHEIM; mythologically the Vaner were elementary divinities, and Vanaheim was supposed to be situated in the heavens, above the earth, immediately above Midgard. Geographically, Vanaheim, according to Snorro Sturleson, was a country lying immediately eastward of the Tanais or Don river; but the historical Vaner are represented as a highly civilized people, from whom the Asar learnt the arts and sciences and all that embellishes life. Now I am yet to learn that the inhabitants of the banks of the Don were ever remarkable for refined culture; I therefore reject the hypothesis of Snorro Sturleson, and adopt that of Finn Magnussen, who thinks that by the historical Vaner are meant the Asiatic Greeks or the Persians, from whom the Asar or Goths might well learn the arts of civilization. Niord was a chief of Vaner race; Niord became father of Frey and Freya by his sister. Such a matrimonial connection was perfectly lawful among the ancient Persians, and is so among their descendants, the Parsis or Guebres, to this day. A learned friend of mine, a Portuguese by birth, by name Dr. Constancio, much given to the study of philology and the Eastern languages, thinks that by the Vaner and the country inhabited by them, Vanaheim, may be meant the country bordering on the lake Van or Erivan, in Armenia; and this seems extremely probable, as the Armenians were a Persian peuplade, highly civilized, and professing in days of old the same religion as the Guebres. Mythologically, Niord and his son and daughter may have been divinities worshipped in Armenia, Persia, and Asiatic Greece, and the Asar may have adopted and incorporated that worship into their own mythology, just as the Romans and Greeks adopted many of the divinities and religious ceremonies of the Egyptians. I think I can perceive a strong resemblance between Frey and Horus, between Freya and Astarte, and between Niord and Nereus.
VANDHOSE (water-spout), brother of Skada. Etym.: vand (water) and hose (trowser) in Danish.
VAR, an Asynia, the goddess of truth; she registers the vows of mankind and punishes perjury.
VARDOE, an island of East Finnmark on the north-eastern extremity of Norway, in latitude 75° north.
VAULUNDER is the Vulcan of the Gothic mythology. Historically he was a smith, celebrated for the beauty and excellence of his workmanship in metals. He forges weapons and armour for the gods.
VE, name of the third person in the triad of the Scandinavian mythology, and son of Bor.
VERDANDIS, or Verandis, name of the Norna or destiny of the present. Etym.: verandi, participle present of the Icelandic verb vera (to be).
VIDAR, an Asa, god of wisdom and of silence; he wears thick shoes, hence he is often called by the Scalds, “the god with the thick shoes.” He never breaks silence, but his look is so penetrating that he discovers the most secret thoughts of men. He is to play a most important part at Ragnarok, and will slay the wolf Fenris. Vidar alone will survive the general conflagration and reconstruct the universe on an imperishable basis. Etym.: Icelandic word vitra (wisdom).
VIL, one of the sons of Bor, and second person of the Scandinavian triad, Odin, Vil, and Ve. Of this triad Sneedorf Birch thinks that Odin typifies air or breath; Vil, light; and Ve, warmth. The death of Ymer, therefore, by Odin, Vil, and Ve, typifies the annihilation of ice and snow, and elicitation of the products of the earth by air, light, and warmth.
VINGOLF, name of a palace in Asgard, considered as the peculiar place of rendezvous of the Asynior or goddesses.
YGGDRASSIL, name of the mythologic Ash-tree, called “The tree of the world.” Of this tree it is thus written in the prosaic Edda: “This ash is the first and greatest of all trees, which spreads its branches over the whole earth. It springs from three roots. Near one of these roots, which pushes the trunk and branches towards Asagard, flows the fountain of Urda, which contains the water of wisdom, and of which Mimer is the guardian. The gods often descend to this spot, to sit in judgment on the actions of mankind and of one another. They interrogate Urda. The second root of Yggdrassil stretches towards the region of the Hrimthusser frost-giants of Utgard. The third root extends below, as far as Niffelheim, and is continually gnawed by the dragon Nidhög.” By this, according to Finn Magnussen, is meant the gradual deterioration of the world, which will end in its destruction; for the Ash Yggdrassil is no other than the symbol of our world. May I be permitted to add my conjecture towards the interpretation of this mythe: By the first root, which pushes stem and branches towards Asagard, may be meant the elevation of our thoughts towards heaven. By the second root, extending towards the region of the ferocious Hrimthusser, may be meant the tendency of our minds to fraud, rapine and violence; and by the third root, gnawed by Nidhög, the writhings of conscience and of envy: the etymology of the word Nidhög seems at least to give some weight to my conjecture.
Of this tree it is further written in the prosaic Edda: “On the branches of this Ash dwells an Eagle: he knoweth much, and between his eyes sits a Hawk, called Väderfalner. A squirrel, called Ratatosk, runs up and down the trunk of the Ash-tree, and endeavours to excite discord between the Eagle and the Dragon Nidhög, who dwells at its root. Four stags spring round the Ash-tree, and bite its branches: their names are Dainn, Dvalen, Dunneyr, and Durathror.” Among the various interpretations given of this mythe, the following, given by Grundtvig, seems to me the most happy.
“Yggdrassil is the genealogical tree of the human race; its triple root denotes the three sorts of men who are to be found on earth, viz. Those who cooperate powerfully for a noble and eternal object (children of the gods); Those who work powerfully, but for an ignoble and temporal object (children of giants); and lastly, the idle, useless and powerless, relations of Hela. The Eagle denotes the human mind in its greatest elevation; the Squirrel denotes the tempter or type of temptation, who is in compact with the Dragon. The Hawk denotes the spirit of divination or presentiment of the future, which agitates the human brain; and the four Stags denote the four passions or desires of power, of honour, of wealth, and of sensual pleasure.”
YMER, name of the giant, the great progenitor of the giant race. He was slain by Bor and his sons, as has been already related; and from his body the world was constructed, according to the following lines in the poetic Edda in the chapter called Vaftrudnismal:
From Ymer’s body
The world was created;
The mountains from his bones;
The heavens from the ice-cold giant’s head.
Ymer is evidently the type of the chaos.
As the reader may be curious to know how Ymer propagated his race, I quote the following question and answer from the Vaftrudnismal. Odin in disguise interrogates, and Vaftrudner answers:
Tell me, Vaftrudner!
How did the giant of old (Ymer)
Beget children without a giantess?
Answer:
From the arm of the giant,
According to the tradition,
A boy and girl sprung together;
According to others a six-headed son
Was produced from the feet of the giant.
Additional remarks respecting Valhalla.—The origin of its conception and meaning.
Finn Magnussen says in his notes to the Vaftrudnismal, speaking of the Einherier and their amusements: “This account of the amusements of the heroes in Valhalla seems, with respect to the ideas of our forefathers about the games suited to warriors, to correspond perfectly with Xenophon’s relation of the warlike diversions of the Thracians, at a great banquet in his time. These are his words: ‘A large round table was prepared; the guests sat round it on benches strewed with leaves, and drank out of large drinking-horns. After they had drank in honour of the gods, and sung to them hymns of praise, the most distinguished Thracians rose up, and began to dance and put on their armour, leaped up and down, and fought with naked swords. One cut at another, who immediately fell in such a manner, that we all thought he was slain; but it was merely a feigned death in a mimicked fight. Then the Paphlagonians gave a great shout. The conquerors stripped the conquered of their armour, and chaunted a hymn in honour of Sitalka; but the other Thracians bore out the fallen, and stretched them out, as if they were dead, although no mischief had happened.’”
(Xenophon’s Anabasis, book VI.)
“After that, other warlike spectacles and dances took place, in which women, who were real Amazons, took part. As such games were the delight of the Thracians on the borders of the Black Sea, who were either closely related to the Goths or the same people, so were they also among the customs of our forefathers; at least their ideas of the glories and delights of Valhalla seem to confirm it.”
Opinion of the Swedish poet Ling respecting Valhalla.
Valhalla is the type of heroic renown. In all ages and among all people, cowards have been held in abhorrence; for without courage, strength of soul and firm will, nothing noble can be effectuated. He who exposes his own life to save another’s, he who year after year endures captivity with fortitude in order to enforce the truth of his principles, or meets death with courage, in order to save another from that fate, acquires now as formerly our admiration and esteem. He was called by our forefathers Valhalla’s guest; and on that account Ragnar Lodbrook and Gunnar entertained the hope, while expiring under the fangs of serpents, to be received in Valhalla, because they bore their sufferings with resignation, equally with those heroes who had fallen in battle. But at Ragnarok Valhalla itself will disappear; i.e. heroic renown appertains merely to this earthly life, and with it must finally pass away. Goodness alone lives eternally on the peaceable ever-green island which rises from the sea, and on which stands the palace of Gimle.
I here annex a translation I made of a chorus in the tragedy of Sigurd Ring, by the Swedish poet Stagnelius, as it gives a lively picture of the Valkyrior and of their occupations on the field of battle and in Valhalla.
Aye! such is the Norna’s immutable doom!
On the earth ever discord shall rage!
But a banquet eternal in Asagard’s dome,
All sense of past sufferings assuage:
See her fiery-maned steed the Valkyrie bestride
Towards Valhall fresh hosts of Einherier to guide!
O’er the heath, where the warriors in battle array
Stand glitt’ring in armour, she flies;
To death first she dooms them, then bears off her prey
To partake of the bliss of the skies;
Not a thought doth the haughty one deign to bestow
On the tear of the bride, on the mother’s deep woe.
Now thickens the combat! now onward they dash
At the bugle’s sound savage and shrill!
Bows twang! arrows whiz! lances shiver! glaives clash!
Unyielding each host struggles still!
Now blood runs in torrents adown the green mead,
And the rivers are choked with the limbs of the dead!
On rides the Valkyrie; she knows where to chuse
The bravest midst thousands of slain;
She dismounts; bids them rise; then her course she pursues,
Till she reaches the Asar’s domain;
With pride she parades them still reeking with gore,
Still scarr’d with deep gashes, great Odin before.
Her armour now doffing, at Valfader’s feast,
Crowned with roses, in purple array’d,
The Valkyrie shines, and presents to each guest
The goblet high brimming with mead;
The heroes her graces bewitching behold,
And Bragur entranced strikes the harp-strings of gold.
With respect to the proper names, it may be asked why there is sometimes a variation in the manner of spelling them; why, for instance, Frey should sometimes be called Freyr; Niord, Niordur; Heimdal, Heimdaller; Jormundgard, Jormundgardur. The explanation thereof must be traced to the Icelandic language itself. In one of the declensions many of the masculine nouns, and almost all the proper names masculine, take er, ur and r as terminations of the nominative case which are omitted in the other cases; and the Danish, Swedish and German translators of the Edda have adopted the names indifferently without assigning any reason.
THE GODS OF THE NORTH.
ARGUMENT OF THE POEM.
The Asar (Gods), and the Jetter (Giants), represent the two conflicting powers of nature; the former represent the creative embellishing power; the latter the defacing destructive one. Lok[12] vacillates between both, as the variable spirit of time. He proposes to Thor to travel to Jotunheim (abode of the giants), without the knowledge of Odin, in order to punish the arrogance of the giants. Thor is mystified in the subterranean world, and obliged to return unsuccessful; but he makes two young people happy, and elevates them to the rank of gods, because they left their home and parents, and confided themselves implicitly to him. He again forms the resolution of revenging himself on the giants for their presumption, and endeavours to catch the serpent of Midgard. He travels this time with the consent of Odin, and without Lok. Now he shows himself in the plenitude of his power, and is on the point of catching the Serpent, when it is saved by the giant Hymir. In his disappointment, Thor loses his hammer Miölner.
In the mean while Lok pays court to Sif, the wife of Thor, but meets with a contemptuous repulse; to revenge himself, he cuts off her hair while she is asleep. Compelled by Thor and Frey, he procures from the Dvergar (dwarfs), new hair for Sif spun from gold, a new hammer for Thor, the steed Gyllinbörste for Frey, and the ring Drupner for Odin.
Now it happens shortly after, that Lok sets out on an adventure with Odin and Hœnir; but he is caught by the giant Thiasse, who compels him to carry off Iduna from Valhalla, which he willingly undertakes, in order to mortify the gods. With Iduna vanish health, strength, beauty and youth from Valhalla; the gods lose their power. The Nornor (fates), being consulted, announce to them, that “bravery with the help of love shall compel time to fidelity, and blooming life again return to Valhalla.” Now Thor compels Lok to bring back Iduna, and Freya lends to him her falcon’s wings for that purpose. During Iduna’s absence, Freya has lost her husband Odur, who deserted her, because her youth and beauty had vanished. Skada forces her way into Valhalla, and obtains Niord for a husband. Frey, having nothing to do, ascends to Hlidskialf, which is now no longer brilliant, and where hitherto none but Odin dared to repair. He finds himself punished for his temerity by beholding a beautiful mountain-damsel (a rare exception), of whom he becomes violently enamoured. Now Iduna returns to Valhalla, and with her return health, youth and beauty to the gods. The gods are described; the joys of Valhalla; the palaces of heaven; the Einherier. Starkodder arrives in Valhalla, and is raised to the rank of a god. Bragur sings a song in honour of Gefion. The love of Frey for Gerda brings to pass a reconciliation between the gods and giants. Skirnir, Frey’s messenger, consoles his master, by reminding him of Odin’s own amours. He travels on his master’s account to the abode of the beloved damsel, overcomes all difficulties, solves the riddles of the giants, shows to Gerda the portrait of Frey, and softens her heart. Her father gives his consent, on condition that Frey shall cede to him his sword. During his travels, Skirnir has likewise procured for Odin a chain, wherewith to bind the wolf Fenris. On the marriage day of Gerda, the wolf is bound, but Tyr loses his hand. In this manner the operative influence of the giants on the gods is made manifest. The rash Tyr defies the brave Thor; Thor becomes angry, revenges himself on the innocent human race, and repents his anger. The marriage of Gerda is celebrated a second time at the palace of Ægir, god of the sea. There Lok, enraged at the captivity of Fenris, and his own expulsion from the banquet, endeavours to spoil the joy of the meeting, insults the gods, and is compelled to fly. Banished, and weary of wandering about, he again earnestly desires to visit Valhalla, and promises, in order to atone for his effrontery, to procure for Thor the true hammer Miölner from the giant-king Thrymur. Thrymur consents to restore the hammer, but only on condition of Freya becoming his bride. Lok brings this message to Valhalla, after the Alfer had procured for him his pardon from the Asar. Vexed at the contempt of Thor, and seeing the possibility of doing a treacherous action, he gives way to the temptation, and through the means of Heimdal persuades the Asar to a stratagem; so that Thor, dressed as Freya, goes down into Utgard. When Thor is in Utgard, and the hammer Miölner is placed in his lap, he revenges himself by slaying all the giants, except the old ones and the children, who remain concealed in the deepest recesses of the mountain with Utgard-Lok. Then arises from the vapour of the blood a remarkably tall female figure, sent by Alfader. She prophecies the fall of Valhalla, the death of Balder, the torments of Lok, the approaching destruction of the universe, and the punishment of the gods for their deceit; which is, that their existence shall for a time pass away, and the whole creation perish by fire. After this, she consoles them with the assurance of a future life, where innocence and bliss are to reign eternally.
[12] Asa-Lok.
THE GODS OF THE NORTH.
For all proper names, the reader is requested to consult the Alphabetical List preceding this poem. The notes to which the figures refer, are to be found at the end of the poem.
CANTO I.
THOR SETS OUT ON AN ADVENTURE WITH LOK.
A story wonderful to hear
Recorded stands in ancient runes;
Now to my golden harp give ear,
And ponder well its mystic tunes!
The strange events, which yet remain
Unravell’d of the Asar bright,
Be mine the glory to explain,
And all their actions bring to light.
Th’ eternal wars, the deadly hate
Between the Gods and Giant race;
Of Asa-Lok the guile innate;
Alfader’s wisdom; Freya’s grace;
The Berserk fights of Thor the bold;
The joys of Valhall, dome sublime:
All these I sing: come, young and old!
And listen to my varied rhyme!
Thus sang in days of yore a Scald,
And I from him repeat the song:
A land there is, Trudvanger call’d,
Where frowns a castle huge and strong:
This building boasts its massive walls,
And many a spacious colonnade;
Its forty and five hundred halls
With silver or with gold inlaid.
How many forests, lakes and fields
On every side this pile surround!
The roof is tiled with copper shields,
Which shed a dazzling lustre round.
Therein the mighty Asa dwells,
Whom mortals term the god of war;
Odin excepted, he excels
All other gods: his name is Thor.
Around his waist a belt he wears,
And gloves of steel his hands protect;
Miölner, a hammer vast, he bears,
When in the fight he stands erect.
That belt a tenfold power doth give,
When round his loins he girds it tight;
Nor doth the foe remain alive,
On whom his hammer haps to light.
Late vanquish’d by the Asar brave,
Excluded from the solar ray,
Bound in the mountain’s deepest cave,
In fetters Lok of Utgard lay.
But vain the giant monarch’s doom,
Naught can his stubborn hate control;
Here in the midst of cold and gloom
Fresh thoughts of vengeance fire his soul.
Like singed threads his chains he rends,
Bursts through the surface of the earth,
To Upsala his course he bends,
Of Northern gods the sacred hearth;
He there extinguishes the fire,
And shakes to dust the temple’s walls.[13]
This deed excites great Odin’s ire;
To council he the Asar calls.
Each at the council board, I ween,
Gave the advice that seem’d him fit:
But Thor with hand beneath his chin
Lost in reflection seem’d to sit.
Much did the hero muse and scan,
How best to punish Loki’s crime,
And by some well-concerted plan
To crush the Lord of Jotunheim.
To rove in search of glorious war
This Asa chief finds much delight,
High seated in his golden car
Drawn by two goats of colour white.
Earth well may tremble with dismay,
When through the skies this chariot rolls,
For clouds then veil the face of day,
And awful thunders shake the poles.
But ’mongst the Asar one call’d Lok
Holds rank, nor undeserved the name;
For much he joys with spiteful mock
To lacerate his neighbours’ fame.
Howe’er he shine in outward grace,
Hollow and false is all within:
Before the Ash[14] he oft must pass
In penance for his various sin.
With scorpion wit and envious tongue
Though oft he gives the Asar pain,
Still his arch jests and gibing song
Compel them strait to laugh again:
His features fair are own’d by all,
But all his mind perverse deplore;
He takes his seat in Odin’s hall
Upon the bench next Asa-Thor.
The Nymphs[15], that Valhall’s dome adorn,
With breast of lily, cheek of pink,
To all th’ Einherier in their turn
Now bear around th’ immortal drink.
The largest horn high-fill’d with mead
Was drain’d by Thor the chieftain bold:
And then to seek his goats he sped,
And yoke them to his car of gold.
He grasps his hammer, mounts his car,
And bids Lok place him by his side;
The thunders roar, the lightnings glare,
As down the vault of heaven they glide!
Heimdaller views them roll along,
And greets with trumpet loud and shrill:
The seven virgins[16] tune their song,
And Thor salute with gracious smile.
Then Lok on fraud and guile intent,
Thus Thor address’d: “Methinks, ’tis time
Our bitter foes to circumvent,
And quell the powers of Jotunheim;
Thou mayst defy the force of fire,
And laugh to scorn the earthquake’s shock;
Feelest thou not a strong desire
For once to visit Utgard Lok?”
Then Thor: “My corslet braves the steel;
My helm unbruised in fight remains:
And, be he dwarf or giant fell,
Whom Miölner strikes, it ends his pains.”
Now to the earth they swift descend;
The birds sing gaily in the wood,
And every flower its head doth bend,
Owning the presence of a god.
The sun now sinks beneath the main,
The night obscures its parting rays;
Rolling athwart the starry plain,
The moon its silver disk displays:
Two funeral mounds appear in sight:
Then first the eyes of Asa Thor
Glisten’d in triumph. Late at night
They stand a peasant’s hut before.
They ask for shelter; lowly bows
The peasant, and replies: “My lords!
You’re welcome here to seek repose;
But little else my roof affords.”
They needs must stoop to enter through
The cottage door; and there they found
The peasant’s wife and daughter too
Sitting the lowly hearth around.
The daughter was a graceful maid
With azure eyes and golden hair.
They rose; and thus the matron said:
“Alas! but meagre is our fare:
Mere roots and herbs our meal supply;
No flesh invigorates our blood.”
“Fear not! This night shall be no lack of food.”
See now the giant-queller raise
His hammer! lo! his goats he slew!
Such was his custom: with amaze,
Yet not displeased this act to view,
The old dame stared; then rushed in haste
Upon the board to spread the cloth;
While Lok, as cook, prepared to baste
The meat, and mix the savoury broth.
A wondrous fact I now reveal:
Thor drives these goats around the earth,
And slays them for his nightly meal,
When no provisions cheer the hearth.
This done, their skins and bones he takes,
And casts them in a corner strait:
And lo! those goats, when he awakes,
Again stand living at the gate.
See from the wood the peasant’s son
Laden with faggots now appear!
He piles them on the hearth: anon
The smoking steaks the trav’llers cheer:
No dish had they; Thor’s buckler broad
This want supplied: and now they feed
With hearty zest, while the goats’ blood
Furnish’d to all delicious mead.
No sooner was the supper past,
Thor rose observant of his rite;
The bones within the skins he cast;
This did not ’scape the urchin’s sight:
His liquorish tooth would fain partake
Of daintier food than met the eye;
So unperceived a bone he brake,
And suck’d the marrow greedily.
The morning dawn’d: with choral strain
The feather’d songsters fill the skies:
The sun ascends: the travellers twain
From slumbers light refresh’d arise.
To war and bold adventure prone,
Each buckles on his armour strait,
And whets his weapon on the stone,
That stands without the cottage gate.
As in the car the Asar sprung,
The urchin’s trick was manifest;
One goat limp’d heavily along,
As if with lameness sore oppress’d.[17]
Thor was enraged; his colour fled;
He bit his lips; his eyes flash’d fire;
Well might the wretched peasant dread
For wife and child the chieftain’s ire.
But more so, when he saw the chief
Brandish on high his hammer vast:
The danger threaten’d, no relief
At hand; with fear he stood aghast:
Then, kneeling down, he humbly sued
Forgiveness for the stripling’s guile,
Offering all he had: the God
At such an offer well might smile.
Relenting at the peasant’s prayer,
And pitying his extreme distress,
He bade him rise with friendly air,
And gave his hand in pledge of peace.
“If to my care thou wilt confide
Those children stout,” said Asa-Thor,
“I will for all their wants provide,
And teach them both the art of war.”
Pleased to escape with a whole skin,
This offer glad the swain embraced:
Lok gave to each a javelin,
And strait their limbs in armour laced:
Their glist’ning eyes the joy reveal
Of Tialfe bold, and Roska bright:
To serve the God how proud they feel,
And court the perils of the fight.
The Lord of Trudvang now design’d
On foot to seek the giant’s lair:
His car and goats he left behind,
Confided to the peasant’s care.
Impatient of delay, he fain
Would march direct to Jotunheim.
They journey on o’er many a plain,
And rivers cross, and mountains climb.
And now can I assert with truth,
Tialfe became a warrior good;
No son of earth could e’er this youth
Surpass in zeal and fortitude:
His strength by Thor was duly prized,
As gay he trudg’d across the field,
And on his brawny shoulders poised
The heavy bag with viands fill’d.
E’en Freya’s self could scarce excel
Young Roska for her shape and air;
Her bosom now is cased in steel,
A golden helmet crowns her hair.
Thor towers aloft in plates of brass,
With Miölner in his right hand gleaming:
Lok trips along in light cuirass,
His dark locks o’er his shoulders streaming.
Now marching on, the tedious way
They oft beguile with gay discourse;
Sudden a wild tempestuous sea
Appears in sight, and checks their course!
The roaring billows reckless roll’d
White foaming ’gainst the marble steep!
And Rana’s voice was heard to scold
With frightful scream from out the deep!
The mighty monarch, Ægir hight,
Consort of Ran, o’er ocean reigns:
Beneath a roof of pearl so bright
He sits, and stern his right maintains;
With diamond-pointed pole the wave
He guides; a silver helmet, starr’d
With coral, decks his temples grave,
And sea-weed forms his shaggy beard.
On Hlesey you may find his throne
Of muscle-shell: this monarch sage
Can by a frown or wink alone
The billows’ utmost wrath assuage.
’Twixt him and Niord a pact holds good,[18]
And when Niord rides across the deep,
On coal-black courser mounted proud,
The winds are hush’d, the billows sleep.
Lok now with terror stood appall’d;
This did not ’scape Thor’s eye severe.
“Ha!” to his comrade stern he call’d:
“Let not thy courage fail thee here!
Take heart! take heart! if thus we shrink
At th’ onset of our enterprize,
What shame! what scandal! think! oh think!
Thou didst thyself this plan devise.”
Thus said, into the foaming sea
He plunged, and bade them follow strait:
No more delay; they all obey;
And spite of helm and corslet’s weight
With nervous arm they stem the brine;
With fear no more their bosoms quail:
They heed not now the mermaid’s whine,
And laugh to scorn the snorting whale.
On, on they swim with hope elate,
In spite of warring wave and wind;
And though the waves high o’er them beat,
Full many a mile they leave behind.
At length the lightning’s vivid flash
By fits reveals a glimpse of land;
And breakers, that around them dash,
Give hopes to gain the adverse strand.
How wondrous is thy strength, O Thor!
Encouraged by th’ example set
Of that brave chief, they reach the shore,
And land in garments dripping wet.
The moon, emerging from a cloud,
A wild and barren heath displays:
They droop, but Thor cries out aloud:
“Now, by yon moon’s benignant rays,
“We may some dwelling find at last;
Let us inland our course pursue!”
O’er sand and ice they struggle fast,
While cold and bleak the north-wind blew.
Roska at length, with marching spent,
Implored her fellow-trav’llers’ aid;
Lok carried now the damsel faint,
Lok ever lov’d a beauteous maid.
Now burst the clouds with thunder riven,
And dark as pitch the sky became,
Save when athwart the vault of heaven
A meteor lanced a transient flame!
The rain in torrents now descending,
Struck terror in each trav’ller’s breast;
E’en Thor himself, that chief unbending,
Could scarce his mind of fear divest.
He girds his belt around him tight:
“Here Lok of Utgard’s juggling play
Hath ample scope the heroes bright
Of Asagard to lead astray.
But short shall the fiend’s triumph be;
His insolence will I chastise,
And teach him low to bend the knee
Before the rulers of the skies!”
Thus Thor. At length a hut they find;
They enter; it may serve them well
For shelter from the piercing wind
And rain, that still in torrents fell.
But such a hut was never seen;[19]
Open remain’d one side entire;
’T was one vast door; the chiefs, I ween,
This entrance strange did much admire.
They loose their wallet now to seek
Their food, by hunger gaunt compell’d;
Poor Roska, with a pallid cheek,
Sat in a corner, half congeal’d.
Two legs of goat they soon consumed,
Then laid them down to seek repose;
But Thor alone the watch assumed,
His thoughts forbid his eyes to close.
His cheek upon his palm reclines;
He sits beside the spacious door;
Secure of Miölner, he designs
Destruction to the giant’s power.
This gives him comfort and delight;
What glory will to him accrue!
How oft during the long, long night,
He grasps with pride his weapon true!
CANTO II.
SPELLS UPON THE HEATH.
As Thor now sat with watchful ear,
In pensiveness profound,
A startling din he chanced to hear,
’Twas like the earthquake’s sound.
All nature shook; the billows’ roar
By this was deafen’d quite:
Thor grasp’d his hammer, nor forbore
His belt to fasten tight.
Now starting up, the Asa spake
Aloud with accent shrill:
“Who is it dares this noise to make,
When Hlorrida lies still?”
His choler he could scarce restrain,
He fain would kill and slay;
And much it gave the hero pain
No foe stood in his way.
A comet now with awful sweep
Shot through the sky blood-red,
And, stretch’d out on the earth asleep,
A Jotun vast display’d!
His snoring made the mountains shake,
So frightful was the sound;
He seem’d as long as the boa snake
On Java’s swampy ground.
When Thor’s eye to the spot was turn’d,
He saw the giant move,
And on the goblin’s skull he burn’d
His hammer’s strength to prove.
Of this the giant seem’d aware,
He started up in haste:
The sight all mortal eyes would scare,
Of such dimensions vast.
He view’d his foes with fearful scowl,
He shook his shoulders broad;
His voice was like the ice-bear’s growl,
Vex’d by the hunter’s goad;
Each of his nerves like brass was strong,
And hard and tough his skin;
He bore a pole of iron long,
Instead of javelin.
Now Thor to scrutinize his foe
With cautious look began;
Then burst he forth: “Say, who art thou,
Thou strange, wild-looking man?”
Then he: “From Goblin-land[20] I come,
All weapons’ force I mock,
For who shall Skrymur overcome,
Who serves great Utgard-Lok?
“Thy name I ask not, and though now
I first behold thy face,
The features of our bitt’rest foe
In thine, methinks, I trace.
And though the Asar with applause
Thy merits loud proclaim,
We giants spurn their boasted laws,
And laugh to scorn their fame.
“The trifling noise my snoring made
Hath caused thee much alarm;
With helm and plume upon thy head
Thou canst not reach my arm.
Upon my palm I’d hold thee high
All in thy armour dress’d;
Yet of our Jotun race am I
The weakest and the least.”
He gazed around on every side,
His eye-balls fiercely glared:
“Where is my glove? (he gruffly cried,)
To steal it who hath dared?”
At length a horse-laugh wild and fierce
Announced the giant’s mirth;
He laugh’d to see Thor’s followers
From out the hut come forth.
The giant now to feel the ground
Stoop’d down with knitted brow;
He stoop’d again, and groped around:
“My glove, where is it now?”
His helm’s bright horse-hair waved sublime,
Like fir-crown’d mountain’s top:
He stoop’d once more; and lo! this time
He took the cottage up!
Then first our travellers perceiv’d
By th’ morning dawn full well,
That, what a cottage they believ’d,
Was a vast glove of steel.[21]
Upon his hand the giant drew
The glove; it fitted tight;
At once it fill’d the champions true
With wonder and affright.
But Thor exclaim’d: “Cheer up, my friends!
Believe me! strength or skill
Never on size alone depends;
The wolf an ox can kill.
For me, with this foul fiend to cope
Quite resolute I stand:
Shame were it, should an Asa droop
With Miölner in his hand.”
Now this discourse the giant fear’d;
He lean’d against his spear.
“What urgeth Thor of Asagard
To quit his brilliant sphere?
What moves the mighty God of war
To tread this barren strand?
Why is he come without his car
To our dark Goblin-land?”
Then thus replied with accent grum
The god to heroes dear:
“Enough! it pleas’d me here to come,
And, therefore, I am here.
’Bout Lok thy swarthy king things strange
I’ve heard, and now I go
My thoughts with him to interchange
In Utgard’s realm below.
“I long to view that Chief of fame,
And tarry there awhile;
For naught I fear his arms of flame,
Nor e’en his magic guile:
The giants long have learn’d to quake,
When Asa-Thor drew near.”
Tialfe and Roska, as he spake,
Now smiled, devoid of fear.
The giant now with bitter sneer
Thus boisterously replies:
“I warn thee not to persevere
In this rash enterprize:
Athwart the iron staves so high,
That Utgard’s realm surround,
No Asa with impunity
His entrance e’er hath found.
“Restrain thy course, thou Asa pale!
Nor seek our realm to view!
For there thy strength will naught avail;
Thy rashness thou mayst rue:
As friend, I know, thou comest not,
But shouldst thou entrance gain,
Defeat and shame will be thy lot,
And hope of flight is vain.
“Go back, I say! once more return
To thy star-lighted dome!
Midst wilds of bramble, brake and thorn,
What boots it here to roam?
A desert drear, where howls the storm,
A sea, where billows roar,
Between the gods and giants form
The bound’ry ever more.
“In warlike games and banquets gay
The Asar pass their time,
Warm’d by the sun’s eternal ray
In Asagard sublime:
A royal life of bliss and power
The Nornor them have given;
And mortals fervent still adore
The denizens of heaven.
“But for the swarthy giant brood
Far different is the lot:
They wax in strength and hardihood
I’ th’ mountain’s deepest grot.
Earth’s sons to us no honour pay;
They venture not to tread
Those dreary wastes, where we hold sway;
They fly from us with dread.
“Darkness our realm for aye conceals
From earth’s light-favour’d sphere:
No fires, but what the flint reveals,
Our gloomy caverns cheer:
The Asar’s glory ’tis to found
Creation, order, life:
But we delight to spread around
Destruction, ruin, strife.”
Now Thor was stagger’d, and anon
With Miölner struck his shield.
“Thou bitter fiend! thou evil One,
’Gainst sense and feeling steel’d!
My hammer cannot here, of course,
Attain thy lofty brow;
But thou shouldst feel my lightning’s force,
Were in Trudvang now.
“Do Utgard’s champions dare to hold
To Thor such language proud?
Foul pismire thou in earth’s black mould!
Vile slug with torpid blood!
Thinkst thou to damp my courage high,
Because thou tower’st above
These brambles? I thy arms defy;
Thy arts my pity move.
“I tell ye plain, ye giant brood!
Were ye in number more
Than snakes in Nastrond’s marshy flood,
Or sands on the sea-shore,
I’d brave ye all; for none alive
Would Thor the combat shun;
To me what pleasure would it give
To slay ye every one!
“Not only valour stout in war,
But wit, and skill, and grace
Our Asar boast; and think ye, Thor
Cannot your Lok surpass?
Your frightful teeth may terrify
The children of mankind:
Thor’s frown alone would make ye fly,
Like chaff before the wind.
“Alfader hath of old consign’d ye
To realms of damp and shade;
In caverns deep, ’tis there we find ye
In treach’rous ambuscade;
Night only gives ye courage; then
Ye quit your lurking place,
And with huge clubs and frightful din
The works of man deface.
“When the poor trav’ller seeks his home,
Ye lead him far astray;
With murderers and wolves ye roam,
And guide them to their prey:
Ye feast on human hearts; their blood
Ye drink with savage joy;
And all that’s useful, great, and good,
Your lust is to destroy.
“But tremble! think! the day will come,
When you shall perish all:
The Nornor have decreed your doom;
By our hand shall ye fall:
Your limbs shall be consumed by fire;
The mountains be your grave:
Let no one hope Alfader’s ire
Unpunish’d long to brave!
“In torrents shall your life’s blood flow;
The dwarfs, although they be
Your kinsmen, towards your overthrow
Shall lend their industry:
For us the sons of light ’tis they
That forge the weapons good,
And those same weapons shall one day
Be colour’d with your blood.
“Behold this hammer! from its blow
The tide of death bursts forth:
’Twas a dwarf’s gift; this girdle too!
I’ve prov’d, methinks, its worth.”
Thus said, the hero brandish’d high
His Miölner; at the sight
The giant cow’ring made reply:
“I question not thy might:
“Let us be friends, thou Asa good!
To Utgard straight I’ll guide thee;
And every night with choicest food
For supper I’ll provide thee:
And Utgard-Lok will much rejoice,
Such is my fond belief.
Himself to see and hear the voice
Of such a glorious chief.”
Silent they moved along the strand,
While Skrymur march’d before,
Bearing a wallet in his hand:
E’en Roska fear’d no more.
The farther they advanc’d, the road
Less difficult became.
Thor’s anger vanish’d; on they strode;
With joy their faces beam.
They cross’d a plain at close of day;
On th’ borders of a wood
Arrived, quoth Skrymur: “Here we may,
Methinks, take rest and food.
Let us this night no further go,
Repose we all do need:
And, when at morn the cock’s shrill crow
Awakes us, we’ll proceed.”
His heavy wallet down he flings,
Then adds with meaning sly:
“Be cautious not to spoil the strings,